confidence contained in the letter I have received from your Excellency,
and also for your wish to hear my opinion in so important a matter. That
the reform of the Academy of Arts and its musical section, which your
Excellency refers to in your letter, will be of the greatest value to
the whole musical condition of Berlin, does not admit of the smallest
doubt. Your Excellency informs me that it is your intention to effect
this by placing a composer at the head of the musical section to be a
guiding star to the pupils by his own energetic creative powers, like
the master of the _atelier_ in the plastic arts, and you do me honour to
mention my name on this occasion, or in the event of my being prevented
accepting this offer, you commission me to point out one of my
colleagues in art whom I consider best suited for such a situation. But
in order to form a decided opinion on the matter, I must beg for an
explanation of various points which, in this and every other affair of
the same kind, appear to me the most important, and before which all
personal questions must retire into the background.
Is the reform which you have in view in the musical section, to consist
solely in the appointment of such a composer, and the musical section
to continue in the same shape as formerly? If this be the case, what
relation will such a director assume to the former members of the senate
or section, and to the director of the whole Academy? Is the
distribution of the different branches of instruction to remain the
same, or is a reform proposed in this respect also? In what does the
actual practical efficacy of such a teacher consist? It is not possible
to show the act of composition, as the master in an _atelier_ does the
design of a picture or the form of a model, and according to your
Excellency’s words, an intellectual influence is what is chiefly
required. Such an influence, according to my conviction, is only to be
obtained in the School of Art, when the whole course of instruction has
already laid a sound foundation, when all the teachers in their positive
departments strive towards the same point, when no actual deficiency is
anywhere overlooked in the organization, and finally, when, as a
key-stone, the corresponding impulses of this organization are combined
and placed before the scholars in their practical application, and thus
more strongly impressed on their minds. In this sense I could well
imagine such a new active situation fruitful for good and for influence;
but it seems to me that for this purpose it is not merely the situation
itself which is to effect it, but in reality a reform of the whole
_inner_ constitution of the Academy; and I do not know whether this
enters into your Excellency’s views, or indeed be within the range of
possibility. Without this, the position, though undoubtedly highly
honourable, would be devoid of all real, practical utility; a merely
universal excitement, however great, can at best only call forth an
unfruitful enthusiasm in the minds of the scholars, if indeed it calls
forth anything whatsoever. The teachers of positive science alone would,
in such a case, acquire a decided influence on the development of young
artists; the professor at the head, influencing only by example, would,
on the other hand, be like a mere airy phantom, and the connection
between the head and the limbs fail, without which neither the head nor
the limbs can live or thrive.
If your Excellency will be so good as to give me some more precise
information on this matter, I shall then be in a position to form a
clearer view of the affair itself, as well as of the personal questions
connected with it; and I shall esteem it my duty on this as on every
other subject, to state my opinion candidly to your
Excellency.[80]--Your devoted
FELIX MENDELSSOHN BARTHOLDY.
_To Felix Mendelssohn Bartholdy, from the Geheim Cabinetsrath
Müller._[81]
Berlin, March 5th, 1855.
It is proposed to set to music the choruses of the trilogy of
“Agamemnon,” the “Choëphorœ,” and the “Eumenides,” to be combined and
curtailed for performance. According to Tieck’s information, you
declined the composition in this form. The King can scarcely believe
this, as his Majesty distinctly remembers that you, esteemed Sir,
personally assured him that you were prepared to undertake this
composition. I am therefore commissioned by the King to ask, whether the
affair may not be considered settled by your verbal assent, and whether,
in pursuance of this, you feel disposed to be so kind as to declare your
readiness to undertake the composition, which will be a source of much
pleasure to the King, and in accordance with your promise, gladly to
comply with any wishes of his Majesty.--I am, Sir, your obedient,
MÜLLER.
TO GEHEIM CABINETSRATH MÜLLER, BERLIN.
Frankfort, March 12th, 1845.
His Majesty the King never spoke to me on the subject of the choruses
in the combined and curtailed trilogy of “Agamemnon,” the
“Choëphorœ,” and the “Eumenides.” His Majesty certainly was pleased
to appoint me the task last winter of composing music for the choruses
in Æschylus’s “Eumenides.” I could not promise to supply this music,
because I at once saw that the undertaking was beyond my capabilities;
still I promised his Majesty to make the attempt, not concealing at the
same time the almost insuperable difficulties which caused me to doubt
the success of the attempt.[82]
Since then, I have occupied myself for a considerable time, in the most
earnest manner, with the tragedy. I have endeavoured by every means in
my power to extract a musical sense from these choruses, in order to
render them suitable for composition, but I have not succeeded, and have
only been enabled to fulfil the task in the case of one of them, in such
a manner as is demanded by the loftiness of the subject, and the refined
artistic perceptions of the King. Of course the question was not that of
writing tolerably suitable music for the choruses, such as any composer
conversant with the forms of art could write for almost every word, but
the injunction was to create for the Æschylus choruses music in the good
and scientific style of the present day, which should express their
meaning, with life and reality. I have endeavoured to do this in my
music to “Antigone,” with the Sophocles choruses; with regard, however,
to the Æschylus choruses, in spite of all my strenuous efforts, I have
not hitherto succeeded even in any one attempt.
The contraction of these pieces into one, exceedingly augments the
difficulty, and I venture to assert that no living musician is in a
position to solve this giant task conscientiously,--far less then can I
pretend to do so.
In requesting your Excellency to communicate this to his Majesty, I also
beg you at the same time to mention the three compositions of mine,
which, by his Majesty’s commands, are now ready for performance, namely,
the “Œdipus Coloneus,” the “Athalie” of Racine, and the “Œdipus
Rex” of Sophocles. The entire full scores of the two former are
completed, first and last, so that nothing further is required for their
representation, except the distribution of the parts to the actors and
singers. The sketch of the “Œdipus Rex,” is also completed. I mention
these, in the hope that they may furnish a proof that I always consider
the fulfilment of his Majesty’s commands as a duty and a pleasure, so
long as I can entertain any hope of performing the task worthily; and to
show that when I allow even one to remain unfulfilled, it arises solely
from want of ability, and never from want of intention.
_Answer from Müller._
Berlin, March 19th, 1845.
Immediately on receipt of your esteemed letter of the 12th instant, I
took an opportunity to inform his Majesty of its contents. The King
laments being obliged to resign the great pleasure it would have caused
his Majesty to see the Æschylus choruses composed by you, but rejoices
in the completion of the Sophocles trilogy, and also in that of
“Athalie.” The King hopes for your presence here in the approaching
summer, as his Majesty wishes to become acquainted with these new
compositions under your direction alone.
TO I. MOSCHELES, LONDON.
Frankfort, March 7th, 1845.
My dear Friend,
It is so good and kind of you to write me a gossiping letter again, as
in the good old times. I leave everything undone and untouched till I
have answered you, and thanked you for all your continued friendship and
kindness towards me. What you say of the English musical doings
certainly does not sound very satisfactory, but where are they really
satisfactory? Only within a man’s own heart; and there we find no such
doings, but something far better. So little benefit is derived even by
the public itself from all this directing and these musical
performances,--a little better, a little worse, what does it matter? how
quickly is it forgotten! and what really influences all this and
advances and promotes it, are after all the quiet calm moments of the
inner man, taking in tow all these public fallacies and dragging them to
and fro as they well deserve. Probably you will say this is the way in
which a domestic animal, or a snail, or an old-fashioned grumbler would
speak; and yet there is some truth in it; and one book of your studies
has had more influence on the public and on Art, than I do not know how
many morning and evening concerts during how many years. Do you see what
I am aiming at? I should like so very much to get the sonata as a duett,
or the “Études” as duetts or solos, or in short something.
I much regret the affair with the _Handel Society_,[83] but it is
impossible for me to alter my views on the subject. Though quite ready
to yield in non-essential points, such as the mode of marking
accidentals,--though, in this even, owing to the long bars, I prefer the
old fashion--yet on no account whatever would I interpolate marks of
expression, _tempi_, etc., or anything else, in a score of Handel’s, if
there is to be any doubt whether they are mine or his; and as he has
marked his _pianos_ and _fortes_, and figured bass wherever he thought
them essential, I must either leave these out altogether, or place the
public under the impossibility of discovering which are his marks, and
which are mine. To extract these signs from the pianoforte edition, and
transfer them to the score, _if mine are to be inserted_, would cause
very little trouble to any one who wishes to have the score thus marked;
while, on the other hand, the injury is very great, if the edition does
not distinguish between the opinion of the editor and the opinion of
Handel. I confess that the whole interest I take in the Society is
connected with this point, for the edition of the Anthems which I
formerly saw, was of a kind, precisely owing to the new marking, that I
could never adopt for performance. Above all, I must know exactly and
beyond all doubt, what is Handel’s and what is not. The Council
supported me in this opinion when I was present, now they seem to have
adopted a contrary one; if this is to be followed out, I, and I fear
_many_ others, would much prefer the old edition with its false notes,
to the new, with its different readings and signs in the text. I have
already written all this to Macfarren. I am sure you are not angry with
me for stating my opinion so candidly? it is too closely connected with
all that I have considered right, during the whole course of my life,
for me now to give it up.
André has just sent me the original score, to look over, of Mozart’s
symphony in C major, “Jupiter;” I will copy for you something out of it
that will amuse you. The eleven bars at the close of the adagio were
formerly written thus:--
[Illustration: musical notation]
and so on to the end.
He has written the whole repetition of the _thema_ on a separate leaf,
and struck out this passage, bringing it in again only three bars before
the end. Is not this a happy alteration? The repetition of the seven
bars is to me one of the most delightful passages in the whole symphony!
Give my kind remembrances to your family, and retain a kindly regard for
your
FELIX MENDELSSOHN BARTHOLDY.
TO REBECCA DIRICHLET, FLORENCE.
Frankfort, March 25th, 1845.
Dear Sister,
I continue faithful to the new custom I have adopted, and answer your
welcome letter on the spot; it is just come, and brings spring with it.
For the first time to-day we have, out of doors, that kind of atmosphere
in which ice and winter cold melt away, and all becomes mild, and warm,
and enjoyable. If, however, you have no driving ice in Florence, you
ought to _envy us_, instead of the reverse, for it is a splendid
spectacle to see the water bubbling under the bridge here, and springing
and rushing along, and flinging about the great blocks and masses of
ice, and saying, “Away with you! we have done with you for the present!”
it also is celebrating its spring day, and showing that under its icy
covering, it has preserved both strength and youth, and runs along twice
as rapidly, and leaps twice as high, as in the sober days of other
seasons. You should really see it for once! The whole bridge and the
whole quay are black with people, all enjoying the fine sight gratis,
with the sun shining on them gratis too. It is very pitiable in me, that
instead of speaking of the poetry of spring, I only talk of the economy
she brings in wood, light, and overshoes, and how much sweeter
everything smells, and how many more good things there are to eat, and
that the ladies have resumed their bright gay-coloured dresses, and
that the steamboats are going down the Rhine, instead of diligences,
etc. etc. From the above you will perceive, and Fanny also (for you must
send _her_ all my letters to Rome), that, God be praised, there is
nothing new with us, which means that we are all well and happy, and
thinking of you. I came with S---- last night at one o’clock from a
punch party, where I first played Beethoven’s sonata 106, in B flat, and
then drank 212 glasses of punch _fortissimo_; we sang the duett from
“Faust” in the Mainz Street, because there was such wonderful moonlight,
and to-day I have rather a headache. Pray cut off this part before you
send the letter to Rome; a younger sister may be entrusted with such a
confidence, but an elder one, and in such a Papal atmosphere,--not for
your life!
I have only seen X---- three times this winter; he is, unfortunately,
very unsociable; I cannot get on with him even with the best will on my
side, and I believe he is going on worse now than for many years past.
Any one who at all enters into the religious squabbles of the moment,
and does not steadily refuse to listen to them, one and all, will get so
deeply involved, as to be ere long severed unawares from both friends
and happiness, and instances of this begin to be manifest in Germany in
all circles. In my inmost heart I feel uncertain as to which extreme is
the most repugnant to me, and yet I cannot clearly decide between them.
In Düsseldorf they announced on the second day of the Musical Festival,
Mozart’s “Requiem,” my “Walpurgis Nacht,” and finally Beethoven’s choral
symphony. “O tempora! O mores!” If you ask what this letter contains,
the answer is, that we are all well, and hope you are the same, and
rejoice at the thoughts of our meeting again.--Your (in spring weather)
very pleased
FELIX.
TO EMIL NAUMANN,
(NOW MUSIC DIRECTOR AT BERLIN.)
Leipzig, March, 1845.
Dear Herr Naumann,
I have observed with much pleasure very important progress in the
compositions which you have sent me, and essential improvement in your
whole musical nature and efficiency. I consider these works in every
particular preferable to your earlier ones, and consequently they cause
me most extreme gratification. There is much in them to be unreservedly
commended; almost all, when compared with your productions of past
years, awaken in me a fresh hope that you will one day be able to
produce something really vigorous and good, and that it only rests with
yourself to fulfil this hope.
I have nothing special to say to you with regard to the works, and
indeed, owing to the mass of affairs and occupations which crowd on me
here, I can now less than ever find time to write. But it is not
necessary, for throughout I see traces of the good advice of your
present instructor,[84] and feel increased respect for him in
consequence of your progress. You are certainly, with him, in the best
hands possible; attend assiduously therefore to his advice, and take
advantage of his instructions, and of the time in which you can and must
learn.
I should like to hear you play the capriccio in C, for if you can play
it with steadiness and clearness, and keep correct time, you must have
improved very much. I like this capriccio better than the one in E
minor, and it seems to me more original. On the other hand, there is a
great deal that pleases me in the sonata; particularly the beginning and
end of the first movement, and the _tempo di marcia_, etc. etc. As I
said before, you must _continue_ to work; I must also beg you to place
the same reliance henceforth on me, that you so kindly express in your
letter. And as you apply Goethe’s words to me, and call me a _master_, I
can only reply once more in Goethe’s words:--
“Learn soon to know wherein he fails;
True Art, and not its type, revere.”
The advice in the first line is not difficult to follow, and the latter
is not to be feared with you. Towards Whitsunday, when I am to be at
Aix, I intend to pass through Frankfort, and hope then to see and hear
something new of yours.--Always yours sincerely,
FELIX MENDELSSOHN BARTHOLDY.
TO SENATOR BERNUS, FRANKFORT.
Leipzig, October 10th, 1845.
... I cannot tell you how often, indeed almost daily, I think of the
last winter and spring which I passed so pleasantly with you in
Frankfort. I could scarcely myself have believed that my stay there
would have caused such a lasting and happy impression on my mind! So
strong is it, that I have often pictured to myself, in all earnest,
giving you a commission (according to your promise) to buy or to build
for me a house with a garden, when I would return permanently to that
glorious country with its gay easy life. But such happiness cannot be
mine; some years must first elapse, and the work I have begun here must
have produced solid results, and be a good deal further advanced (at
least I must have tried to effect it), before I can think of such a
thing.
But I have the same feeling as formerly, that I shall only remain in
this place so long as I feel pleasure and interest in the outward
occupations which _here_ seem the most agreeable to me. As soon,
however, as I have won the right to live solely for my inward work and
composing, only occasionally conducting and playing in public just as it
may suit me, then I shall assuredly return to the Rhine, and probably,
according to my present idea, settle at Frankfort. The sooner I can do
so, the more I shall be pleased. I never undertook external musical
pursuits, such as conducting, etc., from inclination, but only from a
sense of duty; so I hope, before many years are over, to apply myself to
building a house.
Before then, probably, either a true and solid nucleus will have been
formed among the German Catholics in favour of enlightenment and other
new German ideas, and free ground and soil won for these, or the whole
movement will have vanished and been superseded by other catastrophes.
If neither the one nor the other occurs, I fear we run the risk of
losing our finest national features, solidity, constancy, and honourable
perseverance, without gaining any compensation for them. A collection of
French phrases and French levity would be too dearly bought at such a
price. It is to be hoped that something better will ensue!
TO PASTOR BAUER, BESZIG.
Leipzig, May 23rd, 1846.
Your kind letter and the book caused me great pleasure. I received the
parcel some weeks since, but as I have very little time left for
reading, and as a work like yours cannot be quickly perused by a layman,
you will be able to understand the delay in expressing my thanks. I have
learnt much from your book, for it is in fact the first summary of
Church history that I ever read; but from this very circumstance you are
mistaken in my position if you think I could attempt either verbally or
in writing to maintain my own opinions on such a matter, when opposed to
yours, and that I might see it in a different light as a musician, etc.
The only point of view from which I can consider such questions is that
of a learner, and I confess to you that the older I become, the more do
I perceive the importance of _first_ learning and _then_ forming an
opinion; not the latter previous to the former, and not both
simultaneously. In this I certainly differ much from very many of our
leading men of the present day, both in music and theology. They declare
that he alone can form a right judgment who has learned nothing, and
indeed requires to learn nothing; and my rejoinder is, that there is no
man living who does not require to learn. I think, therefore, that it is
more than ever the duty of every one to be very industrious in his
sphere, and to concentrate all his powers to accomplish the very best of
which he is capable; and thus the recent Church movements are more
unknown to me than you probably believe (perhaps more than you would
approve), and I rejoice that the very reverse is the case with you. I
cannot, in fact, understand a theologian who at this moment does not
come forward, or who feels no sympathy in these matters; but just as
little, many of those _non_-theologians whom I often see, and who talk
of reformation and of improvement, but who are equally incompetent to
know or to comprehend either the present or the past, and who, in short,
wish to introduce _dilettanteism_ into the highest questions.
I believe it is this very _dilettanteism_ which plays us many a trick,
because it is of a twofold nature,--necessary, useful, and beneficial,
when coupled with sincere interest and modest reserve, for then it
furthers and promotes all things,--but culpable and contemptible when
fed on vanity, and when obtrusive, arrogant, and self-sufficient. For
instance, there are few artists for whom I feel so much respect, as for
a genuine _dilettante_ of the first class, and for no single artist have
I so little respect as for a _dilettante_ of the second class. But where
am I wandering to?...
TO PASTOR JULIUS SCHUBRING, DESSAU.
Leipzig, May 23rd, 1846.
Dear Schubring,