Chapter X: Part 10

We yesterday rehearsed for the first time your symphony in C minor, and though personally a stranger, yet I cannot resist the wish to address you, in order to say what excessive pleasure you have caused me by your admirable work, and how truly grateful I am for the great enjoyment you have conferred on me. It is long since any work has made a more lively and favourable impression on me, and as my surprise increased at every bar, and yet every moment I felt more at home, I to-day conceive it to be absolutely necessary to thank you for all this pleasure, and to say how highly I esteem your splendid talents, and how eager this symphony (which is the only thing I know of yours) makes me to become acquainted with your earlier and future compositions; but as I hear that you are still so young, it is the thoughts of those to come in which I particularly rejoice, and your present fine work, causes me to anticipate these with the brightest hopes. I once more thank you for it and the enjoyment I yesterday had.

We are to have some more rehearsals of the symphony, and shall probably perform it in the course of three or four weeks. The parts were so full of mistakes, that we were obliged to revise them all, and to have many of them transcribed afresh; next time it will not be played like a new piece, but as one familiar and dear to the whole orchestra. This was indeed the case yesterday, and there was only one voice on the subject among us _musicians_, but it must be played so that _every one_ may hear it properly. Herr Raymond Härtel told me, there was an idea of your coming here yourself in the course of the winter. I hope this may be the case, as I could better and more plainly express my high estimation and my gratitude to you verbally, than by mere empty written words. But whether we become acquainted or not, I beg you will always look on me as one who will never cease to regard your works with love and sympathy, and who will ever feel the greatest and most cordial delight in meeting with such an artist as yourself, and such a work of art as your C minor symphony.--Your devoted

FELIX MENDELSSOHN BARTHOLDY.

TO CARL KLINGEMANN, LONDON.

Leipzig, January 13th, 1843.

I cannot as yet at all reconcile myself to distraction of thought and every-day life, as it is called, or to life with men who in fact care very little about you, and to whom what we can never forget or recover from, is only a mere _piece of news_. I now feel however more vividly than ever what a heavenly calling Art is; and for this also I have to thank my parents; just when all else which ought to interest the mind appears so repugnant, and empty, and insipid, the smallest real service to Art lays hold of your inmost thoughts, leading you so far away from town, and country, and from earth itself, that it is indeed a blessing sent by God. A few days previous to the 11th, I had undertaken to transcribe my “Walpurgis Nacht,” which I had long intended to do, and caused the voice parts of the whole of the voluminous score, to be written out and copied afresh. Then I was summoned to Berlin, and after an interval of some weeks, I have now begun to write the instrumental parts in my little study, which has a pretty view of fields, and meadows, and a village. I sometimes could not leave the table for hours, I was so fascinated by such pleasant intercourse with the old familiar oboes and tenor violins, which live so much longer than we do, and are such faithful friends. I was too sorrowful, and the wound too recent, to attempt new compositions; but this mere mechanical pursuit and employment, was my consolation the whole time that I was alone, when I had not my wife and children with their beloved faces, who make me forget even music, and cause me daily to think how grateful I ought to be to God, for all the benefits he bestows on me.

You have not quite understood my previous letter. You say “I _could not act otherwise_ in my official position.” It was not _that_, it was my Mother I alluded to. All the plans and projects have since then been dragging on slowly; I have my half-salary, and begun the music for the “Midsummer Night’s Dream,” “Œdipus” and others for the King. My private opinion is still, that he is resolved to allow things to rest as they are; in the meantime, I have established the Conservatorium here, the official announcement of which you will read in the newspapers, and it gives me a great deal to do.

TO MADAME EMMA PREUSSER.

Leipzig, February 4th, 1843.

Dear Lady,

I send “Siebenkäs,” according to your desire. May it cause you half the pleasure it caused me when I first read it, and very frequently since. I believe that the period when we first learn to love, and to know such a glorious work, is among the happiest hours of our lives. As you have read very little of Jean Paul, were I in your place, I would not concern myself much about the prologues, but at first entirely discard the “Blumenstücke,” and begin at once at page 26, and follow the story of “Siebenkäs” to its close. When you have read this, and perhaps also the “Flegel Jahre,” and some more of his wonderful works, then no doubt you will like and prize all he has written,--even the more laboured, the less happy, or the obsolete,--and then you will no longer wish to miss the “Blumenstücke,” the prologues, and the “Traum im Traum,” etc. etc.

As soon as you wish for anything new, you will always find me at the service of you and yours.--Your devoted

FELIX MENDELSSOHN BARTHOLDY.

TO A. W. GADE, PROFESSOR OF MUSIC, COPENHAGEN.

Leipzig, March 3rd, 1843.

Sir,

Your C minor symphony was performed for the first time yesterday at our eighteenth subscription concert here, to the lively and unalloyed delight of the whole public, who broke out into the loudest applause at the close of each of the four movements. There was great excitement among the audience after the scherzo, and the shouting and clapping of hands seemed interminable; after the adagio the very same; after the last, and after the first,--in short, after all! To see the musicians so unanimous, the public so enchanted, and the performance so successful, was to me a source of delight as great as if I had written the work myself, or indeed I may say greater,--for in my own compositions, the faults and the less successful portions always seem to me most prominent, whereas in your work, I felt nothing but pure delight in all its admirable beauties. By the performance of yesterday evening you have gained the whole of the Leipzig public, who truly love music, as permanent friends; none here will ever henceforth speak of you or of your works but with the most heartfelt esteem, and receive with open arms all your future compositions, which will be assiduously studied, and joyfully hailed, by all friends to music in this town.

“Whoever wrote the last half of this scherzo is an admirable genius, and we have a right to expect the most grand and glorious works from him.” Such was the universal opinion yesterday evening in our orchestra and in the whole hall, and we are not fickle here. Thus you have acquired a large number of friends for life by your work; fulfil then our wishes and hopes by writing many, many works in the same style, and of the same beauty, and thus imparting new life to our beloved art; and to effect this, Heaven has bestowed on you all that He can bestow.

Besides the rehearsal which I formerly wrote to you about, we recently had two others, and with the exception of some trifling unimportant mistakes, the symphony was played with a degree of spirit and enthusiasm which at once showed how highly enchanted the musicians were with it. I hear that it is to be published by Kistner, so permit me to ask, whether the heading of the first introduction, 6/4 time, afterwards repeated, may not give rise to misapprehension? If I am not mistaken it is marked _moderato sostenuto_. Instead of this _sostenuto_, ought it not rather to be printed _con moto_, or _con molto di moto_? That heading would, it seems to me, lead to the right _tempo_, if it were 6/8 time instead of 6/4; but in 6/4 time, it is so very customary to count the separate crotchets slowly and deliberately, that I think the movement would be taken too slow, which I found to be the case at the first rehearsal, until I no longer paid any attention to the notes or the heading, but adhered to the sense alone. As many musicians cling so closely to such headings, I was resolved at all events to mention to you my doubts on this subject.

Allow me to thank you once more for your obliging letter, and the friendly intention which you inform me of in it;[66] but I thank you still more for the pleasure which you have caused me by the work itself; and pray believe that no one will follow your future course with warmer sympathy, or anticipate your future works with more anxiety and hope than your

FELIX MENDELSSOHN BARTHOLDY.

TO I. MOSCHELES, LONDON.

Leipzig, April 30th, 1843.

... Our Music Academy here has made a famous beginning; fresh notices of students arrive almost daily, and the number of teachers, as well as of lessons, have been necessarily very much increased.

Two serious maladies, however, are apparent, which I mean vigorously to resist with might and main so long as I am here: the Direction is disposed to increase and generalize,--that is, to build houses, to hire localities of several stories,--whereas, I maintain that for the first ten years, the two rooms we have, in which simultaneous instruction can be given, are sufficient. Then all the scholars wish to compose and to theorize, while it is my belief that practical work, thorough steady practising, and strict time, a solid knowledge of all solid works, etc., etc., are the chief things which can and must be taught. From these, all other knowledge follows as a thing of course, and anything further is not the affair of learning, but the gift of God. I need not however, I am sure, say that notwithstanding this, I am far from wishing to render Art a mere handicraft.

TO M. SIMROCK, BONN.

Leipzig, June 12th, 1843.

Sir,

Herr Herrmann, some time since, inquired of you once, in my name, about the printed score of the “Zauberflöte;” but I now apply to yourself to know whether any copy of it still exists in the original German, or if any ever did exist? And if neither be the case, I should like to know whether you are disposed to allow the original correct text to be substituted in your plates of this opera, and some proofs to be taken? It appears to me almost a positive duty, that such a work should descend to posterity in its unvitiated form; _we_ indeed all know perfectly well, for instance, the aria beginning, with the words “Dies Bildniss ist bezaubernd schön,” but if in the course of a few years the younger musicians always see it printed thus, “So reizend hold, so zaub’risch schön,” they will acquire a false idea of Mozart’s thoughts; and I go so far as to assert, that even the most undeniably bad passages in such a text deserve to be retained, as Mozart composed music for them, and they have thus become household words all through Germany. If improvements are to be proposed, it is all very well, but in that event they ought to stand _side by side_ with the original words; in no case must they be entirely banished, otherwise fidelity towards the great deceased master is not properly observed. I beg you will say a few words on this point when you write to Herr Herrmann; and if you resolve to alter your plates, then I shall be the first, but certainly not the last, of your customers to thank you for it.--Your obedient

FELIX MENDELSSOHN BARTHOLDY.

TO G. OTTEN, HAMBURG.

Leipzig, July 7th, 1843.

Sir,

My best thanks for your obliging letter, which contains much that is really far too kind and flattering about myself and my music. Gladly, in compliance with your friendly invitation, would I at some future time come to express my thanks to you personally, and to play to you as you wish me to do. Since we met in Dessau I have learnt a good deal more, and have made progress. But you must not compare my playing with my music; I feel quite embarrassed by such an idea, and I am certainly not the man to prevent people worshipping the golden calf, as it is called in the fashion of the day. Moreover, I believe that this mode will soon pass away, even without opposition. To be sure, a new one is sure to start up; on this account therefore it seems to me best to pursue one’s own path steadily, and especially to guard against an evil custom of the day, which is not included in those you name, but which however does infinite harm,--squandering and frittering away talents for the sake of outward show. This is a reproach which I might make to most of our present artists, and to myself also more than I could wish; I have no great inclination therefore to extend my travels, but rather to restrict them far more, in order to strive with greater earnestness for my own improvement instead of the good opinion of others.

I conclude by thanking you for your friendly letter, and pray remember kindly your obedient

FELIX MENDELSSOHN BARTHOLDY.

TO PAUL MENDELSSOHN BARTHOLDY.

Leipzig, July 21st, 1843.

Dear Brother,

I had almost hoped to be able to answer your letter in person, for I was very nearly taking a journey to Berlin again. Herr von Massow has sent me a communication connected with that tedious everlasting affair, which irritated me so much that it almost made me ill, and I do not feel right yet. In my first feeling of anger, I wished to go to Berlin to speak to you and break off the whole affair; but I prefer writing, and so I am now writing to you. Instead of receiving the assent to the proposals on which we had agreed in the interview of the 10th,[67] Herr von Massow sends me a commission to arrange for orchestra and chorus, without delay, the chorale, “Herr Gott, Dich loben wir,” the longest chorale and the most tiresome work which I ever attempted; and the day after I had finished it and sent it off, I receive an official document which I must sign before the assent of the King can be solicited; when I had signed it, the others present at that conference would also subscribe their names. In this deed all the stipulations are correctly stated, but six or eight additional clauses are written on the margin, not one syllable of which had ever been named during the conference, invalidating the whole intention of the above stipulations, and placing myself and the Institute in the most entire subservience to Herr von Küstner,--and in short, showing in the clearest light all the difficulties to which I formerly alluded, and the existence of which Herr von Massow denied. Among other things, it is said, the appointment of the orchestra for all church music is to be devolved on the _theatrical_ music direction; before every concert there must be an application made to the General _Intendancy_, whether the day, which according to our agreement was to be settled once for all at the beginning of the winter, is to continue the same or be altered, etc.; all things of which _not one syllable_ had been alluded to in the conference. As I told you, I fretted myself till I was quite ill about it. Remembering your words, I thought it the most judicious plan to write direct to the King, and break off the affair. After two days’ consideration, I did not think I was justified in doing so; I therefore wrote to Herr von Massow, why and wherefore I could not give my signature, requesting him to inform me whether the King intended to carry out our former agreement. If he did not feel disposed to do so, or if he, Herr von Massow, considered it necessary to insert new clauses in the agreement, I should then consider the affair impracticable, and must act accordingly. In the other view of the case, he knew that I was prepared to come; I was also to say how far I had got with “Œdipus.” I answered that in accordance with Tieck’s wish, I had arranged the “Midsummer Night’s Dream” with music, to be performed in the new palace; that I had also, by special commission from the King, written choruses,[68] and that I had not resumed the choruses of “Œdipus” since the previous autumn, because another Greek piece had been appointed to be performed. I said all this in a friendly manner, but I do assure you that the affair cost me four most angry, disturbed, and irksome days. If I could only have spoken to you for a single hour! I should have been glad to know whether you approved of my course, that is of my letter, or whether you would have preferred a short letter resigning the appointment. It is really too provoking that in all and everything the same spirit prevails; in this case too, all might be smoothed over and set to rights by a few words, and every moment I expect to hear them spoken, and then there would be a possibility of something good and new; but they are not spoken, and they are replaced by a thousand annoyances, and my head at last is so bewildered that I think I become almost as perverted and unnatural, as the whole affair is at last likely to turn out. Forgive me for causing you to have your share of annoyance, but now I have told you all--and enough. I have not been able to work during these days. To make up for this, I have done the “Jungfrau” for you in Indian ink; the mountain I think is excellent, but I have again utterly destroyed the pines in the foreground. I mean now, too, to resume your sonata.--Your

FELIX.

TO PAUL MENDELSSOHN BARTHOLDY.

Leipzig, July 26th, 1843.

Dearest Brother,

I have just received your kind letter, and indeed at the very moment when I was about to write to you and beg you to give me quarters. Next Tuesday, the 1st of August, I am obliged to return to Berlin to rehearse and perform the “Tausendjährige Reich,” and to hear from the King his views with regard to the composition of the Psalms. He yesterday summoned me for this purpose, and of course I must go, and of course I must live with you; but is it also of course that my visit is convenient to you? This time I shall remain at least eight days; on the sixth is the celebration of the above-mentioned “Reich.” Give me a line in answer.

I have a reply to my letter from Von Massow, who writes me the King’s invitation; he says we are sure to agree, and that some matters of form are the only things in question; that I shall spare myself the annoyance and vexation which such a tiresome correspondence must entail, and that as I am coming at all events for the “Tausendjährige Reich,” I can also reply personally to the _zehntausendjährige_ affair. Herr von Massow, in fact, says pretty plainly, “Asking and bidding make the bargain;” that he wished to see whether I would sign; and this not being the case, the others would no doubt give way, etc. etc. All this is very confusing, and I do not at all like it. To be sure, it is true that his head must also be in a maze, and he appears to take all imaginable trouble about the affair. I mean to bring you the whole of the everlasting papers for your inspection; we can read them together when we meet. I hope, on this occasion, not merely to have a Court dinner with the King, but a satisfactory discussion on business; probably the easiest mode of bringing about a result. I wish, if possible, to defer this till after the celebration of the _tausendjährig_ festival; the chorale, that I wrote for it, is, I believe, just what the King wishes, at all events it furnishes an opportunity for a complete understanding.

My anger, which was indeed greater on this occasion than for a long time past, I shook off in a defile on the way to Naumburg, close to Rippach, where you drive down to Meissenfels; and a couple of good talks and walks with Mühlenfels, fairly banished every trace of it. Kösen was a pretty sight; we met Mlle. F---- and Herr C---- under the hazel bushes and lovely lime-trees, and from every shrub, instead of glow-worms glittered the order of the red eagle, of different classes; but it was really beautiful. And now I am writing music once more instead of painting fir-trees; therefore I cannot positively promise to finish the “Jungfrau” before eight days. I have washed out the forest recently, for the second time. It is a year the day after to-morrow since we set off to Switzerland.--Your

FELIX.

TO PAUL MENDELSSOHN BARTHOLDY.

Leipzig, August 26th, 1843.

Dear Brother,

I yesterday received a letter from Herr von Massow containing the intelligence that the King had fully sanctioned the affair of the Wirklich Geheimrath; I wished to write this to you instantly.[69] To-day I got a second letter, with the information that the King desires to have three representations in the New Palace in the second half of September, namely, 1, “Antigone;” 2, “The Midsummer Night’s Dream;” 3, “Athalia” (“Medea” is to be given between Nos. 1 and 2, and all the four within fourteen days), and I am invited to Berlin for the purpose. Now I would rather not write, for I have a frightful quantity of things to do before then, as not one of the scores is yet fit for the transcriber, and the overture to “Athalia” still wanting, as well as the instrumentation of the whole, etc. etc. I have written nevertheless that I would come, and the music should be finished.--Ever your

FELIX.

TO PAUL MENDELSSOHN BARTHOLDY.

Leipzig, September 16th, 1843.

Dear Brother,

Six days ago, Herr von Küstner (after a silence of ten days, in spite of all my letters and messages) wrote to me, that the whole project of the representations in the New Palace was postponed till October. So of course I receive from him a letter to-day, saying that “on Tuesday, the 19th, ‘Antigone’ is to be given.” Luckily I smelt a rat, and shall set off to Berlin by the first train the day after to-morrow.

I defer all else till we meet. You gave me permission to occupy the only hotel in Berlin that I like, so I mean to go to you. _Au revoir._--Your

FELIX.

TO THE HOCH EDELRATH OF LEIPZIG.

(THE CORPORATION.)

Leipzig, October 3rd, 1843.

To the Corporation of the City of Leipzig, I am indebted for the privilege of considering myself as in every sense belonging to that city. I therefore take the liberty to address myself to the Corporation on a subject which, though it does not personally concern me, is closely connected with the interests of Art in this place, and with the city itself. I hope on this account for their indulgence, and esteem it my plain, bounden duty as a citizen, not to be idly silent on such an occasion, but to express my dutiful wish, and request, in confidence to the corporation.

The town orchestra here has communicated to me a memorial, in which they beg that some alterations may be made in the terms of their contract with the lessee of the theatre. Their chief object is an increase of their salaries, which have for many years remained the same, and also an improvement in the deputy regulations; and for the attainment of this purpose the intervention of the Corporation is requested.

The petition has been rejected in its most essential points; for, instead of the increase of salary demanded, the reply is that the lessee of the theatre means to expend three hundred thalers more yearly on the orchestra (which three hundred thalers must be divided among thirty-one persons), and that “if he is satisfied with the performances of the orchestra, and if his receipts admit of it, he may possibly be disposed to grant a donation to the orchestra.”

I can only attribute such a proposal to some indistinct statement in the memorial, or some obscure expressions. For, in my opinion, it is not a question of alms, but of just claims.

I am well aware that it may be no easy matter to apply a scale of payment to an intellectual body like that of the orchestra, and to tax it in thalers and groschen; but in days like the present, when so much is said about intellectual qualifications, there is one thing absolutely certain, that it is possible for _justice_ and _injustice_, _fairness_ and _unfairness_, to exist in the remuneration of intellectual services; that this does not depend upon the goodwill, more or less, or on the favour of those who pay, but that a positive _right_ exists, which he has the privilege of claiming who devotes his life to an intellectual vocation, and can therefore legitimately demand that his life should be sustained, if he carries out his calling well and blamelessly. This the orchestra here, do in the most admirable manner; and under such a conviction I do, in my inmost heart, consider that the salaries fixed in the contract between the lessee of the theatre and the orchestra, are unjust. Perhaps they were so even at the time they were settled, but are now, owing to the change in the times, infinitely more so; the evidence of which is so clearly set forth in the first memorial of the orchestra, that I believe only a glance at it is necessary to prove the justice of my assertion.

If the Corporation be also of this opinion, and convinced of the unfairness of these points, the question would then be, in how far it is _possible_ for the lessee of the theatre to comply with the wishes of the orchestra; if, by his consent to increase the salaries, he would not become bankrupt himself; and whether, in endeavouring to obtain justice for the orchestra, injustice might not be done to the lessee?

Three things may form a criterion on this point,--the average receipts of the lessee hitherto; the comparison between other theatrical salaries and those of this orchestra; and lastly, the pay of other German orchestras, in cities of the same standing as Leipzig.

With regard to the receipts of the lessee, it will be difficult to obtain exact information. In spite of all the official documents and rendering of accounts, I venture to assert that there is not a person in Leipzig who is thoroughly acquainted with the fact, except the former lessees themselves, who will at once decline answering any such questions. In so far as I have seen of similar official documents, here and in other cities, it seems an undeniable truth that, in an undertaking of the kind, a yearly additional payment of two thousand thalers would not cause the speculation to become a losing instead of a good one. This is evident by a glance at the variable and sometimes enormous salaries of the singers, male and female, for whose engagement no theatre _entrepreneur_ would grudge an outlay like the above, in order to cast greater lustre on his stage.

These salaries also furnish a complete answer to the second point; being almost everywhere so greatly increased during the years when the orchestra here have only received the old scale of payment, that a theatrical lessee of the former date, would perhaps also have declared, that such an amount of money was utterly irreconcilable with any profits to himself. Singers, after a certain number of years, deteriorate; their places must be supplied, new contracts made, and thus they can obtain for themselves that justice which the members of the orchestra in vain demand. Singers are paid in Leipzig at the same rate as in other places; but not so the orchestra. If it be said, singers are only selected and paid according to the requirements and fashion of the day, whereas, with regard to the orchestra, it is so in a minor degree, for whether it be better or worse constituted or paid, the public know nothing,--then this is an additional reason for my writing this letter; for I consider it my duty, and that of every friend to music, to protest against such a theory. Just because the orchestra is not an article of luxury, but the most necessary and important basis for a theatre,--just because the public invariably regard with more interest articles of luxury than more essential things,--on this very account, it is a positive duty to endeavour to effect, that what is legitimate and necessary, should not be disparaged and superseded by a love of glitter. Indeed, this was why the Corporation took under their protection this orchestra, in the new theatre contracts. If, however, they sanction the lessee of the theatre making a contract with the orchestra, and permit the old and obsolete salaries to remain as they are, then such protection would be no benefit, but rather an injury to the orchestra. Things would thus necessarily remain, year after year, in a position which has no parallel in any German city of the same rank as Leipzig.

This leads me to the third point. It has been said that a comparison of the salaries here with those in other towns is inadmissible. But how is it possible to arrive in a better manner at a scale of justice or injustice, in similar payments? As in other towns orchestras are better paid, as in spite of this, lessees do not become bankrupt (and I believe no instance was ever known of a theatrical manager being ruined by the high salaries of an orchestra), as the same pretensions with regard to services are made by the musicians here as elsewhere,--is it not clear from all this, that the same mode of acting is possible here as elsewhere? The pay which the orchestra in Frankfort-on-the-Maine receives from the _theatre alone_, is not only higher than it would be here, were the increase in question granted, but it is almost without exception _higher than it is here for the theatre, concert, and church music combined_, even if the demand in question were complied with. Should not this prove that the prayer of the orchestra here is not unreasonable,--that the theatre lessee may accede to it without any risk? Indeed, may not a refusal on his part, lead to the inference that this city considers its own musicians inferior to those of other towns of a similar class? And yet such cannot be the case, for the performances of our orchestra are not only equal to that of Frankfort, but to those of every other German city; indeed, undeniably superior to most of those with which I am acquainted! The favourable and wide-spread musical reputation which Leipzig enjoys through the whole of Germany, it owes entirely and solely to this orchestra, the members of which must get on as they best can, in the most sparing and scanty manner. Such a good reputation is certainly not without material advantage for the town of Leipzig, even independent of the intellectual benefit to art. Shall, then, those individuals to whom such happy results are owing, remain in a state of privation, now as formerly, irrespective of these services, and the change in the times, while the whole community thrives by their merits, and the city itself derives honour and profit from them?

I shall only add a few words with regard to the deputy rule, or rather _misrule_, as it ought more properly to be called; for it is really difficult to form an idea of the confusion in this department, without knowing it from personal experience, which I had an opportunity of doing. This also has been minutely stated in former memorials, and I now add an example from my own knowledge. In the concert of the day before yesterday, the clarionet players were obliged to pay a silver thaler each to their theatre deputy, so that each of them, for his services at the rehearsal, and performance in the first subscription concert, _paid_ eight groschen. It may be suggested to raise the prices of the concert-tickets; but this would not check the mischief. A strict rule as to deputies can alone effect this. On the contrary, it is very desirable that the scale adopted for payment of the concerts, should equally be applied to the payment of extra performances in the theatre, which demand the same amount of time and energy.

This brings me to the last point on which I wish to touch. If there be the greatest difficulties in the way of repairing these evils, what difficulty can there be in greatly raising the former fixed salaries for extra performances? It is notorious that they are in no degree in proportion to the increased receipts of the lessee; they are not in proportion to the remuneration for other extra services, such as concerts, church music, etc.; they are not even in proportion to the set price fixed for the town musicians for balls, weddings, and so forth. I am perfectly convinced that such an augmentation could be effected without difficulty, and without any injury to the theatre lessee, and a portion of the just complaints of the orchestra would thus be obviated. May they all meet with that consideration to which their equity and justice entitle them!

In conclusion, I beg forgiveness from the Corporation for the great liberty which I have taken in writing this letter; it regards a matter which does not personally concern me, and from which neither evil nor good can accrue to me, and which only affects me in so far as it relates to the interests of artists whom I so highly prize and esteem; it is of importance to art also in this city; and I certainly can never see with calmness or indifference, the increasing or decreasing reputation of such an artistic institution as Leipzig possesses in this admirable orchestra. May my words accordingly prove the heartfelt love and esteem with which, so long as I live, I must ever regard all that affects the honour of Leipzig in her artistic and musical sphere.--I am always the devoted servant of the Corporation,

FELIX MENDELSSOHN BARTHOLDY.

TO THE KING OF PRUSSIA.

Berlin, 1844.

Your Majesty,

I venture in these lines to bring before you a petition which I have much at heart.

Among the vast number of compositions sent to me from musicians here and in other places, I lately received some works of a young man of the name of G----, in which I perceived such unmistakable talent and such genuine musical feeling, that they seemed to me like an oasis in the desert. They consisted of a set of songs, and a grand piece of music for Good Friday, which, (each in its own peculiar style,) displayed genuine conceptions, and a true artistic nature. Indeed, the sacred music inspires me with a strong hope, that the composer may accomplish something really important in this sphere. Nothing is wanting for the full development of his talents save that he should reside for some time in a large city, in order to hear music and to become acquainted with musicians; for since his youth, he has for the last eight years been a teacher in the country, and during all that long period has lived entirely apart from music, with no one but himself to rely on.

His most anxious wish is therefore to come to Berlin, there to pursue his musical studies and compositions, and to cultivate his talents for future practical efficacy. But for the fulfilment of this wish all pecuniary resources are wanting, and gladly as I would lend him a helping hand to attain his aim in a musical point of view, as far as my ability goes, and willing as he is by his own labours in giving lessons to endeavour to gain his own livelihood, still this latter resource is always very precarious, and especially just at first, accompanied by so many difficulties, that I could scarcely advise him to give up the situation of tutor, by which he now gains his living.

If your Majesty were graciously pleased to furnish the young man with the means of residing here, where he could hear and practise music till he could become familiar with the musical world, from which he has been so long estranged, then all obstacles would be removed, and your Majesty have made one happy man the more.

I believe if he were allowed for two years two hundred thalers each year, this would suffice, with his modest ideas and simple mode of living, to enable him to accomplish the visit to Berlin he so eagerly desires, and along with what he could and would make by his own industry, secure his existence in the meantime.

His Excellency Herr von Massow, to whom I had an opportunity of detailing personally the circumstances of the young man, encouraged me to approach your Majesty with this petition. May, in any event, my presumption be forgiven. The fulfilment of my request will be a fresh reason, among many others, to feel the most heartfelt gratitude and thankfulness towards your Majesty, and I need not say that such a fulfilment would make the young man happy for life.[70]

_From Wirklich Geheimrath Ritter Bunsen, to Felix Mendelssohn Bartholdy_, _Frankfort-on-the-Maine_.[71]

Berlin, Sunday morning, April 28th, 1844.

My dear and esteemed Friend,

I hope that these lines may find you free from all cares and anxieties. I send them to you in a kindly spirit for the sake of the cause and yourself.

You have _hurt_ the feelings of the King by your refusal to compose music for the “Eumenides.” I was with him when Graf Redern gave him back the book with this decision. As I saw this touched the King very nearly, though he was not in the least _excited_, I remarked that perhaps you conceived that the whole trilogy was to be set to music. His Majesty answered, “That would be all the better, but it could not prevent Mendelssohn composing for the ‘Eumenides,’ which, in itself, may be regarded as a splendid whole.” I really did not know what to say, and I confess to you that your answer has deeply grieved myself. The affair, too, is much talked of _here_, and minutely discussed. In this good town it is thought “very wrong” in you to go to England instead of composing for the King. The King himself is quite determined not to let the affair drop. It has been suggested to him to entrust the work to another artist, who, it seems, has promised to undertake the affair at once. You neither _must_ nor _can_ permit this; you neither can nor will annoy the King. I also heard Tieck speaking of the affair the day before yesterday, who began to talk of it when I was with him. The King sent him also a message on the subject. You can understand that his Majesty, taking into consideration the short span of life remaining to the great _Chorodidascalos_, and knowing that _he_ alone can put it on the stage here, is somewhat impatient. Tieck shares the universal opinion about you here, although with the most entire recognition of your character and of your genius. I may also further say to you, quite in confidence, that your declining to compose some songs for “Wie es euch gefällt” has left a painful impression on Tieck, and elsewhere; he is of opinion that your reason for this, “to allow some time to elapse between this and the Midsummer Night’s Dream,” is a very insufficient one; for the more and the oftener the public are offered good food, the sooner will they turn away from the wretched stuff on which they are now nourished.

But this is immaterial compared with the chief point.

Rejoice me soon by the intelligence that the whole thing is a misunderstanding, and that you are willing to compose music for the “Eumenides.” Tieck himself says that the choruses might be here and there shortened; a trilogy, too, might be accomplished with great curtailments. But the “Eumenides,” as a whole, with any curtailments which may appear advisable to you, must first be separately performed. What a glorious subject! What an unparalleled effect! Your “Antigone” choruses are making the tour of Europe; those of Æschylus would do the same. You will aid in establishing a new phase in art. Reflect that the King loves you; that your refusal affected him very painfully; that after having endured so much misapprehension, so many bitter disappointments, so many obstacles in the noblest paths of his reign, he is not prepared to meet with difficulties in this quarter also. “Et tu Brute fili.” Pour out your heart to me as I have done to you. You know that you may depend upon me. We must all assist in supporting this noble Prince in his good and grand ideas. The world requires new elements of life; happy he who can help to create them!--Unchangeably your faithful friend,

BUNSEN.

TO THE WIRKLICH GEHEIMRATH BUNSEN.

Frankfort-a.-M., May 4th, 1844.

Your Excellency’s kind letter I received here when on the point of setting off for England. First of all, I hasten to thank you in the most heartfelt manner for this fresh proof of your friendly feelings towards myself. I wish I may one day be able to express more clearly my gratitude for all your kindness and friendship! I know how to appreciate these to the fullest extent, and am proud of them, as the best and dearest which can ever be my portion in this world.

To all those who have discussed with me the performances of Æschylus’s “Eumenides,” to the King, to Graf Redern, and more particularly to Geheimrath Tieck,--I have declared that I consider this representation, and, above all, the composition of the choruses, a most difficult and perhaps impracticable problem, _but that I would nevertheless make the attempt to solve it_. I asked Herr Geheimrath Tieck what time was allowed me to make my decision; whether my attempt would be considered by the King worthy of being performed, or if it were likely to be permitted to rest in my desk? He answered me that the representation could only take place in the _large Opera-House_; that pieces of this kind could not be produced in small localities; this was a very different affair from the “Antigone,” etc., and as the opening of the Opera-House was fixed for the 15th of December, it would be time enough if I occupied myself with the music during my stay in England, or after my return thence. Moreover, it was signified to me that in the event of my not undertaking the commission, some other composer would be selected. In accordance with truth I was obliged to answer, that it would certainly be more agreeable to me if another person were chosen for this purpose, as in my eyes the difficulties were immense; but I always and everywhere declared my entire readiness to attempt the composition, adding that my decision on the point should at all events be made early enough, to give ample time to any other composer who could more easily solve the difficulties, so that no obstacles should be thrown in the way on my side.

What your Excellency therefore has written to me about this affair, comes upon me the more unexpectedly and vexatiously since Herr Geheimrath Tieck, in the conversations we held together on the subject, thoroughly agreed in my views of the difficulties attending its execution,--acknowledging them in his turn to be almost insuperable; and yet, to his express question, whether I would not undertake the composition of the choruses he received from me, agreeably to the above-mentioned explanations, the following answer,--that I was, _on the contrary_, ready to make the _attempt_, and I should certainly _not be any hindrance_ in the matter. Indeed, with a view to facilitate the idea, I suggested _to him_ that some of the choruses, which appeared to me unsuitable, should be curtailed, a proposal which, as you write to me, he fully concurs in.

I have always spoken only of an attempt, and must now do the same. My not being able at once to accept and consent to the request as I would to any other, is partly owing to the novel nature and extraordinary difficulty of the piece itself, (I can appeal to the judgment of any musician as to the fact,) and partly to the high estimation in which I hold the refined artistic feeling of the King--to whom it is impossible to offer indiscriminately failures and successes--and lastly owing to a certain duty that I owe to myself, which makes me unwilling to undertake music, in the success of which I, at least to a considerable degree, place no faith. I thought I might hope that this should not cause my goodwill to be doubted, which I have already proved in the course of this year by the accomplishment of various very difficult tasks, which were demanded in the _shortest_ time.

The key of the riddle seems to me to be, that my views as to the difficult nature of the representation, are shared by many who may probably have wished to convince the King also of the fact; for this purpose they have selected me as the origin of these difficulties, which I am not, and never will be; they lie, unluckily, far more in the piece itself. And now permit me a few words on this point also.

Because I owe so much gratitude to the King,--because I honour him in the depths of my soul as an admirable, noble prince and man,--on this very account I think that all I do by his command should be done with a good conscience, and in a cheerful spirit. If I were to accept his ideas _without that_, were I to produce them before people without being myself really and truly inspired by them, were I to use his commands as a cloak for my failure, and further, to represent my failure as the result of his ideas,--then I should utterly ruin these ideas, and then I should utterly ruin the good opinion which I trust he still has of me; _then_ he would have a right to apply to me the words, “Et tu Brute.” For thus it appears to me most of those seem to act who entail on him, as you say, so many obstacles and deceptions, and I never will join such “assassins.”

I will always obey the commands of a sovereign so beloved by me, even at the sacrifice of my personal wishes and advantage. If I find I cannot do so with a _good artistic conscience_, I must endeavour candidly to state my scruples or my incapacity, and if that does not suffice, then I must go. This may sound absurd in the mouth of a musician, but shall I not feel duty as much in _my_ position as others do in _theirs_? In an occurrence so personally important to me, shall I not follow the dictates of integrity and truth, as I have striven to do all my life?

After this fresh experience, I fear even what I verbally mentioned to your Excellency already,--that my stay on such slippery ground, and under such perplexing circumstances, is impossible. But by this mode of acting, and this _alone_, can I hope, independently of momentary impressions, to preserve the good opinion of his Majesty, which is more important to me than all the rest; indeed it is only thus that I can hope _really_ to serve the King and his ideas. I cannot be an indifferent, doubtful, or secretly discontented servant to such a monarch; he could not employ me _thus_, and _thus_ I would not only be useless to him, but sacrifice myself.

TO JULIUS STERN, PARIS, (NOW PROFESSOR IN BERLIN.)

London, May 27th, 1844.

Dear Herr Stern,

You well know the very great pleasure your kind letter was sure to cause me; at the same time I was perfectly aware that in the first moments after the representation[72] you would view in far too favourable a light, and far too highly prize, my music and its success. But that you should do so, and feel yourself thus rewarded for the many and great efforts which this representation has cost you, is indeed to me a source of the highest gratification. Accept my most cordial thanks. May I, by better works, deserve your too partial opinion! May all my works find friends as loving to adopt them, and to bring them to a satisfactory execution! May this also be the case at all times with your own works; I cannot desire anything better for you.

I am also exceedingly indebted to you for having been so kind as to thank the performers in my name. According to your suggestion, I am writing some lines to Herr Morel, who directed the music, requesting him to be assured of my gratitude, and to express this also to Herr Boccage; but do not be displeased with me if I decline taking the other hint,--as to making a present to the leading performers. This would be contrary to the fixed principles which I adopted at the beginning of my musical career,--never in any way to mix up my personal position with my musical one, or ever to improve the latter by the influence of the former, or in any manner to bribe public or private opinion with regard to me, or even to attempt to strengthen it. Precisely owing to the heartfelt gratitude I entertain towards all those who interest themselves in my music, it would be impossible for me to follow the fashion of giving similar presents, without for ever embittering for the future, the gratitude, and the joy emanating from it. And although this fashion may have been introduced by great authorities, I must always remain true to myself, and to what I deem to be right, and feel to be right; so you must excuse me for not complying with this practice.[73] I trust that you will not be angry with me, and rather defend me against those who may attack me on this account. You will acknowledge that every man must fix certain rules by which he is to live and act, and will not therefore misconstrue my adhering to mine. My hearty greeting to all my friends, and may we have a happy meeting in our Fatherland.--Your devoted

FELIX MENDELSSOHN BARTHOLDY.

TO CARL KLINGEMANN, LONDON.

Soden, near Frankfort-a.-M., July 17th, 1844.

My dearest Friend,

I found all my family well, and we had a joyful meeting when I arrived here on Saturday, in health and happiness, after a very rapid journey. Cécile looks so well again,--tanned by the sun, but without the least trace of her former indisposition; my first glance told this when I came into the room, but to this day I cannot cease rejoicing afresh every time that I look at her. The children are as brown as Moors, and play all day long in the garden. I employed yesterday and the day before entirely in recovering from my great fatigue, in sleeping and eating,--I did not a little in that way, and so I am myself again now, and I take one of the sheets of paper that Cécile painted for me to write to you. Once more I thank you from my very heart for the past happy time,--all that is good and imperishable in it comes from you; so I feel most grateful to you, and pray continue to love me, as I shall you so long as I live.