Paris, February 21st, 1832.
Almost every letter that I receive from you now announces some sad
loss. Yesterday I got the one in which you tell me about poor
U----, whom I shall no longer find with you; so this is not a time
for idle talk; I feel that I must work, and strive to make
progress.
I have composed a grand adagio as an intermezzo for the quintett.
It is called "Nachruf," and it occurred to me, as I had to compose
something for Baillot, who plays so beautifully, and is so kindly
disposed towards me, and who wishes to perform it in public; and
yet he is only a recent acquaintance. Two days ago my overture to
the "Midsummer Night's Dream" was given for the first time at a
concert in the Conservatoire. It caused me great pleasure, for it
went admirably, and seemed also to please the audience. It is to be
repeated at one of the ensuing concerts, and my symphony, which has
been rather delayed on this account, is to be rehearsed on Friday
or Saturday. In the fourth or fifth concert, I am to play
Beethoven's Concerto in G major.
The musicians are all amazement at the honours conferred on me by
the Conservatoire. They played my A minor quartett wonderfully last
Tuesday, with such fire and precision, that it was delightful to
listen to them, and as I can never again hear Ritz, I shall
probably never hear it better given. It appeared to make a great
impression on the audience, and at the scherzo they were quite
uproarious.
It is now high time, dear father, to write you a few words with
regard to my travelling plans, and on this occasion in a more
serious strain than usual, for many reasons. I must first, in
taking a general view of the past, refer to what you designed to be
the chief object of my journey; desiring me strictly to adhere to
it. I was closely to examine the various countries, and to fix on
the one where I wished to live and to work; I was further to make
known my name and capabilities, in order that the people, among
whom I resolved to settle, should receive me well, and not be
wholly ignorant of my career; and, finally, I was to take advantage
of my own good fortune, and your kindness, to press forward in my
subsequent efforts. It is a happy feeling to be able to say, that I
believe this has been the case.
Always excepting those mistakes which are not discovered till too
late, I think I have fulfilled the appointed object. People now
know that I exist, and that I have a purpose, and any talent that I
display, they are ready to approve and to accept. They have _made
advances_ to me here, and _proposed_ to take my music, which they
seldom do; as all the others, even Onslow, have been obliged to
_offer_ their compositions. The London Philharmonic have requested
me to perform something new of my own there on the 10th of March. I
also got the commission from Munich without taking any step
whatever to obtain it, and indeed not till _after_ my concert. It
is my intention to give a concert here (if possible) and certainly
in London in April, if the cholera does not prevent my going there;
and this on my own account, in order to make money; I hope,
therefore, I may say that I have also fulfilled this part of your
wish--that I should make myself known to the public before
returning to you.
Your injunction, too, to make choice of the country that I
preferred to live in, I have equally performed, at least in a
general point of view. That country is Germany. This is a point on
which I have now quite made up my mind. I cannot yet, however,
decide on the particular city, for the most important of all, which
for various reasons has so many attractions for me. I have not yet
thought of in this light--I allude to Berlin. On my return,
therefore, I must ascertain whether I can remain and establish
myself there, according to my views and wishes, after having seen
and enjoyed other places.
This is also why I do not endeavour to get the commission for an
opera here. If I compose really good music, which in these days is
indispensable, it will both be understood and valued in Germany.
(This has been the case with all the good operas there.) If I
compose indifferent music, it will be quickly forgotten in Germany,
but here it would be often performed and extolled, and sent to
Germany, and given there on the authority of Paris, as we daily
see. But I do not choose this; and if I am not capable of composing
good music, I have no wish to be praised for it. So I shall first
try Germany; and if things go so badly that I can no longer live
there, I can then have recourse to some foreign country. Besides,
few German theatres are so bad or in so dilapidated a condition as
the Opera Comique here. One bankruptcy succeeds another. When
Cherubini is asked why he does not allow his operas to be given
there, he replies, "Je ne sais pas donner des operas, sans choeur,
sans orchestre, sans chanteurs, et sans decorations." The Grand
Opera has bespoken operas for years to come, so there is no chance
of anything being accepted by it for the next three or four years.
In the meantime therefore I intend to return to you to write my
"Tempest," and to see how it succeeds. The plan, therefore, dear
father, that I wish to lay before you is this--to remain here till
the end of March, or the beginning of April, (the invitation to the
Philharmonic for the 10th of March, I have of course declined, or
rather postponed,) then to go to London for a couple of months. If
the Rhenish musical festival takes place, to which I am summoned, I
shall go to Duesseldorf; and if not, return direct to you by the
shortest road, and be by your side in the garden soon after
Whitsunday. Farewell!