* * * * *
Moscheles and his wife communicated on the subject of the piano with Mr.
Erard, who at once expressed his readiness to present Mendelssohn with a
new instrument. Writing to Mendelssohn on the subject, Moscheles says:--
* * * * *
“I shall choose an instrument for you myself, not omitting to bear in
mind your favorite _arpeggio_ passages, through which the melody seems
to push its way. In other words, I shall test the piano with this
passage from your Concerto,--
[Illustration: musical notation]
* * * * *
BERLIN, July 11, 1838.
MY DEAR FRIEND,--I enclose the certificate for Mr. Hogarth, addressed to
you as you desire; also a few lines to him, which please forward with
the enclosure when you have obliged me by reading and revising it and
putting it into good English. I am afraid my English is very rusty; and
as with you, such certificates are very frequently printed and
published, I would rather no blunders were allowed to go forth to the
world. So please turn them out one and all. I not only request you, but
I hereby authorize you, to correct and to alter any and every thing, and
to endow me with the right ideas expressed in an elegant style. “From,”
“by,” “while,” have become so many unknown quantities to me; and I feel
as nervous when I meet with them as I always do in the presence of
distinguished strangers. Nor do I know whether I have said too little or
too much. In the first case, put a few sforzandos; if it is the other
way, soften a little. In fact, lend me a helping hand, as you have so
often done before. Let us hope that, after all that, Mr. Hogarth’s
purpose may be served. How much I am indebted to you for the great
service you have done me about the piano! But can I really accept it
without further ceremony? I can’t help feeling a doubt, though on the
other hand I have the greatest desire to do so, as I am sadly in want of
a good instrument. Would it not be meeting the difficulty half-way if I
sent my piano to be repaired? For, after all, it might be possible to
put it into good condition; and that would be to our mutual advantage.
If the result was unsatisfactory I might still accept the kind offer of
a new one. How would that do, my dear Moscheles? To be sure, I should
rely on your judgment as to the completeness of the result. Or do you
think I should simply accept the new one, taking Erard at his
word,--such as I have it from Mrs. Moscheles,--and refer to her letter,
in writing to him about it? Somehow or other I don’t seem to find the
right way of putting it to him; so I am just waiting till I hear from
you. You know you are my helper and adviser; may you never get tired of
the office!
So you are going to remain in England all through the summer. What a
pity that it was last year, not this, that I had to be there! When I do
not find you at home, it seems just as if I had not been to London at
all.
I am surprised to hear of Döhler’s being lionized. His playing only
interested me the first time; afterwards he seemed to me very cold and
calculating, and rather dull. What very different stuff Liszt and Chopin
are made of! Why has Chopin never been to England? He has more soul in
his little finger than all Döhler has from top to toe,--at least so it
seemed to me. And Spontini!--do tell me all about him. I should so like
to see what figure he cuts in London. Does he listen to music properly?
Does he sometimes play himself, or does he there too give himself the
airs of a big idol who may now and then devour a musician, but otherwise
never moves a muscle? And does he deck himself out with all his
decorations? How was Bennett’s new Concerto, of which he writes to me,
received at the Philharmonic? And how did Mrs. Shaw sing? You know she
is coming to Leipzig this year; just give me a line or two about her.
Miss Novello has had a marvellous success here. And now good-by.
Yours ever,