Though the symphony is worth looking at because it shows how far
Wagner had then got, the general interest in it has for thirty years
been its history. It has led to a deal of unnecessarily acrimonious
and barren dispute. Wagner's disagreeable diatribes aimed subsequently
at the Jews were, and are, in part attributed to Mendelssohn's
behaviour regarding it. It was sent to Mendelssohn; and that
industrious gentleman never referred to the subject. Wherefore we are
asked two things--to contemn the Jew and accept the symphony as a
manifestation of tremendous genius. Possibly Mendelssohn never clapped
eyes on the symphony. Had he done so, one would have expected him to
pay Wagner a superficial, insincere compliment about the score, and
imply that something might be done, etc. We have Richard's written
word for it that Mendelssohn never referred to Wagner's work. All the
same, what I believe may have been the case, and what Wagner most
certainly would not have believed to be the case, is that Mendelssohn
saw it, and saw nothing in it, and put it on one side, and totally
forgot it. The symphony was lost for long years; but some one
discovered the parts somewhere, and a score was made, and at the very
end of his life Wagner directed a private performance of it. He
dismissed it with a humorously disparaging remark, and we need have
heard no more about it, had not sundry gentlemen who refuse to accept
any Wagner save the inspired prophet of their own imaginings insisted
on having it performed in public.
I have, I say, heard it fairly often and beg to testify that it is a
miracle of dullness. The themes are not good of their sort, the sort
being, as he said, the sort that are useful for contrapuntal working.
That working is coldly mechanical, and is not distinguished either by
lightness or by sureness of touch. A dozen of Mendelssohn's pupils
could have done as well or better. In the andante their is neither
grace nor feeling: the music does not flow spontaneously, but is got
along by a clockwork tick-tick rhythm. The best stuff is in the
finale. Here we find at least sturdiness if not much character.
Public-domain text, read in full here on John Shaqi.
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