* * * * *
Moscheles sent Mendelssohn his Overture to Joan of Arc; and two Songs on
words by Uhland, “The Smith” and “In Autumn.”
* * * * *
DÜSSELDORF, March 25, 1835.
MY DEAR MOSCHELES,--A thousand thanks for your kindness in sending me
the two Songs and the Overture, and for the nice letter which came with
them. It is too good of you. In your busy life, with so many demands on
your time, you actually copy out music for me, and take pleasure in
giving me pleasure! The mere sight of the parcel gladdened my very
heart; and now that I have the contents, I long to hear the whole
Overture, instead of having to fancy the single parts linked together.
Now I have a clearer conception of the whole work, and am particularly
delighted with the French March in the middle,--which, I am sure, must
have a capital effect,--then the theme in minor at the end, and indeed
the whole idea and conception. The Allegro Spiritoso is, I suppose, the
principal section of the work; at least I cannot fancy it otherwise. And
what about the end? Do you finish in minor with the Funeral March, or
are “all standards slowly lowered at the king’s command”? The beginning
of the minor March which you have written out for me is so fine that I
long to know its conclusion. The March, I suppose, comes in towards the
end; the trombones in answer to the muted Quartet must have a splendid
effect.
You have given me nearly as much pleasure by the two Songs. They are so
intrinsically German, not a bit French or English, never aiming at
effect, and therefore producing the most agreeable effect upon me; for I
cannot say how glad I am that you, in the midst of all your successes,
have not lost the taste or love for such small, unobtrusive, beautiful
songs. There is something truly artistic and truly German in that,--just
what I delight to find in you. I like the Song in B major best,
particularly the charming close, where the voice descends from F sharp
while the accompaniment keeps on hammering away. So, too, the _piano_ to
the words “black forge” is delightful. In the Song in F, I particularly
like the recurrence of the subject creeping in through the accompaniment
at the words, “Ah, those were lovely dreams!” But will you allow me to
mention a trifling matter with which I do not quite agree? There are a
few _nuances_ in the declamation,--or whatever else I may call it,--just
at the beginning, to the words, “Yonder at the garden entrance,” where
the quiet fall of the melody appears out of keeping, and where,
musically speaking, the two half-bars seem to drag somewhat. I fancy it
would sound livelier if they were omitted, and the melody went on
without delay, so that, in the following bars, the words would not be
dwelt upon at such length. Thus the word “glad” would get into the first
bar, and the word “chords” into the second. This is still more striking
at the word “soul,” in B major, where I feel confident the melody should
go on without rest, as the verse goes on,--the word “again” belonging to
“dost thou know,” according to the meaning of the text. So, also, I was
struck by the long pause preceding the words “look around,” the
accompaniment going on to A major, and then by the spinning out of the
words “around them.” I fancy you might leave out one or two bars
altogether.
But when I remember that I am writing to you, Moscheles, and that from
me to you all this is very presumptuous, I am half afraid you will be
offended--but no, I don’t mean that either, for I know you would not
take offence at my straight-forwardness. If I tell you honestly where I
think you have been less successful, it shows you that I am sincere
where I appreciate, and that I thank you for all the rest.
What you say about Berlioz’s Symphony is literally true, I am sure; only
I must add that the whole thing seems to me so dreadfully slow,--and
what could be worse? A piece of music may be a piece of uncouth, crazy,
barefaced impudence, and still have some “go” about it and be amusing;
but this is simply insipid and altogether without life.
Some studies of Hiller’s I saw the other day I could not bring myself to
like, either; which I am sorry for, because I am fond of him, and
believe he has talent. But Paris, no doubt, is bad soil.
This page is to be devoted to my thanks for your kind letter, dear Mrs.
Moscheles. You know how much I like London; so your pressing me to come
is doubly kind. But I am sorry to say your letter arrived after I had
decided to give up that pleasure this year. Klingemann will have told
you so; and I need not add how sorry I am. Having, however, made up my
mind to live and labor in Germany whilst I can, I could not refuse the
conductorship of the Rhenish Musical Festival without materially
injuring my position here; and as the Festival is held in June,--by
which time I could not get back,--my favorite scheme has fallen to the
ground. When I may take it up again I cannot say, but I trust it may be
soon. Till then I must give up the extempore Fantasias for two
performers, and the slow prestos, and the sugar-kaleidoscope, and the
“Fall of Paris” knock. To lose all that for the sake of serious business
is horrid; but how to help it?
There is an end of the paper, my dear Moscheles. Kindly accept the
Overtures, and give me your opinion on them. The first has remained
pretty nearly as it was; the two others are much altered. Let me hear
all about your Concerto in C minor soon; I look forward to it with
pleasure and impatience.
I must bid farewell, for to-day, to No. 3 Chester Place. Love to the
children and the whole house.