* * * * *
The spring came, and brought Mendelssohn to London, where he arrived on
the 25th of April, 1833. He at once set to work to compose, jointly with
Moscheles, a grand Fantasia for two pianofortes and orchestra, which
they could bring out as a novelty at the concert announced by the latter
for the 1st of May. The theme selected was the “Gipsies’ March” from
Weber’s “Preciosa;” each took his share in the composition of the
Variations, and both combined to link them together. The manuscript
score in the two handwritings, with its erasures and additions, its
stitchings and patchings, seems to evoke the image of the collaborators,
as they worked, thoroughly enjoying the incidents in this joint
production.
Moscheles has a few words of graphic description in his diary: “I will
make a variation in minor, which shall growl below in the bass,”
exclaimed Felix; “will you do a brilliant one in major in the treble?”
And so it was settled that the Introduction as well as the first and
second Variations should fall to the lot of Mendelssohn; the third and
fourth, with the connecting Tutti, to that of Moscheles. “We wished to
share in the Finale; so he began with the Allegro movement, which I
broke in upon with a ‘piu lento.’ On the night of the concert all went
well; not a soul observed that the duet had been merely sketched, and
that each of us was allowed to improvise in his own solo, until at
certain passages agreed on, we met again in due harmony.”
In a letter bearing a later date, Moscheles says: “It is quite amusing
to see how people want to find out by which of us this or that
variation, this passage in the treble or that modulation in the bass, is
written. It is just the intimate fusion of two musical minds that I
like; and I tell them that an ice _à la tutti frutti_ should not be
analyzed otherwise than by dissolving it in one’s mouth, and that one
should be satisfied with the flavor it leaves behind.”
[Illustration: 7. First Page of the Original Draft of Mendelssohn’s
“Melodies” (Songs without Words). The original in possession of Felix
Moscheles. (See page 66.)]
The next note is interesting as having reference to the first book of
the “Songs without Words:”
* * * * *
LONDON, in my Club, May 16, 1833.
This morning I again forgot to mention, my dear Moscheles, what I have
often intended asking and have as often forgotten,--how matters stand in
reference to that publication of mine, and whether there has been any
practical result. I have an appointment with V. Novello to-morrow
morning; and if he has only sixpence to give me as my share, I would
rather not broach the subject. So please leave word at my house whether
you think I should mention the matter, or whether it had better rest in
eternal oblivion. I return home to-morrow at eleven o’clock to know
which way you decide. The saying is: “Merit has its crown;” so I
scarcely expect I shall get as much as half a crown.
Yours,