THE-GREAT, MUSICIANS ^g UC-NRLF IHJIIHtflHHfllKHttllHUlffillj B 3 51b 7M1 ' iiiiifiiniiiiiiiiittllllltillHHlltllllllltUHItillllfnitl cnmniD MENDELSSOHN University of California Department of University Extension University of California Department of University Extension •? 7- 2 * - * < Felix until all was over. He felt the blow severely, and was haunted by o fear that the family bond might be weakened now that the head was gone. But it was too close for that. The brothers and sisters remained as deeply attached as ever, though the loss of such a mother was a bitter trial to them all. 88 MENDELSSOHN. CHAPTER XIV. CONCERNING THE CONSERVATOR1UM. The year 1843 was an eventful one in its relation to the progress of Art. It witnessed in Leipzig the realisation of Men- delssohn's long-cherished idea — the establishment of the Conservaiorium cler Musik. The King of Saxony, after duly considering the proposals laid before him, de- cided upon endowing the infant college with the legacy bequeathed by Herr Bliimner. The funds thus placed at the disposal of the directors, though not inex- haustible, sufficed to start the institution on a firm though modest basis, and on the 16th of January a prospectus was issued, for the purpose of acquainting the public with the details of the proposed scheme. The first professors were : for composition and the pianoforte, Mendelssohn and Schumann ; for harmony and counterpoint, Hauptmann — the most learned contrapun- tist in Europe, and the then representative of Sebastian Bach, as Kantor of the Thomas- Scb ule ; for the violin CONCERNING THE CONSERVA i'ORlUM. 89 and management of the orchestra, Ferdinand David \ for the organ, Fr. Becker ; and for singing, Herr Poh- lenz. Classes were also provided for the study of the Italian language, and the history of music. Pohlenz died before the opening of the college, and the manage- ment of his classes was confided to Madame Bunau Grabau, and Herr Bohme. The names of intending students were received on the 2 3rd of March. Of forty- six applicants forty-two were accepted. A portion of the Gewandhaus was granted for the temporary accom- modation of the classes, and, on the 3rd of April, the Conservatorium was formally opened in the King's name, by the minister Von Falkenstein. A worthy pendant to the inauguration of the Conservatorium was the un- veiling of the statue of Sebastian Bach on the 23rd of April. The ceremony was preceded by a concert, con- sisting entirely of compositions by the immortal fuguist; and the interest of the proceedings was not a little in- creased by the presence of one of his grandsons — a veteran Kapellmeister, eighty-three years old. Meanwhile the busy pen was more busily at work than ever. Elijah was already beginning to occupy the foremost place in the composer's mind, though none of the music was as yet committed to paper. The King of Prussia was also impatiently awaiting the important compositions he had commissioned Mendelssohn to pre- pare for Berlin ; and one of these, the Incidental Music 90 MENDELSSOHN. for the " Midsummer Night's Dream " was produced in the New Palace at Potsdam, on the 24th of October. The reception of this now famous music was enthusiastic; though so little were the beauties of Shakespeare's de- lightful drama appreciated in the Prussian capital, that an old habitue of the court, who sat next to Men- delssohn at supper, said to him : " What a pity that you wasted your beautiful music on so stupid a play." Happily for the interests of Art, the ct stupid play " was not permitted to suffer from want of efficient representa- tion. Immense care was bestowed upon the scenery and dresses; and the entire performance, the details of which were superintended by Tieck on the stage, and Mendelssohn in the orchestra, was irreproachable. The perfect adaptation of the music to the situations of the drama was recognised by all who were capable of form- ing an independent opinion on the subject, and in a letter dated the 18th of October, 1843, Madame Hensel describes the events of the evening to her sister Rebecka, in terms which leave no room for doubt as to its trium- phant success. 1 With so much hard work provided for him by the King of Prussia, it was clear that, notwithstanding the stipulation which left him free to make himself a home wherever he pleased, Mendelssohn could no longer con- tinue to reside permanently in Leipzig. Accordingly 1 See " Die Familie Mendelssohn," vol. ii. CONCERNING THE CONSERVATORIUM. 91 he removed, in November, to Berlin, taking up his abode in the family house in the Leipziger Strasse, now wholly his own, and leaving the Gewandhaus concerts under the temporary direction of Ferdinand Hiller. The per- formances at the beginning of the year had been excep- tionally brilliant; including, among other attractions, the first presentation of the Walpurgis- Nacht, in the form in which we now know it — a very different form indeed from that in which it was first presented in 1833. Mendelssohn himselfhad always taken intense pleasure in this remarkable work, and was never weary of reconsider- ing its details, with the view of making it express, as lucidly as possible, the intention explained to him by Goethe. In one respect, indeed, he has commented upon that intention in terms which it is impossible to misunderstand. In the hymn of the Druids, which forms the climax of the poem, Goethe clearly intends to set forth the final revelation of everlasting truth. Mendelssohn expresses rather the expectation of better things, than the joy of complete religious rest. With all its solemnity, it is but a pagan strain after all, with- out a trace of the perfect peace breathed in every note of " Happy and blest are they," the Hymn of the Chris- tian worshippers in St. Paul. On the 2nd of March, a new Symphony in C minor, by Niels W. Gade, of Copenhagen, was played with very great success. It was the first work of this talented com- ic 92 MENDELSSOHN. poser that had ever been heard at the Gewandhaus, and its cordial reception formed the first link in the chain of events which ended in Gade's settlement in the town in which he was destined ere long* to become so great a favourite. Towards the end of February, Berlioz visited Leipzig*, and proposed an exchange of batons with Mendelssohn, who generously placed the entire re- sources of the orchestra at his disposal. 2 A little later in the year, Joseph Joachim, then twelve years old, visited Leipzig for the first time, played at the Gewand- haus, and laid the foundation of a life-long friendship with the beloved Kapellmeister. In introducing these talented artists to the public, Mendelssohn performed a true labour of love. One of the most amiable traits in his character was his readiness, not only to recognise talent wherever he met with it, but to bring it promi- nently forward ; and this kindly feeling was never more nobly expressed than in the testimonial dated " Berlin, December 17, 1843," which he sent to Stern- dale Bennett, who was then a candidate for the professor- ship of music at Edinburgh. It would be impossible for one artist to pay a higher or more graceful tribute to the genius of another than that which the leader of the German classical school paid, in this charming 2 See letter to Heller, in Berlioz's " Voyage Musical " (Paris, 1844) ; and his " Me'moires" (Paris, 1870). CONCERNING THE CONSERVATORIES. 93 letter, to the greatest English composer then living. 8 Unfortunately, however, Mendelssohn's estimate of the qualifications of his brother artist was very different from that entertained by the authorities of the Scottish University, who openly expressed their want of confi- dence in his judgment by electing another candidate. 3 For an exact reproduction of this most interesting letter, in the original English, seethe "Dictionary of Music and Musicians,'' vol. ii. p. 283. 94 MENDELSSOHN. CHAPTER XV. THE PHILHARMONIC CONCERTS. During the winter of 1843 — 1844, Mendelssohn, having temporarily left the Gewandhans Concerts in charge oi nis friend Ferdinand Hiller, was busily engaged at Berlin in the preparation of a long series of composi- tions for the cathedral, where his influence was already beginning to exercise a most salutary and encouraging effect upon the Sunday and festival performances. His connexion with the theatre was less satisfactory. Among the works proposed to him by the King was a musical illustration of the Eumenides of iEschylus, for which he was requested to compose an overture, and choruses sinvlar to those which he had already furnished for Antigone. He himself believed the task to be sur- rounded by insuperable difficulties ; and few who have carefully studied the tragedy will fail to agree with him as to the impossibility of successfully adapting it to the modern stage. With his habitual frankness, he made no attempt to conceal his real opinion, even while doing his best to THE PHILHARMONIC CONCERTS. 95 meet his sovereign's wishes. But frankness of speech was not in favour at the Prussian court, and his honest doubts of success were tortured by intriguing" courtiers into a stubborn refusal to obey the royal mandate. The result of this cruel misinterpretation was most annoying, and tended in no small degree to exacerbate the feeling with which he had already learned to regard an engagement attended by chagrins fast becoming insupportable. But, though surrounded by enemies in Berlin, Men- delssohn well knew where to turn for sympathy. In February, 1844, he received from the Philharmonic Society an invitation to direct the last six concerts of the season. The engagement was a delightful One. Leav- ing his family quietly settled at Frankfort, he arrived in London for the eighth time on the 10th of May, once more became the guest of his old friend, Klinge- raann, and, on the 13th of the month, assumed command of the famous orchestra. The season was a brilliant one, and in addition to the interest it derived from his presence, was rendered memorable by the first appear- ance in London of Ernst, Joachim, and Piatti. The chief attractions of its varied programmes were the JFalpurgis- Nacht, the Midsummer Night's Dream, the Overtures to Leonora (No. 1), Egmont, and The Ruins of Athens, Bach's Orchestral Suite in B major, and Schubert's Overture to Flerabras, At the last concert of the season (June 96 MENDELSSOHN. 24th), Mendelssohn astounded the orchestra by his power- ful rendering of the overture to Egmont, the sforzandi in the last movement of which had never before been correctly played in our English orchestras. It was at this concert, also, that he played, for the first time in England, Beethoven's Pianoforte Concerto in G major. The effect produced by his interpretation of the five bars of unaccompanied solo with which this great work opens, will never be forgotten by those who were fortunate enough to hear it. The delicacy of the piano was perfect, yet every note penetrated to the remotest corner of the room. f At the rehearsal, on Saturday the 22nd, he enriched the first movement with a magnificent extempore cadenza, in which he worked up the varied subjects of the piece with the skill which never failed him when he gave the reins to his exuberant fancy. On reaching the shake at its close he found the orchestra a little uncertain in taking up its point. In order to remove all fear of misunderstanding, he again extemporised a cadenza entirely different from the first, though not a whit less beautiful. The orchestra again missed its point so decidedly that he found it necessary to make a third trial. This last cadenza was by far the longest and most interesting of the three, and totally different, both in matter and in style, from its predecessors. It had, moreover, the effect of rendering the orchestral THE PHILHARMONIC CONCERTS. 97 point so safe that no fear whatever was anticipated with regard to the Monday performance. It will he readily understood that all present looked forward to this performance with intensest excitement ; feeling certain that another new cadenza would he im- provised at the concert. And it really was so. The same subjects were placed in so different a light, that their treatment bore not the slightest shade of resemblance to the Saturday performance, until the approach of the final shake, which was so arranged as to enable the orchestra to take up its point with the most perfect accuracy. 1 Mendelssohn played at many more concerts during the course of the London season. On the 13th of July, he rejoined his wife and children at Frankfort, and took a long holiday, which he greatly needed. On the 30th of September, he was again in Berlin, more worried than ever with the meanness of intriguing courtiers, and the blundering fatuity of jealous and incompetent officials. That the King was sincere in his desire to advance the interests of art there can be no doubt. But his good- will was neutralized by the incapacity of his advisers, and the misrepresentations of time-serving 1 These four Cadences are well remembered by all who were present at the rehearsal and concert; and have, we believe, been more than once described. We give the above account on the authority of our own personal recollection of the performance ; and can vouch for its accuracy in every particular. H 98 MENDELSSOHN. candidates for promotion ; and the situation had by this time become so intolerable, that Mendelssohn once again entreated permission to retire from office, or, at least, from all duties which would compel him to reside in the capital. To this proposal the King 1 gave his consent. Mendelssohn's annual honorarium was reduced to 1000 thalers ; and he was once more left free to live where he pleased. In accordance with this arrangement he retired in December to Frankfort, where, having entrusted the command of the Leipzig orchestra to his friend Niels W. Gade, he enjoyed some months of com- plete rest, declining all engagements, and only compos- ing when inspired by ideas too tempting to resist. In this delightful state of comparative idleness he spent the greater part of the winter, with infinite benefit to his health and spirits; and in the spring of the year 1845, the writer found him, comfortably installed, with Madame Mendelssohn and the children, in a pleasant habitation in the Grosse Bockenheimer Gasse, rejoicing in his newly- acquired liberty, and doing his best to turn iL to pioiitable account. PERSONAL REMINISCENCES. 99 CHAPTER XVI. PERSONAL REMINISCENCES. After our first interview with Mendelssohn, in 1842, we had never ceased to hope for the privilege of being, some day, brought into more intimate relations with him, in his own country ; though it was not until several years had passed, that we were supposed to be old enough to take advantage of the encouragement he had then given us. But, the right time came, at last. We knew that he never forgot : and, at the season of Pentecost, in the year 18i5, we visited Germany, for the first time, well assured that he would not fail to give us the good counsel he had promised. Eeaching Frankfort, at the beginning of the bright spring weather, we found him living out of doors, and welcoming the sunshine, and the flowers, with a delight as unaffected as that of the youngest of his children. On the evening of our arrival, after taking us to see Thorwaldsen's lately-finished statue of Goethe, and the poet's birthplace in the Hirschgraben, he playfully proposed that we should go to an " open-air concert/' and led the way to a lonely little corner of the * H 2 100 MENDELSSOHN. public gardens, where a nightingale was singing with all its heart. " He sings here every evening/' said Mendelssohn, " and I often come to hear him. I sit here, sometimes, when I want to compose. Not that I am writing much, now; hut, sometimes, I have a feeling like this" — and he twisted his hands rapidly, and nervously, in front of his breast — " and when that comes, T know that I must write. I have just finished some Sonatas for the Organ ; and, if you will meet me at the Catherinenkirche, at ten o'clock to-morrow, I will play them to you." He pk^ed them, exquisitely — the whole six, straight through, from the neatly-written MS. We remember noticing the wonderfully delicate staccato of the pedal quavers in the second movement of the Fifth Sonata, which he played upon a single 8 -ft. stop, with all the crispness of Dragonetti's most nighty-finished pizzicato. There was only one other auditor, besides ourselves. He parted from us, at the Church door ; and then Mendelssohn took us home with him, to his early dinner, with Madame Mendelssohn and the children — Karl, then seven years old, Marie, and Paul. He was full of fun, with a joke for each of the little ones; and made us all cover up the lower part of our faces, to see what animals we were like. " Jc/i I'm ein Adler" l he said, placing his hand in a position which made the like- ness absurdly striking. Madame Mendelssohn was pro- 1 "lam an eagle." PERSONAL REMINISCENCES.' * J - ' J 101 nounced to be a hare ; Karl, a roebuck ; Paul, a bull-finch ; and we ourselves a setter. Having some business to attend to, after dinner, he left us for half an hour in his study ; giving us the choice of amusing ourselves with looking through Felieien David's Le Desert, which had just been sent to him from Paris; or his own Pianoforte Trio in C minor, as yet unpublished, and untried. We chose the Trio ; but had not found time to trace out half its beauties, uefore he returned, to advise with us concerning our future proceedings. " There is only one thing for you to do," he said. " Ferdinand David will be here, to-morrow, on his way back to Leipzig, from the Lower Rhine Festival, where he has been playing. 1 will ask him to let you travel with him. He will intro- duce you to all the people you will care to know. Enter yourself immediately at the Conservatorium; and get into training as soon as you possibly can. My own plans are so undecided, that I should be able to do nothing for you, here ; but I am almost certain to return to Leipzig, before the end of the year, and I shall then hope to see a great deal of you."" David arrived, late that night ; and, on the next even- ing, Mendelssohn gave a delightful little party, at which the two friends, assisted by an excellent violoncellist, played the C minor Trio, for the first time, with scarcely less effect than they afterwards produced when introducing it to the general public at the Gewandhaus. It was our last pleasant meeting in the Bockenheime^&asse.ntDai^lllr DEPARTMENT OF ^..,tv RXTESSIO 102' MENDELSSOHN. had arranged to start, on the next evening, for Leipzig. We met him, at the office of the Schnell-Post ; and, a few moments later, Mendelssohn joined us, to say, as he was careful to express it in mixed German and English, "Not Leben Sie wo/il, but Auf Wifidersehn." He had thought of everything that could help to make the dreary diligence journey comfortable. A little basket of early fruit, for refreshment during the night ; a packet of choice cigars for David; and, for ourselves, a quite paternal scolding for insufficient defences against cold night-air. There were many last words to be said ; but so much confusion had been caused by the hurried arrival of a party of outside passengers, that, at the moment of starting, our kind friend, who had wisely retired from the scuffle, was missing. [The conductor declared that he could wait no longer, and we were just giving up Mendelssohn for lost, when he suddenly reappeared, rushing round the corner of the street, with a thick woollen scarf in his hand. " Let me wrap this round your throat/' he gasped, quite out of breath with his run ; " it will keep you warm in the night ; and, when you get to Leipzig, you can leave it in the coach." J We need scarcely say that we did not " leave it in the coach." It has not been worn for many a long year ; but it lies before us, on the table, as we write its history — the dear remembrance of a very happy time. THE MANAGEMENT OF THE CONSEltVATORIUM. 103 CHAPTER XVII. CONCERNING THE MANAGEMENT OP THE CONSERVATOMUM. Mendelssohn's prophetic spirit was not mistaken. Though he did not receive official notice of the King of Saxony's wish that he should return to Leipzig, until some weeks after our visit to Frankfurt, he no doubt knew that an intimation to that effect was on its way to him, and therefore felt no hesitation in speaking hope- full v. He reappeared in the town he loved so well at the beginning of September, having previously secured a permanent residence on the first floor of a large house in the Konigsstrasse, N ro . 3 ; l and, on the 5th of October, he once more raised his baton, at the Gewandhaus, where he was enthusiastically welcomed, with a flourish of drums and trumpets in the orchestra, and a storm of applause from the body of the hall. The first piece he conducted was the overture to Ber Freischiitz. We sub- join the entire programme, of which w r e have fortunately preserved a °.opy, as a fair example of the form of enter- 1 Now, N w . 21. 104 MENDELSSOHIT. tainment provided, eight-and-thirty years ago, for one of the most appreciative audiences in Europe. It was not the custom, at that period, to mention the conductor's name, on the Gewandhaus programme; hence, in the present case, that of Mendelssohn, appears only in con- nexion with two Lieder oline Worte, though he really directed the entire performance. PART I. Overture Der Freischiitz . . C. M. von Weber. Recit. and Aria . . . Perche non ho Donizetti. Frau Schrickl-Steinmuller. Pianoforte Concerto, MS. Adolph Henselt. SVrau Dr. Clara Schumann. Scena & Aria {Don Juan), UeberAlles hleibst du theuer ; Mozart. Frau Schrickl-Steinmuller. Two Lieder ohne Worte ; 2 Mendelssohn : and Fugue ; Robert Schumann. Frau Dr. Clara. Schumann. PART II. Symphony in B fr, No. 4 Beethoven. But it was not for the sake of the Gewandhaus only, that Mendelssohn was so anxious to return to Leipzig. On the 3rd of January, 1846,he entered upon a course of active ser- vice at the Con servatorium; assuming the solecommand of two pianoforte classes, and one for composition, and in the management of both fulfilling the duties of a hard-work- ing professor with no less enthusiasm than that which he had so long displayed in his character of conductor at 2 Nos. 6 and 4, Op. 67 ; then fresh from the engraver's hands, and quite unknown. THE MANAGEMENT OF THE CONSERVATORIUM. 105 the older institution. Now that the Royal College of Music is attracting so much, and such well-merited attention in our own country, our readers may perhaps be glad to know something of the method of teaching pursued by the founder of the most important music school in Germany, on the authority of one who was fortunate enough to participate in its advantages. We shall there- fore devote the remainder of our present chapter to a brief sketch of his mode of proceeding in the class-room, based on our own personal recollections, and corroborated by the contents of a MS. note-book in which we were careful to record the subjects of the various lessons, and the man- ner of their discussion. Among the members of the upper classes for the study of the pianoforte and composition were, Mr. Otto Gold- schmidt, Mons. Michel de Sentis, Herren Tausch, Kalli- woda, Kahlan, and Wetticb, and one or two other pupils, who all met regularly, for instruction, on Wednesday and Saturday afternoons, each lesson lasting two hours. The first pianoforte piece selected for study was Hummel's Septett in ~D minor : and we well remember the look of blank dismay depicted upon more than one excitable countenance, as each pupil in his turn after playing the first chord, and receiving an instantaneous reproof for its want of sonority, w r as invited to resign his seat in favour of an equally unfortunate successor. Mendelssohn's own manner of playing grand chords, both in forte and piano 106 MENDELSSOHN. passages, was peculiarly impressive; 8 and now, when all present had tried, and failed, he himself sat down to the instrument, and explained the causes of his dissatisfaction with such microscopic minuteness, and clearness of ex- pression, that the lesson was simply priceless. He never gave a learner the chance of mistaking his meaning ; and though the vehemence with which he sometimes ex- pressed it made timid pupils desperately afraid of him, he was so perfectly just, so sternly impartial in award- ing praise, on the one hand, and blame on the other, that consternation soon gave place to confidence, and con- fidence to boundless affection. Carelessness infuriated him. Irreverence for the composer he could never for- give. " Es steht nicht da !" 4 be almost shrieked one day to a pupil who had added a note to a certain chord. To another, who had scrambled through a difficult passage, he cried, with withering contempt, " So spielen die Katzen!"* But, where he saw an earnest desire to do justice to the work in hand, he would give direction after direction, with a lucidity which we have never heard equalled. He never left a piece until he was satisfied that the majority of the class understood it thoroughly. Hummel" s Septett formed the chief part of each lesson, until the 25th of February. After that it was relieved, occasionally, by 3 We have already alluded to this, in connexion with his power- ful rendering of Beethoven's Concerto in G major, and his own, in G minor. * " It is not there ! " B " So play the cats ! " THE MANAGEMENT OP THE CONSERVATORIUM. 107 one of Chopin's studies, or a Fugue from the Woldtcm- perirte Klavier. But it was not until the 21st of March that it was finally set aside, to make room for Weber's Covcert-Stuck, the master's reading" of which was superb. He would make each pupil play a portion of this great work in his own way, comment upon its delivery with the most perfect frankness, and, if he thought the player deserved encouragement, would himself supply the orchestral passages on a second pianoforte. But he never played through the piece which formed the subject of the lesson in a connected form. On a few rare occasions — we can only remember two or three — he invited the whole class to his house; and, on one of these happy days, he played an entire Sonata — but not that which the members of the class were studying. And the reason of this reticence was obvious. He wished his pupils to understand the principles by which he himself was guided in his interpretation of the works of the great masters, and at the same time to discourage servile imitation of his own rendering of any individual composition. In fact, with regard to special forms of expression, one of his most frequently reiterated maxims was, " If you want to play with true feeling, you must listen to good singers. You will learn far more from them than from any players you are likely to meet with." Upon questions of simple technique he rarely touched, 108 MENDELSSOHN. except — as in the case of our first precious lesson upon the chord of D minor — with regard to the rendering of certain special passages. But the members of his piano- forte classes were expected to study these matters, on other days of the week, under Herren Plaidy, or Wenzel, professors of high repute, who had made the training of the fingers, and wrist, their speciality. It would be im- possible to over-estimate the value of this arrangement, which provided for the acquirement of a pure touch, and facile execution, on the one hand, while, on the other, it left Mendelssohn free to direct the undivided attention of his pupils to the higher branches of Art. An analogous plan was adopted with regard to the class for composition. The members of this simultaneously studied the technicalities of harmony under Herr F. Richter; those of counterpoint, and fugue, under Herr Hauptmann, the Kantor of the Thomas- Schule, and the most learned contrapuntist in Europe ; and those of form, and instrumentation, under Herr Niels W. Gade. Mendelssohn himself took all these subjects into con- sideration, by turns, though only in their higher aspect. For counterpoint, he employed a large black-board, with eight red staves drawn across it. On one of these staves he would write a Canto fermo ; always using the soprano clef for the soprano part. 6 Then, offering the chalk to 6 No other clef was ever used at the Conservatorium for the soprano part ; nor were the students ever permitted to write alto THE MANAGEMENT OF THE CONSERVATOEIUM. 109 one of his pupils, he would bid him write a counterpoint, abov f e, or below, the given subject. This done, he would invite the whole class to criticise the tyro's work ; dis- cussing its merits with the closest possible attention to every detav 1 Having corrected this, to his satisfaction, or, at least, made the best of it, he would pass on the chalk to some one else — generally, to the student who had been most severe in his criticism — bidding him add a third part to the two already written. And this pro- cess he would carry on, until the whole of the eight staves were filled. The difficulty of adding a sixth, seventh, or eighth part, to an exercise already complete in three, four, or five, and not always written with the freedom of an experienced contrapuntist, will be best understood by those who have most frequently attempted the process. It was often quite impossible to supply an additional part, or even an additional note ; but Men- delssohn would never sanction the employment of a rest, as a means of escape from the gravest difficulty, until every available resource had been tried, in vain. One day, when it fell to our own lot to write the eighth part, a certain bar presented so hopeless a dead- lock, that we confessed ourselves utterly vanquished. " Cannot you find a note ? " asked Mendelssohn. " Not one that could be made to fit in, without breaking a rule/" or tenor parts in any other than their true clefs. This wholesome law was absolute in all the classes. 110 MENDELSSOHN. said we. " I am very glad/' said he, in English, and laughing heartily, " for I could not find one myself." It was, in fact, a case of inevitable check-mate. We never knew, beforehand, what form the lessons in this class would assume. Sometimes he would give out the words of a song, to be set to music, by each member of the class, before its next meeting ; or a few verses of a psalm, to be set in the form of a Motet. When summoned, towards the end of May, 1846, to direct the Lower Rhine Festival, at Aix-la-Chapelle, the task he left for completion during his absence was a Quartett for stringed instruments. When any trial compositions of this kind pleased him, he had them played by the orchestral class ; and would even play the viola himself, or ask Herr Gade to play it, in the chamber music; 7 striving, by every means of encourage- ment within his power, to promote a wholesome spirit of emulation among his pupils. It was not often that this kindly spirit met with an unworthy response ; but the least appearance of ingratitude wounded him, cruelly. When the Quartetts we have mentioned were sent to him for examination, he found one of them headed " Charivari." At the next meeting of the class, he asked for an explanation of the title. " The time was 7 In July, 1846, the writer enjoyed the privilege of having a Double Quartett tried in this way, the two first-violin parts being played by David and Joachim THE MANAGEMENT OF THE CONSERVATORIUM. Ill so short/ 3 stammered the composer, "that I found it impossible to write anything" worthy of a better name. I called it ' Charivari/ to show that I knew it was rubbish." We could see that Mendelssohn felt deeply hurt ; but he kept his temper nobly " I am a very busy man," 8 he said, "and am, just now, overwhelmed with work. Do you think you were justified in expecting- me to waste my time upon a piece which you yourself knew to be f rubbish' ? 9 If you are not in earnest, I can have nothing 1 to say to you." Nevertheless, he analysed the Quartett with quite as much care as the rest, while the culprit stood by, as white as a sheet; well knowing that not a member of the class would speak to him, for many a long day to come. In pleasant contrast to this, we cannot refrain from giving publicity to a very different Story. One of the best pianoforte players in the class was a handsome young Pole, with a profusion of jet-black hair, which, in true Polish fashion, he allowed to hang half-way down his back. While playing the brilliant passages which form the climax of the Concert-Stilck, the good fellow shook his head, one day, in such sort as to throw his rich locks over his shoulder, in a tempest of " Kohlpechrabenschivarze Haare." "You must have your hair cut," said Mendelssohn, in German, with a merry laugh. *» The Pole was very proud of his chevelure ; but, at the next meeting, his hair was the shortest in the class — 8 " lch bin ein sebr IJescbaf lifter Alarm.'' 9 " D. mimes Z- ug.'' 112 MENDELSSOHN. and there was not a student then present who would not gladly have had his head shaved, could he thereby have purchased the smile with which the happy suident was rewarded for his devotion. More than once, the lesson was devoted to extemporisa- tion upon given subjects ; during the course of which Mendelssohn would sit beside the improvisator e, and, without interrupting the performance, suggest, from time to time, certain modes of treatment which occurred to him at the moment. 1 On other occasions, he would take two well-defined motives, and work them up into a model of the Sonata-form, in order to show how much might be accomplished by very simple means. He insisted strongly upon the importance of a natural and carefully arranged system of modulation ; and would frequently call up one pupil after another to pass from a given key to some exceedingly remote one, with the least possible amount of apparent effort. On one occasion, when the writer had failed to satisfy him, in an attempt of this kind, he said, in English, " I call that modulation very ungentlemanlike." When the lesson went well, it was easy to see that he thoroughly enjoyed it. But the work was too hard for 1 He once gave the writer a theme, consisting simply of three Co — a dotted quaver, a semiquaver, and a crotchet : and afterwards ex- temporised upon it himself ; using the three C's as the initial notes of an enchanting little melody, which he worked up into a species of Lied ohne Worte. THE MANAGEMENT OF THE CONSERVATORIUM. J 13 him, in addition to his other laborious duties ; and the acceptance, by Moscheles, of a pianoforte professorship at the Conservn.torium, gave him unmixed satisfaction. But for this, the institution must have suffered terribly, when Mendelssohn's health broke down so suddenly, after the completion of Elijah. But, when the new professor entered upon his duties, in October, 1846, after sacrificing his splendid position in London for the sole purpose of doing the best he could for the interests of Art, all anxiety on this point was at an end ; and the history of the Conservatorium, during the next twenty years, sutli- ciently proves the wisdom of the offer Moscheles so generously accepted. 114 MENDELSSOHN. CHAPTER XVIII. THE LAST SEASON AT THE GEWANDHAUS. The Gewandhaus season, during" the winter of 1845-6, was an exceptionally brilliant one. The programmes, drawn up by Mendelssohn himself, included seven of Beethoven's Symphonies and four of Mozart's ; his own new Violin Concerto, and music to A Midsummer Night's Bream; Schumann's Symphony in B flat; Gade's Cantata, Comala, produced for the first time, and many new and interesting works by other composers. Miss Dolby was engaged for ten of the subscription concerts, and achieved a great success, not only in the higher forms of classical music, but also in familiar phases of English Art then quite unknown in Germany. Indeed one of the most interesting features of the selections presented to the public was their comprehensive cha- racter. No music of any school or period was excluded, provided only that it was good, in its own peculiar style : and thus it happened, that many works were heard at the Gewandhaus, which were never, by any chance, performed elsewhere. TEE LAST SEASON AT THE GEWANDHAUS. 115 By command of the King of Prussia, Mendelssohn was summoned to Potsdam, on the 1st of November, 1845, for the first performance of his (Edijms Coloneus, and to Charlottenburg, shortly afterwards, for the pro- duction of Athalie. This arrangement necessarily in- volved his absence from some important performances at the Gewandhaus ; but, on the 3rd of December, he returned to his favourite occupation, accompanied — ■ to the delight of the public — by Mademoiselle Jenny Lind, who, though then at the height of her repu- tation in Berlin, had not yet been heard in Leipzig, and whose visit at that particular moment was wholly unexpected. Mademoiselle Lind made her first appearance in the Gewandhaus at the eighth concert, on the 4th of December, 1845. Her songs — all sung, on this occasion, in German — were Casta Diva, and Non mi dir, in both of which she created a furore; and Mendelssohn's Auf Fliigelu des Gesanges, andZme zieht durc/i mein Ge- miifh, accompanied on the pianoforte by the composer. The last of these delightful lieder was twice redemanded — a circumstance quite unprecedented at the subscription concerts; and never before or since that memorable night have we heard it so superbly sung, or so deliciously accompanied. On the following evening, 5th of December, Mendels- sohn, in conjunction with his illustrious guest, gave a i 2 116 MENDELSSOHN. concert for a charitable funa connected with the Gewand- haus orchestra ; and the famous songstress deepened the impression she had already produced, by her magnificent interpretation of Wle nalite mlr der Schlummer, the solo passages in the great Finale to Euryanihe, an Aria from Figaro, and some Swedish Melodies with piano- forte accompaniment. Mendelssohn's own contributions to this performance were his First Concerto in G minor, and a Solofiir 'Pianoforte, which consisted of two Lieder ohie Worte—No 1. Book VI. and No 6. Book V.— both evidently chosen on the spur of the moment, and rendered intensely interesting by a prelude and interlude such as he alone could have improvised. During the course of a long and masterly modulation from the key of E flat to that of A major he carried on the quiet semi- quaver accompaniment of the first lied for some consider- able time, without interruption, treating it with new and unexpected harmonies so contrived as to permit the continuance of the bell-like B flat in the form of an in- verted pedal-point, and always presenting the reiterated note in some novel and captivating position. As the modulation proceeded, the B flat gave place to other notes, treated in like manner ; and presently these were relieved by a new figure, which rapidly developed into the well-known feathery arpeggio of the famous Frvh- linrjslied Every one thus knew what was coming : but no one was prepared for the fiery treatment which first THE LAST SEASON AT THE GTSWANDIIAUS. 117 worked up this arpeggio-form into a stormy climax carrying all before it, and then as it gradually approached the long-expected chord of A major, died gently away, in a long-drawn diminuendo, so artfully managed, that, when the delicious melody was at last fairly in- troduced, it sent an electric thrill through every heart in the room. This was indeed a "gentlemanlike modu- lation," never to be forgotten by any one who heard it. On her return home after the concert, Mademoiselle Li nd was greeted by 300 enthusiastic amateurs, with a serenade, sung beneath her windows by torchlight. A large band of wind instruments took part in the per- formance ; and after its conclusion, Mendelssohn, who stood beside Mademoiselle Lind on a balcony, gracefully thanked the serenaders, in her name, for the pleasure they had given her. On the following day she returned to Berlin, but again visited Leipzig in the early spring, and on the 12th of April (Easter Sunday), gave a chamber concert at the Gewandhaus, in which, accom- panied by Mendelssohn, she sang Pacini's II soave elen coniento, Mozart's Non mi dir, Weber's Gloclclein im Thale, and Und oh die Wolke, and a second selection of Swedish Airs. This concert is sadly memorable as the last at which Mendelssohn played publicly in Leipzig. The pieces he had selected were Beethoven's Violin Sonata in G major, in which he was assisted by David ; the same composer's 118 MENDELSSOHN. Sonata in C sharp minor ; and, last of all, one of his own Lieder oline Worte, which, however, was played by Madame Schumann. Although this lady's name did not appear in the programme, Mendelssohn, seeing her among the audience, invited her to take his place ; a compliment which she gracefully acknowledged by play- ing the Lied ohne Worte, No. 4, Book VI., and a Scherzo of her own. 1 On the last day of the old year, 1845, Mendelssohn gave at his residence in the Konigsstrasse, one of those delightful musical evenings, the memory of which is so dear to all who were privileged to share his hospitality. He began by playing Beethoven's Sonata in E major, Op. 109, with the lovely aria and variations to which he alone of all the virtuosi we have heard, knew how to do full justice. Miss Dolby sang, Sun r f the sleepless , There be none of beauty's daughters, and Handel's, If guiltless blood be your intent. David played Mendelssohn's Violin Concerto to 'he composer's pianoforte accompaniment. And Madame Schumann played some caprices, and a canon by her husband, who was present, but in accordance with his usual custom took no active part in the proceedings. A perfect little 1 The last notes actually played by Mendelssohn in the Gewand- iiaus were those of the accompaniment to Mademoiselle Lind's Swedish Airs. Our recollection of the circumstances is corroborated by an entry in a note-book which we kept at this period. TEE LAST SEASON AT THE GEWANDHAUS. 119 supper was then served, at a number of small tables, placed in different parts of the room, and as the clock struck twelve, the beloved host rose, glass in hand, from his seat, and, passing from table to table, touched the glass of every guest in turn, pledging each one with his indescribable smile, in some choice old Rhein-wehi which had been specially reserved for the occasion. 3 It was a happy moment. We little thought that the New Year's Day of 1846 was the last but one our host was destined to spend on earth ! 2 Though drinking very little wine himself, Mendelssohn thoroughly understood the merits of a precious vintage, and de- lighted in setting its produce before his guests. He was an accom- plished concocterof ^SlaitranTc, a kind of " cup" made with various kinds of Hock and Moselle, cunningly mixed in certain artistic proportions, flavoured with fresh sprigs of Waldmeister (Wood- roof), and sweetened with sugar. He once fabricated, at the house of his brother-in-law, Herr Schunck, a bowl of Maitranh which was pronounced by all the connoisseurs present to be the finest on record ; and he was justly proud of the nectar he distributed. He himself, using a familiar German expression, pronounced it to be " Der wahre Jakob " — a phrase which, for the writer's instruction, he laughingly translated into English, as, " The true Jack." 120 MENDELSSOHN. CHAPTER XIX. Unhindered by the labours of this busy winter, Elijah was steadily approaching completion. The first part was finished on the 23rd of May, 1846 ; before the end of July, the whole was sent to England, for translation from the German — in which language the book was originally compiled — by Messrs. Bartholomew and Klingemann. Yet, time was also found for the fulfilment of other very important engagements. The Lauda Sion, written for the festival of Corpus Ckristi, at Liege, was finished on the 10th of February, though the performance did not take place until the 11th of June, when Mendelssohn con- ducted it in person, after having presided at the Lower Rhine Festival, at Aix-la-Chapelle (on the 31st of May and the 2nd of June), and a concert at Diisseldorf. On the 5th of August, he organised a preliminary rehearsal of the new Oratorio in Leipzig. Soon after this he started on his journey to England. And on the 18th he arrived, for the ninth time, in London, and once more "ELIJAH." 121 became the guest of Klingemann, at the well-known house in Hobart Place. The first rehearsal of Elijah, in England, was a private trial, with pianoforte accompaniment, at Moscheles' house. Two full rehearsals then took place at the Hanover Square Rooms ; and nothing that could conduce to the excellence of the final performance was left undone, though the amount of work compressed into the time at command was excessive. Mendelssohn looked very worn and nervous, } r et he would suffer no one to relieve him, even in the scrutiny of the orchestral parts, which he himself spread out on some benches beneath the windows on the left-hand side of the room, and insisted upon sort- ing out and examining for himself. 1 On the 23rd he went down to Birmingham, where he conducted two full re- hearsals, on the 21th and 25th and on Wednesday, the 26th of August, the oratorio was for the first time per formed in public. It w T ould be impossible to describe the enthusiasm with which Elijah was received at Birmingham. The performance was admirable. Mendelssohn himself spoke 1 He was always particular!} 7 anxious on this point. The piinci- pal copyist in London in those days was a well-known man, whose name was constantly called out at rehearsals when parts were missing. One day, when some parts were missing at a Gewandhaus rehearsal, Mendelssohn turned round, laughing heartily, and called out this man's name, to the astonishment of the Germans, who could not see the point of the joke. 122 MENDELSSOHN. of it in terms of the highest approval, and was especially delighted with Herr Staudigl — whose rendering of the part of Elijah has never yet been equalled — and Mr. Lockey. The principal soprano and contralto parts were sung by Miss Birch and Miss M. B. Hawes; and the choruses were sung with wonderful precision for a first performance. Eleven pieces were redemanded. Artists and audience vied with each other in their endeavour to increase the roar of applause which, at the close of the first and second parts, was simply deafening : and, when all was over, those who had taken part in the proceedings rushed madly forward in the hope of exchanging a word with the hero of the day, who heartily grasped every hand that came within his reach, and thanked all present for their share in the performance with which he was so deeply gratified. When the festival was over, Mendelssohn returned to London, with Mr. and Mrs. Moscheles ; spent a few days at Kamsgate with his friend Mr. Benecke; and, on the 6th of September, crossed, with Staudigl, to Ostend, whence he proceeded by easy stages to Leipzig ; not, as might be supposed, to rest, but, with the least possible delay, to remodel the Oratorio, with which he was very far from satisfied, notwithstanding the pleasure he had de- rived from its first performance. Scarcely a movement of Elijah passed unchanged through the fire of this sweeping revision, the extent of which can only be 123 thoroughly understood by a comparison of the original MS. score with the published copy ; but it was not until the whole was completed that the music was given out to the engravers, and not until the month of July, 1847, that the complete edition was issued to the public by Messrs. Simrock. By command of the King of Prussia, a considerable portion of Mendelssohn's time was devoted, during the autumn of 1816, to the service of the Cathedral at Berlin. In October, Moscheles came to Leipzig, and relieved him from much anxiety with regard to the direction and conduct of the Conservatorium. The arrival of this trusty and affectionate friend was most opportune, for troubles were multiplying rapidly. Not the least among them was a highly unsatisfactory correspondence with Mr. Lumley, the lessee of Her Majesty's Theatre, con- cerning the preparation of an Opera, for which Scribe was engaged to furnish a libretto, founded on Shake- speare's Tempest. The scheme fell through hopelessly, as might have been expected, for it is impossible to believe that any kind of sympathy could ever have existed between the composer and the dramatist. More- over Geibel, the German poet, was simultaneously engaged upon the fabrication of another libretto, founded upon the Legend of Loreley, with which Mendelssohn seems to have been better satisfied ; and, in addition to this, he was already contemplating a new Oratorio, to be called 124 MENDELSSOHN. Chrislus. The demands upon his time and thought were, therefore, excessive; and it is not to be wondered at that he once more committed the direction of the Gewandhaus concerts to his friend Gade; only con- ducting one occasionally towards the close of the season, and never consenting to play in public. Yet, in January, 1S47, he instituted a most minute examination of the students at the Conservatorium, sparing neither time nor labour in his endeavour to make it as complete as possible : and, on the 2nd of April, he conducted a per- formance of St. Paul. All these events were, however, of small importance, compared with an engagement into which he had entered with the Sacred Harmonic Society, for the reproduction of Elijah, in its revised form, at Exeter Hall. In fulfil- ment of this, he crossed the Channel with Joachim, on the 12th of April; and, on the evening of that da}*, arrived, for the tenth time, in London, the welcome guest of his friend Klingemann, whose house in Hobart Place had so often received him during his visits to this country. The extensive changes which had been made in the Oratorio since its first performance added greatly to the labour attendant upon its reproduction, but it was nob in his nature to leave his work half-done. The perform- ances originally arranged for the 16th, 23rd, and 28th of April were so brilliantly successful, that a fourth was " ELIJAH. " 125 organised for the 30th. On the 23rd the Queen and Prince Consort were present ; and the Prince wrote on his programme a memorandum, in which he compared Mendelssohn's zealous defence of the true principles of Art, and condemnation of its false corrupters, to Elijah's condemnation of the worshippers of Baal. In addition to these four performances of the oratorio, Mendelssohn conducted it at Manchester, on the 20th of April ; and at Birmingham on the 27th. On the 26th he conducted the Scotch Symphony, and the music of A Midsummer Night's Dream, at the Philharmonic concert, in the presence of the Queen; and also played, for the second time, Beethoven's Pianoforte Concerto in G major, introducing an extempore cadenza no less interesting than that of the year 1814, though, in consequence of a less perfect understanding with the conductor, he found it necessary to hold up his hand in order to prevent the orchestra from bringing in the a tempo before he had completely worked out his idea. There can be no doubt that Mendelssohn's health was by this time seriously, if not hopelessly, impaired. Though no one suspected the terrible gravity of the case, or the fatal extent to which his physical powers had been undermined by excessive mental labour, it was evident that he was working himself to death. We ourselves have always dated the change from the first production of Elijah, in 1S4G; and believed it to bay DEPARTMENT OF »o«iTY EXTENSION. 126 MENDELSSOHN. been the result, not of the labour of composing, but of that of producing' this, his last great work. When talking" with him, on the day before the first full re- hearsal, in Mr. Klingemann's study, we were startled for the first time by a worn look, quite foreign to his usual expression — a look of pain, which was even more distressingly apparent on the following morning, as he stood beneath the side windows of the Hanover Square Rooms, arranging the orchestral parts of the Oratorio in the order proper for their distribution. 2 Eight months had passed since then, and now the change was patent to every one. Yet his dauntless spirit supported him wonderfully through the labours of this busy time. Six performances of Elijah, one of the Scotch Symphony and Midsummer Night's Bream, and a mag- nificent rendering of Beethoven's Concerto, between the 16th and the 30th of April ! On the 1st of May he played to the Queen and the Prince Consort for two hours at Buckingham Palace. On the 4th he played at a concert of the Beethoven Quartett Society, his Trio in C minor — the Frankfort Trio — and some Liecler ohne Worte. On that evening Mademoiselle Jenny Lind made her first appearance at Her Majesty's Theatre in Roberto il Diavolo, and he was there to witness his friend's first triumph in England. On the 5th he played an Organ Fugue at the " Concert 2 See page 121. "ELIJAH." 127 of Antient Music." On the 6th he played to a large party at the Prussian Embassy. On the 8th he took leave of the Queen and Prince Consort; and in the evening- started with the Klingemanns on his homeward journey. At Herbesthal, the well-known station on the Prus- sian frontier, he was subjected to inexpressible annoy- ance by an officious member of the police force, who mistook him for a political offender endeavouring to escape from justice. In his then weak condition, this miserable blunder, which, under other circumstances, would have cost him no more than an evanescent burst of just indignation, became a source of serious discomfort. He arrived in Frankfurt, weary and ill, irritable to the last degree, and in a state of physical exhaustion which caused the gravest anxiety to his family, though it was hoped that rest alone, if it could but be secured, would suffice to restore the shattered nerves, and repair the injury caused by so long a period of uninterrupted exertion. But there was no rest at hand. In place of it, he was summoned, without a moment's preparation, to bear the most terrible shock he had ever yet been called upon to sustain. What wonder that neither mind nor body were equal to the trial ! What wonder that he was crushed by a blow which would have affected him most severely at any time, but from which no other than a fatal result could possibly have been anticipated, in his then state of exhaustion and distress ! 128 MENDELSSOHN. CHAPTER XX. THE END. On Friday afternoon, the 14th of May, 1847, Madame Hensel, the beloved sister Fanny, to whom, from earliest infancy, Felix, the child, the boy, the man, had com- mitted every secret of his beautiful art-life ; the kindred spirit, with whom he had shared his every dream be- fore his first attempt to translate it into sound ; the faithful friend, who had been more to him than any other member of the happy circle in the Leipziger Strasse, of which, from first to last, she was the very life and soul — Fanny Hensel, the sister, the artist, the poet, while conducting a rehearsal of the music for the uext bright Sunday gathering, was suddenly seized with paralysis ; suffered her hands to fall, powerless, from the piano at which she had so often presided ; and, an hour before midnight, was called away to join the beloved parents whose death had been as sudden, and pain- less, as her own. S.ie had hoped and prayed that she too might pass away as they had done. And THE END. 129 her prayer was granted : to her exceeding gain ; but to the endless grief of the brother who had loved her as himself. On Sunday morning, in place of the piano, a coffin, covered with flowers, stood in the well-known hall in the Garden House. And the life, of which that Garden House had so long been the cherished home, became henceforth a memory of the past. Mendelssohn had been but two days in Frankfort when the sad news was, all too suddenly, communicated to him. / With a terrible cry he fell fainting to the ground ; and never again did his merry laugh gladden the hearts of the friends to whose pleasure it had so often contributed in the happy days when it was a joy, even to see him smile. \ For some weeks he remained utterly prostrated by the unexpected blow ; but in June he was thought well enough to remove, with his family to Baden Baden, where he was joined by his brother Paul, and his sorrowing brother-in-law. The whole party then moved slowly on towards Switzerland, pass- ing by Schaffhausen and Lucerne, to Interlaken, where they remained for some little time. A month later, Felix was still unable even to write a letter. But, about this time, he began some water-colour drawings, in which he soon took so real an interest, that they not only served to divert his mind, but enabled him to make great advances in an art which he had always cultivated witl. intense pleasure. Paul and Hensel returned home in K 130 MENDELSSOHN. July ; but Felix remained at Interlaken with his family until September, gradually returning* to his old habits ; writing, among other music, the beautiful Quartett in F minor (Op. 80), with some portions of Loreley, and of the new oratorio, Christus ; and giving the best attention he could to proposals for the future, the most important of which was a commission from the Philharmonic Society for a new Symphony. Mr. Chorley, who spent some days with him towards the end of August, has left us a touching picture of his life at this period, 1 recalling so much, and yet so little, of the happi- ness of well-remembered days, now passed away for ever. So much sweet warmth, and gentle honliomie ; so very, very little of the brightness destined ere long to vanish into night. "We have resolved to come here every year," he said, while sitting beneath the pine-trees on the Hohenbiihl. Then breaking off suddenly, and putting his hand to his head, he added, " But what is the use of planning anything ? I shall not live/' By the 17th of September he was again in Leipzig; and played for some time on a new grand pianoforte, sent to him by Messrs. Broadwood. This gave him great pleasure; and he would often, when interested in his work, seem to forget himself, for the moment, and speak hopefully, and even cheerfully, of the future But a week spent at Berlin reopened the wound that 1 " Modern German Music," vol. ii. THE EAD. 131 had already so fatally shattered his constitution, and was wearing his life away, with a merciless rapidity, which those who were nearest and dearest to him persistently refused to look fairly and honestly in the face. It is impossible to believe that these dear ones could have been really blind to the truth. Though they dared not confess it, even to themselves, it must have been im- pressed upon them, every moment, if only by the change in his accustomed habits. Contrary to all previous experience, he dreaded all contact with the public. When the Gewandhaus concerts began, on the 3rd of October, he left the whole management of them in the hands of his friend Julius Rietz, taking no share even in the arrangement of the programmes. The only event of the kind in which he seemed to take any interest, was a projected performance of Elijah, at Vienna, in which Mademoiselle Lind wastosing, and which he had promised to conduct. But this, alas ! was not to be. On the 9th of October, after walking w r ith Moscheles in the Rosenthal, 2 he called on Madame Frege, and accompanied her in his last set of Songs (Op. 71). He asked her to repeat them. She left the room, to order lights; and on her return found him shivering, and suffering from violent pain in the head. He was taken home, to bed ; and the attack proved very serious : but he rallied, after some days, and, 2 A woody spot, in the suburbs of Leipzig, and a favourite resort of its inhabitants. K 2 132 MENDELSSOHN. on the 28th, walked out with Madame Mendelssohn, dining heartily afterwards. This improvement, however, was followed by a still more violent attack, after which he remained, for a long time, perfectly unconscious. And now, not only his friends, but the whole town, be- came alive to the dreadful truth ; which, indeed, could no longer be concealed. For a short time, he so far recovered consciousness as to recognise those who stood by him, and to answer a few questions : but another relapse took place, on the 3rd of November, and after this he never spoke again. During the greater part of the next day the state of unconsciousness continued, without apparent suffering. Beside the bed watched Madame Mendelssohn, her brother-in-law Paul, Fer- dinand David, Moscheles, and Dr. Schleinitz ; but all hope of saving the beloved husband, brother, and friend had long since perished; and at 9.24 p.m. on Thursday, the 4th of November, 1847, he died. On Friday and Saturday "hundreds of mourners pressed into the house, for one last look at the familiar features ; and the family, with noble generosity, placed no barrier in the way." 3 On Sunday, at 4. p.m., the coffin was borne to the Paulinenkirche, preceded by a band of wind instruments, playing the Lied a/me Worte in E minor, Book V. No. 3, scored, for the occasion, by Moscheles. Immediately after the band 3 Limpadius, ch. xiv. THE END. 133 followed the then senior student of the Conservator! um, Mons. de Sentis, bearing a cushion, on which were placed Mendelssohn's Ordre pour le merite, and a silver crown, the offering" of his pupils. The pall, almost hidden beneath a mass of palm-branches and flowers, was borne by Schumann, David, Gade, Hauptmann, Moscheles, and Rietz. Before the bier walked the members of the Gewandhaus Orchestra, the choir of the Thomas-Schule, the choral societies of the city, and the professors and students of the Conservatorium : behind it followed the chief-mourner, Paul Mendelssohn-Bartholdy, and the rest of the family, the clergy of the city, the university professors, a large body of military and civil officers, and a long procession of friends and uninvited mourners, all anxious to pay their last act of reverence to the great tone-poet whom they had not — as is too often the case — forgotten to honour, while he yet lived to acknowledge and to value their prof erred homage. On its arrival m the church, the coffin was placed on a catafalque sur- rounded by six tall wax tapers. Mons. de Sentis laid the crown at the master's feet, while the whole congrega- tion joined in Errett micli, o mein lieber. During the course of the service, the choir sang the Choral, To Thee, Lord, I yield my spirit, and the chorus, Happy and blest are they, from St. Paul. A sermon was preached by Pastor Howard, the minister of the Reformed Con- gregation, and the ceremony concluded with the last 134 WENliSLtSBonN. chorus from Sebastian Bach's Passion according to St. Matthew. When the whole congregation had left the Church, a lady entered, in deep mourning, and kneeled beside the coffin. It was Cecile, Madame Mendelssohn, who, amidst the awful stillness of the deserted building, took her last farewell of the husband she had loved so well. At 10 p.m., the coffin was taken to the railway station, and conveyed to Berlin. At Cothen, the local choii awaited it, in the night, with music ; and, at Dessau, the aged Friedrich Schneider brought his own well-trained choir, at half-past one o'clock a.m., to sing a Hymn which he had written for the occasion. At 7 a.m., on Monday, the 8th of November, it arrived at Berlin, where the Cathedral Choir received it with the Chorale, Jesu, meine Fretide. The sun was rising, as it was borne into the Alte Dreifaltigkeits-Kirchhof, just without the Halle Gate, where it was deposited in its last resting-place, in front of the tombs of Abraham and Leah Mendelssohn- Bartholdy, and beside that of Madame Hensel, in the family vault, after a second service, during the course of which Pastor Berduschek delivered a funeral oration, and the members of the Singakademie sanga Hymn composed for the occasion by Grell. The grave is now marked by a Cross, bearing the inscription : — 11 Jakob Ludioig Felix Mendelssohn- Bar tlioldy ; geboren THE END. 135 zu JTamburg, am 3 Feb., 1809 ; gestorben zu Leipzig, am 4 .Y.~., 1847/' It was but a very little time afterwards that the vault was again opened for Mendelssohn's youngest boy, Felix, who now lies by his side. Madame Mendelssohn survived her husband nearly six years, dying of consumption, on Sunday, the 25th of September, 1853, at Frankfort, where she lies in the beautiful God's-acre overlooking the Taunus Gebirge. 136 MENDELSSOHN. CHAPTER XXI. Mendelssohn's position in art. In order fully to understand the genius of Mendelssohn and fairly to estimate its influence upon the contempo- rary and subsequent progress of Art in Germany and other countries, we must carefully consider the condition of Music at the moment of his entrance into public life. Weber produced his last great work — Oheron — and died, during its first successful run, when Mendelssohn was seventeen years old, For some years after this event, German Art was worthily represented by Spohr alone ; and it is certain that, great as was the respect with which Mendelssohn and Spohr regarded each other, neither of them, from first to last, ever exercised the slightest appreciable influence upon the other's artistic career. They were great friends. We well remember how, when Spohr visited Leipzig, in 1846, he was every- where received with the honour due to an artist of the highest rank. At the Conservatorium, all the elder pupils 137 were paradeu before him in turn; and his own Weihe der Tone was played to him, in the Orchestral Class, by the Stringed Band of the institution, the wind parts being* filled in, as usual, on two pianofortes, at one of which the writer had the honour to sit. At a private party given by Madame Voigt, his own Double Quartett in E Minor was played, as it had probably never been played before ; he himself leading the first division, and David the second, while Mendelssohn and Gade played the two Viole, and Joachim the Second Violin of the first section. 1 And the enthusiasm with which the illustrious guest was everywhere received was entirely the result of Mendelssohn's undisguised admiration for his genius. Yet it is not too much to say that between that genius and his own there existed no affinity what- ever. In France, the ruling power in Mendelssohn's early days was Auber, whose Operas he held in the utmost possible aversion. 2 In Italy, Rossini still reigned supreme, even after he had long ceased to write for the Italian Stage. Of young composers, coming to the front with reasonable prospect of carrying on the work of the departed giants, there wc"*e none. 1 The only other occasion on which we have heard this heautiful work played with anything like equal effect was at the " Beethoven Rooms," in 1847, when Spohr led the first division, and Joachim the second. 3 See page 24. 138 MENDELSSOHN What wonder, then, that Mendelssohn, feeling the Divine Fire within him, stood forth as the champion of the Art he loved, and did battle bravely against the false partisans, who, pretending to advance it, were in reality its bitterest enemies ! and what wonder that the world, seeing him in earnest, and attracted by his varied and unquestionable talents, learned first to recognise, and afterwards to worship them ! The style he cultivated was, in every sense of the ex- pression, his own ; yet we should be led grievously astray were we to regard it as a new invention. It was the natural development of a well-defined system of progress. A continuation of good work, begun by his predecessors, and founded upon the principles they inculcated. His method of Part-writing was, in all essential points, identical with that evolved by Sebastian Bach from the Counterpoint of the 16th century. His forms were moulded, conscientiously, though never servilely, on the lines laid down by Haydn ; the normal severity of the primitive design being everywhere tempered with the freedom introduced into it, with so great success, by Beethoven, and practised by all later writers without exception. In his rich and varied Instrumentation, he availed himself of all the resources of the modern Orchestra; and, if he did not write for the Voice, like Mozart, or Cimarosa, he at least understood its capabili- ties thoroughly. But in none of these technical per- Mendelssohn's position in art. 139 fections is his own peculiar idiosyncrasy — his inmost self — manifested with sufficient certainty to establish the identity of his productions beyond dispute. If we would discover this, we must seek for it in his method of phrasing. The perfect balance maintained between the various members of his musical sentences is strikingly characteristic. It would be impossible, in a sketch like the present, to analyse this peculiarity in detail, but those conversant with Mendelssohn's works can scarcely have failed to notice it ; and we need only direct the attention of others, who have not made them a special study, to the structure of the first Allegro of the Scotch Symphony, or of the various Subjects of the Overture to llcy Bias, in order to make our meaning clear. The experienced student of Mendelssohn's works finds, in the construction of these Subjects, sufficient evidence to prove their authorship beyond all possibility of doubt ; while the tyro may study them with equal pleasure and advantage. COMPLETE CATALOGUE OF MENDELS- SOHN'S WORKS. (Arranged in Chronological Order. 1 ) Op. 1. First Qnartett for P.P. and Str. Instr., ia C Min. (Ded. to Count Anton von Eadziwill) [1822J. Op. 2. Second Qnartett for P.P. and Str. Instr., in F Min. (Ded. to Zelter) [1823]. Op. 10. 2 Die Hochzeit des Camacko (" The Marriage of Cama- cho")» Comic Opera in two acts [1824]. Op. 11. First Symphony, in C Min. (originally numbered xiii.) (Ded. to the Philharmonic Society) [1824]. Op. 3. Third Quartett for P.F. and Str. Instr., in B Min. (Ded. to Goethe) [1825]. Op. 4. Sonata for P.F. and Vn., in F Min. (Ded. to E. Eitz). Op. 5. Capriccio for P.F., in F sharp Min. [1825]. Op. 6. Sonata for P.F., in E [1826]. Op. 7. Sieben Charakterstiicke for P.F. (Ded. to Ludwig Ber- ger). Op. 8. Twelve Songs [the 12th for two voices]. (Nos. 2, 3, and 12 by Fanny Hensel.) Op. 9. Twelve Songs, " The Youth and the Maiden." (Nos. 7, 10, and 12 by Fanny Hensel.) Op. 21. 3 Concert-Overture, No. 1., " A Midsummer Night's Dream," in E [1826]. 1 On the authority of Breitkopf and Hartel's " Thematic Cata- logue " (Leipzig, 1873). The dates are those of composition. Where no year is given the MS. is undated. 2 It will be seen that in this and some other important cases, we have sacrificed the order of the Opus- numbers to the more interesting date of production. 3 See the preceding footnote. 142 COMPLETE CATALOGUE OF MENDELSSOHN'S WORKS. Op. 12. First Quartett for Str. Instr., in E flat [1829]. Op. 13. Second Quartett for Str. Instr., in A [1827]. Op. 14. Rondo Capriccioso for P.F., in E [Dated " Oct. 26 "]. Op. 15. Fantasie for P.F. (on " The Last Rose of Summer "). Op. 16. Three Fantasies 4 or Caprices: — No. 1. Rosen unci Nelhen in Menge (Andante and Al- legro, in A) [1829]. No. 2. Der Kleine Fluss (" The Rivulet "), in E [1829]. No. 3. Ecremocarpus, {Capriccio in E Min.) [1829]. Op. 17. Variations Concertantes for P.F. and Cello, in D (Ded. to Paul Mendelssohn-Bartholdy) [1829]. Op. 19. Seeks Lieder ohne Worte, for P.F., Bk. 1 [No. 6 dated "Venice, 1830"]. Op. 19 bis. Six Songs [No. 6 dated 1830]. Op. 39. Three Motets for Female Voices, with Organ [1830]. Op. 18. First Quintett for Str. (2 Viole) [1831]. ■ Op. 20. Ottetto for Str., in E flat (Ded. to E. Ritz). Op. 22. Capriccio Brillante for P.F. and Orch. in B Min. Op. 23. Church Music, with Organ Accomp. : — Aus tiefer Noth. Ave Maria, a 8. Mitten wir, a 8. Op. 24. Overture for Wind Instr., in C. Op. 25. First Concerto for P.F., in G Min. (Ded. to Fraulein D. von Schauroth). Op. 26. Concert-Overture, No. 2, FingaVs Hblde [called also " The Hebrides," " Fingal's Cave,'' and " The Isles of Fin- gal "] in B Min. (Ded. to Franz Hauser). Op. 27. Concert- Overture, No. 3, Die Meereastille unci GlucTc- liclie Faltrt (" The Calm Sea and Prosperous Voyage "), inD. Op. 31. Psalm cxv., for Solo, Chorus, and Orch. [1830]. Op. 32. Concert-Overture, No. 4, Die Sclidne Melusine ("The Lovely Melusina ") [1833]. Op. 33. Three Caprices for P.F., in A Min., E, and B flat Min. (Ded. to Klingemann) [1833]. Op. 28. Sonate Ecossaise, Fantasia for P.F., in F sharp Min. (Ded. to Moscheles) [1833]. Op. 29. Rondo Brillante for P.F. and Orch., in E flat (Ded. to Moscheles) [1834]. Op. 30. Seeks Lieder ohne Worte, for P.F., Bk. 2 (Ded. to Fraulein Elise von Woringen) [1833—1837]. Op. 34. Six Songs, (No. 5 Ded. to Fraulein Julie Jeanrenaud— Madame Schimck) [1824]. 4 See page 41. COMPLETE CATALOGUE OF MENDELSSOHN^ WORKS. 143 Op. 35. Six Preludes and Fugues for P.F. : — No. 1, in E Min. 5 No. 2, in D [Prel. 1836]. No. 3, in B Min. [1832]. No. 4, in A flat [1835]. No. 5, in F Min. [Prel., 1836 ; Fu., 1834]. No. 6, in B flat [Prel, 1837 ; Fu., 1836", Op. 36. St. Paul, Oratorio, [1836]. Op. 37. Three Preludes and Fugues for the Organ (Ded. to Thomas Attwood) [1837] :— No. 1, in C Min. No. 2, in Gr. No. 3, in D Min. Op. 38. Seeks Lieder ohie Worte, forP F., Bk. 3 (Ded. to Frau- lein E. von Woringen) [1836—1837]. Op. 40. Second Concerto for P.F. in D Min. [1837]. Op. 41. Open-Air Music, first set of Six Part-Songs for S.A.T.B. [1834]. Op. 42. Psalm xlii., for Chorus and Orchestra. Op. 43. Serenade and Allegro giojoso, for P.F. and Orch., in B Min. [1838]. Op. 44. Third, Fourth, and Fifth Quartetts for Str. Instr. (Ded. to Prince of Sweden) : — No. 3, in D [1838]. No. 4, in E Min. [1837]. No. 5. in E flat [1838]. Op. 45. First Sonata for P.F. and Cello, in B flat [1838]. Op. 46. Psalm xcv., Solo, Chorus and Orch. [1838]". Op. 47. Six Songs (Ded. to Frau C. Schleinitz) [1839]. Op. 48. Open-air Music, second set of Six Part- Songs (Ded. to Dr. Martin and Dr. Speirs) [1839]. Op. 49. First Trio for P.F., Vn. and Cello, in D Min [1839]. Op. 50. Six Part- Songs, for Male Voices (No. 2, Der J tiger Abschied, " The Hunter's Farewell "), with Accoinp. for 4 Horns and Bass Trombone; the rest unaccompanied. (Ded. to the Liedertafel in Leipzig) [1839—1840]. Op. 51. Psalm civ., for 8 Voices and Orch. (Ded. to J. "W. Schirmer). Op. 52. Lobgesang, " Sin funia- Cantata, No. 1." Called also the " Second Symphony." (Ded. to King Friedrich August of Saxony) [1840]. Or>. 53. Seeks Lieder okne Worte, for P.F., Bk. 4 (Ded. to Miss. Sophie Horsley) [1841]. Op. 54. Seventeen Variations serieuses, for P.F., in D Min. [1840], 5 See page 34. 144 Op. 55. Music to the Antigone of Sophocles, for Chorus of Male Voices and Orch. (Ded. to King Friedrich Wilhelm IV. of of Prussia) [1841]. Op. 56. Third Symphony, in A Min., called "The Scotch Symphony " (Ded. to Queen Victoria c ) [1843]. Op. 57. Six Songs (Ded. to Frau Livia Frege) [1829—1841]. Op. 58. Second Sonata for P.F. and Cello (Ded. to Count Matthias Wielhorsky). Op. 59. Open-Air Music, third Set of Six Part-Songs for S.A.T.B. (Ded. to Frau Henriette Beuecke) [1837—1843]. Op. 60. Die Erste Walpurgis-Nacht, Ballad for Chorus and Orch. [First version, dated 1831 — 1832. The second version was not produced until 1843]. Op. 61. The Incidental Music to "A Midsummer Night's Dream " (Ded. to Dr. Heinrich Conrad Schleinitz). Op. 62. Seeks Lieder ohne Worte, for P.F., Bk. 5 (Ded. to Frau Clara Schumann) [1842—1844]. Op. 63. Six Two-Part Songs [1836—1844]. Op. 64. Concerto for Violin and Orchestra, in E Min. [1844]. Op. 65. Six Sonatas for the Organ 7 (Ded. to Dr. F. Schlemmer) [1844—1845]. Op. 66. Second Trio for P.F., Vn. and Cello in C. Min. (Ded. to L. Spohr) [Composed at Frankfort in 1845]. 8 Op. 67. Seeks Lieder ohne Worte, for P.F., Bk. 6 (Ded. to Fraulein Sophie Rosen) [1843—1845]. Op. 68. Festc/esang, Schiller's Poem, " An die Kunstler," for Male Voices, with Accomp. of Brass Instr. Op. 69. Three Motets, for a Solo Voice and Chorus [1847]. Op. 70. Elijah, Oratorio. Op. 71. Six Songs (among them the Naclitlied, Mendelssohn's last composition, written as a birthday-present for Dr. Schleinitz, Oct. 1st, 1847). 9 Op. 72. Six Children's Pieces for P.F. [1845—1847]. The following compositions were published posthumously : — Op. 73 (Op. 1, Posth.). Lauda Sion, Hymn for Chorus and Orch. [1846]. Op. 74 (Op. 2. Posth.). Music to Eacine's Atlialie [Overture, 1844-1845 ; Chor., 1843]. Op. 75 (Op. 3, Posth.). Four Part- Songs for Male Voices. Second Set [1839—1844]. Op. 76 (Op. 4, Posth.). Four Part-Songs for Male Voices. Third Set [1844—1846]. 6 See page 86. The Second Symphony is the Lobgesang (Op. 52), called, in the English Edition, " Sinfonia- Cantata, No. 1." 7 See page 100. 8 See page 101. 9 See page 131. COMPLETE CATALOGUE OF MENDELSSOHN' S WORKS. 145 Op. 77 (Op. 5, Posth.). Three Vocal Duets [1836,1839, 1847]. On. 78 (Op. 6, Posth.). Psalms ii., xxii., and xliii., Solo and Chor. [1844]. Op. 79 (Op. 7, Posth.). Six Motets for 8 Voices. [1843—1846]. Op. 80 (Op. 8, Posth.). Sixth Quartett for Str. Instr., in F Min. [1847]. Op. 81 (Op. 9, Posth.). Andante in E ; Scherzo in A Min. ; Capriccio in E Min ; and Fugue in E flat ; .for Str. Instr. Op. 82 (Op. 10, Posth.). Air with Variations, for P.F., in E flat [1841]. Op. 83 (Op. 11, Posth.). Air with Variations, for P.F. a 2 mains, in B flat. Op. 83 bis (Op. 11 lis, Posth.). The same, a 4 mains. Op. 84 (Op. 13, Posth.). Three Songs for Contralto Voice [1831, 1834, 1839]. Op. 85 (Op. 14, Posth.). Seeks Lieder ohne Worte, for P.F., Bk. 7 [1841—1845]. Op. 86 (Op. 15, Posth.). Six Songs [1837—1841]. Op. 87 (Op. 16, Posth.). Second Quintett for Str. Instr. (2 Viole), in B flat [1845]. Op. 88 (Op. 17, Posth.). Opon-Air Music, six Part- Songs, for S.A.T.B. Fourth Set [1839—1844]. Op. 89 (Op. 18, Posth.). Heimkehr aus dcr Fremde (" Son and Stranger"), Sing spiel, in one act. Op. 90 (Op. 19, Posth.). Fourth Symphony, generally known as the " Italian Symphony," in A [1833]. Op. 91 (Op. 20, Posth.). Psalm xcviii., for Eight Voices and Orch. [1844]. Op. 92 (Op. 21, Posth.). Allegro hrillantc, for P.F., a 4 mains, in A [1841]. Op. 93 (Op. 22, Posth.). Music to the (Edipus in Colonos of Sophocles, for Choi us of Male Voices and Orch. [1845]. Op. 94 (Op. 23, Posth.). Scena, Ivfdice, for Sopr. Solo with Orch. [First version, 1834 ; second version, 1843]. Op. 95 (Op. 24, Posth.). Overture to Vict. Hugo's Play, Buy Bias [1839.] Op. 96 (Op. 25, Posth.). Hymn, for Alto Solo, Chorus, and Orch. [1840— 1843.] Op. 97 (Op. 26, Posth.). Christus, 1 Fragments of an unfinished Oratorio. Op. 98a (Op. 27a, Posth.). Loreley? Finale to the First Act of an unfinished Opera, Solo and Chorus. Op. 986 (Op. 27b, Posth.). Loreley, Ave Maria, for Soprano Solo, and Chorus of Female Voices, from the unfinished Opera. 1 See page 130. 2 See pages 123, 130. L 146 COHFLETE CATALOGUE OF MENDELSSOHN* S WORKS. Op. 98c (Op. 27c, Posth.). Loreley, Vintage Chorus, for Male Voices, from the unfinished Opera. Op. 99 (Op. 28, Posth.). Six Songs [1841—1845]. Op. 100 (Op. 29, Posth.). Four Part-Songs [1839—1844]. Op. 101 (Op. 30, Posth.). The " Trumpet Overture," in C. Op. 102 (Op. 31, Posth.). Sechs Lieder ohne Worte, for P.F., Bk. 8 [1845—1847]. Op. 103 (Op. 32, Posth.). Trauer-Marsch, in A Min., for the Funeral of Burgniiller. Op. 104 (Op. 33, Posth.). Three Preludes, and Three Studies, for P.F. Op. 105 (Op. 34, Posth.). Sonata, for P.F., in G min. [1821]. Op. 106 (Op. 35, Posth.). Sonata, for P.F., in B min. [1827]. Op. 107 (Op. 36, Posth.). Fifth Symphony, known as " The Reformation Symphony " in D. Op. 108 (Op. 37, Posth.). March, for Orchestra, in D. Op. 109 (Op. 38, Posth.). Lied ohne Worte, for P.F. and Cello, inD. Op. 110 (Op. 39, Posth.). Sextett for P.F. and Str. Instr. (with 2 Viole), in D [1824]. Op. Ill (Op. 40, Posth.). Tu es Petrus, Chorus for Five Voices with Orch. [1827]. Op. 112 (Op. 41, Posth.). Two Sacred Songs. Op. 113 (Op. 42, Posth.). Concerted Piece for Clarinet, Cornodi Bassetto, and P.F. in F [1833]. Op. 114 (Op 43, Posth.). Concerted Piece for Clarinet, Corno di Bassetto, and P.F., in D Min. Op. 115 (Op. 44, Posth.). Two Sacred Choruses for Male Voices. Op. 116 (Op. 45, Posth.). Funeral Hymn, for Male Voices. Op. 117 (Op. 46, Posth.). Album-Blatt {Lied ohne Worte), for P.P., in E Min. Op. 118 (Op. 47, Posth.). Capriccio for P.F.,in E. Op. 119 (Op. 48, Posth.). Perpetuum mobile, for P.F., in C. The following Compositions are printed without Opus- numbers 3 : — Hymn, " Hear my Prayer," for Soprano Solo, and Chorus. First version with Organ Accomp. ; second version with Orch. (Ded. to W. Taubert) [1844]. Hymn, Verleih uns Frieden (" Grant us Thy Peace "), for Chorus and Orch. (Ded. to President Verkenius). Three Hymns, for Alto Solo, and Chorus (one taken from Op. 96). 3 Those marked * are included in "Albums" and other similar collections. 147 Kijrie Eleison, for Double Chorus [1846]. * Anthem, " Lord, have Mercy," for Voices only, in A Min. Festgesang, for Male Voices and Orch. *Ersatz fiir Ueberstand, for Four Male Voices. Song, " The Garland " (words by T. Moore) [1829]. *Two Songs, " There be none of beauty's daughters," and " Sun of the sleepless " [1834]. Three Volkslieder, for Two Voices, with P.F. Accomp. Song, Warming vor dem Rhein. Snug, Des Seemanns Scheidelied. Song, Des Madrhens Klage. Part-Song, Naclitgesang, for Four Male Voices. Part-Song, Die Stiftiingsfeier, for Four Male Voices. Two Songs [1835]. Two Songs [1841]. *£tude for P.F., in F Min. * Scherzo and Capriccio for P.F., in F sharp Min. Scherzo for P.F., in B Min. * Andante Gantabile, and Presto agitato, for P.F., in 13. [1838]. *Prelude and Fugue for P.F., in E Min. [Prelude, 1841; Fugue, 1827]. Zwei Clavier stueke, in B flat and G Min. Lied auf einer Gondel, for P.F., in A [1837]. Duo Goncertante, Variations on the March in Preciosa, for P.F., a 4 mains, composed in conjunction with Moscheles. Two Sketches for P.F. Prceludium, tor the Organ, in C Min. [1841]. Published at Edinburgh in facsimile, and not included in Messrs. Breitkopf and Hartel's catalogue. Quartett for Str. Instr., in E Hat. [1823]. Published in Berlin, but not included in the Thematic Catalogue. The autograph of this early work is preserved in the British Museum. The green volumes mentioned at page 13, contain, among other works, the original autographs of 5 unpublished Operas; 3 Sacred Cantatas; 1 Sascular Cantata; innumerable Motets, Songs, and other vocal pieces; 11 Symphonies for Str. Instr., and 1 for Full Orchestra; Concertos for P.F. ; a Concerto for Two P.Fs. ; Concertos for the Violin ; a Trio for P.F., Violin, and Viola ; 2 Sonatas for the P.F. ; 2 Sonatas for P.F. and Violin ; 1 Sonata for P.F. and Viola ; 1 Sonata for P.F. and Clarinet; Fugues for Str. Instr.; Fugues for the Organ; Fugues for P.F.; Studies, Fantasias, and other compositions, of which it is impossible to give a detailed catalogue. DEPARTMENT OF HHiVURSm EXTBSS1U1L London: printed by gilbert and rivington, ' *t. John's house, clerkenwell, e.c. - TfflS BOOK IS DUE ON THE LAST DATE STAMPED BELOW OVERDUE. APR 4 1933 MAY 8 1933 7 1934 JUN 18 1845 APR »8 1947 JUN 8 ^ 6 Mft Y 20 1W0 MAR 26 1342 APR 9 1§42 JAN 12 1944 MAY 2 1945 2612?AL E APR 1 '333 RE C'D ^ U5 APR NOV 2 3 2003 LD 21-50m-l,'35 U.C. BERKELEY LIBRARIES CDSD73fl771 DATE DUE Music Xibrary University St California at Berkeley