"Having been extremely busy since I received your letter of the 18th of October, I trust you will excuse the tardiness of my reply.
"I am very much obliged to you for your communication respecting Herr Schubert. Several of his vocal compositions are favourably known to me, and give me confidence in your recommendation of this artist. It will be a great pleasure to me to assist in a wider diffusion of the works of this composer than the Vienna music-sellers are capable of effecting. But, before I enter into any obligation, allow me to give you a little sketch of my business arrangements.
"At the moment when I commenced my present business I resolved to distinguish myself advantageously as a publisher, never to print anything bad, but rather as much as possible to print only the best. It is impracticable to carry out this plan thoroughly; for I cannot obtain from the most distinguished artists alone as many manuscripts as I require. Besides, we publishers are also often compelled from policy to print many things which I at least would otherwise not print. Nay, we must publish even many slight works in order to provide for a certain public; for, if we confined ourselves to classical works only, we should have a very limited sphere of business; since, as is well known, the connoisseurs do not constitute the majority. Nevertheless, I have not been influenced by desire for gain to patronize the more lucrative but trashy fashionable trifles; I have always taken care that also the works for the great majority of the people should never be bad. Always keeping my favourite aim in view, I have chiefly striven to issue superior works; and this my endeavour will in future become more and more apparent, since every year increases the number of my valuable connections, which my financial resources permit me to maintain.
"These observations lead me to mention two obstacles which often frustrate my plan. The first is want of time, which almost continually curbs me. In order to obtain as many good works as possible, I must seek after connections with good artists, and I must strengthen these connections not only by endeavouring to satisfy the artists, but also by proving myself a publisher always ready at their service,—a mutual understanding which is convenient to both parties. My connection with most of those of my authors who are valuable to me,—as for instance, Spohr, Romberg, Hummel, etc.,—has grown into a friendly relation. I am, therefore, doubly compelled to accept all that such friends and good artists send me, although there is often much among it of which I know at once that I shall gain nothing by it. These obligations take up much of my time, not only because those artists give me constant occupation, but also because I require leisure for examining such works of other authors as I receive unexpectedly, as is the case with the present ones. Thus, the time remaining to me is seldom sufficient to enable me to undertake the publication of more works than I have in hand; and I am continually prevented forming new connections with composers from want of time.
"The second obstacle which renders a new connection difficult, and which proceeds from the facts above stated, is the novelty, and the name of a young composer unknown in my sphere of business. Very often I am reproached with not making known the works of new composers, and that a new composer cannot become known if the publishers do not undertake the publication of his works. This reproach is, however, quite undeserved as far as I am concerned; for I cannot do everything, and must keep to a fixed plan in order to succeed. My plan is to obtain the works of artists who are already celebrated. True, I print many other works besides; but if I can obtain enough of those, I must leave to other publishers the introduction to the public of new composers. These publishers are also able to do something, and many are glad to engage new composers, because they fear to pay the sums demanded by older and more valuable artists. But as soon as the new composer has obtained a name, and his works are known as being good, then I am his man; and then the publication of his works accords with my plan, which is calculated more with regard to honour than to gain. I will then rather pay a high price for his works than procure them in the beginning on low terms.
"You see, therefore, that it is difficult for me to meet at once your proposal respecting Herr Schubert, especially as my time is so much taken up. However, my opinion of him makes me reluctant to disregard altogether the wish of this young artist. As a middle course, I would, therefore, propose that Herr Schubert should send me some of his works which he desires to have printed, so that I may examine them; for, without having previously seen the manuscript, I accept nothing from a young composer who is but little known. If a great and well-known artist produces something bad, the blame falls upon him, because his name is my guarantee; but if I bring out something by a new artist which is not liked, the blame falls upon me; for, who compels me to print a composition of the merit of which I am not convinced? Here the name of the composer is no protection to me. Herr Schubert may be sure that in trusting his manuscripts to me, he places them in safe hands; there will be no misuse made of them. In case that I find them satisfactory, I shall retain of them as many as I find convenient; on the other hand, Herr Schubert must not feel hurt if I do not like one or other piece. I shall be quite candid, for candour is the surest way to lead to a right understanding.
"Furthermore, I must beg him to forward to me only his most successful works. True, he will not think of publishing anything which he does not consider a successful production. Be this as it may, a composer is always more successful with one work than with another; and I must have the best. I say I must have the best; not for the sake of gain, but for the sake of my reputation, when I introduce a composer to my public, which is very extensive. I have been very painstaking to make my establishment as complete as possible, and I now experience from many quarters the recompense that my firm enjoys in an extraordinary degree the confidence of others. People expect from me the publication of many good works; and if I bring out a new author, they soon give him their confidence, believing that he must be good because I had taken notice of him. No doubt, there have been mistakes; but I am becoming more and more cautious, in order that I may always ensure and strengthen my reputation, which to acquire I have taken so much trouble. For this reason I insist upon a new author giving me his best, in order that I may recommend him properly from the beginning, my recommendation being justified. Besides, the first impression often opens the road to the whole future; wherefore, to composers just beginning, the good advice to proceed with the publication of their works as cautiously as possible, cannot be too often repeated. They may venture much, but should have only little printed until their reputation is established.
"Spohr has hitherto brought out only 58 works; Andreas Romberg, 66; Bernhard Romberg, 38; while now many other artists who are much younger have already had printed above a hundred. Those well-known composers have written much more, which, however, they thought advisable to withhold from publication. If, by way of contradiction, you point out to me the fertile, and nevertheless valuable Mozart, Haydn, Beethoven, etc., I declare that such men are rare masters whom we ought certainly to regard as models, but that experience must first teach us whether the young aspirant is similarly gifted. Moreover, many of the earlier compositions of Mozart have never been printed.
"Now, have the kindness to confer with Herr Schubert upon my communication to you, and decide what is further to be done. As regards the terms, I beg you to inform me of them, because it is disagreeable to my feelings to make an offer for an intellectual production. Most likely there will not be any difficulty about settling the conditions. The perseverance with which my authors stick to me, sufficiently shows that they do well with me; this I can assert of myself to my own praise. Besides, the conditions of a young artist cannot be so high that they could not easily be conceded to. I believe that, as you intimate, of a new work by Herr Schubert, perhaps 300 copies might be sold in Vienna alone. But then it must be printed in Vienna. I do not think that I should sell there 100 copies, although I am in connection with all the music-sellers of that town. You will understand this quite well, and I need not explain the cause, but you may believe me that it is so; experience confirms it, and the exceptions are rare indeed.
I remain, with high esteem, etc.,