The Pupil Is Far From The Master In This
As In Other Points.
Nevertheless I think I have made a better use
of the last three years than of the preceding ones;
For one thing
I have gone through a rather severe work of revision, and have
remodeled entirely several of my old works (amongst others the
Studies which are dedicated to you, and of which I will send you
a copy of the definitive edition in a few weeks, and the "Album
d'un Voyageur," which will reappear very considerably corrected,
increased, and transformed under the title of "Annees de
Pelerinage, Suite de Compositions pour le Piano-Suisse et
Italie"): for another thing I have been continuing writing in
proportion as ideas came to me, and I fancy I have arrived at
last at that point where the style is adequate to the thought.
Unfortunately my outside occupations absorb much of my time. The
orchestra and opera of Weymar were greatly in need of reform and
of stirring up. The remarkable and extraordinary works to which
our theater owes its new renown - "Tannhauser," "Lohengrin,"
"Benvenuto Cellini" - required numerous rehearsals, which I could
not give into the hands of anybody else. The day before yesterday
a very pretty work, in an elegant and simple melodic style, was
given for the first time - "Der lustige Rath," [The Merry
Councillor (or counsel)] by Mr. de Vesque, which met with
complete success. Carl Haslinger, who had arrived for the first
performance of "Cellini," was also present at this, and can tell
you about it. In the interval between these two works, on Sunday
last, he had his Cantata-Symphony "Napoleon" performed, and
conducted it himself (as a rather severe indisposition has
obliged me to keep my room for several days).
In the course of the month of June my mother, who proposes to pay
a visit to her sister at Gratz, will have the privilege of going
to see you, dear master, and of renewing to you, in my name and
her own, our expressions of sincere gratitude to you for the
numerous kindnesses you have shown me. Believe me that the
remembrance of them is as lively as it is constant in my heart.
I owe you still further thanks for the trouble you have taken to
make Mr. de Hardegg study Schubert's Fantasia, scored by me, and
I beg you to give him my best compliments. It is perhaps to be
regretted that this work, which contains many fine details,
should have been played for the first time in the Salle de
Redoute, so "redoutable" and ungrateful a room for the piano in
general; in a less vast space, such as the salle of the Musik-
Verein, the virtuoso and the work would assuredly have been heard
more to advantage, and if I did not fear to appear indiscreet I
should ask Mr. de Hardegg to play it a second time, in a concert
room of moderate size.
I have inquired several times as to the talent and the career of
Mr. de Hardegg, in whom I naturally feel an interest from the
fact of the interest you take in him.
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