(To London)
Vienna, Feb., 1880.
DEAR H.:
Your letter reaches me just as I am happening to be at home for a few days; a very rare occurrence this winter, worse luck!
Post festum my best congratulations upon the success of your concert, (Henschel’s footnote. On December 2, 1879, I had conducted at St. James’ Hall the first performance in England of Brahms’ Triumphlied for double chorus and orchestra, Op. 55.) which indeed must have been splendid.
The question in your letter received today is somewhat obscure, indistinct; I hardly know what to answer: “If the indications by figures of the tempi in my Requiem should be strictly adhered to?” (Henschel’s footnote. This question I had submitted to Brahms at the request of Mr. Otto Goldschmidt, then conductor of the Bach Choir, who at that time was preparing a performance of Brahms’ German Requiem.)
Well- just as with all other music. I think here as well as with all other music the metronome is of no value. As far at least as my experience goes, everybody has, sooner or later, withdrawn his metronome marks. Those which can be found in my works – good friends have talked me into putting them there, for I myself have never believed that my blood and a mechanical instrument go well together. The so-called “elastic” tempo is moreover not a new invention. “Con discrezione” should be added to that as to many other things.
Is this an answer? I know no better one; but what I do know is that I indicate (without figures) my tempi, modestly, to be sure, but with the greatest care and clearness.
Remember me kindly to Mr. Goldschmidt, and tell him, please, that there is only one thing in the coming performance I dislike thinking of, and that is, that No. 5 (Henschel’s footnote. The beautiful soprano solo, “Ye now are sorrowful.”) will not be sung by his wife. (Henschel’s footnote. Jenny Lind.) I do wish I could have heard that once from her!
In haste and with kindest greeting,
Yours,
Notes
Theory of Music 