Berlin, July 18th, 1838. ... The whole condition of music here is connected with the sand, with the situation, and with official life, so that though you may have great satisfaction in individuals, it is not easy to be on terms of intimacy with any one. Gluck’s operas are indeed most charming. Is it not remarkable that they always attract a full house, and that the public applaud, and are amused, and shout? And that this should be the only place in the world where such a thing seems possible? And that on the next evening the “Postillon” should draw an equally crowded house? And that in Bavaria it is forbidden to have music in any church, either Catholic or Protestant, because it is supposed to desecrate them? And that chorales seem to have become indispensable in the theatre? The chief thing, however, is to have novelty, and plenty of good and fine compositions in the world; thence it is that I am so eagerly expecting your overture and your opera. You probably heard that I was at Cologne during the Musical Festival: all went off well. The organ had a fine effect with Handel, and still more so with Sebastian Bach (in a newly-discovered composition of his, which you have not yet seen, with a stately double chorus); but even there, to my mind at least, new and untried works were wanting to excite interest; I should like |