I find that at my age my fingers require to practise most carefully the exercises of former years, in order to keep pace with the times. I can manage to preserve them pliable and elastic, but I cannot make them any longer than they are; and that is just the road that modern pianists, like Chopin, Thalberg, etc., have taken, in order to develop their technique. To play your music, I have also to stretch my fingers to the fullest extent; but there they obey more naturally, because the mechanical construction of your passages is of secondary importance, as compared to the spirit which dictates them.
Moscheles, in thanking Mendelssohn for his last letter, says:—
“It is with so much pleasure I see your handwriting, your ideas and views have so much charm for me (although I occasionally think they may yet ripen to full maturity), I so fully recognize your genius, and am personally so much attached to you, that the word ‘friendship’ but inadequately expresses my feelings. Similarly, it is a source of happiness to me to know that your thoughts are often with me, aware, as I am, how constantly you are surrounded by an admiring circle of friends.”
In reference to the preparations for a performance of “Saint Paul” in England, he says:—
“I am glad to find that all promises well for your Oratorio in England. Novello, Sir George Smart, and the whole profession are looking forward to its production with sympathy and interest. Like Hercules, you have throttled Envy while still in the cradle.
“Klingemann, Smart, and Novello are busy directing Mr. Ball, the translator. I have offered to correct the proofs, but have not yet received them.”