nia
fru*- tefefJU*
. ^/f
LIFE
FELIX MENDELSSOHN BARTHOLDY.
tlje (ierntau of Wi.
WITH SUPPLEMENTARY SKETCHES
BY
JULIUS BENEDICT, HENRY F. CHORLEY, LUDWIG RELLSTAB,
BAYARD TAYLOR, R. 8. WILLIS, AXD J. 8. DWIGHT.
EDITED AND TRANSLATED
BY WILLIAM LEONHARD GAGE.
NEW YORK & PHILADELPHIA :
FREDERICK LEYPOLDT.
BOSTON: s. B. DRBINO; NICHOLS & NOYES.
1865.
Entered, according to Act of Congress, in the year 1865, by
FREDERICK LEYPOLDT,
In the Clerk's Office of the District Court of the United States for
Eastern District of Pennsylvania.
ALVORD, PBINTBB.
JOHN S. D W I G H T,
(THOSE ENTHUSIASTIC ADMIRATION FIRST MADE THE LETTERS Of
MENDELSSOHN ACCESSIBLE TO AMERICAN READERS, AMD
WHOSE TASTES ARE SO FULLY IN HARMONY WITH
THE PURITY OP MENDELSSOHN'S
GENIUS AND LIFE,
&f)is translation is Betoicateto,
A8 A BLIGHT EXPRESSION OF THANKS FOR JUDICIOUS COUNSEL
AND TIMELY ENCOURAGEMENT.
2033753
EDITOR'S PREFACE.
THE time predicted by one who wrote the sen-
tence years ago seems to have come, "when
every line and every word from Mendelssohn's
pen would be treasured by the world." Most
great composers make their appeal for recognition
to a comparatively small circle of admirers, and
are rarely quoted beyond the domain of their art.
It is so with Mendelssohn neither in Germany,
in England, nor in America. Chorley little knew
what a weighty sentence he was inditing, when he
penned the words, " There may come a day yet,
when the example of Mendelssohn's life, yet more
than of his works, may be invoked in Germany."
In England there was always a passionate adora-
tion of him as a man ; the fascinating presence,
the stories of his remarkable culture, his unselfish-
ness, his moral purity, his entirely religious and
Christian character, awakening an interest in
every thing pertaining to him, which found hardly
an exaggerated expression in the pages of
ii EDITOR'S PREFACE.
" Charles Auchester," and which has not ceased
yet. And within a few years the people of cul-
ture in America have begun to take as deep an
interest in Mendelssohn as those of Germany and
England : hardly any books have found more
enthusiastic readers among us than Mendelssohn's
Letters. That wonderful romance, the most
wholesome gift by far of Miss Sheppard to the
world, " Charles Auchester," has found thou-
sands of admirers, who have been charmed by its
pages. It was the fashion years ago to fling at
that book as rhapsodical ; but this biography will
convince the reader, if the Letters of Mendelssohn
have not already done so, that that work, with all
its splendid coloring, and all its seeming exagge-
rations, scarcely overrated the glory, the beauty,
the capacity, and the compass of Mendelssohn's
life. A completer transcript of the spirit of
Mendelssohn could hardly have been made. His
wonderful reach of memory was certainly not
over-estimated in the scene where he directs the
" Messiah " from his memory of the score : that
would have been a light task for Mendelssohn.
The death of his sister Fanny, narrated in this
biography, is closely adhered to in the romance :
the characters of Zelter, Joachim the violinist,
Jenny Lind, and Sterndale Bennett, are finely
painted in Aronach, Charles Auchester, Julia
Bennett, and Starwood Burney. But it were
EDITOR'S PREFACE. iii
needless to speak more at length : enough to say,
that, the more we know of Mendelssohn, the more
clearly we see how closely Miss Sheppard adhered
to the facts and coloring of his life in her fascinat-
ing portrait. It is no descent from the Seraphael
of " Charles Auchester " to the writer of Men-
delssohn's Letters. The plane is the same, though
the true Mendelssohn is a shade more joyous and
less pensive than the counterfeit. But we trace
the same exquisite purity in both ; the same un-
sordid spirit ; the same unwillingness to write,
except under the stress of a great inspiration ; the
same freedom from envy ; the same recoil from all
immorality ; the same abhorrence of French and
Italian sensuality ; the same devotion to what is
good, noble, and, in the strictest use of speech,
Christ-like.
Not long after the death of Mendelssohn, Lam-
padius, a friend of his, a musical amateur, and
evidently a man of nice tastes and of high-toned
character, wrote a biography of the great com-
poser, which has been made the basis of all the
smaller sketches of his life, but which now appears
in a literal translation from the German for the
first time. It may be said of it, that it is not the
best biography of Mendelssohn that could be
written, but it is the best and indeed the only one
that has been written, or is likely to be for some
time. Doubtless, the time will come when this
iv EDITOR'S PREFACE.
brief work will be superseded by one more ex-
haustive : till then, it remains without a rival. It
has, too, some qualities of striking and sterling
character ; it was written with all the loving ardor
which followed Mendelssohn's sudden death ; it is
a bouquet of fresh flowers laid on his grave. It
portrays his career as Director at Leipzig, cer-
tainly the best part of his life, with minuteness
and fidelity ; and in its whole delineation, while it
shows unmistakable marks of the warmth of
friendship, it yet displays colors vivid, glowing,
and delightful. I have preserved all his details ;
and the record will hardly be judged by musical
readers to be too full : for it is a great advantage
to know what were just the programmes selected
by so consummate a judge as Mendelssohn for
performance at those Leipzig Concerts which
made that city, while he lived, the musical capital
of Europe.
Acting as editor as well as translator, I have
sought to bring together all available materials in
English, French, and German, which could illus-
trate Mendelssohn's character and career, and thus
render the work of Lampadius even more complete
than its author left it. Very much, however, of
what has been written, Neumann's sketch in
"Die neuen Componisten," and "Julie de Marguer-
ette's," for instance, are only Lampadius repro-
duced in briefer compass. Still, this search has
EDITORS PREFACE. V
not been inadequately rewarded ; and in the mod-
est and admirable account, by Julius Benedict, of
Mendelssohn in England ; in the free, sparkling,
and valuable chapters from Chorley's "Modern
Music ; " in Rellstab's, Bayard Taylor's, and Rich-
ard Storrs Willis's glimpses of Mendelssohn ; in
the descriptive analysis of his oratorio "Elijah"
by Mr. Dwight, the reader will find much that
will throw light on the subject of this biography
as a man and an artist.
Preparing this work as a recreation amid
severer studies, I part with it not as freed from
a heavy burden, but as turning back from a holi-
day's pastime to labor. Brief and fragmentary
as it is as a biography, it cannot fail to do good
if it shall bring any of our American people to
know and love the pure spirit of Mendelssohn.
WILLIAM LEONHARD GAGE.
CONTENTS.
CHAPTER I.
PAGE
Mendelssohn's Parentage and Birth. Precocious Talents.
Studies with Zelter. Zelter's Letters to Goethe regarding
Mendelssohn. He is taken to Paris by his Father to see
Cherubini. Compliments from Goethe.: Mendelssohn visits
England. He visits Goethe. Goethe's Influence on the
Musician's whole Career. He becomes Moscheles' Pupil.
"Midsummer Night's Dream" Overture. He studies at
Berlin University. Preparations to travel 13
H.
Mendelssohn visits England. Concerts in London with Sontag.
First Public Performance ever given of the " Midsummer
Night's Dream" Overture. He visits Scotland and the He-
brides. He returns to Germany, visits Munich, and then
sets his Steps towards Italy. His Sojourn in Italy, and its
Fruits. He visits Paris ; thence goes to London ; afterwards,
Home to Berlin
LTI.
Mendelssohn applies for the Directorship of the Sing-Acad-
emie in Berlin. Is disappointed. Assumes Charge of the
Dusseldorf Musical Festival. A new Epoch in his Life.
Success in Dusseldorf. Flying Trip to London, and
[vii]
ii CONTENTS.
f
Concerts there. The Diisseldorf Festival. He is chosen
Municipal Music Director. Friendship with Immennann.
Their united labors. Estrangement. Cologne Musical
Festival. Efforts to secure Mendelssohn at Leipzig. ...
IV.
Mendelssohn becomes the Director of the Gewandhaus Concerts
at Leipzig. His Strict Training of the Orchestra. His
Efforts to educate a Refined Taste for Classical Music.
His First Appearance with the Baton. The Concerts under
his Direction. Ferdinand David comes to Leipzig .... 42
V.
Mendelssohn finishes his " St. Paul." Its First Performance.
Changes in the Work. He directs a Festival at Frankfort.
Enjoyment in that City. Meets his Future Wife. Trib-
ute to her Memory. Sea-bathing. Returns to his place at
Leipzig. Concerts there. Mendelssohn as a Director.
Pleasant Surprise at one of the Concerts. William Stern-
dale Bennett visits Leipzig. "St. Paul" sung there.
Brilliant Effect of the Work. Analysis of "St. Paul." . 47
VI.
Mendelssohn's Marriage. New Works. He directs the " St.
Paul " at Birmingham, England. Leipzig Concerts. Clara
Novello. A Brilliant Winter. Composition of the Forty-
second Psalm. Analysis of the Music. New Music. The
Historical Concerts instituted by him. He directs the Co-
logne Festival. Repetition of " St Paul " at Leipzig. . . 61
vn.
The Leipzig Concerts. Mrs. Alfred Shaw. A memorable
Musical Winter. Mendelssohn conducts the Spring Fes-
tival at Diisseldorf. The Next Winter's Concerts. The
Hundred and Fourteenth Psalm : its Musical Effects.
New Instrumental Music 71
CONTENTS. be
vm.
PAGS
The " Hymn of Praise." Its Occasion, History, First Perform-
ance, Musical Character, and Remarkable Success 79
IX.
Efforts to erect a Monument to Bach. Concerts given by
Mendelssohn to raise Money for this Object. "Hymn of
Praise" in England. Mendelssohn's Visit to Queen Vic-
toria. He returns to Leipzig. He is specially honored by
the King of Saxony. New Musical Activity. The Leip-
zig Concerts. He plays with Clara Schumann. Directs
Bach's " Passion Music." Careful Training of his Singers.
Mendelssohn is made Doctor of Philosophy. The King of
Saxony offers him his Kapellmeistership. The King
of Prussia, Frederick William IV., does the same. The
Post accepted. Composition of the Music for the " Anti-
gone" of Sophocles. Representation of the Tragedy in
the Royal Palace. Episode at Leipzig. Appearance
of the Great Symphony in A Minor. The "Antigone"
at Leipzig. Visit to Dusseldorf. New Honors from the
King of Prussia. Journey to Lausanne. His Stay at
Frankfort Architectural Improvements at Leipzig.
Varied Activity. Founding of the Leipzig Conservato-
rium of Music. Loss of his Mother 101
XL
Opening of the Leipzig Conservatorium. Productive Activity.
" First Walpurgis Night." Leipzig Concerts. Active
Interest in the Conservatorium. " Midsummer Night's
Dream" at Leipzig 120
x CONTENTS.
XLL
PAGE
Life at Berlin. Unacceptable Changes. Mendelssohn's Ex-
traordinary Activity. Participates in London Concerts.
Directs the Palatinate Musical Festival. The King of
Prussia releases him from his Engagement. " (Edipus in
Colonos." Robert Schumann's "B-flat Symphony."
Jenny Lind in Leipzig. . . ." . . 133
xm.
The "Elijah." Conducts the Music Festivals at Aix-la-
Chapelle, Liege, and Cologne. Goes to England to
direct the First Performance of "Elijah" at Birmingham.
Brilliant Success of the Oratorio. Instance of Mendels-
sohn's Facilitj- in Composition. Declining Health. His
Sister Fanny's Death. Its Effect upon him. He seeks
Alleviation in Renewed Activity. Retires to Switzerland.
Begins the Oratorio of " Christ," and the Opera " Lo-
reley." Sickness and Sudden Death 143
XIV.
General Grief over his Loss. Imposing Obsequies. His Re-
mains are carried to Berlin. Honors all along the Way.
The Berlin Solemnities. Honors paid to his Mem-
ory in Foreign Lands as well as throughout Germany.
Depth of Sorrow at Leipzig, and its Manifestation. . . 154
XV.
Sketch of Mendelssohn's Personal Appearance. His Christian
Character. His Kindness, Geniality, and Courtesy. His
Restless Activity. His Cordiality to other Great Artists.
Liszt's Visit to Leipzig, and his Reception by Mendels-
sohn. Hector Berlioz at Leipzig. Spohr's Visit. . . . 162
XVI.
Wonderful Union of the Highest Gifts in Mendelssohn. His
Power as a Conductor. Incidents. His Skill as a Vir-
tuoso. His Greatness as a Composer. Conclusion. . . 172
CONTENTS. xi
APPENDIX.
PAGB
JULIUS BENEDICT'S SKETCH OF THE CAREER OP MEN-
DELSSOHN. 183
FIVE SKETCHES BY HENRY F. CHORLEY:
I. Mendelssohn as the Director of a North German Mu-
sical Festival 196
II. Mendelssohn's Sister and Mother 210
III. Mendelssohn's Invitation to Berlin 213
IV. Mendelssohn as a Composer 215
V. The Last Days of Mendelssohn 225
RELLSTAB'S ACCOUNT OF MENDELSSOHN'S VISIT, WHILE A
BOY, TO GOETHK 238
RECOLLECTIONS OF MENDELSSOHN, BY BAYARD TAYLOR . 245
MENDELSSOHN'S "ELIJAH," BY JOHN S. DWIGHT .... 254
LIFE OF MENDELSSOHN.
CHAPTER I.
Mendelssohn's Parentage and Birth. Precocious Talents. Studies with
Zelter. Zelter's Letters to Goethe regarding Mendelssohn. He is taken
to Paris by his Father to see Chenibini. Compliments from Goethe.
Mendelssohn visits England. He visits Goethe. Goethe's Influence on
the Musician's whole Career. He becomes Moscheles' Pupil. " Midsum-
mer Night's Dream" Overture. He studies at Berlin University. Pre-
parations to travel.
TT~THEN a citizen dies whose life has been devoted
* " to the common weal, his city mourns his loss with
a general grief; when a ruler who has been devoted to all
the duties of his office goes to his grave, his countrymen
lament over his death : but, when a king in the domain
of genius is withdrawn from the sphere of his labors,
thousands upon thousands of hearts which beat with
love for what is good and true are filled with sorrow,
thousands upon thousands of eyes are filled with tears.
Such sorrow is that which laments the premature death
of FELIX MENDELSSOHN BARTHOLDY, who, had he
lived, would now (1864) be but at the age when most
men are in the very prime of their years. For in him
departed the last classic spirit of Germany's great epoch
14 LIFE OF MENDELSSOHN.
of culture. But as Providence blessed him in life, giv-
ing him no harder battle to fight than that which came
from the constantly unsatisfied aspirations struggling
within his own breast ; even so, in his death, the gain is
with him, and not with us. Not because he took his
departure after having attained the highest summit of
his fame, (for who is bold enough to insist, that, if he
had lived, he would have produced something greater
than he ever did ?) but because he, though a classic, is
honored at a time when Germany has ceased to honor
its greatest spirits as it ought ; when a Beethoven, a
Mozart, a Schiller, have to wait, and as yet in vain, for
one to rise, and show the world the wealth of their
genius and the course of their lives.
Felix Mendelssohn Bartholdy, son of Abraham Men-
delssohn, a well-known banker, and himself a man of
very refined tastes, and grandson of Moses Mendelssohn,
the eminent philosopher, first saw the light in Ham-
burg the 3d of February, 1809. The house in which he
was born was the large one, still standing, just back of
St. Michael's Church ; and in the same house, by a hap-
py coincidence, his warm friend and fellow-artist, Ferdi-
nand David, was born just a year later. He was the
second of four children, Fanny, the oldest ; then Felix,
Paul, and Rebecca. His mother, born a Bartholdy, was
a very gifted woman, and watched over the progress of
ihe boy with devoted love, which was requited by the
LIFE OF MENDELSSOHN. 15
utmost affection. The father, too, was always regarded
with great tenderness by Felix. When the child was
three or four years old, the family removed to Berlin.
Under the favoring star which held him back, from his
birth; from all contact with what was common and vul-
gar, his wonderful talents opened and ripened early.
Even in his eighth year, he played the piano with
remarkable facility ; and at the same early age he dis-
closed that remarkable power of criticism, that lynx-eye
as Zelter termed it, which enabled him to detect six
consecutive fifths in a piece of Sebastian Bach, which
escaped the keen eye of Zelter himself; and also that
almost miraculous fineness of ear, which in the most
powerful orchestra, or in an immense chorus, detected
the least error of a single instrument or of a voice.
He showed, too, an uncommon productivity for his years.
Zelter, the veteran in musical science, and Ludwig Ber-
ger, the master in musical art, were his first teachers
in composition and in piano-forte playing. Zelter called
Mendelssohn his best scholar, even at the age of twelve ;
and his letters to Goethe are evidences of his warm
interest in the lad, although that interest was often
disguised by a rough address, which doubtless did some
injury to the gentle spirit of young Felix. The best
fruit of this correspondence was the intimate relation in
which after this he always stood to Goethe. This near-
ness, and ease of approach, to a nature so grand and rich
16 LIFE OF MENDELSSOHN.
as Goethe's, was a very great advantage to Mendelssohn,
and tended to encourage all that was large, generous,
and noble in him, and to repress all that was small, con-
tracted, and sickly. It would be a great treat* to the
reading-world to be permitted to look into the corre-
spondence of Goethe and Mendelssohn : for the present,
it is enough to glean from Zelter's and Goethe's letters
the progress of this always-increasing intimacy. Zel-
ter speaks of Felix in expressions like these : " He plays
the clavichord like a young devil ; " or, " Felix is always
the first." And, in the autumn of 1821, he writes to
Goethe regarding a visit which he was about to make
him : " I want my Doris and my best scholar to look
upon your face before I die." In November of that
year, he brought together his aged friend and his loved
pupil. Afterward Goethe wrote to Zelter, in his cool,
measured way, " Say a good word to Felix too, and
his parents. Since he went away, my piano has been
dumb : an effort to waken it again would, I am afraid,
be useless after that." But this casual interest was
destined to be yet deepened. Zelter wrote more fully
regarding his boy's wonderful talents and great indus-
try, and Goethe's friendship grew warmer towards him.
On the 8th of February, 1824, Zelter wrote, "Yester-
day evening, Felix's fourth opera was brought out here
in a little circle of us, with the dialogue. There are
* Happily granted now (1864).
LIFE OF MENDELSSOHN. 17
three acts, which, with the two ballets, occupied about
two hours and a half. The work was received with
much applause. I can hardly master my own wonder
how the boy, who is only about fifteen, has made such
progress. Everywhere you find what is new, beautiful,
and peculiar, wholly peculiar. 'Tis massive, as if
from an experienced hand; the orchestra interesting,
not oppressive, not wearisome, not mere accompani-
ment The performers like to play it ; yet it is not very
easy. What is known comes and goes, not as if taken
for granted, but as if welcome, and just in its appropriate
place, life, joy without impatient haste, tenderness,
grace, love, passion, innocence. The overture is a won-
derful thing. You seem to see a painter rubbing a
dingy color with brush and finger on the canvas, till at
last a finished group emerges. You are amazed : you
look to see how it came about, and only see that it must
be so because it is true."
In this rather rough and disjointed yet expressive
style, Zelter shows the gradual emerging of some central
theme, around which a group of musical fancies arrange
themselves ; just as is the case, for example, in the
overture, "The Hebrides." "Certainly," Zelter goes
on to say, " I speak as a grandfather who pardons his
boy. I know what I say, and I have said nothing that I
cannot prove. First the multitude applauded ; then the
orchestra-people and the singers : and that is the way
2
18 LIFE OF MENDELSSOHN.
by which you can tell whether a piece is received
warmly or coldly; whether the applause is real and
generous, or only affected. This is a thing for you to
notice. When the performer enters with his soul into
what lies before him, and testifies that the composer has
suited him, that is true applause ; that tells the whole."
How this wise word of Zelter's was confirmed after-
wards ! How enthusiastically the singers and players
of Leipzig, for example, attended the rehearsals of
" St. Paul " and the " Hymn of Praise" at a later day !
How unwearied the orchestra was in overcoming all the
technical difficulties which the' overture and the music
of the " Midsummer Night's Dream " presented ! No
one realized how, by pleasantry and earnestness, by
appropriate praise and rightly directed blame, by his
quiet glance and undemonstrative yet effective manner,
he was able to help the performers over all the hard
The following year (1825), Mendelssohn's father took
him to Paris to introduce him to Cherubini, and to
inquire of that distinguished musician, with a modesty
creditable to both father and son, whether Felix had
such a decided musical talent as would justify his de-
voting himself exclusively to that department of art.*
Cherubini's answer was, of course, in the affirmative.
* Mendelssohn supported the great violinist Baillot, at this time,
in his quartet in B minor.
LIFE OF MENDELSSOHN. 19
On their return, they both visited Goethe. The latter
wrote to Zelter, under date May 21, 1825: "Felix
produced his new quartet to the amazement of every
one. This personal dedication to me, through the ear,
has pleased me very much." In June, he sent to the
young Mendelssohn what Zelter called " a pretty love-
letter." Mendelssohn reciprocated the compliment by
sending to Goethe the next year a carefully elaborated
copy of Terence's " Andria." In a letter written Oct.
11, 1826, Goethe bade Zelter thank Felix for "this
very skilful specimen of earnest aesthetic studies : his
work will be a lasting fund of entertainment to the
Weimar scholars these long winter evenings." In April, <
1829, Mendelssohn went to England at Moscheles' invi-
tation ; and, while riding out in a gig with a friend, he
was unfortunately thrown out, and severely injured in
the knee. After Goethe had heard of this from Zelter,
he wrote with the most anxious interest : " I wish also
to learn whether good news has come about our excel-
lent Felix. I take the greatest interest in him ; for it
is painful in the extreme to see one, of whom so much is
expected, put in peril by such an occurrence. Tell me
something cheering about him."
But the gifted young composer received his real
dedication to art, during a fortnight's visit to Goethe,
just before his journey to Italy. "What a sweet foretaste
of the pleasures he was about to enjoy, what a delight-
20 LIFE OF MENDELSSOHN.
ful promise of what was in store, did the young Men-
delssohn receive from him who sang the song of the
" Land wo die Citronen bliihn " ! How much satisfac-
tion Goethe derived from that visit, we learn from his
letter to Zelter, under date of June 3 : " Just now, this
early summer morning, under a beautiful sky, Felix
has taken his departure with Ottilie (Madame von
Goethe), Ulrike (Fraulein Poggwisch), and the chil-
dren (among them Walter von Goethe, the present
composer), after spending a fortnight with us, delighting
us with his art, and leaving with us the memory of
delightful hours. His visit will indeed be a cherished
thing. To me his presence was especially valuable,
as I found my relations to music still unchanged. I
listened with satisfaction and delight. The historical
development of music, as Felix portrayed it, was parti-
cularly interesting ; for who can understand a thing who
does not penetrate it far enough to know its history?
The chief excellence in Felix is, that he not only
thoroughly understands the history of musical science,
but his rare memory brings to him the best pieces
of each era, and enables him to play at will what best
illustrates the development of music. From Bach
down, he has called Haydn, Mozart, and Gluck back to
life. Of the great moderns he has given examples
enough; and, lastly, he has played his own pieces in
such a way as to make me both feel and remember
LIFE OF MENDELSSOHN. 21
them. He has gone from here with my heartiest bless-
ings. Remember me very cordially to his parents."
After this time, up to Goethe's death, the two remained
in constant correspondence ; and Goethe always ex-
pressed his admiration of his "cheerful, affectionate,
most interesting letters," as well as took the most active
interest in his progress. On the 4th of January, 1831,
he writes to Zelter : " Felix, whose welfare and happy
stay in Rome you announce to me, must be always
taken the best care of: such extraordinary talents
joined to such an amiable nature!" On the 31st of
March, he writes : " First of all, I must tell you that I
have just received a very full and affectionate letter
from Felix, which gives me an excellent picture of his
life. There is now no reason to fear that he will go
through fire and water, only to come out at barbarism
at last." How truly this prophecy was fulfilled ! With
what energy Mendelssohn has persevered in all the
decay of art, and amid the rank growth that covers
the glorious old ruins, keeping close only to what was
classic, and in no one of his creations catering to the
depraved taste of the times !
I speak more fully regarding this connection between
Mendelssohn and Goethe than I should, had not this
important step in his progress been overlooked by
most who have lately written about him. He may be
regarded as the last gift of that great period in which
22 LIFE OF MENDELSSOHN.
Germany's men of genius tempered their gifts in the
furnace of a glorious antiquity ; and to show Mendels-
sohn just his place, and leave upon him an impress so
strong that it could never be lost, this connection with
Goethe was needed, who united so finely a Greek nature
and culture with a genuine German spirit. But, in
order to appreciate this connection and its influence,
we must review the events in the life of the young
artist. I will therefore run through the story of the
development of his genius, beginning at the point where
we left the lad under the care of Zelter and Ludwig
Berger.
Ludwig Berger had planted the young tree : Zelter
had tilled the ground around it, and had been a kind of
stormy wind to it, shaking it roughly, but only to cause
it to sink its roots deeper and stronger. There was
wanting, however, even yet, the skilful gardener, com-
bining thoroughness with grace, who should protect
it from the frost, and bring its first-fruits to perfec-
tion. He was found, in 1824, in Moscheles, an artist of
the highest order, whose efforts to bring out the genius
of Mendelssohn were crowned with a success which the
gifted pupil was the first to ascribe to its right source.
I will extract a passage from Moscheles' journal made
at that time, which he has kindly permitted ma to use,
and which will clearly show the relation he then bore to
Mendelssohn. " In the autumn of 1824, I gave my first
LIFE OF MENDELSSOHN. 23
concerts in Berlin. I was acquainted with the Men-
delssohn Family, and was soon on terms of intimacy
with them. In the course of my daily visits at their
house, I became familiar with the musical powers of
young Felix, and was much interested in his charm-
ing character. His youthful efforts were, to my mind,
a sufficient guaranty of the eminence which he was
destined to attain. His parents often urged me to
give him instruction on the piano ; and although his
former instructor, Ludwig Berger, consented to this ar-
rangement willingly, yet I hesitated about putting this
powerful genius under a leading influence which might
have the injurious effect of conflicting with the direction
which lu's own original nature might suggest to him.
Yet, at their repeated requests, I did give him lessons.
He even then could play any thing that I could, and
grasped the slightest hint with lightning-like rapidity.
My ' E-flat Major Concerto ' he played almost at first
sight ; and my ' Senate melancholique ' he rendered
very finely." Other passages indicate very pleasantly
the intensely musical life of the Mendelssohn household.
On the 14th of November, Moscheles was there: it
was the celebration of the birthday of his oldest sister,
Fanny. A symphony by Mendelssohn was given. He
himself played Mozart's " C-minor Concerto ; " and,
with his sister, a duo-concerto in E major, composed
by himself. Zelter and many members of the Royal
24 LIFE OF MENDELSSOHN.
Chapel were present. On the 28th of the same month,
there was another musical entertainment at the same
place, Mendelssohn's father's house. A symphony
in D major by the young artist was given. He played
his piano-quartet in C minor ; and his sister Fanny,
a concerto by Sebastian Bach. On the oth of Decem-
ber, Mozart's " Requiem " was given. Mendelssohn
accompanied on the piano. On the 12th of Decem-
ber, at a similar concert, Felix played his "F-minor
Quartet ; " and Moscheles gave for the first time his
piece, afterwards so famous, " Homage to Handel."
Soon after this, if I mistake not, Moscheles went to
England.
The 19th of November, 1826, was a memorable
epoch in Mendelssohn's career ; for then he played, for
the first time, his overture to the " Midsummer Night's
Dream," his first work which bore the distinct marks
of genius, and which gave him at once a name in the
musical world. He first played it with his sister Fanny,
as a duet for the piano.
This is enough to indicate the strong musical direc-
tion of his father's household, and to show that Men-
delssohn himself furnished the most valuable material,
and yet constantly nourished his own genius at the
same feast which was so delightful to others. So far as
Moscheles' influence on him is concerned, we shall
hardly mistake, I suppose, if we set it down as certain,
LIFE OF MENDELSSOHN. 25
that he confined himself to merely giving him a strong
impulse, and hints as to execution ; and yet it is certain
that to those hints may be largely ascribed that ele-
gance and roundness, which, with other prominent
excellences, were always observable in Mendelssohn's
piano-playing, down to the last. Yet Moscheles soon
exchanged the relation of teacher for that of friend,
a bond which was always rich in usefulness and real
joy to Mendelssohn. It was Moscheles who first intro-
duced him to the great world, by persuading him to
come to London ; for it can hardly be denied that the
reputation of Mendelssohn first became appreciable in
Germany after his return from England. In the place
of his youth, in Berlin, his talents did not gain prompt
recognition. During all the denial of his genius by
this city, Moscheles kept up his courage ; and, for this,
Mendelssohn remained grateful to the end of his life.
There was no lack of letters between them ; and from
one of Mendelssohn's I make a brief extract. It seems
to have been written about 1839. " You still keep up
your encouraging words, and show your good-will ; and,
so long as you do,, all the dii minorum gentium may
make faces as much as they will." All through Men-
delssohn's life, he was proud to call himself Moscheles'
scholar.
Felix's body and mind were assiduously cared for by
his excellent father ; ti-ained harmoniously, and not sac-
26 LIFE OF MENDELSSOHN.
rificed to the love of music alone. We see him, in his
seventeenth year, devoting himself to gymnastics, rid-
ing, and swimming. Having an excellent classical pre-
paration, in 1827 he entered the University of Berlin,
and gave himself earnestly to the cultivation of those
sciences which accorded with his own chosen profession.
Among other professors, he listened to Hegel, who set
great value on music (as Zelter himself tells us) ; and
soon knew how to reproduce all his peculiarities in a
very pleasant and nai've way. The abstract nature of
Hegel, his dragging every thing practical, every thing
that lay before him, into his system, and his dry, ab-
sent way, were a great source of merriment to Felix.
About this time, he went to Stettin to help bring out
there his newest works. On the llth of March, he
directed Bach's " Passion," which he had practised with
Zelter : for a director of twenty, certainly an amazing
feat.
As early as 1827, Mendelssohn's father had written
to Moscheles, in London, to inquire whether he would
advise Felix to travel. It is probable that he favored
the plan ; yet the father preferred to postpone his son's
departure till the completion of his studies at the uni-
versity. It was the spring of 1829, when the moment
arrived for the young man to try his pinions in flight
out into the great world. Before we follow him, let us
glance at his productive activity thus far. Mendelssohn
LIFE OF MENDELSSOHN. 27
had composed up to this time, so far as I can learn,
three quartets, in C minor, F minor, and B minor,
for piano, violin, viola, and violoncello ; two sonatas,
one for the piano-forte and violin (F minor), the other
for the piano-forte alone (B-flat major) ; a symphony in
C minor, and another in D major ; a symphony over-
ture ; various operettas, among them, the one now
printed, " Camacho's Wedding ; " two sets of songs,
twelve in each set ; and the two great overtures, to
the " Midsummer Night's Dream," and " A Calm at Sea
(Meeresstille) and Prosperous Voyage ; " which last
he seems to have written soon after the " Midsummer
Night's Dream" was finished. If he really composed
that overture before viewing the sea, it was as great an
effort of the imagination as the picture of Alpine sce-
nery in Schiller's " William Tell." It were not possible
for the depressing calm, the joy over the first puffs of air,
the sailing of the ship into port, to be better painted
by music. Besides these, he composed a capriccio, and
some smaller piano pieces, and the octet. But this is
enough to show that the young artist displayed a won-
derfully precocious genius, and justified the fond hopes
which were cherished of his future.
28 LIFE OF MENDELSSOHN.
CHAPTER II.
Mendelssohn Tisits England. Concerts in London with Sontag. First pub-
lic Performance ever given of the u Midsummer Night's Dream " Overture.
He visits Scotland and the Hebrides. He returns to Germany, visits
Munich, and then sets his Steps towards Italy. His Sojourn in Italy, and
its Fruits. He visits Paris ; thence goes to London ; afterwards, Home to
Berlin.
the 26th of March, 18^9, Mendelssohn informei
Moscheles of his bringing out Bach's " Passion
Music," and announced his speedy departure. On the
20th of April, he arrived at London. Moscheles had
made the directors of the Philharmonic Society ac-
quainted with his extraordinary talents, and prepai'ed
every thing for his favorable reception. Mendelssohn
brought his old teacher, in manuscript, a sacred cantata
on a choral in A minor, a motet for sixteen voices, and
his first stringed quartet in A minor. At the Phil-
harmonic Concert, his overture to the " Midsummer
Night's Dream " was given publicly for the first time,
and pleased very much. At a concert given by Hen-
rietta Sontag, his concerto in E major for two pianos, and
his Midsummer overture, were given with the most
LIFE OF MENDELSSOHN. 29
enthusiastic applause. The journey to Scotland, which
he took for his pleasure, suggested to him the over-
ture, " Fingal's Cave " or " The Hebrides." He wrote
this probably after his return to Berlin the same
year, ^t is said that this was the manner in which
the overture, " The Hebrides," took its rise : Men-
delssohn's sisters asked him to tell them something
about the Hebrides. " It cannot be told, only played,"
he said. No sooner spoken than he seated himself at
the piano, and played the theme which afterwards grew
into the overture.
In May, 1830, he continued his travels. At Weimar,
as has been already said, he tarried a couple of weeks
with Goethe, and thence went to Munich. Here he
heard for the first time the eminent pianist, Delphine
von Schauroth ; who seems to have inspired Mendelssohn
with even more than artistic interest. It is said that
the beautiful "Travel Song" from Opus 19, "Bring the
Heart's Truest Greeting," which he composed at Rome, is
to be ascribed to that interest. He journeyed through
Italy in company with several painters, Hildebrand,
Sohn, Hiibner, Bendemann, and others ; and arrived at
Rome the 1st of November, where he tarried till April,
1831, and thence went to Naples. In Rome, he com-
posed the music to Goethe's "First Walpurgis Night;"
as if he wanted to free himself, by its bracing vigor,
from the untoning influence of the South. It would be
30 LIFE OF MENDELSSOHN.
interesting to know more about Mendelssohn's stay in
Italy*
He wished much to visit Sicily ; but did not, in conse-
quence of his father's wish. On his return from Italy,
he visited Switzerland; and in February, 1832, we find
him in Paris, where he gave in public his overture to
the "Midsummer Night's Dream." It was the third,
and^ so far as I know, the last time that he visited Paris.
The French nature did not please him. After overcom-
ing an attack of cholera in Paris, he went to London.
Here he added to the list of his influential friends Kling-
emann, who was then attached to the Hanoverian em-
bassy, and who wrote the verses to a number of songs
by him. This time he could show Moscheles the manu-
scripts of three new pieces of the highest value, the
music of the " Walpurgis Night," -the overture, " Fin-
gal's Cave," and the " G-minor Concerto ;" that masterly
composition for the piano-forte and orchestra, which will
always remain as a fine type of the blended grace, imagi-
nation, and fire in Mendelssohn's genius. On the 14th of
May, the overture, " Fingal's Cave," was given for the
first time at the Philharmonic Concert in London. On
the 28th of May, Mendelssohn himself played his " G-
minor Concerto " for the first time. The 1st of June, he
played, with Moscheles, Mozart's duo-concerto, and di-
* This -want has been richly supplied in Mendelssohn's Letters
from Italy and Switzerland. Philadelphia: F. Leypoldt.
LIFE OF MENDELSSOHN. 31
reeled the " Midsummer Night's Dream " overture. On
the 10th of June, lie played fugue music on the organ
in St. Paul's Church, to the amazement of all the
listeners. He also took part in other entertainments, to
all of which I hardly need refer ; and, on the 23d of
June, he turned his steps towards Berlin.
32 LIFE OF MENDELSSOHN.
CHAPTER III.
Mendelssohn applies for the Directorship of the Sing-Academie in Berlin. Is
disappointed. Assumes Charge of the Ddsseldorf Musical Festival. A
new Epoch in his Life. Success in Diisseldorf. Flying Trip to London,
and Concerts there. The Diisseldorf Festival. He is chosen Municipal
Music Director. Friendship with Immermann. Their united Labors.
Estrangement. Cologne Musical Festival. Efforts to secure Mendelssohn
at Leipzig.
rriHE directorship of the Berlin Sing-Academie was
-*- now vacant ; and, at the urgent solicitation of his
friends, Mendelssohn applied for the place, as he now
wished for some stated field of labor. He was not elect-
ed, however : the choice fell on Rungenhagen.* By a
series of concerts, whose proceeds were to be applied
to benevolent purposes, Mendelssohn tried to educate
the musical taste of the city. In a round of miscella-
neous duties, and without any definite occupation, he
labored on for some time, till, in the spring of 1833,
he was invited to assume the direction of the annual
Musical Festival at Dusseldorf.
With his visit to Dusseldorf begins a new epoch in
the life of Mendelssohn. The first stage in his career
* The opposition seems to have been headed by the more elderly
ladies of the Sing-Academie, though the failure of " Camacho's Wed-
ding" seems to have left a lasting prejudice against Mendelssohn.
LIFE OF MENDELSSOHN. 33
was his boyhood in his father's house ; the second was
the time devoted to travel ; and this, to which we now
come, was the third, the one which was to put his
genius, power, and learning to the test.
He entered upon his course with a conqueror's tread ;
gaining an assured success so far as he went, yet in
such a way and against such opposition as showed him
that he must contend for every inch of his progress.
Even among musicians, he found hostile spirits who
stood in his path. Yet it was a glorious piece of good
fortune that his first invitation carried him to Diissel-
dorf; for here he rejoined that company of painters
with whom he had made the tour of Italy. That whole
circle (William Schadow, the sculptor, being the central
figure) gave him a most cordial welcome, and not only
then, but to the end of his life, remained attached to
him in bonds of almost fraternal affection.
But, before we accompany Mendelssohn to this new
field of labor, we must follow him to London ; and al-
though the direction of the Musical Festival at Diissel-
dorf falls between a first and second visit to London in
1833, we must enter a little into detail about his recep-
tion at that great metropolis. He arrived in London on
the 25th of April ; and, in conjunction with Moscheles,
he composed in two days the four-handed variations on
the Gypsy March from " Preciosa," which the two artists
played at Moscheles' concert on the Jst of May. This
34 LIFE OF MENDELSSOHN.
union of labor went so far, that they sometimes impro-
vised at the same piano, in four-handed playing; de-
manding a most intimate understanding of each other's
thoughts and feelings in the working-out of the theme.
On the 13th of May, at the Philharmonic Concert, the
symphony in A major, by Mendelssohn, was given ; on
the 15th, the variations from "Preciosa;" after which
Mendelssohn left London for Diisseldorf. On the 8th of
June, however, he returned to London in company with
his father. On the 10th of June, an overture in C
major, written by him, was given; probably the same
which had been played at Diisseldorf. For a number
of weeks, the father was confined to his room by lame-
ness. While Felix tended him, he wrote for Moscheles
a four-handed arrangement of his septet. During
these weeks of confinement, he also played to Moscheles,
from manuscript, his overture to " Melusina." It grew
out of a picture which he had probably seen at Diissel-
dorf, where Melusina appears hovering on the top of a
tower.* Moscheles produced it at the Philharmonic
Concert of April 7, 1834 ; where, however, it did not
meet with a hearty recognition. Given again in one of
Moscheles' own concerts, in conjunction with a rondo by
Mendelssohn in E-flat major (Op. 29), it was well re-
ceived. It would have gone better the first time, I
* Mendelssohn, in his " Letters," gives quite a different account
of it
LIFE OF MENDELSSOHN. 35
think, had it not been for the weight of the orchestra:
the delicate and unusual style demanded a more gentle
manner of instrumentation. A letter of Mendelssohn
to Moscheles now existing is very interesting, written
after he had received from the latter an account of the
first performance. He thanks him in the heartiest man-
ner, and expresses the highest gratification that the
overture pleased him. Mendelssohn needed a good
deal of approbation at this time to give him confidence
enough in himself, which was wanting as yet. He then
jokingly adds, that Moscheles' praise is better than
three orders of nobility ; and goes on to give some
excellent hints about the execution of the piece, about
the wind-instrumentation, for example, which he
wanted played pp ; but he is careful to say not ppp
(so strong was his objection to every thing forced and
unnatural). On the 25th of August, 1833, he left Lon-
don, and did not see it again for a long time.
We now turn back to Diisseldorf. At the great
Musical Festival there, which he directed, and which was
held about the last of May or first of June, the great
overture in C major, written, I think, in 1823 or 1824,
but never performed in Germany till then, was given to-
gether with " Israel in Egypt," the great " Leonora" over-
ture in C, the " Pastoral Symphony," Wolf's " Easter
Cantata," and Winter's " Power of Music." He him-
self played Von Weber's concert-piece. The festival,
36 LIFE OF MENDELSSOHN.
honored by the co-operation of the great soloist Madame
Decker, was characterized by so admirable a selection,
aud so excellent a performance, that there was a strong
wish to retain the director at Diisseldorf. For this
purpose, the city created the office of Municipal Musical
Director ; assigning him the care of the weekly meetings
of the Vocal Society, the care of the Winter Concerts,
and the direction of the music in the Catholic church.
The concerts seem not to have given all the satisfaction
which was hoped ; since in the whole time, from Novem-
ber, 1833, to May, 1834, only three were held. Yet no
blame can be attached to Mendelssohn, who selected very
fine programmes, and twice played the piano himself.
During this period, he was united by ties of the
closest intimacy to the poet Immermann. They had
known each other before. At Mendelssohn's request,
Immermann had written a libretto, in the spring of
1833, from Shakspeare's "Tempest," for Mendelssohn
to set to music ; but the latter had not found it availa-
ble. It was interesting ; in some passages, highly poetic ;
but not suitable for opera, as Immermann had a special
lack of lyrical talent. This rejection of the libretto
had, however, no effect on their friendly relations to each
other. These grew more close and intimate ; and Im-
mermann seems to have clung to Mendelssohn with the
most devoted attachment.
The close friendship of these two distinguished men.
LIFE OF MENDELSSOHN. 37
and the low estate to which the German theatre had
fallen, inspired the hope that they would effect an entire
reformation of the drama. Immermann, Mendelssohn,
and Uechtritz, an eminent friend of both, declared them-
selves ready to enter upon this much-needed work. In
the spring of 1834, the preliminary trials were made
to test the chances of success. Among them were given
" Don Juan" and the " Water-carrier," the first operas
which Mendelssohn publicly directed; also Goethe's
" Egrnont," with Beethoven's music. In the prepara-
tion of Calderon's "Steadfast Prince," Mendelssohn
composed the following music needed for its repre-
sentation, two choruses, a march, a battle-piece, and
the melodramatic part. This very interesting and
characteristic music has not been used since. These
preliminary efforts were so successful, that a company
was formed, a large capital raised, and a new and com-
modious theatre erected, at Diisseldorf. A directory
of eleven persons controlled the whole management.
Immermann and Mendelssohn were conjoined with
them, the one having the chief direction of the
drama ; the other, of the opera. As Mendelssohn
could not and would not devote himself wholly to this
enterprise, he invited to Diisseldorf a friend of his
youth, and one of his most skilful scholars, Julius
Rietz. They had been acquainted in Berlin ; were
of about the same age (Rietz a little the younger) ; and
38 LIFE OF MENDELSSOHN.
Mendelssohn had given him lessons on the piano. I
use the title of scholar of Mendelssohn, with regard to
Rietz, with no other significance than as denoting one
of the best living representatives of the Mendelssohn
school, of which there is needed no better specimen
than his noble " Festival Overture in A Major." On
the 28th of October, 1834, the theatre was opened with
the " Prince of Hamburg," and an excellent prologue
written by Immermann. At the close of the prologue,
Raphael's " Parnassus " was presented as a tableau vivant,
for which Mendelssohn had composed music.
Unhappily the theatre was a source of misunder-
standing between Immermann and Mendelssohn. They
both had the best, the noblest of intentions : they only
lacked the requisite theatrical experience. Mendels-
sohn gave offence by bringing from Berlin some young
and unripe performers. Immermann, on the other
hand, wanted to exalt the spoken drama at the expense
of the opera ; or, rather, he wanted no opera at all.
This gave rise to reproaches on both sides, an exchange
of sharp words, and, at last, to total estrangement. Men-
delssohn withdrew, after he had studied and twice di-
rected "Oberon,"_in the very first weeks of the first
season, and despite his own engagement ; and his rela-
tion to Immermann was never again one of friendship.
The theatre sustained itself with great difficulty till the
spring of 1837.
LIFE OF MENDELSSOHN. 39
But though his tie to a great poet was thus dissolved,
yet his relations to the painters of Diisseldorf grew
closer than ever. He himself cultivated in those years
his remarkable powers in drawing ; and under the
direction of Schirmer, the great landscape painter of
Diisseldorf, to whom he afterwards dedicated his CXIV.
Psalm, executed a very beautiful sketch in water-colors.
He exercised this gift in a very attractive manner in
adorning the albums of his friends. To Klingemann
in London, for instance, he sent an album containing
thirty drawings, illustrating Klingemann's own poems.
Prof. Moscheles also possesses a number of sketches
from his hand, pleasant reminiscences of their artist-life
together, with exquisite touches of humor where they
illustrate Moscheles as a musician.
Meantime, in the winter of 1834-5, the concerts, and
the weekly meetings of the Vocal-music Society, were
in their perfect bloom. There were seven concerts
given, at two of which the "Messiah" and Haydn's
"Seasons" were performed. But the great business of
Mendelssohn at Diisseldorf was the composition of " St.
Paul." Besides that great and enduring work of genius,
he wrote the three piano capriccios (Op. 33); a number of
songs without words ; among others, those of the second
set, and the three Heine songs in the first set of his
four-part songs (Op. 41). In all sorts of musical
delights, he was not wanting; and Mendelssohn was
40 LIFE OF MENDELSSOHN.
not at all chary in playing for the entertainment of his
friends.
In the spring of 1835, he was invited to take the
direction of the Cologne Musical Festival ; which he did.
There were given : " Festival Overture," by Beethoven,
in C ; Handel's " Solomon," with new organ part by Men-
delssohn; Beethoven's " Eighth Symphony;" Milton's
" Morning Song," with Reichardt's music ; "Overture to
Euryanthe," and a " Religious March and Hymn " by
Cherubini. The gratification of the Cologne musical
public was complete. In token of their appreciation,
the committee presented him with the London edition
of Handel's Works, and their thanks beautifully written
on parchment, together with the signatures of the six
hundred performers whom he had directed.
Meantime, Mendelssohn's reputation had reached
Leipzig, and there was a strong wish to secure his ser-
vices in that city. Some of the most eminent fellows
of the university had cherished the hope of accomplish-
ing the object by founding a professorship of music
for Mendelssohn, whose thorough mastery of musical
science was known to them. He was questioned regard-
ing this. He wrote back, politely thanking them for
the honor, but declining to read lectures, for which, as
we all learned afterwards, he had no talent. Meantime,
the wish to secure him had grown into a determination ;
and the very hand which wrote to him about a profes-
LIFE OF MENDELSSOHN. 41
sorship was instrumental in procuring for him the
direction of the Leipzig Gewandhaus concerts. This post
he accepted. According to his Diisseldorf contract, ho
could be released from his engagement there at the end
of two years. He obtained this release ; and after giv-
ing, on the 2d of July, 1835, a very choice concert,
in which he played his piano capriccio in B minor,
he left Diisseldorf, to the great grief of a large circle of
friends.
42 LIFE OF MENDELSSOHN.
CHAPTER IV.
Mendelssohn becomes the Director of the Gewandhaus Concerts at Leipzig.
His strict Training of the Orchestra. His Efforts to educate a refined Taste
for Classical Music. His first Appearance with the Baton. The Concerts
under his Direction. Ferdinand David conies to Leipzig.
his coming to Leipzig (which was his home
from September, 1835, to 1844, and from 1845
to the end of his life), begins the fourth period of his
career, an epoch full of the richest, most varied, most
untiring activity for himself, and one of such splendor
in the musical life of Leipzig as can hardly be expected
to come again. He directed the Gewandhaus concerts
personally from 1835 to 1841 ; producing during this
time a great number of master-pieces of enduring excel-
lence, yet compelled to earn his way into public favor
step by step. He knew how to command the resources
of the place perfectly in orchestra, dilettanti, and chorus
singers ; to bear with them with the greatest patience ;
to stimulate them all into activity ; and thus to obtain
effects almost unequalled until then. For he did not
confine himself to the almost purely classical training
necessary for the Gewandhaus concerts, but improved
every opportunity to influence the public taste ; so that
LIFE OF MENDELSSOHN. 43
it may be truly said, that, in the practice of one art, he
developed an appreciation of all, and gave to the life of
the cultivated people of Leipzig a higher ideal by the
pure moral and truly aesthetic influence which he exer-
cised over them. He did this not only by an always
admirable selection of the music to be performed at the
concerts, but also by awakening, through his superb di-
rection of the orchestra, a taste on the part of the public
for the works of the later great masters ; as, for ex-
ample, the " Ninth Symphony " of Beethoven. He not
only cultivated a relish for the historical development
of music, but he summoned the mighty spirits of the
past to the help and delight of the present age, and
often combined the entire musical resources of Leipzig
in rendering some of their master-pieces. "We leave
this general sketch of his influence in that city, to enter
a little upon some of the details of his life there.
The 4th of October, 1835, was an eventful day for
the musical history of Leipzig ; for, on that day, Men-
delssohn assumed the direction of the Gewandhaus con-
certs. " On his appearance," we find in a record of
the concert, published in a musical journal, "the murmur
of applause which ran. through the crowded audience
testified to the welcome which Leipzig gave him. The
universal favorite, Mendelssohn's overture, ' A Calm at
Sea and a Happy Voyage,' (Meeresstille, <-c.) was given
as gently and gracefully as the public expected from a
44 LIFE OF MENDELSSOHN.
director so skilful at the opening of his course with us."
It may be interesting to many readers to know what other
pieces were also given on this occasion. There were a
scena and aria in E major by Weber, Spohr's " Violin
Concerto, No. 11," Introduction to Cherubini's "Ali
Baba ; " and, for the second part, Beethoven's " B-flat
Major Symphony," which was given with a precision till
then unknown in Leipzig. Mendelssohn had carefully
studied the piece, and directed it in person, an arrange-
ment new to us, but of eminent propriety. There had
been no lack of excellence in former days, when the con-
cert-master and the first violin had the direction of
Beethoven's symphonies ; yet of that nice shading, that
exact adaptation of each instrument, that perfect har-
mony of all instruments, attained under Mendelssohn's
direction, there had been no conception. The perform-
ance of the " B-flat Symphony " that ethereal, soul-
ful music was one of the master effects gained by
Mendelssohn as a director. Every new rendering threw
new light upon it ; so that the listeners were compelled
to say, " So perfectly performed we never heard it be-
fore." It was given the last time under his direction in
the winter of 1846-7.
On the 9th of October, Moscheles, who had come to
Leipzig (perhaps on Mendelssohn's invitation), gave a
concert, which was crowded, in which he played his
" Hommage a Haendel," and at which the overture,
LIFE OF MENDELSSOHN. 45
" The Hebrides " was given. At the second subscription
concert, Mozart's " E-flat Major Symphony " was played
more beautifully than ever at Leipzig before. At the
fourth subscription concert, Mendelssohn played his own
noble " G-minor Concerto." He was received at the
very outset with applause ; which strengthened, however,
with every movement, as the admiration increased at
the ease, elegance, and grace of his playing. Men-
delssohn's loyalty towards the great musical classics
appeared in a manner very grateful to the audience,
when, in the fifth concert, he brought out Haydn's
" Symphony, No. 4." The sixth concert was thoroughly
classic, Gluck's overture to " Iphigenia in Aulis ; " an
aria from Paer, with violin obligato ; chorus and first
finale from " Titus," and Beethoven's " Heroic Sym-
phony." This auspicious opening was sadly interrupted,
towards the end of November, by the death of Men-
delssohn's father. The son mourned deeply over his
loss, which was indeed a very severe one, as those who
now know the father through his letters to his son are
aware.
About this time, Mendelssohn renewed his intimacy
with a friend of his childhood, Ferdinand David,
afterwards so well known, not merely to the Leipzig
public, but to the musical world. Born in the same
house with Mendelssohn, he had early lost his parents ;
and had been taken under the guardianship of the elder
46 LIFE OF MENDELSSOHN.
Mendelssohn, and educated mainly in his family. The
talents of the two boys expanded side by side. David
had adopted the violin, and had early manifested won-
derful skill on that instrument. He first tried his for-
tune in Hamburg, his native city ; but soon turned back
to Berlin, and first found a recognition in the Royal
Theatre, where his playing won great regard. An in-
vitation from a gentleman of high position in Dorpat
drew him next to that place. After being separated
from each other many years, the friends met at the
family mansion in Berlin. It was a most happy inci-
dent for Mendelssohn to meet such a friend at such a
time. They joined their fortunes, and turned back to
Leipzig, to be associated till death sundered the bond.
David entered upon a brilliant career as a violinist
there, and always stood shoulder to shoulder with his
friend in the furtherance of all his plans.
LIFE OF MENDELSSOHN. 47
CHAPTER V.
Mendelssohn finishes his "St. Paul." Its first Performance. Changes in
the Work. He directs a Festival at Frankfort. Enjoyment in that City.
Meets his future Wife. Tribute to her Memory. Sea-bathing. Returns
to his Place at Leipzig. Concerts there. Mendelssohn as a Director.
Pleasant Surprise at one of the Concerts. William Sterndale Bennett
visits Leipzig. " St. Paul " sung there. Brilliant Effect of the Work.
Analysis of " St. Paul."
~1PV TIRING all this activity in Mendelssohn's external
-*-' life, his productive talent was no less eagerly-
engaged. His great oratorio of " St. Paul," begun in
Diisseldorf, was finished at Leipzig during the course of
this winter. The author seems to have been bound by
a promise to produce this work at a musical festival of
Lower-Rhine artists, to be held at Diisseldorf. At any
rate, the chorus-parts were engraved at Bonn by Sim-
rock, after the piece was completed, and sent to Diissel-
dorf. Under the direction of Julius Rietz, the rehearsals
were carried on with great enthusiasm; and when, on
the 8th of May, 1836, Mendelssohn arrived in person,
he found the work all ready for the public performance.
On Whitsunday, the 22d of May, occurred the introduc-
tion of the oratorio of "St. -Paul" to the world. The
solos were Madame Fischer- Achten, Miss Grabau (now
48 LIFE OF MENDELSSOHN.
Madame Biinau), Messieurs Schmetzer and Wersing,
the latter as St. Paul. As a curious fact, it may
be remarked, that the two false witnesses in the unim-
portant duet at the opening, "We have heard him
utter blasphemies," could not find their voices when
their turn came to sing. The success of the piece was
decidedly brilliant. Mendelssohn's sister, herself only
and hardly second to her brother in musical genius,
Fanny Hensel, whose tragic death her brother Felix
was soon called to deplore, and the younger brother,
Paul Mendelssohn, had come from Berlin to be present
at the first performance of " St. Paul." On the second
day of the festival, Beethoven's " Ninth Symphony," and
the first overture to " Leonora," then freshly produced,
Mozart's " Davidde Penitente," and a great psalm in E
flat, by Handel. On the third day, Mendelssohn played,
with Ferdinand David, the great " A-minor Sonata " of
Beethoven ; and as the music was not at hand, and this
piece had not been specially indicated for the occasion,
he played from memory. The Committee of Direction
signified their gratification at Mendelssohn's signal suc-
cess by presenting him with a magnificent copy of the
oratorio of " St. Paul," adorned with elegant drawings
of the leading scenes in the sacred drama, executed by
the first artists of Diisseldorf, Schrotter, Hiibner,
Steinbriick, Miicke ; to which one was added by Mendels-
sohn's brother-in-law, the court-painter Hensel.
LIFE OF MENDELSSOHN. 49
After the first representation of " St. Paul," Mendels-
sohn made so many and so great changes in the work,
that the great number of voices was unnecessary. Ten
pieces he left entirely out; and the first great aria
in B minor, he reduced to about a third of its original
length. On the other hand, he composed, some days
before the festival, the short soprano solo in F major, in
the second part ; not to speak of innumerable smaller
changes in the body of the work.
After this festival was past, Mendelssohn went to
Frankfort-on-the-Main, in order to direct at the public
celebration of the "Cecilia" (Cticilien-Vereiri) in the
place of his friend Schelble, who had been very ill, and
was trying the restorative effect of sea-bathing. This
society afforded great delight to Mendelssohn, in con-
sequence of its large number of fine voices, and the
secure mastery which it had acquired of the most diffi-
cult motets of Sebastian Bach. The city and suburbs
of Frankfort, which he had seen and known only as a
child, or when he flitted through it on his journeys,
pleased him exceedingly. He enjoyed himself so well
there, that he has left on record, in a sportive letter, that,
if he should stay much longer in Frankfort, he should
certainly become a devoted gardener. During his cheer-
ful occupations there, he discovered one blossom so fair,
that he took it to himself, to adorn the garden of his
whole future life. He was introduced by a friend to the
4
50 LIFE OF MENDELSSOHN.
Jeanrenaud Family, and there made the acquaintance
of the youngest daughter, Cecilia, who afterwards be-
came his wife. When the nuptial band united them,
there was no one who thought that it was so soon to be
sundered. She was worthy of such a husband ; and she
showed it not only through their whole married life, but
most of all by the heroic fortitude with which she bore
her loss.*
On the advice of his physician at Leipzig, Mendels-
sohn took a journey to Scheveningen, after his duties
at Frankfort were concluded, in order to enjoy a course
of sea-bathing. There he remained for some time ; and
with nerves much strengthened, and his general health
improved, he turned back, in the autumn of the same
year (1836), to renew his work at Leipzig. On the
2d of October, we see him re-instated in his old place
as director of the concerts at the Gewandhaus. He
opened them with that overture to " Leonora " which we
have just seen was brought out at the Dusseldorf Festi-
val ; which was soon repeated at an extra concert given
by Lipinski, with the finale from Cherubini's " Water-
carrier," " O God ! my eye deceives me not," and Beetho-
ven's "A-major Symphony." Besides this, Mademoiselle
Grabau sang an aria, with chorus, from Mercadante ;
and David played a new concertino of his own composi-
tion. A number of pieces, the chief of which was the
* She died in September, 1853.
LIFE OF MENDELSSOHN. 51
"A-major Symphony," were given with great applause.
At the second subscription concert, at repeated request,
Beethoven's " Heroic Symphony " was given. It was, as
we learn from an account written at the time, played in
the most faultless manner, in one spirit from the first
note to the last ; and this master-work of the greatest of
masters left nothing that could be wished. It was ap-
plauded at the end of every movement, and its delicious
tones echoed in the memory long after the piece was
ended. At the third concert, a symphony in B major
was brought out, one of the genial Haydn's ; and at
the fourth was played that royal second overture to
" Leonora" (with the flourish of trumpets), and so finely,
that not only was the applause unusually hearty and
sustained, but the whole piece had to be played from
first to last; an honor not often showed in that hall. In
these concerts there was sometimes given, as is now
often the case, a new symphony, carefully studied, by
some living composer. At the concert of which I write,
it was the " Sinfonia Appassionata " (so successful in
Vienna), by Franz Lachner.
Meanwhile, there was an admirable opportunity in
Leipzig to learn the marvellous power of Mendelssohn
as a leader, and to test at the same time the extent of
musical resources in that art-loving city. "Israel in
Egypt," that master-piece of Handel's, whose great
effects are in the chorus parts, was studied. Upon these
52 LIFE OF MENDELSSOHN.
choruses Mendelssohn began to work, having rehearsal
follow rehearsal with great rapidity ; and, as the singers
were promptness and loyalty itself, he soon wove the
most discordant elements into unity, and brought about
a very perfect result. He did a good service in other
respects ; for he wrote out in full notes Handel's figured
organ bass, which is not read with ease by organists
of our day. On Nov. 7, 1836, it was magnificently
brought out in St. Paul's Church, with a chorus of more
than two hundred and fifty voices, assisted by the organ
and a strong orchestra. The success of the oratorio
well repaid the patient care and skill of preparation.
The great interest in the work was manifested by the
immense audience which filled the spacious church.
Thus Leipzig celebrated its first great Musical Festival,
and with no common splendor.
Of the other musical performances and concerts of
this winter when Mendelssohn was the conductor, and
which were therefore directed with matchless skill, I
will refer to only one. It was the last concert of 1836,
and took place on the 12th of December. It was to
have been on Thursday ; but out of love to Mendelssohn,
and out of regard to his yearning after Frankfort, it
was given on the preceding Monday. After Mendels-
sohn had played, with rare skill, Beethoven's " E-flat
Major Concerto " for the first part, and closed in a storm
of applause, the second part opened with his own " A
LIFE OF MENDELSSOHN. 53
Calm at Sea, and a Happy Voyage ; " then followed
some solo performances, and then the happily chosen
finale of " Fidelio." The reader will remember that the
great chorus of " Fidelio " has the words,
"Whoe'er a lovely bride has won,
Let him now join our gladsome song."
Mendelssohn, being called to the piano by the repeated
applause which followed this chorus, seated himself, and
began to extemporize on the theme, working it up in
the most brilliant manner. It seemed like a great family
party, to which he had invited the guests to share in
his own private joy. Every one who had a heart re-
joiced with him. All knew what his errand to Frank-
fort was.
It is also worthy of remark, that, this same winter,
a friend of Mendelssohn, remarkable both for his per-
formances on the piano and also for his own composi-
tions, visited Germany, and awakened much enthusiasm
by his brilliant talents. William Sterndale Bennett
had come from England in order to study musical com-
position under Mendelssohn for a season. He displayed
the value of the instructions he received in a delight-
ful piano-forte concerto in C minor, and also in a very
attractive overture, written in Mendelssohn's manner,
but still pleasantly remembered. Later, we heard from
the young composer a second overture, " The Wood
Nymph," which was one of the most charming pictures
54 LIFE OF MENDELSSOHN.
of natural scenery ever presented, and captivated all
hearers. And, lastly, it may be remarked, that, at the
last subscription concert of this season, Beethoven's
grand " Ninth Symphony " was given, even more per-
fectly, if possible, than at its first performance.
And now had come the time when the tried and
proved musical resources of Leipzig could be fitly put to
a fine test of their reach and compass ; and that was on
the occasion of bringing out Mendelssohn's oratorio of
" St. Paul," now widely known, and in many countries.
The chorus began their rehearsals in February, 1837 ;
and every thing that the director's skill, zeal, and thor-
oughness could accomplish was done, and all that the
thorough co-operation of the singers could effect was
conjoined with even greater spirit and willingness than at
the representation of Handel's " Israel in Egypt." The
noble choruses and chorals, although accompanied mere-
ly by a wretched piano, wrought powerfully upon the
choir, and, despite the repeated necessary rehearsals,
raised public expectation to its height. Most impres-
sive of all were the choral, " Awake ! the Voice calls,"
whose imposing effect, with the trombone accompani-
ment, could only be conjectured when sung to the
piano ; the sublime chorus, " Arise ! the light breaks,
thy light comes ; " and the voice from heaven, in the
blended soprano and alto, " Saul, Saul, why persecutest
thou me?" But scarcely less effective and moving
LIFE OF MENDELSSOHN. 55
were all those passages which bear the stamp of a
Christian's joy, of pious self-renunciation, and untrou-
bled confidence : as, for example, that first chorus, which
rang out like a psean of victory, " Lord, thou art God,
who hast made heaven and earth;" that choral, full
of inward humility and the love of God, " To thee,
God! will I commit myself;" and those two precious,
sadly joyous choruses, " Behold, we count them happy
that endure," and " The Lord will wipe away all tears
from their eyes, for he hath spoken it;" the first of
which, with its swelling waves of sound and its won-
derful power, moved every heart to its depths. There
was not in the whole oratorio a single chorus which
we did not take delight in singing ; and Mendelssohn
understood, as hardly any other director has equally
done, how to make his singers sing with their whole
souls. This appeared in the perfect execution of the
pianos, only breathed out; the crescendos and diminuen-
dos, whose possibilities, significance, and effect he first
revealed to us.
After such thorough drill, not only in the choruses,
but in the solo and the orchestral parts, the public per-
formance of the work,. which took place on the 16th of
March, 1837, could not fail to be successful in the high-
est degree. It was a disappointment that the bass
soloist, who was to take the part of St. Paul, was
obliged to be absent in consequence of illness ; but the
56 LIFE OF MENDELSSOHN.
gentleman who took his place sustained the part well.
In the recitative, Mademoiselle Grabau was especially
excellent. I do not remember who the other soloists
were. The choir consisted of over three hundred voices,
with a correspondingly large orchestra. I must let
another speak for me regarding the general effect ; for I
was one of the performers on the occasion. The critic
of the " Musical Gazette " says, " Under the skilful lead-
ing of the composer, the great orchestra did its work
masterly ; and the choruses, already thoroughly studied
under Director Dr. Mendelssohn Bartholdy, were given
in noble style, so bright, powerful, full, round, and shaded
to every nicety of expression, that I never saw the
effect in so large a choir equalled. Whoever was
present at the representation of that brilliant work will
be compelled to confess, that the larger share of the
credit which the choir gained for itself is owing to
the matchless skill of the conductor and the power of the
piece itself. With simple justice has the management
of the subscription concerts offered its public thanks to
the honored leader, the soloists, the orchestra, its
conductor David, and the entire body of singers, for
their unwearied patience in preparation, and their bril-
liant performance on the night of representation."
To enter on a close and critical analysis of a work
which has made the circuit of the civilized world, and
has everywhere received recognition as a great work of
LIFE OF MENDELSSOHN. 57
art, is not in place here : it does not come within my
domain as Mendelssohn's biographer. Only some ex-
planatory remarks are suitable here. From a strictly
sesthetical point of view, the " St. Paul " may have many
defects. Unquestionably, the personal agency of Paul
at the martyrdom of Stephen is kept somewhat in the
background ; and the second part of the oratorio is
inferior to the first in dramatic interest. But the main
thought which runs through the whole work is too high
and broad to be linked by the tie of a personal interest
to any single man : it is the glorification of Christianity,
with its humility, its joy in living and dying for the
Lord, in contrast with the blind self-righteousness of
Judaism, and the mere sensuous morality of the Heathen
schools; it is the contrast, or rather the struggle, of
the last two with the former, and the victory of the
light and love of the gospel, the light eternal, the love
divine. This thought is made incarnate in the persons
of Stephen, Paul, and Barnabas ; and it is concentrated
at that point which is really the central point of inter-
est to the oratorio, the conversion of St. Paul. Men-
delssohn has been reproached because he represented
the voice of the Lord -by a choir of women's voices, or
angels perhaps : it would have been better, they say, if
simulated by a powerful blast on the trombone. But
that very golden mean between the sharp distinctness
of a man's voice and the inarticulate sound of a mere
58 LIFE OF MENDELSSOHN.
instrument seems to me a masterly conception of the
composer; for it transcends the common, the expected,
and becomes, to say the least, unique ; if not supernatu-
ral, yet not unreasonable. Nor does this objection hold
good in point of fact ; for no one who ever heard the
oratorio has failed to notice the striking effect of those
female voices on every hearer of susceptibility. Upon
whom has that sound not broken like the very voice of
the presence of God ? And how solemnly deep becomes
the impression at the massive chorus, " Arise ! the light
is breaking ! " which cleaves the darkness like a thunder-
bolt from heaven ! What an impressive warning to
change his ways in the statuesque choral which follows,
" Awake ! the voice doth call ! " and what a pjean of vic-
tory to come in that majestic passage, the trombone
accompanying every line, which declares the glory of
the ancient Zion, new glorified by the light of the later
dispensation ! How powerful the contrast in the cho-
ruses of the Christian, the Jewish, and the Pagan
faiths ! Compare only the chorus, " Behold, we count
them happy which endure," and " Oh the depth of the
riches of the wisdom and the knowledge of God ! " with
the chorus of Jews, " This man ceases not to utter blas-
phemy ; " and, " Here is the Lord's temple ! ye men
of Israel, help ; " and these again with the choruses,
" The gods have come to us in the likeness of men ; " and,
" Be gracious to us, ye gods," and you will not fail to
LIFE OF MENDELSSOHN. 59
see how sharply delineated and discriminated are these
three faiths. A peculiar, and at the same time a beau-
tiful feature of the oratorio is given by the chorals,
which are always so suitably introduced to add solem-
nity, and yet a kindly grace, to the work. They give a
truly Christian character to the whole ; yet the effect
of those perfect pieces of harmony is subduing and
soothing. Doubtless there are many to whom church
music is a novelty, so to speak, who hear these chorals,
and wonder that strains so sweet and elevating are
sung all around them, and have remained unknown to
them. It may be that this musical effect is largely
to be ascribed to the great Bach ; but does the compo-
ser who a hundred years later restores the Christian
choral, with its depth of feeling and tender spirituality,
with the attractions of modern art, deserve less praise ?
Lastly, it is impossible to overrate the skill with
which the great author has united words, taken only
from the Bible, into a round and full historical painting,
and has thus solved one of the greatest practical diffi-
culties. And although, in my opinion, the chief attrac-
tions of this oratorio lie in the choruses and chorals,
yet there is no lack of merit in the solos. The recita-
tives are beautifully distinct ; and the two arias of Paul,
the passage, " Destroy them, Lord God of Sabaoth,"
and the penitential strain, " God be gracious to me ac-
cording to thy loving-kindness," could not more finely
60 LIFE OF MENDELSSOHN.
combine dramatic effect with strict adherence to the
church style. Again, in the soprano aria, " Jerusalem,
thou that killest the prophets ; " in the arioso for the alto,
" Yet the Lord is mindful of his own ; " in the aria of
Paul, " I thank thee, O Lord ! " no one will fail to see
the union of the truest Christian feeling with the most
artistic musical form. The whole oratorio is, in one word,
edifying, and that in the deepest sense : it strengthens, it
exalts, it ennobles the spirit by its happy combination
of religious sentiment with noble harmony. Where the
eternally true and the eternally beautiful lock hands
together, there is the highest consummation of all possi-
ble excellences that art can furnish, and there must be
the happiest results.
LIFE OF MENDELSSOHN. 61
CHAPTER VI.
Mendelssohn's Marriage. New Works. He directs the " St. Paul " at Bir-
mingham, England Leipzig Concerts. Clara Novello. A brilliant
Winter. Composition of the Forty -second Psalm . Analysis of the Music.
New Music. The Historical Concerts instituted by him. He directs
the Cologne Festival. Repetition of " St. Paul " at Leipzig.
A DORNED with the fresh laurel-wreath which the
*- *- production of " St. Paul " in Leipzig had won for
him, and not figuratively merely, but literally, for a
laurel wreath was laid upon his music-stand by admiring
friends, Mendelssohn hurried to Frankfort to blend
the laurel of fame with the myrtle of love. In the
spring of 1837, his union with Cecilia Jeanrenaud,
the second daughter of a deceased clergyman of Dres-
den, was solemnly celebrated. " Ah ! those were pleas-
ant days." In August of the same year, in company
with his bride, whose beauty and amiability made a uni-
versally favorable impression, he visited his old friends
in Diisseldorf, with whom, with the exception of Immer-
mann, he remained on. terms of the greatest cordiality.
He was very fond of Diisseldorf. He himself confessed
that his visits to that place were among the happiest
events of his life. He was always on the move, was in
the brightest spirits, and gratified all wishes to hear him
62 LIFE OF MENDELSSOHN.
play, weary as it might make him. Here, to please
and honor him, " St. Paul " was brought out under the
direction of his pupil and friend, Rietz. He himself
could show to his friends, as the fruit of his recent activ-
ity, the forty-second Psalm (Op. 42), a new piano con-
certo with orchestral accompaniment in D minor (Op.
40), and the violin quartet in E minor (Op. 44, No. 2),
all ill manuscript. The bright days after his marriage
had not interfered with his productive power, nor dimin-
ished the affluent gifts of his genius. From Dusseldorf
he sent to Simrock at Bonn, all ready for the press,
the three motets for women's voices, partly composed
at Rome. From Dusseldorf he went, without his wife,
over to England, where he was expected to direct the
bringing-out of " St. Paul " at the great Musical Festival
at Birmingham from the 19th to the 22d of Septem-
ber. The oratorio was given the second day, in the
presence of an immense concourse of hearers, but with
some omissions in the second part. The work was re-
ceived with the greatest favor : the choruses were sung
with unrivalled power, though not always carefully
enough. Mendelssohn's appearance in the orchestra,
towards the end of the piece", was greeted with a storm
of applause. In September of the same year, " St.
Paul" was produced for the first time at Berlin.
On his return from England, we see Mendelssohn
take his wonted place as director of the concerts given
LIFE OF MENDELSSOHN. 63
in the Gewandhaus, and received, at his first appear-
ance in public, with a very kindly greeting. The
Jubilee overture by Weber, a chorus by Haydn, Beet-
hoven's C- minor symphony, the song from "The
Freischiitz," "Wie nahte mir der Schlummer," sung
by Louise Schlegel (a very gifted pupil of Director
Pohlenz), and a new concerto composed and played by
David, opened the series of winter entertainments in
a most excellent and attractive manner. It would
weary the reader were I to enter into a full specification
of the performances of that winter, any further than as
they were connected with Mendelssohn himself. One
excellent fruit of his visit to England, so far as Ger-
many is concerned, was the visit of an extremely
talented, cultivated, and prepossessing artiste, Miss
Clara Novello ; who, however, sang but seven times in
Leipzig, but left us filled with regret at her too-speedy
departure. She was the daughter of a music-publisher
in London, for whom, as early as 1832, Mendelssohn
had composed a " Morning Service." Her bell-like, silver
voice, her perfect training, and her charming appear-
ance, won all hearts. The concerts were more crowded
than ever. She made her rst appearance at the fifth
subscription concert, in the arias, " Ecco il punto, O
Vitellia ! " from " Titus," and " Casta Diva" from Nor-
ma ; " and, at her last appearance, she sang Beethoven's
great scena, " Abscheulicher ! wo eilst du bin ? " At
64 LIFE OF MENDELSSOHN.
the third subscription concert, Mendelssohn played his
new piano-concerto in D minor ("Allegro appassionato,
Adagio, and Scherzo giojoso," as he then called the clos-
ing passage), and, of course, won the most enthusiastic
applause. At the second quartet entertainment, Men-
delssohn produced a new quartet, the one in E minor
(Op. 44) which he had taken to Diisseldorf ; and the
second and last movements were received with special
favor. The second was encored. At the concert in
behalf of poor and sick musicians, the overture to the
" Midsummer Night's Dream " was given, and Mendels-
sohn himself played his " Capriccio brillant " in B minor
(Op. 22). During all this varied round of activities,
he yet found time to bring together the musical resources
of Leipzig for the purpose of producing one of the great
master-pieces of the past. After repeated rehearsals,
Handel's " Messiah " was given at St. Paul's Church.
The number of singers in the choruses was equal to
that on former similar occasions. The solos were
sustained by artists of the highest excellence. This
master-piece was rendered according to Mozart's ar-
rangement ; and in several passages rather choral-like,
and at the close of certain choruses, the effect was
heightened by the full organ accompaniment. The per-
formance of the choir, soloists, and orchestra, was one
of the finest ever witnessed; and the impression left
by the whole work was wholly satisfactory.
LIFE OF MENDELSSOHN. 65
The year 1838 brought to light another product of
Mendelssohn's Muse. The music of the forty-second
Psalm, which he had shown to his Diisseldorf friends,
was sung for the first time in public at the tenth sub-
scription concert, and displayed at once the character
of a wholly unique and artistic work. Never has the
soul's inmost yearning after God been spoken out in
tones more searching and tender. After the chorus
has uttered this passionate longing in those noble words,
so grandly set to music in this piece, " As the hart
pants after the water-brooks, so panteth my soul for
thee, O God ! " a delicate soprano solo, " For my soul
thirsteth," takes up a slow strain full of the inmost ten-
derness of longing. Then follows a chorus of women's
voices, justifying, as it were, her who has just sung, and
giving more express utterance to what all feel in the
words, " For I had gone with the multitude ; I went with
them to the house of God," a passage which, by its
march-movement, suggests a light-hearted walk to the
temple of God. Then comes a chorus of men's voices,
uttering words both of admonition and consolation :
" Why art thou cast down, O my soul ? hope thou in
God." But that first plaintive woman's cry, justifying
its very wail by its eager desire to enjoy the presence
of God, is heard in yet sharper and distincter tones :
" O my God ! my soul is cast down within me : all thy
waves and thy billows are gone over me." Then strikes
5
66 LIFE OF MENDELSSOHN.
in, accompanied by stringed instruments, a noble quar-
tet of men's voices, full of consolation and truthful
faith : " Yet the Lord will command his loving-kindness
in the day-time ; and in the night his song shall be with
me, and my prayer unto the God of my life." Yet
with their voices still mingles that plaintive soprano
strain, almost wailing, in its extreme sadness ; till, at
the end, the whole choir of men and women take up the
opening passage again with the full confidence of
belief and hope in God, and close with an ascription
of praise to the Lord God of Israel. The whole makes
a brief but complete religious tone-drama, as it may be
called. Yet those who have not heard Mendelssohn's
music of the forty-second Psalm cannot imagine how
beautiful it is from this imperfect sketch : it is rather
for those who may by its help call back in memory
pleasures which they have enjoyed before in listening
to its wondrous harmony. And these will confess that
not easily can a smoother and more pleasing move-
ment, musical expression better adapted to words, and
nobler melodies, be found, than are combined in this
composition. The first performance, particularly the
choruses and the soprano part, sustained by Miss No-
vello, was admirable.
Later in the course of these concerts, some interesting
new symphonies were given, and another less generally
attractive Psalm of Mendelssohn, written earlier, the
LIFE OF MENDELSSOHN. 67
hundred and fifteenth.* Mendelssohn's next great step
was to propose a series of concerts, indicating the histori-
cal development of music. On the loth of February, they
were opened with a selection from the works of Sebastian
Bach, Handel, Gluck, and Viotti. After a suite by Bach,
followed Handel's hymn, " Great is the Lord ; " then a
sonata in E major (No. 3) for piano-forte and violin,
played by Mendelssohn and David. The second part was
made up of the overture, introduction, and first scene
of the " Iphigenia in Tauris," by Gluck ; followed by a
concerto for the violin, from Viotti, played exceed-
ingly well by David. The second of these concerts was
from the works of Haydn, Cimarosa, Naumann, and
Rrghini. The programme of this concert is too inter-
esting to be wholly excluded from these pages : over-
ture to " Tigranes," and aria from " Armida," by Righini ;
overture to Cimarosa's " Matrimonio Segreto ; " trio by
Haydn for piano, violin, and violoncello (C major), played
by Mendelssohn, David, and Grenser ; introduction, reci-
tative, and closing scena of the first part of Haydn's
" Creation." The second part was composed of a quintet
and chorus from " I Pellegrini " by Naumann, and the
" Parting " symphony by Haydn. The third of these
concerts was made up of selections from Mozart, Salieri,
* In the concert for the poor, given Feb. 21, 1838, the ninety-fifth
Psalm, with Mendelssohn's music, was given for the first time; an
excellent piece, sung with full chorus.
68 LIFE OF MENDELSSOHN.
Mehul, and Andreas Romberg ; among other things, a
hitherto wholly unknown quartet from Mozart's " Zaida,"
and an ensemble from Mehul's " Uthal," an opera, which
the author had composed, at Napoleon's command, from
a subject in " Ossian," and entirely without violins. The
shining feature of this concert was a piano-forte concerto
by Mozart in C minor, played by Mendelssohn. The
overture to the " Magic Flute" was also exceedingly well
given. The programme of the fourth of these concerts
was selected from Vogler, Beethoven, and Von Weber.
The overture to Vogler's " Samori," overture to Weber's
" Freischiitz," and the hunters' chorus from " Euryanthe,"
Beethoven's great " Violin Concerto " and the " Pastoral
Symphony," were the most striking features of this even-
ing's entertainment, which brought this course of his-
torical concerts to a worthy close. That they not only
awakened in the public an interest in the history of
music, but also largely promoted a genuine musical taste
among the Leipzig people, needs hardly be said.
Thus, through Mendelssohn's efforts mainly, the win-
ter was passed in the enjoyment of the richest treasures
which music could afford the people of that art-loving
city which was his home. During the next summer, he
enjoyed no rest. He went again to the Rhine, this
time to assume the direction of the Cologne Musical
Festival. The "Joshua" of Handel was selected as
the chief piece ; and for this, as he had done for the
LIFE OF MENDELSSOHN. 69
" Solomon " before, he resorted to the organ as a leading
auxiliary. The whole festival was most brilliant. The.
separation from his wife seemed to be a great trial to
Mendelssohn. He was somewhat sad ; but yet, on the
third day, he played his " Serenade and Allegro gio-
joso." His true friend and fellow-artist, David, accom-
panied him to the Rhine.
No sooner had he returned to Leipzig, than the
liveliest wish was expressed on all sides that the " St.
Paul " should be repeated. Mendelssohn showed a will-
ingness to comply witli the general desire, and conducted
the rehearsals with his accustomed care. But, when the
day of the public performance arrived, the loth of
September, 1838, Mendelssohn himself was unable to
be present ; being attacked by the measles. David was
compelled to take his place ; and he conducted so much
in the spirit of the great author of the work, that the
effect was even deeper on some hearers than it had been
the first time. It is to be mentioned, that after the
choral, No. 9, " To thee, O Lord ! do I commit myself," a
new alto aria had been introduced, " Thou who bring-
2st us to destruction, and sayest, Return, ye children of
men." The leading soprano solos this time were sus-
tained by a very lovely singer, who, though now occupy-
ing a high position in distinguished society, still continued
to dedicate her remarkable gifts to the art of music, es-
pecially to the Muse of Mendelssohn ; and who remain?
70 LIFE OF MENDELSSOHN.
his best interpreter to this day. After this representa-
tion of ''Paulus," a number took place in Leipzig, the last
of which was directed by the author, and occurred on
Good Friday, 1847. No other great musical work has
ever gained such speedy recognition as the " St. Paul."
In the history of music, the years 1837 and 1838 might
be called the " St. Paul " years. A computation has been
attempted of the number of places where this oratorio
was sung within a year and a half, and the number of
times it was sung ; and it was found to be not less than
fifty times in forty-one different cities. In Germany,
in Poland, in Russia, in the Tyrol and Switzerland, in
Denmark, in Holland, in England, in America, every-
where, " St. Paul " was given, and in some places two
or three times.
LIFE OF MENDELSSOHN. 71
CHAPTER VII.
The Leipzig Concerts. Mrs. Alfred Shaw. A memorable Musical Winter.
Mendelssohn conducts the Spring Festival at Dasseldorf. The next
Winter's Concerts. The Hundred and Fourteenth Psalm : its Musical
Effects. New Instrumental Music.
rilHE time for the author of a piece held in such esti-
-^ mation to be taken away had not yet come. Prov-
idence watched over him : he soon recovered from his
sickness. The direction of the first subscription concert
was left to his friend David ; but at the second we find
Mendelssohn in his old place, more a favorite than ever,
and received with the greatest joy. He opened this
concert with his overture to " Fingal's Cave." In the
third concert, after the enthusiastically received and
encored overture to the " Freischiitz," an English singer
appeared, for whose advent in Leipzig we were indebted
to Mendelssohn, Mrs. Alfred Shaw, a lady of imposing
figure, endowed with a remarkably clear and full voice.
The noble simplicity of her style, and her thorough con-
ception of the subject, particularly in songs of deep feel-
ing, made her appearance before a Leipzig audience very
acceptable. She sang first a recitative and an aria by
Rossini, " Amici, in ogni evento m'affido a voi," and the
72 LIFE OF MENDELSSOHN.
" Addio " of Mozart. Her stay till the 28th of January
gave us a continual round of enjoyments. In the most
tender and touching manner she sang the aria from
Handel's " Messiah," " He was despised and rejected of
men ; " and indeed her selection of subjects was always
the happiest possible. But this circumstance arose
primarily from the admirable works chosen by Mendels-
sohn as the basis for the concerts. The reader who
goes over the programme of that winter's entertainments
is astonished at the wealth of classic pieces, and their
tasteful collocation in relation to each other. Handel,
Gluck, Haydn, Beethoven, Mozart, Cherubini, Weber,
Spohr, Rossini, alternate in the list, yet not to the
exclusion of the later and the latest masters in music.
For example, new symphonies by Kalliwoda, Lachner,
Mohring, and Dobrycinski were given, and the newly
discovered symphony by Franz Schubert (C major),
which took the palm from all the rest. As an example
of a genuine classic programme, which yet did not lack
the charm of the greatest variety, take this one : over-
ture to "Iphigenia," by Gluck; chorus, "The dust's
vain cares," by Haydn ; " O salutaris hostia ! " by Che-
rubini, sung by Mrs. Shaw ; valuations for the violin, by
Lipinski, played by Ulrich ; cavatina from " Romeo and
Juliet," by Zingarelli, sung by Mrs. Shaw ; symphony in
A major, by Beethoven. Although the power of select-
ing lay in the management, yet it was really Mendels-
LIFE OF MENDELSSOHN. 73
sohn's judgment that controlled the decision. As a
special advantage of these concerts, may be mentioned
this, that a great number of fine pieces, from operas
which were unfortunately almost neglected on the stage,
were thus brought into notice ; for instance, the delight-
ful sextet from " Cosi fan Tutte," the trio with chorus
from "Medea," the Polonaise, trio, and chorus from
Cherubini's " Lodoiska." Sometimes they were taken
from well-known, excellent operas ; for instance, the
first finale from " Euryanthe," the trio and quartet from
" Oberon," the aria and first finale from the same, and
the second finale from "Leonora."
From Mendelssohn there were given this winter the
overtures, " Fingal's Cave," and " A Calm at Sea and
Happy Voyage ; " the overture to " St. Paul," with the
recitative and aria from the same oratorio, "And he
drew with the throng towards Damascus " (given at the
New- Year's concert, together with Beethoven's C-minor
Symphony) ; an overture to " Ruy Bias ; " and the Forty-
second Psalm, the last two at the twentieth subscrip-
tion concert, when Schubert's symphony in C major, and
the "Spring" from Haydn's "Seasons," were brought
out for the first time.
In the spring of 1839, Mendelssohn^ in conjunction
with Julius Rietz, conducted the Diisseldorf Festival. A
combination of distinguished singers, such as Fassmann,
Clara Novello, &c., made this festival one of the most
74 LIFE OF MENDELSSOHN.
brilliant ever known. Handel's " Messiah," and Beet-
hoven's Mass in C, were given as the chief pieces.
Here Mendelssohn first became acquainted with Sophia
Schloss, who so finely sustained the alto solos in the
"Messiah" and the Mass of Beethoven, that he en-
gaged her for the next winter at Leipzig. Of Mendels-
sohn's own works, the Forty -second Psalm was given.
On the third day of the festival, he played his D-minor
Concerto, and accompanied many songs on the piano-
forte.
In the winter of 1839 and 1840, he again directed
the Leipzig concerts, with the same care and the same
success which had been so marked in the previous
winter. Besides Sophia Schloss, Eliza Meerti was en-
gaged, a Belgian lady, who united a solid style and an
agreeable voice with French ease and elegance. A
number of new gifts from Mendelssohn's Muse delighted
us that winter, besides the treasures of past time. The
concert in celebration of the great Reformation, given
on Wednesday, the 30th of October, 1839, was opened
with a new adaptation to music, by Mendelssohn, of
Luther's hymn, " In mercy grant us peace, Lord ! "
The purest and deepest spirituality which can accom-
pany prayer is the character of this noble piece, as
Mendelssohn gave it to the world. Had this music, as
well as that written to Luther's noble hymn, " In the
midst of life," appeared in Rome, we should have seen
LIFE OF MENDELSSOHN. 75
in it, not a simple fortuitous circumstance, but the 1'ise
of a true Protestant spirit (not indeed in the ordinary
use of language), a spirit of protest against the mere
sensuous coloring which the Catholic Church gives to
all its ideas, as well as to its worship. But, whether on
purpose or accidentally, the authorship of the piece was
not avowed at the concert. If the taste of the musical
public were to be put to the test, it might be said that it
has not yet showed that it was always united on any
point, not thoroughly at one, so to speak, as to any
piece ; and this production of Mendelssohn's was quietly,
not to say coolly, received. Perhaps it was in conse-
quence of the deeply religious character of the piece ;
this kind of music does not usually win much out-
ward demonstration from a Leipzig audience; but so
much is certain, the authorship of the piece was then
unknown, except to the initiated few.
It ought not to be passed by without mention, that on
the 25th of December, in the same year, " St. Paul "
was brought out in Munich for the first time. It made
the same deep impression as everywhere.
The year 1840, one of the most fruitful in its addi-
tions to Mendelssohn's "well-merited and always ascend-
ing fame, gave us as the first-fruits of his genius a new
and great production. It was the Hundred and four-
teenth Psalm, " When Israel out of Egypt came," which
he composed for full chorus and orchestra. It was given
76 LIFE OF MENDELSSOHN.
for the first time at the New -Year's concert; and
although in character and treatment wholly different
from the Forty-second Psalm, yet, in its way, it is
almost as great. The selection of this Psalm, one of
the finest, if not the very finest, of Old-Testament lyrics,
was a very happy conception of the composer ; and how
skilfully has he brought out in music the praise and the
majesty of God! In one great flood of inspiration,
peaceful, and yet overpowering, the double chorus
strikes in, " What ailed thee, O thou sea ! that thou
fleddest ? thou Jordan, that thou wast driven back ? "
With the greatest sublimity the answer comes back,
" Tremble, thou earth, at the presence of the Lord ; " and
the whole widens at the close into the grand fugue,
" Hallelujah ! sing to the Lord," which seems like the
very ocean of eternity. Let the reader imagine to him-
self one of those psalms of the temple, in which the
choir, accompanied by the trombones of the Levites,
announced the glory of the Lord from the holy place,
accompanied by all the helps of contemporaneous art,
and in the most spiritual (i.e., the least sensuous) form,
and he has a conception of the effect of this masterpiece,
in which the musical expression is perfectly adapted to
every word ; and yet the whole stream of sound flows
in a single channel.
In an entirely different domain of his art was the
third great work which the unwearied genius of Men-
LIFE OF MENDELSSOHN. 77
debsohn gave us that winter. It was the charming trio
in D minor for piano-forte, violin, and violoncello (Op.
49), first played in public by himself, David, and Witt-
mann, the 1st of February of that year. This piece
expressed in its first strain that ardent feeling, that
almost passionate power, which was more especially the
mark of Mendelssohn's genius than of any modern artist.
The andante con moto tranquillo, which follows, is
filled with that equally inimitable longing and sub-
dued and plaintive joy. The scherzo plays with the
charm of infantile grace ; while the finale, in its allegro
assai appassionato, satisfies and charms the ear with its
strong tones and balanced rhythm. The whole work is
a true mirror of Mendelssohn in his most spiritual-
minded and deepest mood, a product of one of the happi-
est hours of his genius, uttering itself in perfect frank-
ness and the most artistic form. It was received, of
course, with the greatest applause.
It would be easy to recall and to speak with enthu-
siasm of many other musical enjoyments of that winter,
which we owe to Mendelssohn. But I will, out of
regard to the reader, confine myself to the most impor-
tant ; and simply record, that, on the 9th of January,
all the four overtures to Beethoven's " Fidelio " were
given under Mendelssohn's direction. It was a matter
of interest to every friend of art to follow this grea>
est of all masters into the secret chambers of his genius,
78 LIFE OF MENDELSSOHN.
and to see, as perhaps he had never before done, the
greatness of the work, the majesty of the conception ;
and in no better way could he do this than under the
guidance of an artist of kindred genius, and of equal
ambition. And it was a proof of the thorough training
of our Leipzig musical public, that these four overtures
were not received with simple satisfaction, but were
thoroughly enjoyed.
Of the first appearance of Liszt in Leipzig, which
occurred in January of this year, and in which Mendels-
sohn had an honorable part in introducing him to favor-
able notice, I shall speak more fully in another place.
Let me only remark here, that during that same month,
Fetis, at the first concert of the Conservatoire in
Brussels, brought out, in conjunction with Beethoven's
"Heroic Symphony" and the overture to Cherubini's
" Anacreon," the overture to the " Midsummer Night's
Dream," which wrought an immediate and powerful
impression on the audience.
LIFE OF MENDELSSOHN. 79
CHAPTER VIII.
The "Hymn of Praise." Its Occasion, History, first Performance, Musical
Character, and remarkable Success.
~V\7"E now arrive at a point in the career of Men-
delssohn which was signalized by the production,
and public performance under his own direction, of
what must be considered, if not his greatest work, at
least his most genial one, and the one which indicated
the meridian splendor of his career. The occasion which
called it forth was the fourth centennial celebration
of the invention of printing, which, though observed
with great demonstrations of respect throughout all the
larger cities of Germany, was especially honored in
Leipzig, the place which had been built up by the new
art, as it were ; at any rate, whose reputation as the
birthplace of books was identified with the history of
printing. It was a theme of general rejoicing, that the
care of the musical part was given into Mendelssohn's
hands ; and no one could fail to see that he entered upon
the execution of this trust with eager hope. The first
task was to procure a hymn which should be the text,
as it were, for Mendelssohn's music, to be sung at the