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Early Letters of George William Curtis, a non-fiction book by George William Curtis |
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Early Letters To John S. Dwight - Chapter 5 |
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_ Early Letters To John S. Dwight Chapter V Saturday night, November 25, '43. Why do I love music enough to be only a lover, and cannot offer it a life-devoted service? Yet the lover serves in his sort, and if I may not minister to it, it cannot fail to dignify and ennoble my life. I am just from hearing Ole Bull, who this evening made his first appearance in America. How shall I fitly speak to you of him, how can I now, while the new vision of beauty that he caused to sweep by still lingers? Yet itself shall inspire me. The presence of so noble a man allures to light whatever nobility lies in us. He came forward to a house crowded in every part with the calm simplicity of Genius. There was no grimace, no graces, but a fine grace that adorned his presence and assured one that nothing could disappoint--that the simplicity of the man was the seal and crown of his genius. A fair-haired, robust, finely formed man, the full bloom of health shining on his face, he appeared as the master of the great instrument, as the successor, in point of time, of the world-famous Paganini. Yet was one confident that here was no imitator, but a pupil who had sat thoughtfully at the master's feet and felt that beneath the depth of his expression there was yet a lower depth, who knew himself consecrated by a will grander than his will to the service of an art so divine and so loved. In him there was that sure prophecy of latent power which surrounds genius, and assures us that the thing done is an echo only and shadow of the possible performance. The playing followed this simple, majestic appearance. It was full of music, irregular, wild, yearning, trembling. His violin lay upon his arm tenderly as a living thing; and such rich, mellow, silver, shining tones followed his motion that one seemed to catch echoes of that eternal melody whereof music itself is but the shadow and presentment. The adagios reminded me of Beethoven, not as they were imitated, but as all the great ones, in their appearing, summon all the rest. The mechanical execution was faultless. I detected no thick note. It was smooth as the sea of summer, embosoming only deep cloud-shadows and the full sunlight, but no lesser thing. Then he came, and he withdrew; and my heart followed him. Do not be alarmed if the critics call him cold, and speak of him disparagingly when others are mentioned. The noble and heroes serve divine powers, and at last win men. Men of talent and application love their instrument as it introduces the world to them; men of genius as it interprets to them and to the world the mystery of music. Genius men must reverence, and they are not apt to do it boisterously. Is not the influence of fine character, which is only genius for virtue, like the brooding of God over chaos? Which is chaos only to the blind, but teems with generous, melodious laws to the spiritually discerned. Creation is the opening of eyes, not the fabrication of objects. "Let there be light" is the creative fiat, spoken by every God-filled soul. Yet how sure is this power of Genius. The world henceforth gives to Ole Bull the full and generous satisfaction of his needs. It cannot fail to esteem God's messengers when they come, if they be true and collected. Talent wins the same subsistence; earnest, unfailing, unshrinking endeavor wins it anywhere; but what does Talent and Trial do but imitate the action of the result of Genius! How sublime the revelations it makes in this art! While the rest have risen and culminated and paused, this seeks a zenith ever loftier and diviner. That deep nature, that central beauty, which all art strives to reveal, floats to us in these fine harmonies, to me more subtly and surely than elsewhere. But in this region, where my thought bears me, they are all united. This soft, silent face of Urania, which looks upon me sleeplessly and untired, is not its wonderful influence woven of that same essence that has ravished me tonight in the tones of the violin? In the coolness of thought, do not the masters of song, of painting, of sculpture meet in eternal congress, for in each is the appearance of equal skill? Raphael could have sung as Shakespeare, and Milton have hewn these massy forms as Angelo. Yet a divine economy rules these upper spiritual regions, as sure and steadfast as the order of the stars. Raphael must paint and Homer sing, yet the same soul gilds the picture and sweetens the song. So Venus and Mars shine yellow and red, but the same central fire is the light of each. In the capacity of doing all things well lies the willingness to serve one duty. The Jack of all trades is sure to be good at none, for who is good at all is Jack of one only. It seemed a bitter thing to me, formerly, that painters must only paint and sculptors carve; but I see now the wisdom. In one thing well done lies the secret of doing all. Music, painting, are labels that designate the form of action; the soul of it lies below. The earnest merchant and the earnest anti-tradesman do join hands and work together. Not ends are demanded of them, but vital strength and soul. The world does not need that I name my work, but that the work be accomplished. The midnight warns me to pause. The stillness accords with the intercourse of friendship, as the silence of space with the calm, speechless recognition of the planets. Thoughts of all friends circle round me like gentle breezes from the black wing of the night. Friends are equal and noble always to friends. Lovers only know the depths and the heights of lovers. Love prophesies only a surer, diviner friendship, crowned with the dignity and composure of God. I shall re-enter the world through the white gate of dreams, yet more quiet and resolved that I have heard this man, more tender, more tolerant. He has touched strings of that harp whose vibrations never cease, but affirm the infiniteness of our being and its present habitation in Eternity. Your friend, G.W.C. Wednesday. Sunday P.M. I passed with Fred. Rakemann. He was very glad to see me, and I him. His fine face lighted with enthusiasm as we spoke of music, of Germany and its poets. He played magnificently, among others "Adelaide," translated for the piano by Liszt, a beautiful andante of Chopin, some of Henselt, etc., until it was quite twilight. Then I went away. He promised to come and see me, nor shall I fail to see him as often as I think he will endure, though his days are so busy with teaching that I do not hope to find him except on Sundays. To-night Ole Bull plays the second time. I shall go to hear him. The Frenchmen are cliqued against him, for Vieuxtemps has arrived, and they mean to maintain his superiority. He has no announcement as yet. My letter I will not close until to-morrow, and say a final word about Ole Bull. Wednesday night. I have heard him again, and the impression he made on Saturday is only deepened. He played an adagio of Mozart's. It was simple and severely chaste. His beautiful simplicity is just the character to apprehend the delicate touches of the Master, which he drew to us, without any ornament or addition. It was as if Mozart had been in spirit in the instrument, and given us, with all the freshness of creation, the music that can never lose its bloom. Scharfenberg was in the box with us, Fred. Rakemann in the next box. I saw Castellan in a private box, and Isaac H. The evening was glorious. Had you only been there! Yet you will see him in Boston. Do not fail to write me how he impresses you--that is, particularly. I cannot misapprehend his power so much as not to feel that it will seem to you very grand. Observe his manner towards the orchestra, how Olympian, how supreme, yet with all the gentle grace and tenderness of power! Good-night. May you ever hear sweet music! _ |
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