To Julius Rietz, Music Director at Düsseldorf, (now capellmeister at dresden.)
Leipzig, April 23rd, 1841.
Add
Dear Rietz,
Yesterday evening we performed your overture to “Hero and Leander” and the “Battle Song,” amid loud and universal applause, and with the unanimous approbation of the musicians and the public. Even during the rehearsal of the overture, towards the end in D major, I perceived in the orchestra those smiling faces and nodding heads, which at a new piece of yours I am so glad to see among the players; it pleased them all uncommonly, and the audience, who yesterday sat as still as mice and never uttered a sound, broke out at the close into very warm applause, and fully confirmed the judgment of the others. I have had great delight in all these rehearsals, and in the performance also; there is something so genuinely artistic and so genuinely musical in your orchestral works, that I feel happy at the first bar, and they captivate and interest me till the very end. But as you persist in wishing me to place my critical spectacles on my nose, I must tell you that there was one wish I formed in hearing both pieces: that you may now write many works in succession. The chief reason for this I do not require to tell you, for it lies on the surface. But I have yet another wish: I perceive a certain spirit, especially in the overture, which I myself know only too well, for in my opinion it caused my “Reformation Symphony”[48] to fail, but which can be surely and infallibly banished by assiduous work of different kinds. Just as the French, by conjuring tricks and overwrought sentiment, endeavour to make their style harrowing and exciting, so I believe it possible, through a natural repugnance to this style, to fall into the other extreme, and so greatly to dread all that is piquant or sensuous, that at last the musical idea does not remain sufficiently bold or interesting; that instead of a tumour, there is a wasting away: it is the contrast between the Jesuit churches, and their thousand glittering objects, and the Calvinists, with their four white walls; true piety may exist in both, but still the right path lies between the two. I entreat you to pardon this preaching tone, but how is it possible to make oneself understood on such subjects? The fundamental thoughts in your overture and my “Reformation Symphony” (both having, in my opinion, similar qualities), are more interesting from what they indicate, than actually interesting in themselves; of course I do not plead for the latter quality alone (as that would lead us to the French), nor for the first alone either; both must be united and blended. The most important point is to make a thema, or anything of the kind which is in itself musical, really interesting: this you well understand in your instrumentation, with every second oboe or trumpet, and I should like to see you steer boldly in that direction in your next works,—without, however, injuring by the greater finish and sharpness of your musical thoughts, your excellent foundation, or your masterly and admirably carried out details of instrumentation, etc. As ideas cannot be either more highly finished or sharpened, but must be taken and made use of as they come, and as a kind Providence sends them—so work is the only thing which either I or others can possibly desire for such an artist as yourself, and for works of art like yours, where the only question is of any trifling deviation in their tendency.
Report to his Majesty the King of Prussia,[49] from the Wirklich Geheimrath Herr von Massow.
Berlin, May 20th, 1841.
Your Majesty was pleased verbally to desire me to enter into communication with Herr Felix Mendelssohn Bartholdy, in Leipzig, with a view to summon him to Berlin, and to fix his residence there by appointment. I therefore on the 11th of December last wrote to Herr Mendelssohn, in accordance with your Majesty’s commands, and made the following offer:—
That he should be appointed Director of the musical class of the Academy of Arts, with a salary of three thousand thalers.
I also mentioned that it was your Majesty’s intention to reorganize the musical class of the Academy, and to connect it with some existing establishments for the development of musical cultivation, as well as with others yet to be formed; that Herr Mendelssohn’s advice on the subject was requested; that he was to be appointed the future head of this institute. Further, that it was your Majesty’s pleasure a certain number of concerts (to be hereafter fixed) were to be given every year under his direction, with the aid of the Royal orchestra and the members of the opera, in which oratorios especially, but also other works, such as symphonies, etc., were to be performed. Herr Mendelssohn, in two letters addressed to me, on the 15th December and the 2nd January, expressed his gratitude to your Majesty for so honourable an offer, as well as his entire satisfaction with regard to the title and the salary; he however reserved his full acceptance of the proposal, until the duties involved in the situation offered to him in Berlin, were more minutely detailed. The conscientiousness thus shown by Herr Mendelssohn cannot fail to be acknowledged and respected; at the same time, he promised to come to Berlin this spring.
The Academy of Arts being regulated by the Ministerium of the departments of science, instruction, and medicine,—it was from this source alone, that the wished-for copy of the rules could be obtained for Herr Mendelssohn; as this, however, could not be immediately effected, Minister Eichhorn resolved to discuss the whole affair himself with Herr Mendelssohn regarding the reorganization of the musical class, and your Majesty was pleased to permit the affair to rest for the time. Herr Mendelssohn, according to his promise, recently came here, and he adheres to his resolution not to accept any fixed situation in your Majesty’s service, till he is previously informed what duties he is expected to undertake.
The proposed reforms in the musical section, which are probably to be effected, in connection with many other changes in the Academy of Arts, necessitate the dissolution of existing arrangements, and the formation of entirely new relations. The Royal Ministerium, if a larger musical institute were established, would put in their claim for the Royal Theatre, which, by previous regulations of existing institutes, must be included, along with most of the artists attached to it. The sum of money requisite for this purpose must be fixed and granted. These are all reasons which prevent the Royal Ministerium, within so short a period, being able to arrange such a comprehensive affair sufficiently to lay these proposals before your Majesty; and also render it impossible to define the situation for Herr Mendelssohn, or to prescribe the duties which, as Director of the musical class, he must undertake to fulfil.
Herr Mendelssohn, on the other hand, must declare, in the course of a few weeks, whether it is his intention to give up his situation in Leipzig or not; he therefore presses for a decision.
Under these circumstances, with the express stipulation however of your Majesty’s approbation, I have made the following proposal to Herr Mendelssohn:—
That for the present he should only for a certain period fix his residence in Berlin,—say, a year,—placing himself at your Majesty’s disposal, in return for which, your Majesty should confer on him the title of Capellmeister; but without imposing on him the performance of the duties of this office in the Royal Opera; likewise the previously-named salary of three thousand thalers pro anno to be bestowed on him; during this time, however, he is neither to hold any office, nor to undertake any definite duties, unless in the course of this period Herr Eichhorn should furnish him, with the long wished-for details, and he should declare himself satisfied with them, in which case the reserved consent as to a definitive nomination should ensue.
Herr Mendelssohn has already assured me that he is prepared to accept the proposal, and if your Majesty be pleased to give your consent, Herr Eichhorn would gain time to consult with Herr Mendelssohn on this affair, and to place distinct proposals before your Majesty. From the well-known honourable character of Herr Mendelssohn, it may be confidently anticipated, that in this kind of interim relation, he will be the more anxious to devote all his powers to your Majesty, from the very fact of his duties not being more closely defined. Such a relation, however, can only be advisable for a certain time; one year has therefore been agreed on. If, contrary to expectation, the reorganization of the musical class of the Academy and the establishment of a musical institute, be not so carried out as to cause Herr Mendelssohn the conviction of finding a field of activity for his bent and his vocation, or if the claims on him should prevent his acceptance, or lastly, which I subjoin at the express desire of Herr Mendelssohn, should the expectations now entertained by your Majesty with regard to him not be fulfilled, then the relation now formed shall be dissolved at the end of the appointed period on the above conditions, and therefore in an honourable manner.
Herr Eichhorn, whom I have informed of the proposal made through me to Herr Mendelssohn, and also of his acceptance, has, on his side, stated no objections.
Your Majesty’s decision is respectfully solicited at your pleasure; and awaiting your Majesty’s further commands, I am, with the deepest reverence,
Your Majesty’s faithful servant,
V. Massow.
Memorandum by Mendelssohn, on the subject of a Music Academy to be established at Berlin.
Berlin, May, 1841.
It is proposed to establish a German Music Academy in Berlin, to concentrate in one common focus the now isolated efforts in the sphere of instruction in art, in order to guide rising artists in a solid and earnest direction, thus imparting to the musical sense of the nation a new and more energetic impetus; for this purpose, on the one side, the already existing institutes and their members must be concentrated, and on the other, the aid of new ones must be called in.
Among the former may be reckoned the various Royal academies for musical instruction, which must be united with this Musical Academy, and carried on as branches of the same, with greater or less modifications, in one sense and in one direction. In these are included, for example, the Institute for Élèves of the Royal Orchestra; the Organ Institute; that of the Theatre (limited to the theatre alone) for instruction in singing, declamation, etc. Further, the members of the Royal Capelle must be required to give instruction on their various instruments. A suitable locality can no doubt be found among the Royal buildings, and also a library, with the requisite old and new musical works, scores, and books.
The new appointments to consist of—
1. A head teacher of composition; the best that can be found in Germany, to give regular instructions in theory, thorough-bass, counterpoint, and fugues.
2. A head teacher of solo singing; also the best to be had in Germany.
3. A head teacher of choral singing, who should strive to acquire personal influence over the scholars under his care, by good pianoforte-playing and steady direction.
4. A head teacher of pianoforte-playing, for which office a man of the most unquestionable talent and reputation must alone be selected. The other teachers for these departments could be found in Berlin itself; nor would there be any difficulty in procuring teachers of Æsthetics, the history of music, etc.
The complete course to last three years; the scholars, after previous examination, to be instructed gratis; no prize works to be admitted but at stated periods; all the works of the scholars, from the time of their admission, to be collected and criticized in connection with each other, and subsequently a prize (probably consisting of a sum sufficient for a long journey through Germany, Italy, France, and England) to be adjudged accordingly. Every winter a certain number of concerts to take place, in which all the teachers (including the above-named members of the Royal Capelle) must co-operate, and by which, through the selection of the music, as well as by its execution, direct influence may be gained over the majority of the public.
The following principle must serve as a basis for the whole Institute: that every sphere of art can only elevate itself above a mere handicraft, by being devoted to the expression of lofty thought, along with the utmost possible technical finish, and a pure and intellectual aim; that also solidity, precision, and strict discipline in teaching and learning, should be considered the first law, thus not falling short in this respect of any handicraft; that in every department, all teaching and learning should be exclusively devoted to the thoughts intended to be expressed, and to that more elevated mood, to which technical perfection in art must ever be subordinate.