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: -
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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]
take up the second part of the motive of the Adagio (B major): -
[a score appears here]The pianoforte figure which follows
[a score appears here]
is no other than the reproduction of the motive which was given
in the Adagio by flute and clarinet,
[a score appears here]
just as the concluding passage is a Variante [various reading]
and working up in the major of the motive of the Scherzo,
[a score appears here]
until finally the first motive
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on the dominant pedal B flat, with a shake accompaniment,
[a score appears here]
comes in and concludes the whole.
The Scherzo in E flat minor, from the point where the triangle
begins, I employed for the effect of contrast.
[a score appears here] As regards the triangle I do not deny that
it may give offence, especially if struck too strong and not
precisely. A preconceived disinclination and objection to
instruments of percussion prevails, somewhat justified by the
frequent misuse of them. And few conductors are circumspect
enough to bring out the rhythmic element in them, without the raw
addition of a coarse noisiness, in works in which they are
deliberately employed according to the intention of the composer.
The dynamic and rhythmic spicing and enhancement, which are
effected by the instruments of percussion, would in more cases be
much more effectually produced by the careful trying and
proportioning of insertions and additions of that kind.
