... This evening Madame Botgorscheck’s concert takes place,—an excellent contralto singer, who persecuted me so much to play, that I agreed to do so, and it did not occur to me till afterwards that I had nothing either short or suitable to play, so I resolved to compose a rondo, not one single note of which was written the day before yesterday, but which I am to perform this evening with the whole orchestra, and rehearsed this morning.[34] It sounds very gay; but how I shall play it the gods alone know,—indeed hardly they, for in one passage I have marked a pause of fifteen bars in the accompaniment, and have not as yet the most remote idea what I am to introduce during this time. Any one, however, who plays thus en gros as I do, can get through a good deal....
To A. Simrock, Bonn.
Berlin, July 10th, 1838.
In recommencing our correspondence, I must first of all thank you for the great friendliness you showed towards me in Cologne. It is the first time that any publisher ever assured me of his satisfaction at the success of my compositions; this occurrence would in itself have been a source of lively gratification to me, but it is much enhanced by the kind and flattering manner in which you manifest your satisfaction, and for which I shall ever feel indebted to you. From the time of your first letter about “St. Paul,” in which you expressed a wish to have it for your house, when I had not yet thought of publication at all, much less of success,—also during the period of its being printed, with its manifold alterations and interpolations, up to the present moment,—you have been cordial and complaisant towards me to a degree which, as I already said, I never before met with, and for which I cordially thank you.
Would it not be well worth while for any publisher in Germany to publish just now some of Handel’s principal oratorios from the original scores? This ought to be done by subscription, which would, I think, be successful, as not one of these scores exists with us. I thought of composing the organ parts for this purpose; they must, however, appear in small notes in the score, or in notes of another colour, so that, first, those who wished it could have Handel pure; second, my organ parts in addition if required, and where there was an organ; and third, in a supplement, the organ part arranged for clarionets, bassoons, and other wind instruments of the modern orchestra, when no organ can be had. Such a score would be useful to all institutes for oratorio music, and we should at last have the true Handel in Germany, not one first dipped in the waters of the Moselle and thoroughly diluted. I was assured in England, that a very considerable number of subscribers to such a score might be procured there. What do you think of this? You have published the pianoforte editions of these oratorios,—perhaps a selection might be made from some of them. Of course I am anxious to have your really candid and sincere opinion of this proposal, which I only mention to you, because it has often suggested itself to me, and recurs to me at this moment.—I am, with sincere esteem, your obedient
Felix Mendelssohn Bartholdy.
To Ferdinand Hiller.
Berlin, July 18th, 1838.
... The whole condition of music here is connected with the sand, with the situation, and with official life, so that though you may have great satisfaction in individuals, it is not easy to be on terms of intimacy with any one. Gluck’s operas are indeed most charming. Is it not remarkable that they always attract a full house, and that the public applaud, and are amused, and shout? And that this should be the only place in the world where such a thing seems possible? And that on the next evening the “Postillon” should draw an equally crowded house? And that in Bavaria it is forbidden to have music in any church, either Catholic or Protestant, because it is supposed to desecrate them? And that chorales seem to have become indispensable in the theatre? The chief thing, however, is to have novelty, and plenty of good and fine compositions in the world; thence it is that I am so eagerly expecting your overture and your opera.