Have A Little Patience,
Therefore, In Reading This Letter, Which I Have Not Time To Make
Shorter.
After the buzz and hubbub called forth by my article in the Paris
Gazette Musicale on Thalberg (the meaning
Of which, be it said in
passing, has been quite distorted), which was re-echoed in German
papers and salons, Maurice Schlesinger, the then proprietor of
the Gazette Musicale, took the opportunity of asking me to insert
in his paper a very eulogistic article on anything new that came
out in the world of Art. For months Schlesinger sent me with this
object all sorts of novelties, among which, however, I could not
find anything that seemed to me deserving of praise, until at
last, when I was at the Lake of Como, Schumann's "Impromptu" in C
major (properly variations), the "Etudes symphoniques," and the
"Concert sans orchestre" [Concerto without orchestra] (published
later, in the second edition, under the more suitable title
Sonata in F minor) came into my hands. In playing these pieces
through, I felt at once what musical mettle was in them; and,
without having previously heard anything of Schumann, without
knowing how or where he lived (for I had not at that time been to
Germany, and he had no name in France and Italy), I wrote the
critique which was published in the Gazette Musicale towards the
end of 1837, and which became known to Schumann.
Soon afterwards, when I was giving my first concerts in Vienna
(April to May 1838), he wrote to me and sent me a manuscript
entitled "Gruss an Franz Liszt in Deutschland" ["Greeting to
Franz Liszt in Germany"]. I forget at this moment under what
title it was afterwards published; the opening bars are as
follows:
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