You may remember that I made a report to his Majesty, some years since, on proposals which had been suggested for the establishment of a Conservatorium here; his Majesty, however, was pleased to declare that the establishment of such a Conservatorium was not at present in accordance with his Majesty’s views. The affair has consequently remained since that time in abeyance. The absolute necessity of a reform in the Royal Academy of Arts seems daily to be more urgent, it therefore becomes a duty to obtain as clear a view as possible of the measures to be pursued, and to settle the preliminary arrangements for the best mode of fulfilling this design. The musical section of the Academy, which cannot be continued under its present regulations, must form one of the most essential points in this reform. As, however, in accordance with the good pleasure of his Majesty, the eventual enlargement of this section to a real Conservatorium is not at present to take place, it seems most advisable not to lose sight of the principle which forms the basis of the present section, and to direct every effort to secure its most perfect development. This principle assumes that the chief object of the musical section should be especially to form a school for musical composition. For this purpose, it is, in my opinion, above all expedient that a master should stand at the head of such a section who, by his own energetic, creative powers, may become a guiding star for others, and thus be enabled to exercise a genuine and stimulating influence; possessing also the ability to examine critically the productions of the scholars, and by his zealous co-operation to guide them on the right path, in the very same way that in the plastic arts, the master of the atelier stands in relation to his scholars. Instruction in the theory and history of music might be shared by other teachers. Steps should besides be taken, by a closer connection with other institutes, or by any other suitable means, to endeavour to form a limited choir and orchestra, which might furnish an opportunity for the performance of classical chefs-d’œuvre, as well as of the works of the scholars, and likewise for practice in conducting,—an arrangement which, in the event of an urgent and manifest necessity for such a thing, might perhaps at some future day lead to a real Conservatorium.
You will, Sir, earn my best thanks by being so good as to transmit to me your sentiments on these suggestions, and more especially if, in case you agree to these proposals in their general outline, you could also assure me that you are eventually disposed yourself to undertake the direction and the situation of teacher of composition, in the said musical section. Should this latter proposal, however, not be in conformity with your plans in life, may I request you to name the person among our composers here or elsewhere who, according to your competent judgment, is best suited to superintend with success the situation in question, as it seems to me very desirable to discuss any further measures that may be necessary with the director selected for that section.—Accept, Sir, etc.,
Eichhorn.
To Minister Eichhorn, Berlin.
Frankfurt-am-M., March 6th, 1845.
I must first of all thank your Excellency for the flattering proof of confidence contained in the letter I have received from your Excellency, and also for your wish to hear my opinion in so important a matter. That the reform of the Academy of Arts and its musical section, which your Excellency refers to in your letter, will be of the greatest value to the whole musical condition of Berlin, does not admit of the smallest doubt. Your Excellency informs me that it is your intention to effect this by placing a composer at the head of the musical section to be a guiding star to the pupils by his own energetic creative powers, like the master of the atelier in the plastic arts, and you do me honour to mention my name on this occasion, or in the event of my being prevented accepting this offer, you commission me to point out one of my colleagues in art whom I consider best suited for such a situation. But in order to form a decided opinion on the matter, I must beg for an explanation of various points which, in this and every other affair of the same kind, appear to me the most important, and before which all personal questions must retire into the background.
Is the reform which you have in view in the musical section, to consist solely in the appointment of such a composer, and the musical section to continue in the same shape as formerly? If this be the case, what relation will such a director assume to the former members of the senate or section, and to the director of the whole Academy? Is the distribution of the different branches of instruction to remain the same, or is a reform proposed in this respect also? In what does the actual practical efficacy of such a teacher consist? It is not possible to show the act of composition, as the master in an atelier does the design of a picture or the form of a model, and according to your Excellency’s words, an intellectual influence is what is chiefly required. Such an influence, according to my conviction, is only to be obtained in the School of Art, when the whole course of instruction has already laid a sound foundation, when all the teachers in their positive departments strive towards the same point, when no actual deficiency is anywhere overlooked in the organization, and finally, when, as a key-stone, the corresponding impulses of this organization are combined and placed before the scholars in their practical application, and thus more strongly impressed on their minds. In this sense I could well imagine such a new active situation fruitful for good and for influence; but it seems to me that for this purpose it is not merely the situation itself which is to effect it, but in reality a reform of the whole inner constitution of the Academy; and I do not know whether this enters into your Excellency’s views, or indeed be within the range of possibility. Without this, the position, though undoubtedly highly honourable, would be devoid of all real, practical utility; a merely universal excitement, however great, can at best only call forth an unfruitful enthusiasm in the minds of the scholars, if indeed it calls forth anything whatsoever. The teachers of positive science alone would, in such a case, acquire a decided influence on the development of young artists; the professor at the head, influencing only by example, would, on the other hand, be like a mere airy phantom, and the connection between the head and the limbs fail, without which neither the head nor the limbs can live or thrive.
If your Excellency will be so good as to give me some more precise information on this matter, I shall then be in a position to form a clearer view of the affair itself, as well as of the personal questions connected with it; and I shall esteem it my duty on this as on every other subject, to state my opinion candidly to your Excellency.[80]—Your devoted
Felix Mendelssohn Bartholdy.