Paris, December 28th, 1831.
Dear Madam Fanny,
For three months past I have been thinking of writing you a musical letter, but my procrastination has its revenge, for though I have been a fortnight here, I don't know whether I shall still be able to do so. I have appeared in every possible mood here; in that of an inquiring, admiring traveller; a coxcomb; a Frenchman, and yesterday actually as a Peer of France; but not yet as a musician. Indeed there is little likelihood of the latter, for the aspect of music here is miserable enough.
The concerts in the Conservatoire, which were my great object, probably will not take place at all, because the Commission of the Ministry wished to give a Commission to the Commission of the society, to deprive a Commission of Professors of their share of the profits; on which the Commission of the Conservatoire replied to the Commission of the Ministry, that they might go and be hanged (suspended), and then they would not consent to it. The newspapers make some very severe comments on this, but you need not read them, as these papers are prohibited in Berlin; but you don't lose much by this. The Opéra Comique is bankrupt, and so it has had relâche since I came; at the Grand Opéra, they only give little operas, which amuse me, though they neither provoke nor excite me. "Armida" was the last great opera, but they gave it in three acts, and this was two years ago. Choron's "Institut" is closed, the "Chapelle Royale" is gone out like a light; not a single Mass is to be heard on Sundays in all Paris, unless accompanied by serpents. Malibran is to appear here next week for the last time. So much the better, say you: retire within yourself, and write music for "Ach Gott vom Himmel," or a symphony, or the new violin quartett which you mentioned in your letter to me of the 28th, or any other serious composition; but this is even more impossible, for what is going on here is most deeply interesting, and entices you out, suggesting matter for thought and memory and absorbing every moment of time. Accordingly I was yesterday in the Chambre des Pairs, and counted along with them the votes, destined to abolish a very ancient privilege; immediately afterwards I hurried off to the Théâtre Français, where Mars was to appear for the first time for a year past; (she is fascinating beyond conception; a voice that we shall never hear equalled, causing you to weep, and yet to feel pleasure in doing so). To-day I must see Taglioni again, who along with Mars constitutes two Graces (if I find a third in my travels, I mean to marry her), and afterwards I mean to go to Gérard's classical salon. I lately went to hear Lablache and Rubini, after hearing Odillon Barrot quarrel with the Ministry. Having seen the pictures in the Louvre in the morning, I went to Baillot's; so what chance is there of living in retirement? The outer world is too tempting.
There are moments, however, when my thoughts turn inwards—such as on that memorable evening, when Lablache sang so beautifully, or on Christmas-day, when there were no bells and no festivities, or when Paul's letter came from London, inviting me to visit him next spring; the said spring to be passed in England. Then I feel that all that now interests me is merely superficial: that I am neither a politician, nor a dancer, nor an actor, nor a bel esprit, but a musician—so I take courage, and am now writing a professional letter to my dear sister.
My conscience smote me, especially when I read about your new music that you so carefully conducted on my father's birthday, and I reproached myself for not having said a single word to you about your previous composition; but I cannot let you off that, my colleague! What the deuce made you think of setting your G horns so high? Did you ever hear a G horn take the high G without a squeak? I only put this to yourself! and at the end of this introduction, when wind instruments come in, does not the following note
[[Listen]]
stare you in the face, and do not these deep oboes growl away all pastoral feeling, and all bloom? Do you not know that you ought to take out a license to sanction your writing the low B for oboes, and that it is only permitted on particular occasions, such as witches, or some great grief? Has not the composer evidently, in the A major air, overloaded the voice by too many other parts, so that the delicate intention, and the lovely melody of this otherwise charming piece, with all its beauties, is quite obscured and eclipsed?
To speak seriously, however, this aria is very beautiful, and particularly fascinating. But I have a remark to make about your two choruses, which indeed applies rather to the text than to you. These two choruses are not sufficiently original. This sounds absurd; but my opinion is that it is the fault of the words, that express nothing original; one single expression might have improved the whole, but as they now stand, they would be equally suitable for church music, a cantata, an offertorium, etc. Where, however, they are not of such universal application, as for example, the lament at the end, they seem to be sentimental and not natural. The words of the last chorus are too material ("mit dem kraftlosen Mund, und der sich regenden Zunge"). At the beginning of the aria alone, are the words vigorous and spirited, and from them emanated the whole of your lovely piece of music. The choruses are of course fine, for they are written by you; but in the first place, it seems to me that they might be by any other good master, and secondly, as if they were not necessarily what they are, indeed as if they might have been differently composed. This arises from the poetry not imposing any particular music. I know that the latter is often the case with my own compositions; but though I am fully aware of the beam in my own eyes, I would fain extract the mote from yours, to relieve you at once from its pressure.