Paris, January 21st, 1832.
In every letter of yours I receive a little hit, because my answers
are not very punctual, and so I reply without delay to your
questions, dear Fanny, with regard to the new works that I am about
to publish.
It occurred to me that the octett and the quintett might make a
very good appearance among my works, being in fact better than many
compositions that already figure there. As the publication of these
pieces costs me nothing, but, on the contrary, I derive profit from
them, and not wishing to confuse their chronological order, my idea
is to publish the following pieces at Easter:--quintett and octett
(the latter also arranged as a duet), "Midsummer Night's Dream,"
seven songs without words, six songs with words; on my return to
Germany, six pieces of sacred music, and finally, if I can get any
one to print it, and to pay for it, the symphony in D minor. As
soon as I have performed "Meeresstille" at my concert in Berlin, it
will also appear. I cannot however bring out "The Hebrides" here,
because, as I wrote to you at the time, I do not consider it
finished; the middle movement forte in D major is very stupid, and
the whole modulations savour more of counterpoint, than of train
oil and seagulls and salt fish--and it ought to be exactly the
reverse. I like the piece too well to allow it to be performed in
an imperfect state, and I hope soon to be able to work at it, and
to have it ready for England, and the Michaelmas fair at Leipzig.
You inquire also why I do not compose the Italian symphony in A
major. Because I am composing the Saxon overture in A minor, which
is to precede the "Walpurgis Night," that the work may be played
with all due honour at the said Berlin concert, and elsewhere.
You wish me to remove to the Marais, and to write the whole day. My
dear child, that would never do; I have, at the most, only the
prospect of three months to see Paris, so I must throw myself into
the stream; indeed, this is why I came; everything here is too
bright, and too attractive to be neglected; it rounds off my
pleasant travelling reminiscences, and forms a fine colossal
key-stone, and so I consider that to see Paris is at this moment my
chief vocation. The publishers too are standing on each side of me
like veritable Satans, demanding music for the piano, and offering
to pay for it. By Heavens! I don't know whether I shall be able to
withstand this, or write some kind of trio; for I hope you believe
me to be superior to the temptation of a _pot-pourri_; but I should
like to compose a couple of good trios.
On Thursday the first rehearsal of my overture takes place, which
is to be performed in the second concert at the "Conservatoire." In
the third my symphony in D minor is to follow. Habeneck talks of
seven or eight rehearsals, which will be very welcome to me.
Moreover I am also to play something at Erard's concert; so I shall
play my Munich concerto, but I must first practise it well. Then, a
note is lying beside me, "Le President du Conseil, Ministre de
l'Interieur, et Madame Casimir Perier prient," etc., on Monday
evening to a ball; this evening there is to be music at Habeneck's;
to-morrow at Schlesinger's; Tuesday, the first public _soiree_ at
Baillot's; on Wednesday, Hiller plays his Concerto in the Hotel de
Ville, and this always lasts till past midnight. Let those who like
it, lead a solitary life! these are all things that cannot be
refused. So when am I to compose? In the forenoon? Yesterday, first
Hiller came, then Kalkbrenner, then Habeneck. The day before that,
came Baillot, Eichthal, and Rodrigues. Perhaps very early in the
morning? Well, I do compose then--so you are confuted!
P---- was with me yesterday, talking St. Simonienism, and either
from a conviction of my stupidity, or my shrewdness, he made me
disclosures which shocked me so much, that I resolved never again
to go either to him or to his confederates. Early this morning
Hiller rushed in, and told me he had just witnessed the arrest of
the St. Simoniens. He wished to hear their orations; but the
Fathers did not come. All of a sudden soldiers made their way in,
and requested those present to disperse as quickly as possible,
inasmuch as M. Enfantin and the others had been arrested in the Rue
Monsigny. A party of National Guards are placed in the street, and
other soldiers marched up there; everything is sealed up, and now
the _proces_ will begin. My B minor quartett, which is lying in the
Rue Monsigny, is also sealed up. The adagio alone is in the style
of the "juste Milieu," all the other parts _mouvement_. I suppose I
shall eventually be obliged to play it before a jury.
I was lately standing beside the Abbe Bardin at a large party,
listening to the performance of my quartett in A minor. At the last
movement my neighbour pulled my coat, and said: "Il a cela dans
une de ses sinfonies." "Qui?" said I, rather embarrassed.
"Beethoven, l'auteur de ce quatuor," said he, with a consequential
air. This was a very doubtful compliment! but is it not famous that
my quartett should be played in the classes of the Conservatoire,
and that the pupils there are practising off their fingers to play
"Ist es wahr?"
I have just come from St. Sulpice, where the organist showed off
his organ to me; it sounded like a full chorus of old women's
voices; but they maintain that it is the finest organ in Europe if
it were only put into proper order, which would cost thirty
thousand francs. The effect of the _canto fermo_, accompanied by a
serpent, those who have not heard it could scarcely conceive, and
clumsy bells are ringing all the time.
The post is going, so I must conclude my gossip, or I might go on
in this manner till the day after to-morrow. I have not yet told
you that Bach's "Passion" is announced for performance in London,
at Easter, in the Italian Opera House.--Yours,