there, corresponds but too well with my own views on the subject. The
proceedings there are far from gratifying, and what strikes me as the
most hopeless part is, that all its inhabitants are of one accord on the
subject, and yet, in spite of this universal feeling, no change to what
is good and healthy is ever effected. But where cannot the individual
man live and thrive? especially in Germany, where we are all compelled
to isolation, and must, from the very first, renounce all idea of
working together in unison. Still it has its bright side and its
original aspect. When are you coming here again to play billiards with
us? I have been living a stirring life all through this winter. Fancy my
being obliged to play in public four times last week, and two pieces on
each occasion. Last Saturday week, the first Quartett Soirée took place,
where pianoforte music was introduced; so I played Mozart’s sonata in A
major, with David, and the B flat major trio of Beethoven. On Sunday
evening Ernst played four quartetts at Hiller’s; one of them was the E
minor of Beethoven, and mine in E flat major. Early on Monday the
rehearsal took place, and in the evening the concert, where I
accompanied him in his “Elegie,” and in three songs besides; on the
following Thursday, Hiller and I played Mozart’s concerto, written for
two pianos, into which we introduced two grand _cadenzas_, and at the
close of the second part of the concert, we played Moscheles’ duett in G
major.[39] The Saturday after, I again played with David at the Quartett
Soirée, a new rondo of Spohr’s, and wound up with my trio. In addition,
we are to have a musical soirée at D----’s, a meeting of the
Liedertafel, a ball, etc. etc.; and yet, with all this, every one
complains that I persist in living so retired. Latterly I have become
quite tired of music, and think I must take to painting once more; but
my Swiss sketches are coming to an end, and fain would I return thither
to make new ones, but I already see that there is no hope of such a
thing this summer. Hiller lately said that I was like those ancient
barbarians, who took such delight in the luscious fruits and the warm
sun of the South, that they were always longing for them once more; and
there really is some truth in this. Would that our orchestra had not so
many attractions. Yesterday they played the B flat major symphony of
Beethoven famously. In the course of a few days the choruses (now
completed) in Hiller’s oratorio are to be rehearsed. I feel as much
anxiety on the subject as if they were my own, or even greater.
Last week I had an agreeable occupation, which was that of distributing
the five hundred dollars, granted to the orchestra, amongst its various
members; the sum is small and the aid trifling, still I felt great
satisfaction in having even accomplished this much. Next year I mean to
begin it all over again, and then I hope to do a real service to the
musicians; whether they thank me or not, is after all quite a matter of
indifference.
Pray send for a little work, which contains the most beautiful and
interesting descriptions I have read for a long time. They are Eastern
translations by Rückert, and the title is ‘Erbauliches und Beschauliches
aus dem Morgenlande.’ If this book does not delight you beyond measure,
I will never recommend one to you again. Do look into it often, for it
is most extraordinary.--Your
FELIX.
TO HIS MOTHER.
Leipzig, March 30th, 1840.
The turmoil of the last few weeks was overpowering. Liszt was here for a
fortnight, and caused quite a paroxysm of excitement among us, both in a
good and evil sense. I consider him to be in reality an amiable
warm-hearted man, and an admirable artist. That he plays with more
execution than all the others, does not admit of a doubt; yet Thalberg,
with his composure, and within his more restricted sphere, is more
perfect, taken as a virtuoso; and this is the standard which must also
be applied to Liszt, for his compositions are inferior to his playing,
and, in fact, are only calculated for virtuosos. A fantasia by Thalberg
(especially that on the “Donna del Lago”) is an accumulation of the most
exquisite and delicate effects, and a continued succession of
difficulties and embellishments that excite our astonishment; all is so
well devised and so finished, carried out with such security and skill,
and pervaded by the most refined taste.
On the other hand, Liszt possesses a degree of velocity and complete
independence of finger, and a thoroughly musical feeling, which can
scarcely be equalled. In a word, I have heard no performer whose musical
perceptions, like those of Liszt, extended to the very tips of his
fingers, emanating directly from them. With this power, and his enormous
technicality and practice, he must have far surpassed all others, if a
man’s own ideas were not after all the chief point, and these, hitherto
at least, seem denied to him; so that in this phase of art, most of the
great virtuosos equal, and indeed excel him. But that he, along with
Thalberg, _alone_ represents the highest class of pianists of the
present day, is, I think, undeniable. Unhappily the manner in which
Liszt has acted towards the public here has not pleased them. The whole
misunderstanding is, in fact, as if you were listening to two persons
disputing, who are both in the wrong, and whom you would fain interrupt
at every word. As for the citizens in general, who are angry at the high
prices, and do not wish to see a clever fellow prosper too much, and
grumble accordingly, I don’t in the least care about them; and then the
newspaper discussions, explanations, and counter-explanations,
criticisms and complaints, and all kinds of things are poured down on
us, totally unconnected with music; so that his stay here has caused us
almost as much annoyance as pleasure, though the latter was indeed often
great beyond measure.
It occurred to me that this unpleasant state of feeling might be most
effectually allayed, by people seeing and hearing him in private; so I
suddenly determined to give him a _soirée_ in the Gewandhaus, of three
hundred and fifty persons, with orchestra, choir, mulled wine, cakes, my
“Meeresstille,” a Psalm, a triple concerto by Bach (Liszt, Hiller, and
I), choruses from “St. Paul,” fantasia on “Lucia di Lammermoor,” the
“Erl King,” the “Devil and his Grandmother,” and goodness knows what
else; and all the people were delighted, and played and sang with the
utmost enthusiasm, and vowed they had never passed a more capital
evening,--so my object was thus happily effected in a most agreeable
manner.
I have to-day formed a resolution, in which I heartily rejoice, and that
is, never again to take any part as judge of the prizes at a musical
competition. Several proposals of this kind were made to me, and I did
not know why I should be so annoyed by these, till I clearly saw that it
was in fact a display of arrogance on my part, to which I would not
myself submit from others, and should therefore carefully avoid; thus
setting oneself up as a proficient, and my taste as incontrovertible,
and in an idle hour passing in review all the assembled competitors, and
criticizing them, and, God knows, possibly being guilty of the most
glaring injustice towards them. So I resolved once for all to renounce
the office, and feel quite relieved by having done so.
TO THE KREIS-DIRECTOR VON FALKENSTEIN, DRESDEN.
Leipzig, April 8th, 1840.
Sir,
Emboldened by the assurance of your kind feelings in our recent
conversation, and by the conviction that you have sincerely at heart the
condition of art here, and its further cultivation (of which you have
already given so many proofs), permit me to lay before you a question
which seems to me of the highest importance to the interest of music.
Would it not be possible to entreat his Majesty the King, to dispose of
the sum bequeathed by the late Herr Blümner for the purpose of
establishing an institution for art and science (the investment of which
is left to the discretion of his Majesty), in favour of the erection and
maintenance of a fundamental music academy in Leipzig?
Permit me to make a few observations on the importance of such an
institution, and to state why I consider that Leipzig is peculiarly
entitled to aspire to such a one, and also what I consider to be the
fitting basis for its organization.
For a long period music has been indigenous in this country, and the
sense of what is true and genuine, the very phase which must be nearest
the heart of every ardent and thoughtful friend to art, has at all times
struck its roots deep into this soil. Such universal sympathy does not
certainly come by chance, nor is it without influential results on
general cultivation; music having thus become an important power, not as
a mere passing enjoyment, but as a more elevated and intellectual
requirement. Those who feel sincere solicitude about this art, must
eagerly wish that its future prospects in this land should rest on the
most solid foundation.
The positive, technical, and material tendencies so prevalent at the
present day, render the preservation of a genuine sense of art, and its
further advancement, of twofold importance, but also of twofold
difficulty. A solid basis alone can accomplish this purpose; and as the
extension of sound instruction is the best mode of promoting every
species of moral improvement, so it is with music also. If we had a good
music academy,--embracing all the various branches of this art, and
teaching them from one sole point of view, as only the means to a higher
end,--then the practical and material tenets, which, alas! can number
even among our artists many influential adherents, might, no doubt, yet
be effectually checked.
Mere private instruction, which once bore much good fruit for the world
at large, on many accounts now no longer suffices. Formerly, students
of various instruments were to be found in every class of society,
whereas now this amateurship is gradually passing away, or is chiefly
confined to one instrument--the piano.
Scholars desirous of enjoying further instruction, almost invariably
consist of those who propose devoting themselves to this branch of art,
and who rarely possess the means of paying for private lessons. The most
admirable talent is indeed often to be found amongst this class; but, on
the other hand, teachers are seldom placed in such fortunate
circumstances as to be able to devote their time, without remuneration,
to the training of even the finest genius; thus both sides endure
privation; the former being unable to obtain the wished-for instruction,
and the latter losing the opportunity of implanting, and practically
enforcing, their own knowledge. A public institution would, at this
moment, be of the most vital importance to teachers as well as to
pupils; and the latter would thus acquire the means of improving
capabilities which otherwise must often remain undeveloped and wasted;
while, for the teachers of music, such a standard of combined action
from _one_ point of view, and for the attainment of _one_ purpose, would
also be advantageous, as the best remedy against lukewarmness and
isolation, the unfruitfulness of which, in these days, is but too apt to
exercise a ruinous influence on the mind.
In Leipzig the need of a school for music, in which Art may be pursued
with conscientious study and an earnest mind, is deeply felt; and for
various reasons Leipzig seems peculiarly suited for it. The university,
already a central locality for intellectual aspiring young men, and the
school of knowledge, would, in many relations, connect itself with that
of music. In most of the other large towns of Germany public amusements
dissipate the mind, and exercise an injurious influence over the young;
here, however, most of these amusements are more or less connected with
music, or consist wholly of it; thus there are very few public
recreations except those allied to music; so this institution would
benefit both the cause and the individual; moreover, for that especial
branch of art which must always remain the chief basis of musical
studies--the more elevated class of instrumental and sacred
compositions--Leipzig, by its very numerous concerts and oratorios,
possesses the means of cultivating the taste of young artists to an
extent that few other German cities can offer.
Through the lively sympathy with which the principal works of the great
masters for the last fifty years have been received and acknowledged
here (often for the first time in Germany), and by the careful attention
with which these works have been invariably executed, Leipzig has
assumed a high position among the musical cities of our Fatherland.
Lastly, in support of this petition I may add that Herr Hofkriegsrath
Blümner, who cherished so great a love for poetry and the poetical in
every art, always devoted special attention to the state of music here,
and indeed took an active charge in the direction of the concerts, in
which he was warmly interested; so that such an apportionment of his
bequest, would undoubtedly be quite in accordance with the artistic
feelings of the testator.
While other establishments of public utility are constantly encouraged,
and some even richly endowed, the music here has never received the
smallest aid from any quarter. The musical institution in the capital
being supported by Government, is it not then peculiarly desirable that
this city should receive the sum bequeathed by one of its inhabitants,
where such a boon would be received with peculiar gratitude on every
side. On all these grounds, may his Majesty then be graciously disposed
not to refuse the fulfilment of a wish so warmly cherished, and thus
impart a new stimulus and a fresh impulse to art. It would give an
impetus to musical life here, the effects of which would speedily and
enduringly be disseminated, with the best influence.
Allow me to enclose in this envelope some general outlines for the
arrangement of such a musical academy, and receive the assurance of the
distinguished esteem, with which I have the honour to remain, your
devoted servant,
FELIX MENDELSSOHN BARTHOLDY.
TO HIS MOTHER.
Leipzig, August 10th, 1840.
On Thursday I gave an organ concert here in the Thomas Church, from the
proceeds of which old Sebastian Bach is to have a monument erected to
his memory in front of the Thomas School. I gave it _solissimo_, and
played nine pieces, winding up with an extempore fantasia. This was the
whole programme. Although my expenses were considerable, I had a clear
gain of three hundred dollars. I mean to try this again in the autumn or
spring, and then a very handsome memorial may be put up.[40] I practised
hard for eight days previously, till I could really scarcely stand
upright, and nothing was heard all day long in my street but organ
passages!
TO FANNY HENSEL, BERLIN.
Leipzig, October 24th, 1840.
Dear Fanny,
I make use of my first morning’s leisure since my return from England,
to thank you for your most admirable and charming letter, which welcomed
me on my return here. When I first saw it lying, and broke the seal, I
had somehow a kind of presentiment that it might contain some bad
news--(I mean, something momentous). I don’t know how this was, but the
very first lines made me see it in a very different light, and I read on
and on with the greatest delight. What a pleasure it is to receive such
a letter, with such a flavour of life and joy, and all that is good! The
only tone in a minor key, is that you do not expect to like Berlin much
after Rome; but this I consider a very transitory feeling; after a long
sojourn in Italy where could any one be contented? There, all is so
glowing! and our dear German home life, which I do so heartily love, has
this in common with all that is German and dear, that it is neither
splendid nor brilliant, but its stillness and repose only the more
surely fascinate the heart. After every absence I felt just the same
when the joy of the first days of reunion were past; I missed the
variety and the excitement of travelling so much, that home seemed sadly
monotonous, and I discovered all sorts of deficiencies, whereas during
my journey all was perfect, and all was good. The same feelings have
often recurred to me recently at the Leipzig Liedertafel, and at the
innumerable demands and intrusions, etc. etc.; but this did not last,
and was certainly only a fallacy. All that is good, and that we like in
our travels, is, in fact, our wonted property at home, only we there
exact a still larger portion. If we could only preserve through life the
fresh, contented, and lofty tone of feeling which, for the first few
days on returning from a journey, leads us to look at every object with
such satisfaction, and on the journey makes us rise superior to all
annoyances; if we could only remain inwardly in this buoyant travelling
spirit, while continuing to live in the quiet of home,--we should indeed
be vastly perfect! Instead of this, last night, at the twenty-fifth
anniversary of the Liedertafel, I was as angry as if I had been a young
boy. They sang so false, and talked even more falsely; and when it
became peculiarly tiresome, it was in the name of “our German
Fatherland,” or “in the good old German fashion.” Yet, when I came back
from England I had formed such a strong resolution never to discompose
myself about anything, and to remain entirely neutral![41] I was eight
days in London, and the same in Birmingham, and to me the period passed
like a troubled dream; but nothing could be more gratifying than meeting
with so many friends quite unchanged. Although I could only see them for
so short a time, yet the glimpse into so friendly an existence, of
which we hear nothing for years, but which remains still linked with our
own, and will ever continue to be so, causes most pleasurable
sensations.
Of course I was constantly with Klingemann and Moscheles, and with the
Alexanders also, where, in the most elegant _rococo_ drawing-rooms,
among all the newest and most fashionable objects, I found my father’s
portrait, painted by Hensel, in its old favourite place, and standing on
its own little table; and I was with the Horsleys also, and in many
other houses where I felt happy and at home; when I recall my excessive
uneasiness at the prospect of the journey, and how we paced up and down
here together and discussed it, making each other, in fact, only
mutually more nervous, and yet all is now so happily over, and I so
happily returned to my family,--I ought scarcely to do anything all day
long but rejoice and be thankful,--instead of which I fly into a passion
with the Liedertafel, and you do the same with the Art Exhibition!
You ask me whether we are to have peace or war? How have I got such a
fine reputation as a newsmonger? Not that I do not deserve it, for I
maintain through thick and thin that we shall have peace, but combined
with much warlike agitation; though when a _politicus_ by profession
like Paul is in the family, he must be applied to. He may say what he
likes, but no war shall we have.
Though, when I think of yesterday’s Liedertafel, I almost wish we had!
Pray write again soon, my very dear Sister, and a long letter.--Your
FELIX.
TO HIS MOTHER.
Leipzig, October 27th, 1840.
Dear Mother,
A thousand thanks for your kind letter, received yesterday, which was
truly charming, in spite of the well-merited little hit at the
beginning. I ought indeed to have written to you long since; but during
the last three months, you can have no idea how entirely I have been
obliged to play the part of “Hans of all work.” There are trifling
minute occupations too, such as notes, etc., of daily recurrence, which
seem to me as tiresome and useless in our existence as dust on books,
and which, like it, at last thickly accumulate, and do much harm, unless
fairly cleared away every morning; and then I feel so keenly the impulse
to make some progress with my daily labours as soon as I am in a happy
vein. All these things cause the weeks and months to fly past like the
wind.
You probably already know, through the newspapers, that we had recently
a second performance of the “Hymn of Praise” for the King of Saxony, at
an extra subscription concert, and it went off famously. All the music
was given with such precision that it was a real pleasure to listen to
it. The King sent for me between the parts, which obliged me to pass
through a double row of ladies (you know the arrangement of our
concert-room), in order to reach the place where the King and his Court
were seated. He conversed with me for some time, in the most
good-natured and friendly manner, and spoke very judiciously about
music. The “Hymn of Praise” was given in the second part, and at the
conclusion, just as I had quitted my music-desk, I suddenly heard people
round me saying, “The King is coming to him this time;” and he was in
fact passing through the rows of ladies, and came up to my desk: (you
may imagine what universal satisfaction this caused.) He spoke to me in
so animated a manner, and with such cordiality and warmth, that I did
indeed feel it to be a great pleasure and honour. He mentioned the
particular passages that had pleased him most, and, after thanking all
the singers, he took his departure, while the whole orchestra, and the
whole audience, made the very best bows and curtsies they could
accomplish. Then came a hubbub and confusion like Noah’s ark. Perhaps
the King will now bestow the 20,000 _thalers_ which I long ago
petitioned might be given towards the music here. In that case, I could
with truth say that I had done good service to the music of
Leipzig.[42]
Eckert has returned here in the character of a zealous Prussian patriot,
and goes nearly as far as the Prussian Government paper, which declares
that the rain which beat in the King’s face only fanned his fire still
more. But to my incredulous grimaces, Eckert replied that _you_ were
quite of his way of thinking, and had charged him to let me know this.
It is so provoking that a distance even of twenty miles should exercise
so irresistible an influence, and that, notwithstanding all the minute
descriptions and details in the newspapers, we cannot rightly understand
the proceedings which take place in your presence, and _vice versâ_. A
thousand minutiæ are involved in the affair, which appear insignificant,
and are consequently omitted by the narrator; and yet they are the links
that connect the whole, and the chief cause of many of these events.
So far as I can gather the real meaning of it all, just so far does it
displease me, and that is perhaps the reason why I cannot approve of all
the other fine adjuncts, down to the “fiery rain” of the Government
paper. In the meanwhile, time pursues its steady jog-trot pace. Thiers
is no longer minister. A number of arrests have been made in Frankfort,
and Queen Christina is welcome to my little room. By Heavens! I would at
this moment far rather be a musician than a sovereign!
I say nothing about the silver wedding-day of the Leipzig Liedertafel,
for I have not yet recovered from it. God help us! what a tiresome
thing our German Fatherland is, when viewed in this light! I can well
remember my Father’s violent wrath against Liedertafels, and indeed
against everything at all connected with Cousin Michael, and I feel
something similar stirring within me.
Farewell, dearest Mother.--Ever your
FELIX.
TO FANNY HENSEL, BERLIN.
Leipzig, November 14th, 1840.
Dear Fanny,
My brightest, best, and most heartfelt good wishes for this day! Once
upon a time, I used to send you a new manuscript, bound in green, in
honour of the occasion; now I must content myself with a mere scanty
letter, and yet the old custom pleases me very much better.