privilege of considering myself as in every sense belonging to that
city. I therefore take the liberty to address myself to the Corporation
on a subject which, though it does not personally concern me, is closely
connected with the interests of Art in this place, and with the city
itself. I hope on this account for their indulgence, and esteem it my
plain, bounden duty as a citizen, not to be idly silent on such an
occasion, but to express my dutiful wish, and request, in confidence to
the corporation.
The town orchestra here has communicated to me a memorial, in which they
beg that some alterations may be made in the terms of their contract
with the lessee of the theatre. Their chief object is an increase of
their salaries, which have for many years remained the same, and also an
improvement in the deputy regulations; and for the attainment of this
purpose the intervention of the Corporation is requested.
The petition has been rejected in its most essential points; for,
instead of the increase of salary demanded, the reply is that the lessee
of the theatre means to expend three hundred thalers more yearly on the
orchestra (which three hundred thalers must be divided among thirty-one
persons), and that “if he is satisfied with the performances of the
orchestra, and if his receipts admit of it, he may possibly be disposed
to grant a donation to the orchestra.”
I can only attribute such a proposal to some indistinct statement in the
memorial, or some obscure expressions. For, in my opinion, it is not a
question of alms, but of just claims.
I am well aware that it may be no easy matter to apply a scale of
payment to an intellectual body like that of the orchestra, and to tax
it in thalers and groschen; but in days like the present, when so much
is said about intellectual qualifications, there is one thing absolutely
certain, that it is possible for _justice_ and _injustice_, _fairness_
and _unfairness_, to exist in the remuneration of intellectual services;
that this does not depend upon the goodwill, more or less, or on the
favour of those who pay, but that a positive _right_ exists, which he
has the privilege of claiming who devotes his life to an intellectual
vocation, and can therefore legitimately demand that his life should be
sustained, if he carries out his calling well and blamelessly. This the
orchestra here, do in the most admirable manner; and under such a
conviction I do, in my inmost heart, consider that the salaries fixed in
the contract between the lessee of the theatre and the orchestra, are
unjust. Perhaps they were so even at the time they were settled, but are
now, owing to the change in the times, infinitely more so; the evidence
of which is so clearly set forth in the first memorial of the orchestra,
that I believe only a glance at it is necessary to prove the justice of
my assertion.
If the Corporation be also of this opinion, and convinced of the
unfairness of these points, the question would then be, in how far it is
_possible_ for the lessee of the theatre to comply with the wishes of
the orchestra; if, by his consent to increase the salaries, he would not
become bankrupt himself; and whether, in endeavouring to obtain justice
for the orchestra, injustice might not be done to the lessee?
Three things may form a criterion on this point,--the average receipts
of the lessee hitherto; the comparison between other theatrical salaries
and those of this orchestra; and lastly, the pay of other German
orchestras, in cities of the same standing as Leipzig.
With regard to the receipts of the lessee, it will be difficult to
obtain exact information. In spite of all the official documents and
rendering of accounts, I venture to assert that there is not a person in
Leipzig who is thoroughly acquainted with the fact, except the former
lessees themselves, who will at once decline answering any such
questions. In so far as I have seen of similar official documents, here
and in other cities, it seems an undeniable truth that, in an
undertaking of the kind, a yearly additional payment of two thousand
thalers would not cause the speculation to become a losing instead of a
good one. This is evident by a glance at the variable and sometimes
enormous salaries of the singers, male and female, for whose engagement
no theatre _entrepreneur_ would grudge an outlay like the above, in
order to cast greater lustre on his stage.
These salaries also furnish a complete answer to the second point; being
almost everywhere so greatly increased during the years when the
orchestra here have only received the old scale of payment, that a
theatrical lessee of the former date, would perhaps also have declared,
that such an amount of money was utterly irreconcilable with any profits
to himself. Singers, after a certain number of years, deteriorate; their
places must be supplied, new contracts made, and thus they can obtain
for themselves that justice which the members of the orchestra in vain
demand. Singers are paid in Leipzig at the same rate as in other places;
but not so the orchestra. If it be said, singers are only selected and
paid according to the requirements and fashion of the day, whereas, with
regard to the orchestra, it is so in a minor degree, for whether it be
better or worse constituted or paid, the public know nothing,--then this
is an additional reason for my writing this letter; for I consider it my
duty, and that of every friend to music, to protest against such a
theory. Just because the orchestra is not an article of luxury, but the
most necessary and important basis for a theatre,--just because the
public invariably regard with more interest articles of luxury than
more essential things,--on this very account, it is a positive duty to
endeavour to effect, that what is legitimate and necessary, should not
be disparaged and superseded by a love of glitter. Indeed, this was why
the Corporation took under their protection this orchestra, in the new
theatre contracts. If, however, they sanction the lessee of the theatre
making a contract with the orchestra, and permit the old and obsolete
salaries to remain as they are, then such protection would be no
benefit, but rather an injury to the orchestra. Things would thus
necessarily remain, year after year, in a position which has no parallel
in any German city of the same rank as Leipzig.
This leads me to the third point. It has been said that a comparison of
the salaries here with those in other towns is inadmissible. But how is
it possible to arrive in a better manner at a scale of justice or
injustice, in similar payments? As in other towns orchestras are better
paid, as in spite of this, lessees do not become bankrupt (and I believe
no instance was ever known of a theatrical manager being ruined by the
high salaries of an orchestra), as the same pretensions with regard to
services are made by the musicians here as elsewhere,--is it not clear
from all this, that the same mode of acting is possible here as
elsewhere? The pay which the orchestra in Frankfort-on-the-Maine
receives from the _theatre alone_, is not only higher than it would be
here, were the increase in question granted, but it is almost without
exception _higher than it is here for the theatre, concert, and church
music combined_, even if the demand in question were complied with.
Should not this prove that the prayer of the orchestra here is not
unreasonable,--that the theatre lessee may accede to it without any
risk? Indeed, may not a refusal on his part, lead to the inference that
this city considers its own musicians inferior to those of other towns
of a similar class? And yet such cannot be the case, for the
performances of our orchestra are not only equal to that of Frankfort,
but to those of every other German city; indeed, undeniably superior to
most of those with which I am acquainted! The favourable and wide-spread
musical reputation which Leipzig enjoys through the whole of Germany, it
owes entirely and solely to this orchestra, the members of which must
get on as they best can, in the most sparing and scanty manner. Such a
good reputation is certainly not without material advantage for the town
of Leipzig, even independent of the intellectual benefit to art. Shall,
then, those individuals to whom such happy results are owing, remain in
a state of privation, now as formerly, irrespective of these services,
and the change in the times, while the whole community thrives by their
merits, and the city itself derives honour and profit from them?
I shall only add a few words with regard to the deputy rule, or rather
_misrule_, as it ought more properly to be called; for it is really
difficult to form an idea of the confusion in this department, without
knowing it from personal experience, which I had an opportunity of
doing. This also has been minutely stated in former memorials, and I now
add an example from my own knowledge. In the concert of the day before
yesterday, the clarionet players were obliged to pay a silver thaler
each to their theatre deputy, so that each of them, for his services at
the rehearsal, and performance in the first subscription concert, _paid_
eight groschen. It may be suggested to raise the prices of the
concert-tickets; but this would not check the mischief. A strict rule as
to deputies can alone effect this. On the contrary, it is very desirable
that the scale adopted for payment of the concerts, should equally be
applied to the payment of extra performances in the theatre, which
demand the same amount of time and energy.
This brings me to the last point on which I wish to touch. If there be
the greatest difficulties in the way of repairing these evils, what
difficulty can there be in greatly raising the former fixed salaries for
extra performances? It is notorious that they are in no degree in
proportion to the increased receipts of the lessee; they are not in
proportion to the remuneration for other extra services, such as
concerts, church music, etc.; they are not even in proportion to the set
price fixed for the town musicians for balls, weddings, and so forth. I
am perfectly convinced that such an augmentation could be effected
without difficulty, and without any injury to the theatre lessee, and a
portion of the just complaints of the orchestra would thus be obviated.
May they all meet with that consideration to which their equity and
justice entitle them!
In conclusion, I beg forgiveness from the Corporation for the great
liberty which I have taken in writing this letter; it regards a matter
which does not personally concern me, and from which neither evil nor
good can accrue to me, and which only affects me in so far as it relates
to the interests of artists whom I so highly prize and esteem; it is of
importance to art also in this city; and I certainly can never see with
calmness or indifference, the increasing or decreasing reputation of
such an artistic institution as Leipzig possesses in this admirable
orchestra. May my words accordingly prove the heartfelt love and esteem
with which, so long as I live, I must ever regard all that affects the
honour of Leipzig in her artistic and musical sphere.--I am always the
devoted servant of the Corporation,
FELIX MENDELSSOHN BARTHOLDY.
TO THE KING OF PRUSSIA.
Berlin, 1844.
Your Majesty,
I venture in these lines to bring before you a petition which I have
much at heart.
Among the vast number of compositions sent to me from musicians here and
in other places, I lately received some works of a young man of the name
of G----, in which I perceived such unmistakable talent and such genuine
musical feeling, that they seemed to me like an oasis in the desert.
They consisted of a set of songs, and a grand piece of music for Good
Friday, which, (each in its own peculiar style,) displayed genuine
conceptions, and a true artistic nature. Indeed, the sacred music
inspires me with a strong hope, that the composer may accomplish
something really important in this sphere. Nothing is wanting for the
full development of his talents save that he should reside for some time
in a large city, in order to hear music and to become acquainted with
musicians; for since his youth, he has for the last eight years been a
teacher in the country, and during all that long period has lived
entirely apart from music, with no one but himself to rely on.
His most anxious wish is therefore to come to Berlin, there to pursue
his musical studies and compositions, and to cultivate his talents for
future practical efficacy. But for the fulfilment of this wish all
pecuniary resources are wanting, and gladly as I would lend him a
helping hand to attain his aim in a musical point of view, as far as my
ability goes, and willing as he is by his own labours in giving lessons
to endeavour to gain his own livelihood, still this latter resource is
always very precarious, and especially just at first, accompanied by so
many difficulties, that I could scarcely advise him to give up the
situation of tutor, by which he now gains his living.
If your Majesty were graciously pleased to furnish the young man with
the means of residing here, where he could hear and practise music till
he could become familiar with the musical world, from which he has been
so long estranged, then all obstacles would be removed, and your Majesty
have made one happy man the more.
I believe if he were allowed for two years two hundred thalers each
year, this would suffice, with his modest ideas and simple mode of
living, to enable him to accomplish the visit to Berlin he so eagerly
desires, and along with what he could and would make by his own
industry, secure his existence in the meantime.
His Excellency Herr von Massow, to whom I had an opportunity of
detailing personally the circumstances of the young man, encouraged me
to approach your Majesty with this petition. May, in any event, my
presumption be forgiven. The fulfilment of my request will be a fresh
reason, among many others, to feel the most heartfelt gratitude and
thankfulness towards your Majesty, and I need not say that such a
fulfilment would make the young man happy for life.[70]
_From Wirklich Geheimrath Ritter Bunsen, to Felix Mendelssohn
Bartholdy_, _Frankfort-on-the-Maine_.[71]
Berlin, Sunday morning, April 28th, 1844.
My dear and esteemed Friend,
I hope that these lines may find you free from all cares and anxieties.
I send them to you in a kindly spirit for the sake of the cause and
yourself.
You have _hurt_ the feelings of the King by your refusal to compose
music for the “Eumenides.” I was with him when Graf Redern gave him back
the book with this decision. As I saw this touched the King very nearly,
though he was not in the least _excited_, I remarked that perhaps you
conceived that the whole trilogy was to be set to music. His Majesty
answered, “That would be all the better, but it could not prevent
Mendelssohn composing for the ‘Eumenides,’ which, in itself, may be
regarded as a splendid whole.” I really did not know what to say, and I
confess to you that your answer has deeply grieved myself. The affair,
too, is much talked of _here_, and minutely discussed. In this good town
it is thought “very wrong” in you to go to England instead of composing
for the King. The King himself is quite determined not to let the affair
drop. It has been suggested to him to entrust the work to another
artist, who, it seems, has promised to undertake the affair at once. You
neither _must_ nor _can_ permit this; you neither can nor will annoy the
King. I also heard Tieck speaking of the affair the day before
yesterday, who began to talk of it when I was with him. The King sent
him also a message on the subject. You can understand that his Majesty,
taking into consideration the short span of life remaining to the great
_Chorodidascalos_, and knowing that _he_ alone can put it on the stage
here, is somewhat impatient. Tieck shares the universal opinion about
you here, although with the most entire recognition of your character
and of your genius. I may also further say to you, quite in confidence,
that your declining to compose some songs for “Wie es euch gefällt” has
left a painful impression on Tieck, and elsewhere; he is of opinion that
your reason for this, “to allow some time to elapse between this and the
Midsummer Night’s Dream,” is a very insufficient one; for the more and
the oftener the public are offered good food, the sooner will they turn
away from the wretched stuff on which they are now nourished.
But this is immaterial compared with the chief point.
Rejoice me soon by the intelligence that the whole thing is a
misunderstanding, and that you are willing to compose music for the
“Eumenides.” Tieck himself says that the choruses might be here and
there shortened; a trilogy, too, might be accomplished with great
curtailments. But the “Eumenides,” as a whole, with any curtailments
which may appear advisable to you, must first be separately performed.
What a glorious subject! What an unparalleled effect! Your “Antigone”
choruses are making the tour of Europe; those of Æschylus would do the
same. You will aid in establishing a new phase in art. Reflect that the
King loves you; that your refusal affected him very painfully; that
after having endured so much misapprehension, so many bitter
disappointments, so many obstacles in the noblest paths of his reign, he
is not prepared to meet with difficulties in this quarter also. “Et tu
Brute fili.” Pour out your heart to me as I have done to you. You know
that you may depend upon me. We must all assist in supporting this noble
Prince in his good and grand ideas. The world requires new elements of
life; happy he who can help to create them!--Unchangeably your faithful
friend,
BUNSEN.
TO THE WIRKLICH GEHEIMRATH BUNSEN.
Frankfort-a.-M., May 4th, 1844.
Your Excellency’s kind letter I received here when on the point of
setting off for England. First of all, I hasten to thank you in the most
heartfelt manner for this fresh proof of your friendly feelings towards
myself. I wish I may one day be able to express more clearly my
gratitude for all your kindness and friendship! I know how to
appreciate these to the fullest extent, and am proud of them, as the
best and dearest which can ever be my portion in this world.
To all those who have discussed with me the performances of Æschylus’s
“Eumenides,” to the King, to Graf Redern, and more particularly to
Geheimrath Tieck,--I have declared that I consider this representation,
and, above all, the composition of the choruses, a most difficult and
perhaps impracticable problem, _but that I would nevertheless make the
attempt to solve it_. I asked Herr Geheimrath Tieck what time was
allowed me to make my decision; whether my attempt would be considered
by the King worthy of being performed, or if it were likely to be
permitted to rest in my desk? He answered me that the representation
could only take place in the _large Opera-House_; that pieces of this
kind could not be produced in small localities; this was a very
different affair from the “Antigone,” etc., and as the opening of the
Opera-House was fixed for the 15th of December, it would be time enough
if I occupied myself with the music during my stay in England, or after
my return thence. Moreover, it was signified to me that in the event of
my not undertaking the commission, some other composer would be
selected. In accordance with truth I was obliged to answer, that it
would certainly be more agreeable to me if another person were chosen
for this purpose, as in my eyes the difficulties were immense; but I
always and everywhere declared my entire readiness to attempt the
composition, adding that my decision on the point should at all events
be made early enough, to give ample time to any other composer who could
more easily solve the difficulties, so that no obstacles should be
thrown in the way on my side.
What your Excellency therefore has written to me about this affair,
comes upon me the more unexpectedly and vexatiously since Herr
Geheimrath Tieck, in the conversations we held together on the subject,
thoroughly agreed in my views of the difficulties attending its
execution,--acknowledging them in his turn to be almost insuperable; and
yet, to his express question, whether I would not undertake the
composition of the choruses he received from me, agreeably to the
above-mentioned explanations, the following answer,--that I was, _on the
contrary_, ready to make the _attempt_, and I should certainly _not be
any hindrance_ in the matter. Indeed, with a view to facilitate the
idea, I suggested _to him_ that some of the choruses, which appeared to
me unsuitable, should be curtailed, a proposal which, as you write to
me, he fully concurs in.
I have always spoken only of an attempt, and must now do the same. My
not being able at once to accept and consent to the request as I would
to any other, is partly owing to the novel nature and extraordinary
difficulty of the piece itself, (I can appeal to the judgment of any
musician as to the fact,) and partly to the high estimation in which I
hold the refined artistic feeling of the King--to whom it is impossible
to offer indiscriminately failures and successes--and lastly owing to a
certain duty that I owe to myself, which makes me unwilling to undertake
music, in the success of which I, at least to a considerable degree,
place no faith. I thought I might hope that this should not cause my
goodwill to be doubted, which I have already proved in the course of
this year by the accomplishment of various very difficult tasks, which
were demanded in the _shortest_ time.
The key of the riddle seems to me to be, that my views as to the
difficult nature of the representation, are shared by many who may
probably have wished to convince the King also of the fact; for this
purpose they have selected me as the origin of these difficulties, which
I am not, and never will be; they lie, unluckily, far more in the piece
itself. And now permit me a few words on this point also.
Because I owe so much gratitude to the King,--because I honour him in
the depths of my soul as an admirable, noble prince and man,--on this
very account I think that all I do by his command should be done with a
good conscience, and in a cheerful spirit. If I were to accept his ideas
_without that_, were I to produce them before people without being
myself really and truly inspired by them, were I to use his commands as
a cloak for my failure, and further, to represent my failure as the
result of his ideas,--then I should utterly ruin these ideas, and then I
should utterly ruin the good opinion which I trust he still has of me;
_then_ he would have a right to apply to me the words, “Et tu Brute.”
For thus it appears to me most of those seem to act who entail on him,
as you say, so many obstacles and deceptions, and I never will join such
“assassins.”
I will always obey the commands of a sovereign so beloved by me, even at
the sacrifice of my personal wishes and advantage. If I find I cannot do
so with a _good artistic conscience_, I must endeavour candidly to state
my scruples or my incapacity, and if that does not suffice, then I must
go. This may sound absurd in the mouth of a musician, but shall I not
feel duty as much in _my_ position as others do in _theirs_? In an
occurrence so personally important to me, shall I not follow the
dictates of integrity and truth, as I have striven to do all my life?
After this fresh experience, I fear even what I verbally mentioned to
your Excellency already,--that my stay on such slippery ground, and
under such perplexing circumstances, is impossible. But by this mode of
acting, and this _alone_, can I hope, independently of momentary
impressions, to preserve the good opinion of his Majesty, which is more
important to me than all the rest; indeed it is only thus that I can
hope _really_ to serve the King and his ideas. I cannot be an
indifferent, doubtful, or secretly discontented servant to such a
monarch; he could not employ me _thus_, and _thus_ I would not only be
useless to him, but sacrifice myself.
TO JULIUS STERN, PARIS, (NOW PROFESSOR IN BERLIN.)
London, May 27th, 1844.
Dear Herr Stern,