“I usually write my sketches on the first piece of paper to hand. I jot them down in the most abbreviated form. A melody never stands alone, but invariably with the harmonies which belong to it. These two elements of music, together with the rhythm, must never be separated; every melodic idea brings its own inevitable harmony and its suitable rhythm. If the harmony is very intricate, I set down in the sketch a few details as to the working out of the parts; when the harmony is quite simple, I only put in the bass, or a figured bass, and sometimes not even this. If the sketch is intended for an orchestral work, the ideas appear ready-coloured by some special instrumental combination. The original plan of instrumentation often undergoes some modifications.
“The text must never be written after the music, for if music is written to given words only, these words invoke a suitable musical expression. It is quite possible to fit words to a short melody, but in treating a serious work such adaptation is not permissible. It is equally impossible to compose a symphonic work and afterwards to attach to it a programme, since every episode of the chosen programme should evoke its corresponding musical presentment. This stage of composition—the sketch—is remarkably pleasant and interesting. It brings an indescribable delight, accompanied, however, by a kind of unrest and nervous agitation. Sleep is disturbed and meals forgotten. Nevertheless, the development of the project proceeds tranquilly. The instrumentation of a work which is completely thought out and matured is a most enjoyable task.
“The same does not apply to the bare sketch of a work for pianoforte or voice, or little pieces in general, which are sometimes very tiresome. Just now I am occupied with this kind of work. You ask: do I confine myself to established forms? Yes, and no. Some compositions imply the use of traditional forms; but only as regards their general features—the sequence of the various movements. The details permit of considerable freedom of treatment, if the development of the ideas require it. For example, the first movement of our Symphony is written in a very informal style. The second subject, which ought, properly speaking, to be in the major, is in a somewhat remote minor key. In the recapitulation of the principal part the second subject is entirely left out, etc. In the finale, too, there are many deviations from traditional form. In vocal music, in which everything depends on the text, and in fantasias (like The Tempest and Francesca) the form is quite free. You ask me about melodies built upon the notes of the harmony. I can assure you, and prove it by many examples, that it is quite possible, by means of rhythm and the transposition of these notes, to evolve millions of new and beautiful melodic combinations. But this only applies to homophonic music. With polyphonic music such a method of building up a melody would interfere with the independence of the parts. In the music of Beethoven, Weber, Mendelssohn, Schumann, and especially Wagner, we frequently find melodies which consist of the notes of the common chord; a gifted musician will always be able to invent a new and interesting fanfare. Do you remember the beautiful Sword-motive in the Nibelungen?
“I am very fond of a melody by Verdi (a very gifted man):