Given That I,
Deceived By My Many-Sided Experiences (Which Really Cannot Be
Estimated As Very Slight, Since I Have
Lived and worked through
the periods - so important for music - of Beethoven, Schubert,
Mendelssohn, as well as Rossini and Meyerbeer)
, Led astray by my
seven years' unceasing labour, have hit upon the wrong road
altogether, would it be the place of my intimate friend, in the
face of the opposition which is set up against me because I bring
something new, to blush, hide himself in a corner, and deny me?
You did otherwise and better in this, dearest Eduard, and your
conduct with Castelli was, as ever, perfectly right. My few
friends may take a good example from you, for they assuredly need
not let themselves be frightened by the concert which the bullies
and boobies raise against my things. I have, as usual, thought
over your musical remarks and reflections. The fourth movement of
the Concerto, [No. I, in E flat major.] from the Allegro
marziale,
[a score appears here]
corresponds with the second movement, Adagio: -
[a score appears here]
It is only an urgent recapitulation of the earlier subject-matter
with quickened, livelier rhythm, and contains no new motive, as
will be clear to you by a glance through the score. This kind of
binding together and rounding off a whole piece at its close is
somewhat my own, but it is quite maintained and justified from
the standpoint of musical form.
The trombones and basses
[a score appears here]
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