Moscheles and his wife communicated on the subject of the piano with Mr. Erard, who at once expressed his readiness to present Mendelssohn with a new instrument. Writing to Mendelssohn on the subject, Moscheles says:—
“I shall choose an instrument for you myself, not omitting to bear in mind your favorite arpeggio passages, through which the melody seems to push its way. In other words, I shall test the piano with this passage from your Concerto,—
Berlin, July 11, 1838.
My dear Friend,—I enclose the certificate for Mr. Hogarth, addressed to you as you desire; also a few lines to him, which please forward with the enclosure when you have obliged me by reading and revising it and putting it into good English. I am afraid my English is very rusty; and as with you, such certificates are very frequently printed and published, I would rather no blunders were allowed to go forth to the world. So please turn them out one and all. I not only request you, but I hereby authorize you, to correct and to alter any and every thing, and to endow me with the right ideas expressed in an elegant style. “From,” “by,” “while,” have become so many unknown quantities to me; and I feel as nervous when I meet with them as I always do in the presence of distinguished strangers. Nor do I know whether I have said too little or too much. In the first case, put a few sforzandos; if it is the other way, soften a little. In fact, lend me a helping hand, as you have so often done before. Let us hope that, after all that, Mr. Hogarth’s purpose may be served. How much I am indebted to you for the great service you have done me about the piano! But can I really accept it without further ceremony? I can’t help feeling a doubt, though on the other hand I have the greatest desire to do so, as I am sadly in want of a good instrument. Would it not be meeting the difficulty half-way if I sent my piano to be repaired? For, after all, it might be possible to put it into good condition; and that would be to our mutual advantage. If the result was unsatisfactory I might still accept the kind offer of a new one. How would that do, my dear Moscheles? To be sure, I should rely on your judgment as to the completeness of the result. Or do you think I should simply accept the new one, taking Erard at his word,—such as I have it from Mrs. Moscheles,—and refer to her letter, in writing to him about it? Somehow or other I don’t seem to find the right way of putting it to him; so I am just waiting till I hear from you. You know you are my helper and adviser; may you never get tired of the office!
So you are going to remain in England all through the summer. What a pity that it was last year, not this, that I had to be there! When I do not find you at home, it seems just as if I had not been to London at all.
I am surprised to hear of Döhler’s being lionized. His playing only interested me the first time; afterwards he seemed to me very cold and calculating, and rather dull. What very different stuff Liszt and Chopin are made of! Why has Chopin never been to England? He has more soul in his little finger than all Döhler has from top to toe,—at least so it seemed to me. And Spontini!—do tell me all about him. I should so like to see what figure he cuts in London. Does he listen to music properly? Does he sometimes play himself, or does he there too give himself the airs of a big idol who may now and then devour a musician, but otherwise never moves a muscle? And does he deck himself out with all his decorations? How was Bennett’s new Concerto, of which he writes to me, received at the Philharmonic? And how did Mrs. Shaw sing? You know she is coming to Leipzig this year; just give me a line or two about her. Miss Novello has had a marvellous success here. And now good-by.