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There was plenty of such entertainment in winter, and we had our part in much of it. Rellstab, the well-known editor of Voss's journal, made a clever collection of such jokes in his Christmas Wanderings. We could read, and whatever was offered by that literary St. Nicholas and highly respected musical critic for cultivated Berlin our mother was quite willing we should enjoy.
Chopin had shown this composition to a master the latter would, it is to be hoped, have torn it and thrown it at his feet, which we hereby do symbolically." Criticism had its amenities in 1833. In a later number of "The Iris," in which a caustic notice appeared of the studies, op. 10, Rellstab printed a letter, signed Chopin, the authenticity of which is extremely doubtful.
He was constantly changing his lodgings, and always spent the summer in the country, where he did his best work. "In the winter," he once remarked to Rellstab, "I do but little; I only write out and score what I have composed in the summer. But that takes a long time. When I get into the country I am fit for anything."
Rellstab remarked in 1833 of the Trois Nocturnes, Op. 9, that Chopin, without borrowing directly from Field, copied the latter's melody and manner of accompaniment. There is some truth in this; only the word "copy" is not the correct one. The younger received from the elder artist the first impulse to write in this form, and naturally adopted also something of his manner.
Its harmonies are closer and there is sorrow abroad. The incessant circling around one idea, as if obsessed by fixed grief, is used here for the first, but not for the last time, by the composer. Opus 7 drew attention to Chopin. It was the set that brought down the thunders of Rellstab, who wrote: "If Mr.
There was plenty of such entertainment in winter, and we had our part in much of it. Rellstab, the well-known editor of Voss's journal, made a clever collection of such jokes in his Christmas Wanderings. We could read, and whatever was offered by that literary St. Nicholas and highly respected musical critic for cultivated Berlin our mother was quite willing we should enjoy.
On the other hand, he did not betray to me any signs of remembering that strange offering. In the midst of the lavish comforts of his home he struck me as cold, yet it was not so much that he repelled me as that I recoiled from him. I also paid a visit to Rellstab, to whom I had a letter of introduction from his trusty publisher, my brother-in-law Brockhaus.
The people of Berlin, he added, wait to hear what Rellstab and his mates have to say, and then they know how to behave. The good fellow was anxious to cheer me up, and ordered one wine after another. Heine hunted up his reminiscences of our merry Rienzi times in Dresden, until at last the pair conducted me, staggering along in an addled condition, to my hotel. It was already midnight.
Imaginative pictures in words, interspersed with sentiments, characterize the writings of Bettina and many other romancists, while they show little power in the construction of plots and the development of character. The historical novelists of the early part of this century, as Van der Velde, Spindler, Rellstab, Storch, and Rau, have been succeeded by Koenig, Heller, and several others.
Does the Professor know nothing of Beethoven's application in 1807 to the Theater- Direktion of the imperial playhouses, to be employed as regular operatic composer? of the opera "Romulus?" of his correspondence with Koerner, Rellstab, and still others? It appears not. We must close our article somewhere; it is already, perhaps, too long; we add, therefore, but a general remark or two.
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