Farewell, dearest Mother.—Ever your
Felix.
To Fanny Hensel, Berlin.
Leipzig, November 14th, 1840.
Dear Fanny,
My brightest, best, and most heartfelt good wishes for this day! Once upon a time, I used to send you a new manuscript, bound in green, in honour of the occasion; now I must content myself with a mere scanty letter, and yet the old custom pleases me very much better.
No doubt, in the course of your birthday, you too think of us here; but that does not mend matters much for me. This evening, at the recommencement of the Quartett Soirées, I am to play to the Leipzigers Mozart’s quartett in G minor, and the Beethoven trio in D major, and, as I already said, this kind of birthday celebration does not please me; it will be very differently commemorated where you are. Would that we could be with you! My best thanks also for your last letter. Do you know, I think your suggestion as to the “Nibelungen” most luminous! It has been constantly in my head ever since, and I mean to employ my first leisure day in reading over the poem, for I have forgotten the details, and can only recall the general colouring and outlines, which seem to me gloriously dramatic. Will you kindly communicate to me your more specific ideas on this subject? The poem is evidently more present to your memory than to mine. I scarcely remember what your allusion means, as to the sinking into the Rhine. Can you point out to me the various passages which struck you as particularly dramatic, when the idea first occurred to you? and above all, say something more definite on the subject, as the whole tone and colouring, and characteristics, take my fancy strongly; therefore I beg of you to do so, and soon too; it will be an essential service to me. Refer entirely to the poem itself, for before your letter can arrive, I shall certainly have read it, though I shall not the less eagerly expect your opinion. Accept my thanks for this happy thought, as for all else.
Yes! the arpeggios in the chromatic fantasia[43] are certainly the chief effect. I take the liberty to play them with all possible crescendos, and pianos, and fortissimos, pedal of course, and to double the notes in the bass; further, to mark the small passing notes at the beginning of the arpeggios (the crotchets in the middle parts), etc., and likewise the principal notes of the melody just as they come: rendered thus, the succession of glorious harmonies produces an admirable effect on our rich-toned new pianos. For example, the commencement, merely thus:—
N.B.—Each chord played in double arpeggios; afterwards only once, as they come.
