He Intended To Work Up The
Six Pictures Of Kaulbach's Which Are There, In A Similar
Symphonic Manner, Probably For Theatrical Performance In Weimar.
Dingelstedt Appears Also To Have Planned An After-Poem In Verses.
Kaulbach's Letter To His Friend Is As Follows:
"Your original and
spirited idea - the musical and poetic form of the historical
pictures in the Berlin Museum - has taken hold of me completely.
I
much wish to hear yours and Dingelstedt's ideas of this
performance. The representation of these powerful subjects in
poetical, musical, and artistic form must constitute a harmonious
work, rounded off into one complete whole. It will resound and
shine through all lands!! - I shall therefore hasten to Weimar, as
soon as my work here will let me free. - With the warmest regards
to the Princess, that truly inspired friend of Art, and to her
charming daughter, from myself and my wife, I remain, in
unchangeable respect and friendship, Your faithful, W.
Kaulbach."]
Dear Madam,
I have been encouraged to send you what indeed truly belongs to
you, but what, alas! I must send in so shabby a dress that I must
beg from you all the indulgence that you have so often kindly
shown me. At the same time with these lines you will receive the
manuscript of the two-pianoforte arrangement of my Symphonic Poem
"Die Hunnenschlacht" (written for a large orchestra and completed
by the end of last February), and I beg you, dear madam, to do me
the favor to accept this work as a token of my great reverence
and most devoted friendship towards the Master of masters.
Perhaps there may be an opportunity later on, in Munich or
Weymar, in which I can have the work performed before you with
full orchestra, and can give a voice to the meteoric and solar
light which I have borrowed from the painting, and which at the
Finale I have formed into one whole by the gradual working up of
the Catholic chorale "Crux fidelis," and the meteoric sparks
blended therewith.
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