Descriptions of musical works, therefore, since music cannot, like painting, borrow analogies from visible nature, must remain mere approximations of the original; they become more definite in proportion as they fall in with the reader's own experiences, and find in these analogies and, as it were, precedents for the new ideas it is sought to convey. The main difficulty consists in the fact that among a large circle of readers (which I know you wish for me) the degrees of musical cultivation to which appeal may be made are necessarily very varied. It would be impossible, on this account, to treat the subject in the purely technical manner which would be the shortest and most convenient were musicians only addressed; neither can every separate point be treated from its very beginning, without a presupposition of some knowledge and comprehension on the part of the reader. There only remains then, as it seems to me, such a consideration of musical form from varied points of view, and proceeding in varied directions, yet always with reference to some particular case, as shall bring into play the reader's special musical experiences and assist him to a true understanding of the subject. If he should be struck with only one particular point and should feel it become a reality for LIFE OF MOZART. him, he will henceforward have a clue to the mastery of the rest. To this end I hope that my historical survey of the development of musical forms, and my general observations concerning the laws of the art, may tend. And here I must remark that I have had no intention of providing the technical musician with a theoretical analysis of separate works, but that my characterisation has been limited by the position of its object in the whole representation. I leave you to judge, my dear friend, how far, under these difficult circumstances, I have succeeded in expressing myself clearly and forcibly; I can only affirm with confidence that all that I have said has been realised and experienced by myself.
The sympathy and assistance of my honoured friend Hauptmann has been a source of great gratification to me during the publication of my book. I do not desire to impose upon him any share of responsibility in it, by thanking him for the care with which he has overlooked the author as well as the compositor; but you will understand how I have been encouraged and refreshed during my labours by continual proofs of his friendly sympathy, and how sorely I miss my pleasant personal intercourse with him.
The hour is late, my dear friend, later than it was our wont to separate after our musical revels, which, in the opinion of your amiable wife, often lasted far too long.
Farewell, and accept my book with the same cordial sympathy and indulgence which I have hitherto found so invaluable.
OTTO JAHN.
Bonn, November 30, 1855.
INTRODUCTION TO THE SECOND EDITION.
MY DEAR FRIEND,—I can scarcely describe to you the depression of spirits with which I laid aside my pen at the close of my foregoing letter to you. When I looked at the thick volume before me, which had grown so wonderfully under my hands, and reflected that several others were to follow, I felt a misgiving amounting to certainty that my work was ill-planned, badly executed, or altogether out of place. I should not have believed any one who had prophesied the result that was actually to follow. The gradual conviction that I had been mistaken, that the book was a success beyond anything I had dared to expect, the many proofs I received of acknowledgment and sympathy, were my best encouragement to apply my whole energies to the completion of my arduous task.
