“First Movement. Manfred wandering in the Alps. His life is ruined. Many burning questions remain unanswered; nothing is left to him but remembrance. The form of the ideal Astarte floats before his imagination; he calls to her in vain: the echo of the rocks alone repeats her name. Thoughts and memories burn in his brain and prey upon him; he implores the forgetfulness that none can give him (F♯ minor, second theme D major and F♯ minor).
“Second Movement. In complete contrast to the first. Programme: The customs of the Alpine hunters: patriarchal, full of simplicity and good humour. Adagio Pastorale (A major). Manfred drops into this simple life and stands out in strong contrast to it. Naturally at the beginning a little hunting theme must be introduced, but in doing this you must take the greatest care not to descend to the commonplace. For God’s sake avoid copying the common German fanfares and hunting music.
“Third Movement. Scherzo fantastique (D major). Manfred sees an Alpine fairy in the rainbow above a waterfall.
“Fourth Movement. Finale (F♯ minor). A wild Allegro representing the caves of Ariman, whither Manfred has come to try and see Astarte once more. The appearance of Astarte’s wraith will form the contrast to these infernal orgies (the same theme which was employed in the first movement in D major now reappears in D♭ major; in the former it dies away like a fleeting memory, and is immediately lost in Manfred’s phase of suffering—but now it can be developed to its fullest extent). The music must be light, transparent as air, and ideally virginal. Then comes the repetition of Pandemonium, and finally the sunset and Manfred’s death.
“Is it not a splendid programme? I am quite convinced that if you summon up all your powers it will be your chef-d’œuvre.
“The subject is not only very deep, but in accordance with contemporary feeling; for all the troubles of the modern man arise from the fact that he does not know how to preserve his ideals. They crumble away and leave nothing but bitterness in the soul. Hence all the sufferings of our times.”
To N. F. von Meck.
“Maidanovo, June 13th (25th), 1885.
“Dear Friend.—I can at last congratulate you on the beautiful weather. I should enjoy it twice as much if Maidanovo were more congenial to me. But alas! the lovely park, the beautiful views, and the splendid bath, are all alike spoiled by the summer visitors. I cannot take a step in the park without coming across some neighbour. It was beautiful in the winter, but I ought to have thought of the summer and the summer tourist.
“I am deep in the composition of a new symphonic work. Shpajinsky could not send me the first act of The Enchantress at the date agreed upon, so without losing any time, in April I set to work upon the sketches for a programme Symphony, upon the subject of Byron’s Manfred. I am now so deep in the composition of this work that the opera will probably have to be laid aside for some time. The Symphony gives me great trouble. It is a very complicated and serious work. There are times when it seems to me it would be wise to cease from composing for a while; to travel and rest. But an unconquerable desire for work gains the upper hand and chains me to my desk and piano.”