CORNELL UNIVERSITY LIBRARY MUSIC Cornell Unlveralty Library 410.M53A31 1863 Letters of Felix Mendelssohn Bartholdy f 3 1924 022 360 378 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022360378 LETTERS OF ^ FELIX pNDELSSOHN BARTHOLDY, PEOM 1833 TO 1847. EDITED BT PAUL MENDELSSOHN BAETHOLDY, OP BEBLIN; AlTD DR. GAEL MENDELSSOHN BAETHOLDY, OE HEIDELBEBG: WITH A CATALOQ-FE Or ALL HIS MUSICAL COMPOSITIONS COMPILES BT DE. JULIUS EIETZ. BT LADY WALLACE. LONDON: LONGMAN, GEEEN, LONGMAN, EOBEETS, & GEEEN. 1863. PSIMTBD ET JOHIf ED-WAKD TATI.OE, LITTLE QITEEW STUEET, listcolm's inn fields. PREFACE. The Letters 'of Felix Mendelssohn Bartholdy from Italy and Switzerland, have amply fulfilled the purpose of their publication, hy making him personally known to the world, and, above all, to his countrymen. Those Letters, however, comprise only a portion of the period of Mendelssohn's youth ; and it has now become possible, by the aid of his own verbal delineations, to ex- hibit in a complete form that picture of his life and character which was commenced in the former volume. This has been distinctly kept in view in the selection of the following letters. They commence directly after the termination of the former volume, and extend to Mendelssohn's death. They accompany him through the most varied relations of his life and vocation, and thus lay claim, at least partially, to another kind of interest from that of the period of gay, though not insignificant enjoyment, depicted by him in the letters written during his travels. For example, the negotiations on the sub- ject of his appointment at Berlin take up a large space ; VI PREFACE. but this is inevitable, so characteristic are they of the manner in which he conceived and conducted such mat- ters, while they reveal to us much that lies outside his own personal character, and thus possess a more than merely biographical value. On the other hand, the minute details of the pure and elevated happiness which Mendelssohn enjoyed in his most intimate domestic relations, are expressly withheld, as being the peculiar treasure of his family, and a few passages only have been selected for publication from these letters, which however are sufficiently clear on the point. In conclusion, it should be observed, that no letter addressed to any living person has been published without express permission readily accorded. A Catalogue of all Mendelssohn's compositions, com- piled by Herr Kapellmeister Dr. Julius Rietz, is added as a supplement, which, by its- classification and arrange- ment, will no doubt prove an object of interest both to musicians and amateurs of music. Berlin and Heidelberg, June, 1863. LETTERS. LETTERS. To Pastor Bauer, Beszig. Berlin, March 4th, 1833. Since I set to work again, I feel in such good spirits that I am anxious to adhere to it as closely as possible, so it monopolizes every moment that I do not spend with my own family. Such a period as this last half-year having passed away makes me feel doubly grateful. It is like the sensation of going out for the first time after an illness; and, in fact, such a term of uncertainty, doubt, and suspense, really amounted to a malady, and one of the worst kind too.* I am now however en- tirely cured; so, when you think of me, do so as of a joyous musician, who is doing many things, who is re- solved to do many more, and who would fain accom- plish all that can be done. For the life of me I cannot rightly understand the * At the period to which Mendelssohn here refers, owing to the advice of his firiends, he had applied for the situation of Director of the Singing Academy, but was not chosen. 2 MENDELSSOHN S LETTERS. meaning of your recent question and discussion, or what answer I am to give you. Universality^ and everything bordering on aesthetics, makes me forthwith quite dumb and dejected. Am I to tell you how you ought to feel? You strive to discriminate between an excess of sensi- bility and genuine feeling, and say that a plant may bloom itself to death. But no such thing exists as an excess of sensibility ; and what is designated as such is, in fact, rather a dearth of it. The soaring, elevated emotions inspired by music, so welcome to listeners, are no excess; for let him who can feel do so to the utmost of his power, and even more if possible ; and if he dies of it, it will not be in sin, for nothing is certain but what is felt or believed, or whatever term you may choose to employ; moreover, the bloom of a plant does not cause it to perish save when forced, and forced to the uttermost ; and, in that case, a sicldy blossom no more i-esembles a healthy one, than sicldy sentimentality resembles true feeling. I am not acquainted with Herr W , nor have I read his book; but it is always to be deplored when any but genuine artists attempt to purify and restore the public taste. On such a subject words are only pernicious ; deeds alone are efficient. For even if people do really feel this antipathy towards the present, they cannot as yet give anything better to replace it, and therefore they had best let it alone. Palestrina effected PLEASURE IN HIS PUESUITS. 3 a reformation during his life ; he could not do so now any more than Sebastian Bach or Luther. The men are yet to come who will advance on the straight road ; and who will lead others onwards, or back to the an- cient and right path, which ought, in fact, to be termed the onward path ; but they will write no books on the subject. To Pastor Bauer, Beszig. Berlin, April 6tli, 1833. My work, about which I had recently many doubts, is finished ; and now, when I look it over, I find that, quite contrary to my expectations, it satisfies myself. I believe it has become a good composition ; but be that as it may, at all events I feel that it shows progress, and that is the main point. So long as I feel this to be the case, I can enjoy life and be happy; but the most bitter moments I ever endured, or ever could have imagined, were during last autumn, when I had my misgivings on this subject. Would that this mood of happy satisfaction could but be hoarded and stored up ! But the worst of it is, that I feel sure I shall have : forgotten it all when similar evil days recur, and I can devise no means of guarding against this, nor do I be- lieve that you can suggest any. As, however, a whole mass of music is at this moment buzzing in my head, I trust that it will not, please God, quickly pass away. B 2 4 Mendelssohn's letters. Strange that this should be the case at a time, in other respects so imbued with deep fervour and ear- nestness, for I shall leave this place feeling more solitary than when I came. I have found my nearest relatives, my parents, my brother and sisters, alone unchanged; and this is a source of happiness for which I certainly cannot be too grateful to God ; indeed, now that I am (what is called) independent, I have learned to love and honour, and understand my parents better than ever; but then I see many branching off to the right and to the left, whom I had hoped would always go along with me ; and yet I could not follow them on their path, even if I wished to do so. The longer I stay in Berlin, the more do I miss Eietz, and the more deeply do I deplore his death. X declares that the fault lies very much with myself, be- cause I insist on having people exactly as I fancy they ought to be, and that I have too much party spirit for or against a person ; but it is this very spirit, the want of which I feel so much here. I hear plenty of opinions given, but where there is no fervour there can be no sound judgment; and where it does exist, though it may indeed not unfrequently lead to error, still it often tends towards progress too, and then we need not take refuge in past times, or anywhere else, but rather re- joice in the present, if only for bringing with it in its course a spring or an Easter festival. COMPOSITION OF ' ST. PAUL. 5 To Pastor Jen us Schubring, Dessau. Coblenz, September 6th, 1833. Dear Schubring, Just as I was beginning to arrange the sheets of my oratorio,* and meditating on the music that I in- tend to write for it this winter, I received your letter enclosing your extracts, which appeared to me so good that I transcribed the whole text so far as it has gone, and now return it to you with the same request as at first, that you will kindly send me your remarks and additions. You will perceive' various annotations on the margin as to the passages I wish to have from the Bible or the Hymn Book. I am anxious also to have your opinion — ^Ist. As to the form of the whole, especially the narrative part, and whether you think that the general arrangement may be retained, — the blending of the narrative and dramatic representation. I dare not adopt the Bach form along with this personified recital, so this combination seems to me the most na- tural, and not very difficult, except in such passages, for example, as Ananias, owing to the length of the continuous narration. 2nd. Whether you are of opi- nion that any of the principal features in the history or the acts, and also in the character and teaching of St. Paul, have been either omitted or falsified. 3rd. Where the divisions of the first and second parts should *" St. Paul." • 6 MENDELSSOHN S LETTERS. be marked. 4th. Whether you approve of my employ- ing chorales? From this I have been strongly dis- suaded by various people^ and yet I cannot decide on giving it up entirely, for I think it must be in cha- racter with any oratorio founded on the Ne\T Testa- ment. If this be also your opinion, then you must supply me with all the hymns and passages. You see I require a great deal from you, but I wish first to enter fully into the spirit of the words, and then the music shall follow : and I know the interest you take in the work. If you will do all this for me, write me a few lines immediately to Berlin, for I am obliged to go there for three or four days with my father, who went to England with me, and was dangerously ill there. Thank God, he is now quite restored to health ; but I was under such dreadful apprehensions the whole time, that I shall leave nothing undone on my part to see him once more safe at home. I must, however, return forthwith and proceed to Diisseldorf, where you are probably aware that I directed the Musical Festival, and subsequently decided on taking up my abode there for two or three years, nominally in order to direct the church music, and the Vocal Association, and probably also a new theatre which is now being built there, but in reality for the purpose of securing quiet and leisure for compo- sition. The country and the people suit me admirably, and in winter "St. Paul" is to be given. I brought HEEZ'S PIANOFORTE MUSIC. 7 out my new symphony in England^ and people liked it ; and now the " Hebrides " is about to be published, and also the symphony. This is all very gratifying, but I hope the things of real value are yet to come. I trust it may be so. It is not fair in me to have written you such a half-dry and wholly serious letter, but such has been the character of this recent period, and so I am become in some degree like it. To I. MoscHELES, London. Berlin, 1833. . . . Do you suppose that I have not gone to hear Madame B because she is not handsome, and wears wide hanging sleeves ? This is not the reason, although there are undoubtedly some physiognomies which can never, under any circumstances, become artistic; from which such icy cold emanates that their very aspect freezes me at once. But why should I be forced to listen for the thirtieth time to all sorts of variations by Herz? They cause me less pleasure than rope- dancers or acrobats. In their case, we have at least the barbarous excitement of fearing that they may break their necks, and of seeing that nevertheless they escape doing so. But those who perform feats of agility on the piano do not even endanger their lives, but only our ears. In such I take no interest. I wish I could escape the annoyance of being obliged to hear that the 8 MENDELSSOHN S LETTEES. public demands this style ; I also form one of the public, and I demand the exact reverse. Moreover, she played in the theatre between the acts, and that I consider most obnoxious. First, up goes the curtain, and I see before me India, with her pariahs and palm-trees and prickly plants, and then come death and murder, so I must weep bitterly; then up goes the curtain again, and I see Madame B with her piano, and a concert ensues in every variety of minor key, and I must ap- plaud with all my might; then follows the farce of '•' Ein Stiindchen vor dem Potsdamer Thor," and I am expected to laugh. No ! This I cannot stand, and these are the reasons why I do not deserve your cen- sure. I stayed at home because I like best to be in my own roorn, or with my own family, or in my own gar- den, which is wonderfully beautiful this year. If you will not believe me, come and judge for yourself. I cannot resist always reverting to this. To Rebecca Dirichlet, Berlin. Diisseldorf, October 26th, 1833. My dear Sister, The history of my life during the last few weeks is long and pleasant. Sunday, Maximilian's day, was my first Mass ; the choir crammed with singers, male and female, and the whole church decorated with green branches and tapestry. The organist flourished away A MUSICIAN 01' THE OLD SCHOOL. . 9 tremendously, up and down. Haydn's Mass was scan- dalously gay, but the whole thing was very tolerable. Afterwards came a procession, playing my solemn march in E flat; the bass performers repeating the first part, while those in the treble went straight on ; but this was of no consequence in the open air ; and when I en- countered them later in the day, they had played the march so often over that it went famously ; and I con- sider it a high honour, that these itinerant musicians have bespoken a new march from me for the next fair. Previous to that Sunday, however, there was rather a touching scene. I must tell you that really no ap- propriate epithet exists for the music which has been hitherto given here. The chaplain came and complained to me of his dilemma ; the Burgomaster had said that though his predecessor was evangelical, and perfectly satisfied with the music, he intended himself to form part of the procession, and insisted that the music should be of a better class. A very crabbed old musician, in a threadbare coat, was summoned, whose office it had hitherto been to beat time. When he came, and they attacked him, he declared that he neither could nor would have better music ; if any improvement was re- quired, some one else must be employed ; that he knew perfectly what vast pretensions some people made now- a-days, everything was expected to sound so beautiful ; this had not been the case in his day, and he played just as well now as formerly. I was really very reluc- 10 Mendelssohn's lettees. tant to take the afifair out of his hands, though there could be no doubt that others would do infinitely bet- ter ; and I could not help thinking how I should myself feel, were I to be summoned some fifty years hence to a town-hall, and spoken to in this strain, and a young greenhorn snubbed me, and my coat were seedy, and I had not the most remote idea why the music should be ' better, — and I felt rather uncomfortable. Unluckily, I could not find among all the music here even one tolerable solemn Mass, and not a single one of the old Italian masters ; nothing but modern dross. I took a fancy to travel through my domains in search of good music J so, after the Choral Association on Wed- nesday, I got into a carriage and drove off to Elberfeld, where I hunted out Palestrina's " Improperia," and the Misereres of Allegri and Bai, and also the score and vocal parts of " Alexander's Peast," which I carried off forthwith, and went on to Bonn. There I rummaged through the whole library alone, for poor Breidenstein is so ill that it is scarcely expected he can recover ; but he gave me the key, and lent me whatever I chose. I i'ound some splendid things, and took away with me six Masses of Palestrina, one of Lotti and one of Per- golesi, and Psalms by Leo and Lotti, etc. etc. At last, in Cologne I succeeded in finding out the best old Italian pieces which I as yet know, particularly two motetts of Orlando Lasso, which are wonderfully fine, and even deeper and broader than the two "Crucifixus" THE CROWN PRINCE AT DUSSELDORF. 11 of Lotti. One of these^ " Populus meus/' we are to sing in church next Priday. The following day was Sunday, so the steamboat did not come, and knowing that my presence was necessary in Dvjsseldorf, I hired a carriage and drove here. People were crowding along the chaussee from every direction; a number of triumphal arches had been erected, and the houses all adorned with lamps, I arrived with my huge packet, but not a single person would look at it ; nothing but " the Crown Prince," " the Grown Prince," again and again. He arrived safely at the Jagerhof on Sunday evening, passing under all the triumphal arches during the time of the illuminations, and amidst the pealing of bells and firing of cannon, with an escort of burgher guards, between lines of soldiers, and to the sound of martial music. Next day he gave a dinner, to which he invited me, and I amused myself famously, because I was very jovial at a small table with Lessing, Hiibner, and a few others. Besides, the Crown Prince was as gracious as possible, and shook hands with me, saying that he was really quite angry at my forsaking both him and Berlin for so long a time ; listened to what I had to say, called me forward from my corner as " dear Mendelssohn," — in short, you see I am thought infi- nitely more precious when I am a little way from home. I must now describe to you the fete that was given in his honour, and for which I suggested the employ- ment of some old transparencies, to be connected by 12 Mendelssohn's letters. appropriate verses for " Israel in Egypt," with tableaux vivants. They took place in the great Hall of the Aca- demy, where a stage was erected. In front was the double chorus (about ninety voices altogether), stand- ing in two semicircles round my English piano ; and in the room seats for four hundred spectators. R , in mediaeval costume, interpreted the whole affair, and contrived very cleverly, in iambics, to combine the differ- ent objects, in spite of their disparity. He exhibited three transparencies: — first, "Melan- choly," after DUrer, a motett of Lotti's being given by men's voices in the far distance ; then the Raphael, with the Virgin appearing to him in a vision, to which the "O Sanctissima" was sung (a well-known song, but which always makes people cry) ; thirdly, St. Jerome in his tent, with a song of Weber's, "Hor' uns, Wahrheit." This was the first part. Now came the best of all. We began from the very beginning of "Israel in Egypt." Of course you know the first recitative, and how the chorus gradually swells in tone; first the voices of the alti are heard alone, then more voices join in, till the loud passage comes with single chords, " They sighed," etc. (in G minor), when the curtain rose, and displayed tlie first tableau, " The Children of Israel in bondage," designed and arranged by Bendemann. In the fore- ground was Moses, gazing dreamily into the distance in sorrowful apathy; beside him an old man sinking to the ground under the weight of a beam, while his son 'ISRAEL IN EGYPT.' 13 makes an efifort to relieve him from it ; in the back- ground some beautiful figures with uplifted arms, a few weeping children in the foregroundj — the whole scene closely crowded together like a mass of fugitives. This remained visible till the close of the first chorus ; and when it ended in C minor, the curtain at the same moment dropped over the bright picture. A finer effect I scarcely ever saw. The chorus then sang the plagues, hail, darkness, and the first-born, without any tableau ; but at the chorus, "He led them through like sheep," the curtain rose again, when Moses was seen in the foreground with raised staflF, and behind him, in gay tumult, the same figures who in the first tableau were mourning, now all pressing onwards, laden with gold and silver vessels ; one young girl (also by Bendemann) was especially lovely, who, with her pilgrim's staff, seemed as if advancing from the side scenes and about to cross the stage. Then came the choruses again, without any tableau, " But the waters," " He rebuked the Red Sea," " Thy right hand, O Lord," and the recitative, "And Miriam, the Prophetess," at the close of which the solo soprano appeared. At the same moment the last tableau was uncovered, — Miriam, with a silver timbrel, sounding praises to the Lord, and other maidens with harps and citherns, and in the background four men with trom- bones, pointing in different directions. The soprano solo was sung behind the scene, as if proceeding from 14 Mendelssohn's lettees. the picture ; and when the chorus came in forte, real trombones, and trumpets, and kettledrums, were brought on the stage, and burst in like a thunder-clap. Handel evidently intended this efi'ect, for after the commence- ment he makes them pause, till they come in again in C major, when the other instruments recommence. And thus we concluded the second part. This last tableau was by Htibner, and pleased rae exceedingly. The effect of the whole was wonderfully fine. Much might possibly have been said against it had it been a pretentious affair, but its character was entirely social, and not public, and I think it would scarcely be possible to devise a more charming fete. The next that followed was a tableau vivant, designed and arranged by Schadow, " Lorenzo de' Medici, sur- rounded by the Geniuses of Poetry, Sculpture, and Painting, leading to him Dante, Raphael, Michael An- gelo, and Bramante," with a complimentary allusion to the Crown Prince, and a final chorus. The second di- vision consisted of the comic scenes from the " Mid- summer Night's Dream," represented by the painters here, but I did not care so much for it, having been so absorbed by the previous one. How would you translate in the same measure the fol- lowing line : — "So LoTe was crowned, but Music won the cause"?" Ramler, with the genuine dignity of a .translator, says, * From " Alexander's Feast." ' alexandek's feast/ 15 '■' Heil, Liebej dir I der Tonkunst Ehr' und Dank " (All hail to thee, O Love! to Music thanks and honour), which has no point, and is anything but a translation ; the first part of the Ode closes with these lines, so the whole sense would be lost, for the pith of the sentence lies in the word " won." Give me some good hint about this, for on the 22nd of November we come before the public with "Alexander's Feast," the overture to " Egmont," and Beethoven's concerto in C minor. I am told that an orchestra is to be constructed in Becker's Hall, for two hundred persons. All who can sing, or play, or pay, are sure to be there. Tell me if I shall resume my Greek here.* I feel very much disposed to do so, but fear it will not go on very swimmingly. Could I understand j^Eschylus ? tell me this honestly. Further, do you attend to my advice about pianoforte playing and singing ? If you want any songs, as Christ- mas draws dear, you can get them from me if you wish it. Send for the " Hebrides " arranged as a duett ; it is, no doubt, published by this time. I think, however, that the overture to " Melusina " will be the best thing I have as yet done ; as soon as it is finished I will send it to you. Adieu. Felix. * Jlcndelssohn's sister had learned Greek along with him. 16 Mendelssohn's lettees. To HIS Father. Bonn, December 28th, 1833. Dear Father, First of all, I must thank you for your kind, loving letter, and I rejoice that even before receiving it, I had done what you desired.* Strange to say, my official acceptance, I must tell you, was sent last week to Schadow ; the biography was enclosed, so I expect the patent next week ; but I must thank you once more for the very kind manner in which you write to me on the subject, and I feel proud that you consider me worthy of such a confidential tone. The people in Diisseldorf are an excitable race ! The " Don Juan " affair amused me, although riotous enough, and Immermann had a sharp attack of fever from sheer vexation. t As you, dear Mother, like to read news- papers, you shall receive in my next letter all the printed articles on the subject, which engrossed the at- tention of the whole town for three long days. After the grand scandale had fairly begun, and the curtain three times dropped and drawn up again, — after the * The suhjeot in question was Mendelssohn's nomination (which afterwards ensued) as a member of the musical class of the Academy of Art in Berlin, as to the acceptance of which he had been doubtful. t Immermann and Mendelssohn had agreed to giye a certain number of performances in the theatre, wliioh they tei-med "classical." A certain portion of the public considered this to be arrogance on their part, and as the prices were also raised on the occasion, at the first per- formance the tumult ensued that Mendelssohn here describes. A 'classical' peepoemancb. 17 first duett of the second act had been sung, entirely drowned by, whistling, shouting, and howling, — after a newspaper had been flung to the manager on the stage, that he might read it aloud, who on this went off in a violent huff, the curtain being dropped for the fourth time, — I was about to lay down my bdton, though I would far rather have thrown it at the heads of some of these fellows, when the uproar suddenly subsided. The shouting voices were hoarse, and the well-conducted people brightened up; in short, the second act was played in the midst of the most profound silence, and much applause at the close. After it was over, all the actors were called for, but not one came, and Immer- mann and I consulted together in a shower of fiery rain and gunpowder smoke — among the black demons — as to what was to be done. I declared that until the company and I had received some apology, I would not again conduct the opera; then came a deputation of several members of the orchestra, who in turn said that if I did not conduct the opera, they would not play ; then the manager of the theatre began to lament, as he had al- ready disposed of all the tickets for the next perform- ance. Immerraaun snubbed everybody all round, and in this graceful manner we retreated from the field. Next day in every corner appeared, " Owing to ob- stacles that had arisen," etc. etc. ; and all the people whom we met in the streets could talk of nothing but this disturbance. The newspapers were filled Avith c 18 Mendelssohn's letxbks. articles on the subject; the instigator of the riot justi- fied himself, and declared that in spite of it all he had had great enjoyment, for which he felt grateful to me and to the company, and gave his name; as he is a Government secretary, the president summoned him, blew him up tremendously, and sent him to the direc- tor, who also blew him up tremendously. The soldiers who had taken part in the tumult were treated in the same manner by their officers. The Association for the Promotion of Music issued a manifesto, begging for a repetition of the opera, and denouncing the dis- turbance. The Theatrical Committee intimated that if the slightest interruption of the performance ever again occurred, they would instantly dissolve. I procured also from the committee full powers to put a stop to the opera in case of any unseemly noise. Last Monday it was to be given again ; in the morning it was uni- versally reported that the manager was to be hissed, on account of his recent testiness; Immermann was seized with fever, and I do assure you that it was witli feelings the reverse of pleasant that I took my place in the orchestra at the beginning, being resolved to stop the performance if there was the slightest disorder. But the moment I advanced to my desk the audience re- ceived me with loud applause, and called for a flourish of trumpets in my honour, insisting on this being three times repeated, amid a precious row ; then all were as still as mice, while each actor received his share of COEEBSPONDENCE OF GOETHE AND ZELTEE. 19 applause ; in short, the public were now as polite as they formerly were unruly. I wish you had seen the per- formance : individual parts could not, I feel sure, have been better given, — the quartett for instance, and the ghost in the finale at the end of the opera, and almost the whole of " Leporello," went splendidly, and caused me the greatest pleasure. I am so glad to hear that the singers, who at first, I am told, were prejudiced against me personally, as well as against these classical per- formances, now say they would go to the death for me, and are all impatience for the time when I am to give another opera. I came over here for Christmas, by Cologne and the Rhine, where ice is drifting along, and have passed a couple of quiet pleasant days here. And now to return to the much talked of corre- spondence between Goethe and Zelter. One thing struck me on this subject: when in this work Beethoven or any one else is abused, or my family unhandsomely treated, and many subjects most tediously discussed, I remain quite cool and calm ; but when Reichardt is in question, and they both presume to criticize him with great arrogance, I feel in such a rage that I don't know what to do, though I cannot myself explain why this should be so. His " Morgengesang " must un- luckily rest for this winter, the Musical Association is not yet sufficietitly full fledged for it, but the first musical festival to which I go it shall be there. It is said they will not be able to have it at Aix-la- c a 20 metcdeissohn's letters. Chapelle, and that it is to be given at Cologne, and many of my acquaintances urge me strongly to pay my court to one or the other, in which case I should be selected, but this I never will do. If they should choose me without this, I shall be glad; but if not, I shall save a month's precious time (for it will take that at least), and remain as I am. Having been obliged to give three concerts this winter, besides the " Messiah " and the " Nozze di Figaro," I think I have had nearly enough of music for the present, and may now enjoy a little breathing time. But how is it. Mother, that you ask whether I must conduct all the operas ? Heaven forbid there should be any must in the case, for almost every week two operas are given, and the performers consider themselves absolved by one rehearsal. I am only one of the members of the Theatrical Association, chosen to be on the select committee, who give six or eight classical performances every year, and elect a council for their guidance, this council consisting of Immermann and myself j we are therefore quite independent of the rest, who consequently feel increased respect for us. When the great Theatrical Association is fairly esta- blished, and the theatre becomes a settled and civic in- stitution, Immermann is resolved to give up his situa- tion in the Justiciary Court, and to engage himself for five years as director of the theatre. Indeed, I hear that most of the shareholders have only given their signatures on condition that he should undertake the LETTER FEOM LINDBLAD. 21 plays, and I the operas ; how this may be, lies close hidden as yet in the womb of time, but in any event I wiU not entirely withdraw from the affair. I have com- posed a song for Immermann's " Hofer," or rather, I should say, arranged a Tyrolese popular melody for it, and also a French march; but I like the thing, and mean to send it to Fanny. We think of giving " Hofer " this winter, and perhaps also " Das laute Geheimniss " and " Nathan," or the " Braut von Messina," or both. You also advise me. Mother, to acquire the habit of dic- tation ; but in the meantime I can get through by the use of my own pen, and intend only to have recourse to such a dignified proceeding in the greatest possible emergency.* Thank you very much for the letter you sent me from Lindblad.f It gave me great pleasure, and made me like my concerto far better than I did before, for I know few people whose judgment I respect more than his. I can as little explain this, or give any reason for it, as for many another feeling, but it is so; and when I have finished a thing, whether successful or a failure, he is the first person, next to yourself, whose opinion I should be glad to hear. That a piece so rapidly sketched as this pianoforte concerto, should cause pleasure to so genuine a musician, enhances mine, and so I thank you much for the letter. But it is high * He never had recourse to it. Mendelssohn wrote invariably every- thing, without exception, himself. ■(• Music Director in Stoeiholm. 22 Mendelssohn's letters. time to close this letter and this year, to which I am indebted for many blessings and much happiness, and •which has been another bright year for me. I thank you also, dear Pather, now as ever, for having gone with me to England for my sake ; and though my advice, which you followed for the first time, proved so unfortunate, and caused us all so much anxiety and un- easiness, you never once reproached me. Still I think, since you write that you are now perfectly well and in good spirits, the journey may have contributed to this. May these happy results be still further increased during the approaching year, and may it bring you all every blessing. Farewell. Pelix. To HIS Family. Diisseldorf, January 16th, 1834. We are leading a merry life here just now, casting aside all care ; every one is full of fun and jollity. I have just come from 'the rehearsal of " Egmont," where, for the first time in my life, I tore up a score from rage at the stupidity of the musici, whom I feed with 6-8 time in due form, though they are more fit for babes' milk; then they like to belabour each other in the orchestra. This I don't choose they should do in my presence, so furious scenes sometimes occur. At the air, "Gliicklich allein ist die Seele die liebt," I fairly CONCERT AT ILBEEFELD. 23 tore the music in two, on which they played with much more expression. The music delighted me so far, that I again heard something of Beethoven's for the first time ; but it had no particular charm for rae, and only two pieces, the march in C major, and the move- ment in 6-8 time, where Klarchen is seeking Egmont, are quite after my own heart. To-morrow we are to have another rehearsal ; in the evening the Prince gives a ball, which will last till four in the morning, from which I could excuse myself if I were not so very fond of dancing. I must now tell you about my excursion to Elberfeld. Sunday was the concert, so in the morn- ing I drove there in a furious storm of thunder and rain. I found the whole musical world assembled in the inn, drinking champagne at twelve in the fore- noon, instead of which I ordered chocolate for myself. A pianoforte solo of mine had been announced, after which I intended to have come away immediately, but hearing that there was to be a ball in the evening, I resolved not to set off till night, and as they had intro- duced music from " Oberon " in the second part, feeling myself in a vein for extemporizing, I instantly took up their last ritournelle, and continued playing the rest of the opera. There was no great merit in this, still it pleased the people wonderfully^ and at the end I was greeted with plaudits loud enough to gratify any one. As the room was crowded, I promised to return in the course of the winter to play for the benefit of the poor. 24 Mendelssohn's letters. The Barmers sent me a deputation of three Barmer ladies to persuade me to go there on Monday ; and as my travelling companion had both time and inclination for this, I played extempore on the Monday afternoon in the Barmer Musical Association, and then a quartett in Elberfeld, travelled through the night, and arrived at home at four on Tuesday morning, as my hour for re- ceiving people is from eight to nine. The Barmer fan- tasia was well designed ; I must describe it for Fanny. A poem had been sent me anonymously, at the end of Avhich I was advised to marry (of course this was said in good poetry, interwoven with laurel leaves and immortelles) ; and, wishing to respond to this compli- ment, I began with my "Bachelor's Song" (though, unluckily, no one found out its meaning, but that was no matter), continuing to play it gaily for some time; I then brought in the violoncello with the theme, " Mir ist so wunderbar," and so far it was very success- ful. I was anxious, however, before closing, to intro- duce some matrimonial felicity, but in this I utterly failed, which spoilt the conclusion. I wish, however, you had been present at the beginning, for I believe you would have been pleased. I think I already wrote to you that my fantasia in F sharp minor. Op. 28,* is about to be published. I have introduced a fine massive passage in octaves into my new E flat rondo ; I am now * This fantasia and the B flat rondo (with orcliestra), On. 29, are both dedicated to Moscheles. COMPOSITION FOB PIANOPOETE. 25 going to work at my scena for the Philharmonic, to edit the three overtures, to compose another trio or a sym- phony, and then comes " St. Paul." Addio. Felix. To I. MoscHELES, London. Dusseldorf, February 7tli, 1834. My own poverty in novel passages for the piano struck me very much in the rondo brillani* which I wish to dedicate to you ; these are what cause me to demur, and to torment myself, and I fear you will re- mark this. In other respects there is a good deal in it that I like, and some passages please me exceedingly ; hut how I am to set about composing a methodical tranquil piece (and I well remember you advised me strongly to do this last spring) I really cannot tell. All that I now have in ray head for the piano, is about as tranquil as Cheapside,t and even when I control myself, and begin to extemporize very sobei'ly, I gradually break loose again. On the other hand, the scena which I am now writing for the Philharmonic is, 1 fear, becoming much too tame ; but it is needless to carp so much at myself, and I work hard : by saying this you will see that I am well, and in good spirits. Dear Madame Moscheles, when you, however, advise me to remain * E flat (with orchestra), Op. 29. f Well inown as the most crowded street in London. 26 Mendelssohn's letters. quite indififerent towards the public and towards critics, I must in turn ask, Am I not, in my profession, an anti- public-caring musician, and an anti-critical one into the bargain? What is Hecuba to me, or critics either? (I mean the press, or rather pressure ;) and if an over- ture to Lord Eldon were to suggest itself to me, in the form of a reversed canon, or a double fugue with a cantus firmus, I should persist in writing it, though it would certainly not be popular, — far more, therefore, a " lovely Melusina," who is, however, a very diflferent object; only it would be fatal indeed were I to find that I could no longer succeed in having my works performed ; but as you say there is no fear of this, then I say, long live the public and the critics ! but I intend to live too^ and to go to England next year if possible. Your observations on Neukomm's music find a com- plete response in my own heart. What does astonish me is, that a man of so much taste and cultivation should not, with such qualifications, write more elegant and re- fined music; for, without referring to the ideas or the basis of his works, they appear to me most carelessly com- posed, and even commonplace. He also employs brass instruments recklessly, which ought, through discre- tion even, to be sparingly used, to say nothing of artistic considerations. Among other things I am particularly pleased by the mode in which Handel, towards the close, rushes in with his kettle-drums and trumpets, as if he himself were belabouring them. There is no one who CHEEtTBim's 'ali baba.' 27 ■n-ould not be struck by it^ and it seems to me far better to imitate this, than to over-excite and stimulate the au- dience, who before the close have become quite accus- tomed to all this Cayenne pepper. I have just looked through Cherubini's new opera,* and though I was quite enchanted with many parts of it, still I cannot but deeply lament that he so often adopts that new corrupt Parisian fashion, as if the instruments were nothing, and the effect everything, — flinging about three or four trom- bones, as if it were the audience who had skins of parch- ment instead of the drums : and then in his finales he winds up with hideous chords, and a tumult and crash most grievous to listen to. Compare with these, some of his earlier pieces, such as " Lodoiska " and " Medea," etc. etc., where there is as much difference in bright- ness and genius, as between a living man and a scare- crow, so I am not surprised that the opera did not please. Those who like the original Cherubini, cannot fail to be provoked at the way in which he yields to the fashion of the day, and to the taste of the public ; and those who do not like the original Cherubini, find far too much of his own style still left to satisfy them either, no matter what pains he may take to do so, — he always peeps forth again in the very first three notes. Then they call this rococo, perruque, etc. etc. * "AliBaba." 28 Mendelssohn's letters. To HIS Father. Diisseldorf, March 28tli, 1831. Dear Father^ A thousand thanks for your kind letter on my Mother's birthday. I received it in the midst of a ge- neral rehearsal of the " Wassertrager," otherwise I should have answered it, and thanked you for it, the same day. Pray do often write to me. Above all, I feel grateful to you for your admonitions as to industry^ and my own work. Believe me, I intend to profit by your advice; still I do assure you that I have not an atom of that philosophy which vrould counsel me to give way to indo- lence, or even in any degree to palliate it. During the last few weeks, it is true, I have been incessantly engaged in active business, but exclusively of a nature to teach me much that was important, and calculated to improve me in my profession ; and thus I never lost sight of my work. My having composed beforehand the pieces bespoken by the Philharmonic and the English publishers, was owing not only to having received the commission, but also to my own inward impulse;, because it is really very long since I have written or worked at anything steadily, for which a certain mood is indispensable. But all this tends to the same point, so I certainly do not believe that these recreations will dispose me to become either more careless or more indolent ; and as TfTE ' wasseetbagek/ 29 I said before^ they really are not mere amusements, but positive work, and pleasant work often too. A good performance in the Diisseldorf theatre does not find its way into the world at large,— indeed, scarcely perhaps beyond the Dussels themselves; but if I succeed in thoroughly delighting and exciting both my own feelings and those of all in the house in favour of good music, that is worth something too ! The week before the " Wassertrager " was given was most fatiguing; every day two great rehearsals, often from nine to ten hours each on an average, besides the prepa- rations for the church music this week, so that I was obliged to undertake the regulation of everything — the acting, the scenery, and the dialogue, or it would all have gone wrong. On Friday, therefore, I came to my desk feeling rather weary ; we had been obliged to have a complete general rehearsal in the forenoon, and my right arm was quite stiff. The audience, too, who had neither seen nor heard of the " Wassertrager" for the last fifteen or twenty years, were under the impression that it was some old forgotten opera, which the commit- tee wished to revive, and all those on the stage felt very nervous. This, however, gave exactly the right tone to the first act; such tremor,, excitement, and emotion pervaded the whole, that at the second piece of music, the Diisseldorf opposition kindled into enthusiasm, and applauded and shouted and wept by turns. A better Wassertrager than Giinther I never saw ; he was most touching and natural, and yet with a shade of homeli- 30 Mendelssohn's letters. ness, toOj so that the noblesse might not appear too fac- titious. He was immensely applauded, and twice called forward ; this rather spoiled him for the second perform^ ance, when he overacted his part, and was too confident j but I wish you could have seen him the first time ! It is long since I have had such a delightful evening in the theatre, for I took part in the performance like one of the spectators, and laughed, and applauded, and shouted, " bravo \" yet conducting with spirit all the time ; the choruses in the second act sounded as exact as if fired from a pistol. The stage was crowded between the acts, every one pleased, and congratulating the singers. The orchestra played with precision, except some plaguy fel- lows who, in spite of all my threats and warnings, could not be prevailed on to take their eyes oif the stage during the performance, and to look at their notes. On Sun- day it was given again, and did not go half so well, but I had my full share of enjoyment the first time, though the house, on this second occasion, was far more crowdedj^ and the efiect the same. I write you all these details,, dear Father, for I know that you are interested in this opera, and in our provincial doings. We really have as much music, and as good music, as could be expected during my first winter here. To-morrow evening (Good Friday) we are to sing in church the " Last Seven Words" of Palestrina, which I found in Cologne, and a composition of Lasso, and on Sunday we give Cheru- bini's Mass in C major. The Government order prohibiting the celebration of THE THEATEICAL ASSOCIATION. 31 the Musical Festival on Whitsunday, is a bad business ; the news came yesterday, and has inflicted such a blow on the festival that here we have no idea how it can be arranged, for on no other day can we reckon on so much support from strangers. The first meeting of the Thea- trical Association took place recently; the matter has been very sensibly begun, and may turn out well ; but I keep out of the way, because in spite of the pleasure that the opera, for instance, lately caused me, I can feel no sympathy for actual theatrical life, or the squabbles of the actors and the incessant striving after efiect ; it also estranges me too much from my own chief purpose in Diisseldorf, which is to work for myself. I am the chief superintendent of the musical performances, the arrange- ments of the orchestra, and the engagement of the singers, and about every month I have an opera to con- duct (but even this is to depend on my own convenience) ; of course I still have my three months' vacation : in short, I wish to be entirely independent of the theatre, and only to be considered a friend, but with no official duties ; on this account I have given up all claim to any salary, which is to be transferred to a second conductor, on whom the chief trouble will devolve. A circumstance that occurred yesterday will amuse you. During the Car- nival there was a pretty girl here who played the piano, the daughter of a manufacturer near Aix-la-Chapelle, and whose relations, though strangers to me, asked me to allow her to play to me occasionally, to benefit by 32 Mendelssohn's letters. my advice, — in fact, to give lier a few lessons. This I accordingly did, and read her some severe lectures on all her Herz music and so forth, and on the day of her departure she left this with a quantity of newly-pur- chased Mozart and Beethoven; so yesterday arrived a large parcel for me, with a very polite letter of thanks from her father, saying he had sent me a piece of cloth from his manufactory, as an acknowledgment. I could scarcely believe this at first, but the parcel really con- tained enough of the finest black cloth to make an en- tire suit. This savours of the middle ages; the painters are mad with envy at my good luck. Last week I had a great pleasure, for Seydelmann, from Stuttgart, was here, and enchanted us all. I have not felt such unalloyed delight since I saw Wolff; so artistic, so elevated : such acting proves what a noble thing a play maybe. I saw him first in the "Essighandler" and "Koch Vatel." People compare him to Iffland; but I never in my life heard so thrilling a voice, or such pure harmonious German. I then saw him as Cromwell, in Raupach's "Royalisten;" it was the first piece I had seen of Raupach's, and I am not the least anxious to see a second, for I thought it quite odious ; incongruous, tire- some, and full of theatrical phrases, so that even Sey- delmann could not give it dignity in spite of his stern and gloomy countenance and costume ; but then came "Nathan," which went off admirably, and Seydelmann, as Nathan, could not be excelled. I thought of you, and seydblmann's acting. 33 ■wished you were here a hundred times at least ; when he told the story of the rings, it was just as if you saw a broad tranquil stream gliding past, so rapid and flowing, and yet so smooth and unruifled ; the words of the dis- creet judge were most exciting. It is indeed a splendid piece ! It is good to know that there is such clearness in the world. It however offends many, and when we were next day on the Grafenberg we had war to the knife, because Schadow was so irritable on the subject, and a gentleman from Berlin declared, that " viewed in a dramatic aspect ..." I did not argue the point at all, for where there is such a total difference of opinion on any subject, and about first principles, there is nothing to be done. I must now ask your advice on a particular subject ; I have long wished to ride here, and when Lessing lately bought a horse, he advised me strongly to do the same. I think the regular exercise would do me good, — this is in favour of the scheme; but against it, there is the possibility of its becoming an inconvenient and even tyrannical custom, as I should think it my duty to ride, if possible, every day; then I also wished to ask you whether you don't think it rather too genteel for me, at my years, to have a horse of my own ? In short, I am undecided, and beg now, as I have often done before, to hear your opinion, by which mine will be regulated. Farewell, dear Father. — Your Felix. 34 To Fanny Hensel, Berlin. Diisseldorf, April 7tli, 1834. Dear Eannyj You are no doubt very angry with such a lazy non- writing creature as myself? but pray remember that I am a town music director, and a beast of burden like that has much to do. Lately on my return home I found two chairs standing on my writing-table, the guard of the stove lying under the piano, and on my bed a comb and brush, and a pair of boots (Bendemann and Jordan had left these as visiting cards) . This was, or rather is, the exact state of musical life -in Diisseldorf, and before things become more orderly here, it will cost no little toil. So you must now more than ever excuse my indolence about letter-writing, and, indeed, write yourself oftener to stir me up, and heap coals of fire on my head. Your letter, to which I am now replying, was inimitable ; a few more such, I beg. You say, by the bye, that you speak of "Melusina" just like X . I only wish this was true, and then, instead of a meagre Hofrath, we should have a solid fellow ; — but listen ! I must fly into a passion. Oh ! Fanny, you ask me what legend you are to read? How many are there, pray? and how many do I know ? and don't you know the story of the " lovely Melusina ?" and would it not be better for me to hide myself, and to creep into all sorts of in- strumental music without any title, when my own sister OVERTURE TO ' MELUSINA.' 35 (my wolf sister !) does not appreciate such a title ? Or did you really never hear of this beautiful fish ? But when I remember how you might grumble at me for waiting till April, to grumble at your letter of February, I plead guilty and apologize. I wrote this overture for an opera of Conradin Kreuzer's, which I saw this time last year in the Konigstadt Theatre. The overture (I mean Kreuzer's) was encoredj and I disliked it exceed- ingly, and the whole opera quite as much ; but not Mile. Hahnel, who was very fascinatingj especially in one scene, where she appeared as a mermaid combing her hair; this inspired me with the wish to write an overture which the people naght not encore, but which would cause them more solid pleasure ; so I selected the portion of the subject that pleased me (exactly corresponding with the legend),, and, in short, the overture came into the world, and this is its pedigree. You intend, no doubt, to take me to task also on ac- count of the four-part songs in my "Volks Lieder," but I have a good deal of experience on this point. It seems to me the only mode in which Folks Lieder ought to be written; because every pianoforte accompaniment in- stantly recalls a room and a music desk, and also because four voices can give a song of this kind in greater simpli- city without an instrument ; and if that reason be too aes- thetic, then accept this one, that I was anxious to write something of the kind for Woringen, who sings these things enchantingly. Seriously, however, I find that the D 2 6 Mendelssohn's lbttees. four-part songs do "suit the text (as a Volks Lied) and also my conception/' and so you see we differ very widely. By the bye, I quite forgot to say that I wished to in- troduce a wood-demon into the " Passion." It is a good idea. Don't whisper it to any one, or to a certainty they Avill really attempt it next year ; and Polchau de- clares the Romans were familiar with them, under the name of diabolus nemoris. Only fancy, they have sent me my Academy patent in a formidable red case (car- riage paid), and in it a very ancient statute of the " Academy for the fine arts and mechanical sciences," along with a complimentary letter, hoping I would re- turn to Berlin, where my " productions " were as highly prized as elsewhere. An excellent reason; had they only said " because, respected Sir, you can nowhere feel so happy as in the Leipziger Strasse, No. 3," or even given any hint about parents and brother and sisters, — but not a word of this ! One of my Diisseldorf troubles is at this moment beginning; I mean my next-door neighbour, who has' placed her piano against the wall just on the other side of mine, and to my sorrow practises two hours a day, making every day the same mistakes, and playing all Eossirii's airs in such a desperately slow, phlegmatic tempo, that I certainly must have played her some malicious trick, had it not occurred to me that she was probably at all hours more tormented by my piano than I by hers. Then I sometimes hear the teacher or the MUSICAL FESTITAI, AT AIX. 37 mother, (I can't tell which,) strike the right note dis- tinctly seventeen times in succession ; and when she is playing at sight, and gradually out of the darkness de- velopes some old barrel-organ tune, which could be re- cognized by a single note, — it is hard to bear. I know all her pieces by heart now, the moment she strikes the first chord. — Farewell, dear Sister, ever your Felix. To HIS Mother. Dusseldorf, May 23rd, 1834. . . . Yesterday' week I drove with the two Woringens to Aix-la-Chapelle, as a ministerial order was issued, only five days before the festival, sanctioning the cele- bration of Whitsunday, and expressed in such a man- ner that it is probable the same permission may be given next year also. The diligence was eleven hours on the journey, and I was shamefully impatient, and down- right cross when we arrived. We went straight to the rehearsal, and, seated in the pit, I heard a move- ment or two from "Deborah;" on which 1 said to Woringen, " I positively will write to Hiller from here, for the first time for two years, because he has per- formed his ofiBce so well." For really his work was un- pretending and harmonious, and subordinate to Handel, from whom he had cut out nothing, so I was rejoiced to see that others are of my opinion, and act accordingly. 38 Mendelssohn's letters. In the first tier was seated a man witli a moustache, reading the score; and when, after the rehearsal, he went downstairs, and I was coming up, we met in the passage, and who should stumble right into my arms but Ferdinand Hiller, who almost hugged me to death for joy. He had come from Paris to hear the oratorio, and Chopin had left his scholars in the lurch, and come with him, and thus we met again. I had now my full share of delight in the Musical Festival, for we three lived together, and got a private box in the theatre (where the oratorio is performed), and of course next morning we betook ourselves to the piano, where I had the greatest enjoyment. They have both improved much in execu- tion, and, as a pianist, Chopin is now one of the very first of all. He produces new effects, like Paganini on his violin, and accomplishes wonderful passages, such as no one could formerly have thought practicable. Hil- ler, too, is an admirable player — vigorous, and yet play- ful. Both, however, rather toil in the Parisian spasmo- dic and impassioned style, too often losing sight of time and sobriety and of true music ; I, again, do so perhaps too little, — thus we all three mutually learn something and improve each other, while I feel rather like a school- master, and they a little like mirliflors or incroyables. After the festival we travelled together to Diisseldorf, and passed a most agreeable day there, playing and dis- cussing music ; then I accompanied them yesterday to Cologne. Early this morning they went off to Coblenz TEXT OF 'ST. PAUL.' 39 per steam, — I in the other direction, — and the pleasant episode was over. To Pastor Julius Schubking, Dessau. Diisseldorf, July 15th, 1834. Dear Schubring, It is now nearly a year since I ought to have written to you. I shall not attempt to ask your forgiveness at all, for I am too much to blame, or to excuse myself, for I could not hope to do so. How it occurred I can- not myself understand. Last autumn, when I first es- tablished myself here, I got your letter with the notices for "St. Paul ;" they were the best contributions I had yet received, and that very same forenoon I began to ponder seriously on the matter, took up my Bible in the midst of all the disorder of my room, and was soon so absorbed in it, that I could scarcely force myself to attend to other works which I was absolutely obliged to finish. At that time I intended to have written to you instantly, to thank you cordially for all you had done; then it oc- curred to me it would be better to wait till I could tell you that the work was fairly begun, and when I really did commence in spring, so many anxieties about my composition ensued, that they unsettled me. To-day, however, I cannot rest satisfied with merely thinking of you, but must write and ask how you and yours are ? 40 Mendelssohn's lettees. for I know that since then you have had an increase to your family ; it was scarcely fair in you not to write me a single word on the subject, nor even to send me a formal card, but to allow me to hear of the event by chance/ through a third person; for, though I grant that I well deserved this, still a pastor like you should be the last to take revenge on any one, or to bear them a grudge. Now pray don't do so with me^ and let me hear something of you. Your contributions for "St. Paul" were admirable, and I made use of them all without exception j it is singular, and good, that, in the course of composition, all the passages that from various reasons I formerly wished to transpose or to alter, I have replaced exactly as I find them in the Bible — it is always the best of all ; more than half of the first part is ready, and I hope to finish it in autumn, and the whole in February. How are you now living in Dessau ? I hope you will be able to say, "Just as we used to do." No doubt you retain your enjoyment of life, and your cheerfulness, and still play the piano, and still love Sebastian Bach, and are still what you always were. I ought not to feel such anxiety on the subject, but we are surrounded here by disagreeable specimens of pastors, who embitter every pleasure, either of their own or of others ; dry, prosaic pedants, who declare that a concert is a sin, a walk frivolous and pernicious, but a theatre the lake of brim- stone itself, and the whole spring, with its leaves and MUSIC AT DiJSSELDORP. 41 blossoms and bright weather, a Slough of Despond. You have no doubt heard of the Elberfeld tenets ; but when in contact with them, they are still worse, and most grievous to witness. The most deplorable thing is the arrogance with which such people look down on others, having no belief in any goodness but their own. Our musical life here goes on slowly, but still it does go on. This summer we executed in church a Mass of Beethoven, one of Cherubini, and cantatas of Sebastian Bach, an " Ave Maria" from " Verleih' uns Frieden," and next mouth we are to give Handel's " Te Deum" (Det- tingen) . Of course there is yet much to be wished for, but still we hear these works, and both the performance and the performers will be gradually improved by them. Hauser, in Leipzig, has arranged the score (from manuscript parts) of a cantata in E minor of Sebastian Bach, which is one of the finest things of his I know. When I can find an opportunity, I will send you a copy of it, but now my paper and my letter are done. Farewell, my dear friend, and write soon. — ^Your Felix Mendelssohn Bartholdy. To I. FiJBST, Berlin. Dusseldorf, July 20th, 1834. Dear Fiirst, I know only too well, that I have neither written 43 to you, nor thanked you, since I received your pas- sages for " St. Paul/'* but I assure you that every day, when I return to my work, I do feel sincerely grate- ful to you. I certainly, however, ought to have written, for if the work, which since the spring entirely ab- sorbs and monopolizes me, turns out good, I shall have chiefly to thank your friendly aid for it, because I never otherwise could have procured the groundwork of the text. When I am composing, I usually look out the Scriptural passages myself, and thus you will find that much is simpler, shorter, and more compressed, than in your text ; whereas at that time I could not get words enough, and was constantly longing for more. Since I have set to work, however, I feel very differently, and I can now make a selection. The first part will probably be finished next month, and the whole, I think, by January. Since last autumn, when I came here, I have written many other works which brought me into a happy vein, and I cannot wish for a more agreeable position than mine here, where I have both leisure in abundance, and a cheerful frame of mind, and so I suc- ceed better than formerly. This is, indeed, a pleasant, concentrated life, but still not so much so as you may perhaps imagine, for, un- luckily, just as I came here, Immermann and Schadow, whose combined efforts first imparted life and animation to this place, had a violent quarrel; aggravated still * Eor the text of " St. Paul." AETISTS AT DUSSELJDOEF. 43 further by religious, political grounds, and by wranglings, misunderstandings, and petulance. As I live in the same house with Schadow, and am engaged along with Im- mermann iu regulating the new theatre, I do all I can to smooth over matters ; but in vain, which is a great misfortune. When, however, this is rectified (and, in spite of everything, I do not despair of it), then all will be delightful, for the way in which we young people as- sociate is really enjoyable. The painters are entirely ■devoid of the slightest arrogance or envy, and live to- gether in true friendship, and among them are some of the most admirable persons, who are examples to the others, such as Hildebrand, and Bendemann, and be- tween them the Baifi6viorDELSSOHN's LETTEES. Though, when 1 think of yesterday's Liedertafel, I almost wish we had ! Pray write again soon, my very dear Sister^ and a long letter. — Your Felix. To HIS MOTHEK. Leipzig, October 27th, 1840. Dear Mother, A thousand thanks for your kind letter, received yesterday, which was truly charming, in spite of the well- merited little hit at the beginning. I ought indeed to have written to you long since ; but during the last three months, you can have no idea how entirely I have been obliged to play the part of " Hans of all work." There are trifling minute occupations too, such as notes, etc., of daily recurrence, which seem to me as tiresome and useless in our existence as dust on books, and which, like it, at last thickly accumulate, and do much harm, unless fairly cleared away every morning; and then I feel so keenly the impulse to make some progress with my daily labours as soon as I am in a happy vein. All these things cause the weeks and months to fly past like the wind. You probably already know, through the newspapers, that we had recently a second performance of the "Hymn of Praise " for the King of Saxony, at an extra subscrip- THE KING OF SAXONY. 213 tion concert, and it went off famously. All the music was given with such precision that it was a real pleasure to listen to it. The King sent for me between the parts, which obliged me to pass through a double row of ladies (you know the arrangement of our concert-room), in order to reach the place where the King and his Court were seated. He conversed with me for some time, in the most good-natured and friendly manner, and spoke very judiciously about music. The " Hymn of Praise " was given in the second part, and at the conclusion, just as I had quitted my music-desk, I suddenly heard people round me saying, "The King is coming to him this time;" and he was in fact passing through the rows of ladies, and came up to my desk : (you may imagine what universal satisfaction this caused.) He spoke to me in so animated a manner, and with such cordiality and warmth, that I did indeed feel it to be a great plea- sure and honour. He mentioned the particular passages that had pleased him most, and, after thanking all the singers, he took his departure, while the whole orches- tra, and the whole audience, made the very best bows and curtsies they could accomplish. Then came a hub- bub and confusion like Noah's ark. Perhaps the King willjnow bestow the 20,000 thalers which I long ago peti- tioned might be given towards the music here. In that case, I could with truth say that I had done good ser- vice lo the music of Leipzig.* ■' See th3 letter to Hen- von Faltenstein, AprU 8th, 1840. 214 Mendelssohn's letters. Eckert has returned here in the character of a zealous Prussian patriot^ and goes nearly as far as the Prussian Government paper, which declares that the rain which beat in the King's face only fanned his fire still more. But to my incredulous grimaces, Eckert replied that ijofu were quite of his way of thinking, and had charged- him to let me know this. It is so provoking that a distance even of twenty miles should exercise so irre- sistible an influence, and that, notwithstanding all the minute descriptions and details in the newspapers, we cannot rightly understand the proceedings which take place in your presence, and vice versa. A thousand minutiae are involved in the affair, which appear insig- nificant, and are consequently omitted by the narrator ; and yet they are the links that connect the whole, and the chief cause of many of these events. So far as I can gather the real meaning of it all, just so far does it displease me, and that is perhaps the rea- son why I cannot approve of all the other fine ad- juncts, down to the " fiery rain " of the Government paper. In the mea;i while, time pursues its steady jog- trot pace. Thiers is no longer minister. A number of arrests have been made in Frankfort, and Queen Chris- tina is welcome to my little room. By Heavens ! I would at this moment far rather be a musician than a sovereign ! I say nothing about the silver wedding-day of the Leipzig Liedertafel, for I have not yet recovered from BIETHDAT CONGEATULATIONS. 215 it. God help us ! what a tiresome thing our German Fatherland is, when viewed in this light ! I can well remember my Father's violent wrath against Lieder- tafels, and indeed against everything at all connected with Cousin Michael, and I feel something similar stirring within me. Farewell, dearest Mother. — Ever your Felix. To Fanny Hensel, Beklin. Leipzig, Ifovember 14tb, 1810. Dear Fanny, My brightest, best, and most heartfelt good wishes for this day ! Once upon a time, I used to send you a new manuscript, bound in green, in honour of the occa- sion ; now I must content myself with a mere scanty letter, and yet the old custom pleases me very much better. No doubt, in the course of your birthday, you too think of us here ; but that does not mend matters much for me. This evening, at the recommencement of the Quartett Soirees, I am to play to the Leipzigers Mozart's quartett in G minor, and the Beethoven trio in D major, and, as I already said, this kind of birthday cele- bration does not please me ; it will be very differently commemorated where you are. Would that we could be with you ! My best thanks also for your last letter. !16 Mendelssohn's lettees. Do you knowj I think your suggestion as to the " Ni- )elungen " most luminous ! It has been constantly in ny head ever since, and . I mean to employ my first eisure day in reading over the poem, for I have for- gotten the details, and can only recall the general colour- ng and outlines, which seem to me gloriously dramatic. Will you kindly communicate to me your more spe- ;ific ideas on this subject? The poem is evidently nore present to your memory than to mine. I scarcely •emember what your allusion means, as to the sinking nto the Rhine. Can you point out to me the various )assages which struck you as particularly dramatic, when he idea first occurred to you ? and above all, say some- hing more definite on the subject, as the whole tone md colouring, and characteristics, take my fancy strongly; herefore I beg of you to do so, and soon too ; it will )e an essential service to me. Refer entirely to the )oem itself, for before your letter can arrive, I shall lertainly have read it, though I shall not the less eagerly ixpect your opinion. Accept my thanks for this happy bought, as for all else. Yes ! the arpeggios in the chromatic fantasia* are ;ertainly the chief efiect. I take the l^erty to play ;hem with all Tpossihle crescendos, and pianos, and for- issimos, pedal of course, and to double the notes in the )ass ; further, to mark the small passing notes-at the be- ginning of the arpeggios (the crotchets in the middle * By Sebastian Bach. CHKOMATIC FANTASIA BY BACH. 217 parts), etc.j and likewise the principal notes of the me- lody just as they come : rendered thus, the succession of glorious harmonies produces an admirable effect on our rich-toned new pianos. For example, the com- mencement, merely thus : — N-B. — Each chord played in double arpeggios; afterwards only once, as they come. m w B ^m Fed. m ^ ^ ^ ^ p r=i^ i m ^zs rjhL M ' <• ): i .i ^ Then to the end thus ; 3ar ^^ ?==f Fed. 5i=P: TK 218 Mendelssohn's lettees. i f- r=fe ic£ t-rr tL^ E ^ m^ ^ tiff MK m m^ te etc. People vow that this is quite as fine as Thalberg, and even more so. Don't show this receipt, however, to any one ; it is a mystery, like all domestic receipts. When you see Herr v. Zuealmaglio, thank him for his packet, and the letter I received from him; at the same time (though this is quite between ourselves) I cannot com- pose music for the songs he sent me ; they are patriotic, and at this moment I have no taste whatever for this style of song, — they might cause a great deal of bad feeling ; and in the present state of things, people seem to me to begin to sing against the French, at the very moment when they must know that the French will not fight against them : for such a purpose I have no music. But adieu for the present. I do wish that instead of being obliged to dress, and to go through a vast amount. 'hymn of peaise/ 219 of music, I were going across to you. We could play at " Black Peter," or some other merry game, and eat cakes. — Your Felix. To Carl Klingemann, London. Leipzig, NoTember 18th, 1840. My dearest Friend, I am living here in as entire quiet and solitude as I could possibly desire ; my wife and children are well, God be praised ! and I have work in abundance; what can any man wish for beyond this ? I only long for its continu- ance, and pray that Heaven may grant it, while I daily rejoice afresh in the peaceful monotony of my life. At the beginning of the winlter however, I had some difficulty in avoiding the social gatherings which bloom and thrive here, and which would cause both a sad loss of time and of pleasure if you were to accept them, but now I have pretty well succeeded in getting rid of them. Moreover, this week there is a fast, so we have no subscription concert^ which gives us a pleasant domestic season of rest. My " Hymn of Praise " is to be performed the end of this month for the benefit of old invalided musicians. I am determined, however, that it shall not be produced in the imperfect form in which, owing to my illness, it was given in Birmingham, so that makes me work hard. Four new pieces are to be added, and I have also much improved the three sets of symphonies, which are now 220 mendblssohn's lbttees. in the hands of the copyist. As an introduction to the chorus "Die Nacht ist vergangen," I have found far finer words in the Bible, and admirably adapted to the music. By the bye, you have much to answer for in the admirable title you hit on so cleverly, for not only have I sent forth the piece into the world as a symphony cantata, but I have serious thoughts of i-esuming the first " Walpurgis Nacht " (which has been so long lying by me) under the same cognomen, and finishing and getting rid of it at last. It is singular enough that at the very first suggestion of this idea, I should have written to Berlin, that I was resolved to compose a symphony with a chorus ; subsequently I had not courage to begin, because the three movements were too long for an introduction, and yet I never could divest myself of the impression, that something was wanting in the shape of an introduction. Now the symphony is to be inserted, according to my original intention, and the piece brought out at once. Do you know it ? I scarcely think that it is well adapted for performance, and yet I like it much. The whole town here is ringing with a song, supposed to have a political tendency against the French, and the journals are striving with all their might to render it popular. In the present dearth of public topics, they succeed in this without any difficulty, and every one is speaking of the " Rheinlied," or the Colognaise, as they significantly call it. The thing is characteristic, for THE 'eheinlied.' 221 the first line begins^ " Sie soUen ihn nicht hahen, den freien Deutschen Rhein/' and at the commencement of each verse is repeated " Never shall they have it," as if there were the least sense in such words ! If they were at least changed into " We mean to keep it/' — but " Never shall they have it " seems to me so sterile and futile. There is certainly something very boyish in this idea; for when I actually possess an object, and hold it sure and fast, it is quite superfluous to sing, or to say, that it shall belong to no one else. This song is now sung at Court in Berlin, and in the clubs and casinos here, and of course the musicians pounce upon it like mad, and are immortalizing themselves by setting it. The Leip- zig composers have already brought out no less than three melodies for it, and every day the papers make some allusion to it. Yesterday, amongst other things, they said I' had also set the song, whereas I never even dreamt of meddling with such a merely defensive inspi- ration. So the people here lie like print, just as they do with you, and everywhere else. To Paul Mendelssohn Baktholdy. Leipzig, November 20th, 1840. Dear Paul, How much I wish that you would perform your promise, and come here for the "Hymn of Praise;" I 222 Mendelssohn's letters. shall be glad to know what you think of it, and to hear if it pleases you, for I own that it lies very near my heart. I think too that it will be well executed by our orchestra ; but in spite of this, if by arriving in time for its performance, your proposed visit must be in any degree shortened, then I would urge you to come on some other occasion, for our happy quiet intercourse must always form the chief object in our Leipzig life, and even one day more is pure gain. If indeed both could be combined, a visit of the usual length and the concert, that would of course be best of all. The " Hymn of Praise " is to form the second part ; in the first, probably Weber's " Jubilee Overture " will be given, Kreuzer's " Rheinlied," and some other pieces. I -could write you a long complaint about this said "Rheinlied." You can b^ve no idea of the fuss they make about it here, and how utterly repugnant to me this newspaper enthusiasm is ; to make such a piece of work about a song, the chief burden of which is, that others shall not deprive us of what we have already got ; truly this is worthy of such a commotion and such music ! I never wish to hear a single note of it sung, when the refrain is. always the resolve not to give up what you possess. Young lads and timid men may make this outcry, but true men make no. such piece of work about what is their own ; they have it, and that suffices. I felt provoked to see recently in a newspaper, that in addition to four compositions on these words, one by me THE BEKLIN ACADEMY OP ARTS. 223 tad just appeared^ and my name was printed full length ; yet I cannot give a direct contradiction to thisj for as regards the public I am dumb. At the same time Hartel sent me a message that if I would compose for itj he would undertake to dispose of 6000 copies in two months. No ! Paul, I won^t do it. May we soon have a happy meeting ! — Your Felix. To Paul Mendelssohn Bartholdy. Leipzig, December 7th, ISiO. Dear Brother, Just as I was about to write to you yesterday, to thank you cordially again and again for the fresh proof of your true brotherly love which you have given me,* your letter arrived, and I can only repeat the same thing. * His brother had gone to Leipzig, at the instigation of the Wirk- lich Geheimrath Herr von Massow, to negotiate with Mendelssohn the subject of a sitaation in Berlin. It was proposed to divide the Academy of Arts into four classes, — namely, painting, sculpture, archi- tecture, and music, — and to appoint a director for each class, to whom the superintendence of the Academy should be entrusted alternately, and in fixed succession. Tlie music class, for wHch Mendelssohn bad been selected as Director, was to consist essentially of a large Conserva- torium, in the expectation that in connection with the resources of the Eoyal Theatre, public concerts, partly of a sacred and partly of a secular nature, should be given. However promising Mendelssohn con- sidered this project, he at once expressed considerable doiibts, not so much that the plan could not be carried out, but that it would not be so ; and the result proved how coiTect his judgment was on the point. 224 MBNDELSSOHN^S LETTERS. Even if the affair leads to nothing further than to show me (what is the fact) that you participate in my wish once more to pass a portion of our lives together, that you, too, feel there is something wanting when we are not all united in one spot; this is to me invaluable, and more gratifying than I can express. Whether it be at- tended with a happy result or not, I would not give up such a conviction for anything- in the world. Your letter, indeed, demands mature deliberation, but I prefer replying to it at once, for the coincidence of Herr Massow's journey is most fortunate, and you can thus hear my opinion before your interview with him. I am prepared to acknowledge to the utmost extent the high honour conferred on me, and the excellence of the position offered to me. On this very account, how- ever, I wish to obviate any difficulties, and to make the matter as clear as possible. One thing occurs to me in the proposal, which you can perhaps remedy in your conversation with Massow. It would not be easy to explain it by letter, and at all events it would lose much time, and not further the affair. You may remember the general overtures as to the Academy and school for music that you brought me, and you know that I named the concerts as a positive stipulation; on the other hand, I said to you, that without a definite sphere of work (as an appointed com- poser, like Grimms, you can say) I should hesitate much to accept the proposal. Either of these situations THE BERLIN ACADEMY OF ARTS. 225 would suit me, but not the two combined. I would at once most decidedly refuse this, much as I should regret being obliged to do sOj and however advantageous it might seem to me in other points. Your condition No. 2, sets forth that I am to be director of the mu- sical classesj without any definite sphere of work, etc. ; and then No. 4 declares that I am to give sundry con- certs every year, — but that is a combination to which I never can consent. For instance, were I to undertake to give concerts in Berlin (and the acceptance of these proposals would render it my duty so to do, even to- wards you), then I must stand in a different relation to the orchestra from what I could possibly do as the mere director of the music classes. I must be quite as much their real chief there as I am here, and as eveay ordinary director must be, which is only possible by the establishment of a Musical Academy as a Royal In- stitution, and by its connection with the orchestra in Berlin. The number, too, of such concerts should not be very limited, as you say, otherwise they would not repay the trouble of such great preparations. In a word, you may easily perceive that I can only accept proposals that either define every point, or are confined to my personal, and not to my official position ; if tlie two ara to be blended, I cannot consent to undertake them. Finding (after you left us) on more mature delibera- tion that a situation as a composer is impossible, and, Q 226 Mendelssohn's letters. in fact, is nowhere to be met with, it occurred to me that the offer might be renewed of a public sphere of acti- vity, and that I am quite prepared to accept ; it must, however, be within special limits, despotic as regards the musicians, and consequently imposing even in out- ward position (not merely brilliant in a pecuniary point of view), otherwise, according to my ideas, it would be fatal to my authority after the very first rehearsal. I merely say all this, in order to indicate to you the point of the compass for which you must steer your course, in your conversation with Massow, and that the affair may pursue as clear a path as possible. — Ever your Pelix. To Paul Mendelssohn Baktholdy. Leipzig, December 20th, 1840. Dear Brother, You wish to have some tidings from me as to our affair (for well may I call it so) . The letter from Massow came eight days since, and I answered it on Wednesday, just as I would have written or spoken to yourself, with- out reservation or disguise, but still without that eager acceptance which was probably expected. I think you would have been satisfied with my letter, and I hope and trust Massow may be so also. He wrote far less explicitly about the details of the institution than you THE BEELIN ACADEMY OP AETS. 227 did in a former letter; he mentions the salary, the di- rection of the classes, and the concerts to be given by Royal command, but without entering into any further particulars. I replied that I was so fully aware of the advantage and honour of his oflFer, that I feared he would be surprised by my not instantly closing with it. There was but one obstacle in the way, which was, that I did not precisely know what was expected from me in return for such a proposal. I then brought under his notice, the difficulties opposed to a bond fide direction of the present classes ; and as he had mentioned that these would not now occupy much of my time, but that it was expected I should, under the new system, under- take additional work, I begged, therefore, at least to be told what were the limits of this system, and the duties I had to perform ; that I was indeed quite willing to work, but did not choose to pledge myself to the per- formance of functions that were not precisely defined. With regard to the concerts, I told him my opinion as to the only mode of arranging them now in Berlin ; that little good could accrue from merely occasional per- formances, even by Royal command; for in that case all sorts of counter-influences (and those I specified to him) would have full scope; that an institute must be founded exclusively for similar concerts, and likewise days fixed for the rehearsals and concerts, and the in- struction of the performers, etc. ; that I would have no- thing to do with the orchestra, except on this condition, Q 2 22S Mendelssohn's letters. that I was to be absolute director-in- chief of these con- certSj etc. In short, I showed that I was well disposed to ac- cept the situation, but should require the most unquali- fied support throughout, otherwise I could not efiBciently perform the duties of the office, — it being a public one. I hope you agree with me on this point, for though money and ready complaisance are indeed of no small value, still neither are sufficient, without that entire tranquillity and security about the future, which can now be given if they are in earnest in the matter. I can assure you that there was no undue particularity in my words, but I am certain you will not blame me for going on sure grounds, before giving up such a position as my present one. I considered it also my duty before writing to Mas- sow, to communicate the circumstance under the seal of the strictest secrecy to my friends here, Schleinitz and David, who are quite of my opinion, that 1 ought to leave this, however much they regret it, if my wishes are fulfilled with regard to a defined position. At the same time, I purpose, in the course of a few days, to make known to our Concert Director, and Government President, that I have received such an ofier (without naming the place), and that it is probable I may accept it. Perhaps you may not approve of this, but I feel I cannot act otherwise. If my negotiations with Massow were to terminate by our agreeing, without my having fplAteexal affection. 229 given any hint of such a transactionj it would show a want of good feeling on my part^ and, indeed, in my present circumstances, a want of common gratitude. But this is in fact a mere matter of form, for it is not prohahle that they will for a moment think of entering into competition with the recent overtures from Berlin, and yet I delay the announcement from day to day, be- cause such a step must be final. — Your Felix. To Paul !Mexdelssoiin Bautholdv. Leipzig, Jan. 2ncl, 18-11. Dear Paul, Receive my heartfelt good wishes, and may God grant us all a happy new year ! Now I have one earnest request to make. Do not allow any misunderstanding be- tween Massow and me, to impair that delightful and per- fect harmony between us which always rejoices me, and makes me so happy. I will not say, let us not become more mistrustful, but not even more reserved towards each other. Since the great sacrifice that you unhesita- tingly made for my sake in coming here, I confess I am in great anxiety on this subject, and it makes me very uneasy when I think it possible that you may be dis- satisfied with me, for not being prepared to accept yoiu- opinion at once — angry, I do not think you will be, but 230 Mendelssohn's letteks. as I have already said, do not permit anything whatever to be changed between you and me, — promise me this ; you know how m.uch I have at heart our being able to live together at some future day ; but if we were only to pass a few untroubled years together, and I were then to go on my way in vexation, that would be worse than it is now, and T would gladly avoid this. I tell you so, because in your letter you urge me so strongly fairly to speak out, as if I had not in my answer to Massow already spoken out on many points, more, per- haps, than I ought to have done. You also wish to per- suade me to go now to Berlin, but you will soon be con- vinced, that this winter, such a thing is impossible. I have five subscription concerts, and three extra concerts to direct iu January, and in the beginning of March, Bach's " Passion," of which not a single note is known here, and I certainly cannot get away during the time of the concerts, without injuring them. But indepen- dent of this, what should I do in Berlin ? The statutes of a new Academy are better arranged by writing than verbally, and from the tenor of Massow's letters, the af- fair does not seem so far advanced, as to permit of its being definitively settled in the course of a couple of days ; at least, not in the sense that we mutually wish ; so, as I said, dear Paul, promise me, never under any circumstances, to be displeased with me. I told Massow in a letter to-day, that I should be happy to explain my views with regard to reorganizing THE MUSICAL ACADEMY. 231 the Musical Academy, either to him, or to Eichhorn ; for this purpose he has only to send me the statutes hitherto in force, and the composition of the classes, of which I am entirely ignorant, and also say how far the modifications axe to be carried, whether to the extent of a radical change, or merely a reform ; this I must learn of course, or I should not know what to say; I will gladly devote my time and efforts to the mere possibility of our once more living together, but I must confess, that since Massow's last letter, such a possibility seems even more distant than I myself thought. It sounds all so different from what they commissioned you to say to me when you came here, and if it begins in such a way, no doubt the sequel wUl be still worse. The salary they offer is certainly handsome and liberal, but if they in return expect me to accept an unlimited obligation to work, that also would be a change in their proposals, and no compensation to me. The salary is the only point on which Massow spoke in a decided manner to me, and my position is too fortunate for mere money to influence my views. All that you told me here about a rota between the different directors, and the duties of the Capellmeister of the Royal Chapel, and of the engagement of other foreign musicians, — not a word of this was brought forward; on the contrary, Massow writes to me, that he is glad I have declared myself satisfied with the title and the salary, which is totally opposed to the sense of my previous letter, in which I 232 Mendelssohn's letters. expressed a wish to know my duties, before I could ex- plain my intentions. Indeed, even if the alteration in the musical class were to be entered into, and carried through exactly according to my wishes, I scarcely know (as the title is in question) whether I should quite like to go to Berlin as " Director of the Musical Class," which is by no means in good odour with musicians at present. I can say all this to you without incurring the suspicion of a fondness for titles, for what annoys me is their drawing hack in all their proposals ; perhaps I am mistaken ; at all events, I hope in my letter to Massow you will find no trace of the dissatisfaction which I have frankly expressed to you. I shall assist in establishing the new regulations as well and as firmly as possible; in any event, good service will be done to the Cause, so far as I can accomplish it, and if the result is to be satisfactory, the affair must first be made clear ; not merely in reference to my personal acceptance, but be- cause it is right and desirable for the affair itself, and in order to enable any good musician (not merely my- self) to interest themselves in it hereafter; for now the question again recurs, whether I, or some other efficient musician shall be placed at the head, and all the other questions become mere secondary considera- tions. For Heaven's sake! tell me, how came you to be reading that abominable thing of Diderot's? He was ashamed of it later in life, but the traces of his genius PIETISTIC MUSIC. 233 are to he discovered even in tins muddy pool. I may possibly feel more mildly disposed towards him just now, because two pietistic works were sent to me yesterday from Berlin, — so gloomy, such a perfect type of the worst time of the priesthood, that I am almost inclined to welcome the French with their audacity, and Voltaire with his broom. Perhaps you know one of these? It is called "Die Passion, ein kirchliches Festspiel;" it is written in doggerel rhymes, and is the most wretched trash I have lately read, — Heine included. The other is a criticism written by a person on his own oratorio, in which he exhorts the people to piety and frequent com- munion, and says no one is entitled to pronounce any opinion on his music, who does not listen to it in the spirit of true piety, and in faith. Alas ! alas ! Remember my first request in this new year, and love me as much as ever. — Your Felix. To Paul Mendelssohn Bartholdy. Leipzig, Jan. 9tli, 1841. Dear Paul, Your letter of yesterday made me very happy ; God knows why I could not get it out of my head that you were angry with me, for delaying an affair which you wished to expedite, and have so kindly expedited. 234 Mendelssohn's lettees. I however see from your letter that I was entirely ai totally wrong, and I thank you much for it, and su scribe to all you say on the subject. But there is oi idea you must dismiss from your thoughts as much as have done the other, and that is the dread of foreign h fluences, as you call them, which you allude to in yoi letter. You must not suppose that I ever act in ar affair but from my own conscientious impulses, far le in a matter in which I myself and my happiness are i very closely involved. Believe me, that in general, invariably strive to do and say nothing but what I ho] to be right in my conscience and instinct, and it a proof that we have, alas ! lived much asunder, and on! met in days of enjoyment, and not of work, when yo fear that I am easily swayed, not only in conversatioi but in action. No ! all goes on very slowly with me, bv when at last I do a foolish thing, I have at least or merit, which is, to have devised it entirely myself. Wit regard to this special case, I probably gave you cause fc suspicion, by writing to you that I told my friends her( David and Schleinitz of the offer, and in my last lettc I did not allude to them again. I can assure you, ho'vi ever, that both have long ago given me such proofs c sincere friendship, that I could not possibly have bee: silent to them on this occasion, and both urged m acceptance, and saw the thing in the most favourabl light. That not the smallest step I have taken in the who) THE MUSICAT. ACADEMY. 235 affair may be unknown to you, I must add, that I felt myself obliged to communicate the circumstance can- didly, some days ago, to the Kreis-Director, Herr von Falkenstein ; for in this month the money becomes due which the King has the disposal of, and which, as you are aware, I last winter petitioned might be appropriated to found a school of music here. The King, who ex- pressed himself in a very kind manner towards me, when he came to one of our subscription concerts, seemed well disposed to give his consent; then came Falken- stein to ask me if I would pledge myself (which really was my idea at that time) to organize this music school for some years to come. I now no longer could or would do this, so I thought it best to tell him the whole affair. He gave me his faithful promise to pre- serve the strictest silence, and I in turn agreed to give him due notice if I settled to go to Berlin, because that, he said, might be prejudicial to the plan of the music school; and thus it now stands. I await the arrival of the statutes ; at all events an opportunity may then occur to render an occasional service to the cause there, and to place many things on a better footing, and perhaps to introduce a better sys- tem into the whole class, and some good would be thus effected; The examples which you quote of the advantage of public opinion interested me very much, but I own were far from pleasing to me. I do not call that public 236 mekdelssohn's lbttees. opinion, which is shown by sending anonymous and libellous verses, and by hissing an old masterpiece.* You will perhaps say this is only the beginning; but that is the very point ; if a thing is not rightly begun it never comes to a good end, and I do not believe that public tracasseries can pave the way to public opinion ; indeed, I believe that such things have always existed, and always will exist, independent of the vox populi, which is the vox Dei. It would be more important to me if you would tell me some particulars of the curiosa which are related of Minister Schon; pray do this if you possibly can. He seems to be a determined fellow ! — Your Fblix. To Heiik X- Lcipzig, January 22ncl, 1841. Sir, I beg to offer you my thanks for the confidence you have shown me by your polite letter, and the ac- companying music. I have looked over your overture with much pleasure, and discovered many unmistak- able traces of talent in it, so that I should rejoice to have an opportunity of seeing some more new works of yours, and thus to make your musical acquaintance in a * The performance of " Athalie," wiUi Schulz's music, had caused considerable excitement in Hie Berlin Theatre. FEIENDLY CEITICISMS. 237 more intimate and confidential manner. The greater part of tlie instrumentation, and especially the melo- dious passage -which is in fact the principal subject, pleased me much. If I were to find any fault, it would be one with which I have often reproached myself in my own works; in the very overtures you allude to, sometimes in a greater, and sometimes in a lesser de- gree. It is often very difficult, in such fantastical airy subjects, to hit the right medium. If you grasp it too firmly, it is apt to become formal and prosaic; and if too delicately, it dissolves into air and melody, and does not become a defined form. This last rock you seem to have split upon ; in many passages, especially at the very beginning, but also here and there in other parts, and towards the close again, I feel the want of a musical well-defined form, the outlines of which I can recognize, however misty, and grasp and enjoy. I should like, be- sides the meno allegro, to see some other more definite idea, and to have it worked out; only then, the other rock is too apt to show itself, and modulations be seen, where there should be nothing but moonlight. In order, however, to give free course to these poetical thoughts, the spirit of entire supremacy must hover over the whole (that fact should not become too dry, nor fancy too misty) ; and it is only where this complete mastery over thought and arrangement exists, that the reins may be given to imagination. This is the very point which we are all obliged, more or less, to study ; I hope you 238 Mendelssohn's letters. will not be offended, therefore, that I do not find this problem entirely solved in your work either; in your future productions, with which I hope to become ac- quainted, the connection will, no doubt, be closer, and my critical remarks rendered unnecessary. — I am, with sincere esteem, yours, Pelix Mendelssohn Bartholdy. To HIS Mother. Leipzig, January 25th, 1841. . . . This is the thirty-fifth letter I have written since the day before yesterday ; it makes me quite un- easy to see how the flood swells, if a few days elapse without my stemming it, and guarding against it. Va- riations from Lausitz and Mayence; overtures from Hanover, Copenhagen, Brunswick, and Rudolstadt; German Fatherland songs from Weimar, Brunswick, and Berlin, the latter of which I am to set to music, and the former to look over and take to a publisher: and all these accompanied by such amiable, polite letters, that I should be ashamed if I were not to reply to them in as amiable and kind a manner as I possibly can. But who can give me back the precious days which pass away in these things? Add to this, persons who wish to be examined, eagerly awaiting my report for their anxious relatives, whether they are THE BEELIN ACADEMY OF AETS. 239 to become professional musicians or not; two Rhenish youths are here at this moment for that purpose, and the verdict is to be given in the course of a few hours. It is really a heavy responsibility, and I often think of La Fontaine's rat, who retired into a cheese, and thence delivered oracles. To Paul Mendelssohn Bartholdy. Leipzig, February 13th, 1841. My dear Brother, It is curious how certain years elapse, when both time and people seem to stand quietly still; and then again come weeks, when everything seems to run about like billiard balls, making cannons, and losing and win- ning hazards, etc. etc. {vide the Temperance Hotel in Gohlis). Such has been the case with me during the last few months. Since you were here, everything is so far advanced and altered, that it would take me a week at least, and walks innumerable, without letting you utter a word, before I could tell you aU, and probably it has been the same with you. The Berlin afifair is much in my thoughts, and is a subject for serious consideration. I doubt whether it will ever lead to that result which we both (I believe) would prefer; for I still have misgivings as to Berlin being a soil where a person of my profession could 240 Mendelssohn's letters. feel even tolerably at home, in spite of all honours and money, but the mere offer in itself gives me an inward impulse, a certain satisfaction, which is of infinite value to me, even if I were never to speak of it to any one ; in a word, I feel that an honour has been done me, and I rejoice in it. Massow writes in his last letter, which I received before yours, that the King wishes to delay the definitive arrangement of the Academy till I go to Berlin in spring ; whether I choose to make proposals in writing as to the alteration of the statutes which he sends me, he leaves entirely to my own decision. As this point is left to myself, and I would far rather not write at all on the subject, I shall delay doing so till I know to a certainty whether I go to Berlin in spring or not, and only in the latter case write. Remarkable, very remarkable these statutes are, especially those of the school for composition. Imagine ! out of eleven different branches of instruction which they have in- stituted, seven are positively useless, and indeed pre- posterous. What do you think of the following, among others? No. 8. " The relation Music bears to the other arts, especially to the plastic and to the stage ; " and also No. 11, "A guide to the spiritual and worldly Drama." I formerly read these things in the Govern- ment paper, and laughed at them ; but when a grave mi- nister or ofScial actually sends such stuff, it is pitiable. Pray do go to some public place where newspapers are collected, and send me the one which advertises this EFFECTS OP KOYAL PATRONAGE. 241 course, aud where the teachers of the diiFerent branches are named. I require these data thoroughly to under- stand the affair. It is all in the worst possible state ; you will say this is the very reason why I should try to extricate it. In that case there would indeed be plenty to doj if I could only think myself the man to do it ; to improve what is already good, or to create what is new and good, would be an undertaking that I should re- joice in, and which might be learned, even if there were no previous knowledge of the subject; but to change what is positively bad into better things, is both a hard and a thankless task. A very momentous change has taken place here since what is called the King's concert. You cannot think what a good impulse the mere visit of the King, and his really cordial and kind approbation, has imparted to our concerts here. A person is almost to be envied who, by pure, kindly, natural feelings, and words of the same tenor, can give such an immediate impetus, were it not after all quite as difficult, in such a position, to preserve such feelings (which is the main point) as it is with us to maintain many less essential. By his demeanour here, as well as by the way in which he has sounded forth our praises in Dresden, he has facilitated a number of things for us which were not thought of formerly. Since that time, we have, strangers from Dresden at every concert, and the female singers there vie with each other in their efforts to appear in public here. The grant, too, of the R 242 Mendelssohn's letteks. legacy bequeathed two years ago, will now probably be entirely devoted to miisical purposes, and perhaps be finally decided this month. All these are only mere outlines; but how many details I might have added during the walks I alluded to ! There has been one thing, however, and that indeed the chief thing, which I have not been able to accomplish during all these winter months, and that is composition. I sent my " Hymn of Praise " to be published, and have written a couple of songs ; this is however all, and little enough too. Now as to literature, I am but in a poor state in that respect. Last week I had scarcely time to eat or to sleep my pensum, without being fairly stranded, and no possibility of reading. I read Immermann's 'Miinch- hausen ' some time ago, but only the first volume j and I must confess that the first half of it, which you too do not praise, displeased me so much, that I was out of sorts with the second also, although I do not deny the great beauties in the second Westphalian portion, and in all those works of his which I have seen. I feel the same with regard to X ^s critical article. When I see an old companion, endowed by a kind Providence with every good capability, roaming about for many long years, employing his really fine talents in writing for newspapers, and criticizing a book which perhaps had better never have been written (but for the money the bookseller gave for it), and witli these exceptions EIGHT USE OP TALENTS. 243 bringing nothing of his own into the world, advan- cing nothing and contributing nothing, I cannot help thinking that it is the greatest blasphemy which can be committed against Providenee, and so I don't wish to know anything of his clever criticisms, and feel a much higher esteem for every honest bookbinder and cobbler. This is, no doubt, one-sided, and too severe also ; but I know nothing worse than the abuse, or non-use of God's gifts, and have no sympathy for those who trifle with them. Fie, for shame ! what a cynical tone I have adopted ; and I have not yet thanked you for all the good and loving and kind things you say to me of my music ! But you must not estimate it so highly in contradis- tinction to that of others. To deserve all your praise, it ought to be very much better; and this I hope it will one day become. At all events, I think that the recitative, and the middle of my " Hymn of Praise " are more fervent and spirited than anything I have yet written. When shall we be able to sing it to you ! With this I close my letter. Write to me soon again. — ^Your Felix. K 2 214 Mendelssohn's letteiis. To Fanxy Hensel, Berlin. Leipzig, February 14th, 1841. Salut et Fraternite ! Have you read the wrathful letter which the Em- peror of China wrote to Lin, with a bright red pencil ? Were this the fashion with us, I would write to you to-day with a grass-green pencil, o^ with a sky-blue one, or with whatever colour a pleasant pencil ought to assume, in gratitude for your admirable epistle on my birthday. My especial thanks also for the kind and friendly interest you have shown in the faithful Eckert ; he is a sound, practical musician, and further than this, in my opinion (to which I sometimes adhere for twenty- four hours), no man should concern himself about an- other. Whether a person be anything extraordinary, unique, etc., is entirely a private matter. But in this world, every one ought to be honest and useful, and he who is not so, must and ought to be abused, from the Lord Chamberlain to the cobbler. Of all the young people whom I have had anything to do with here, lie is the most good-natured, and by far the most inoffensive; and these are two precious qualities. Don't, I beg, write me anything more about your Sunday music, it is really a sin and a shame that I have not heard it ; but though I feel so provoked at this, it is equally vexatious that you have heard none of our MADAME DEVEIEKT. 245 truly brilliant subscription concerts. I tell you we glit- ter brightly — in Bengal fire. The other day, in our last historical concert (Beethoven), Herr Schmidt was sud- denly taken ill, and could not sing to his " Feme Ge- liebte " in the " Liederlireis." In the middle of the first part David said, " I see Madame Devrient." She had arrived that morning by rail, and was to return next day. So during an interval, I went up to her, was vastly polite, and she agreed to sing "Adelaide;" on which an old piano was carried into the orchestra from the anteroom. This was greeted with much applause, for people suspected that Devrient was coming. So come she did, in a shabby travelling costume, and Leipzig bellowed and shouted without end. She took off her bonnet before the publicum, and pointed to her black pelisse, as if to apologize for it. I believe they are still applauding ! She sang beautifully, and there was a grand flourish of trumpets in her honour, and the audi- ence clapped their hands, till not a single bow of the shabby pelisse was any longer visible. The next time we are to have a medley of Molique, Kalliwoda, and Lipin- ski, — and thus, according to Franck's witticism, we de- scend from Adam to Holtei. As to the tempi in my Psalm, all I have to say is, that the passage of the Jordan must be kept very watery; it would have a good effect if the chorus were to reel to and fro, that people might think they saw the waves ; here we have achieved this effect. If you do not know 246 Mendelssohn's letters. how to take the other tempi, ask G about them. He understands that capitally in my Psalms. With sub- mission, allow me to suggest that the last movement be taken very slow indeed, as it is called " Sing to the Lord for ever and ever," and ought therefore to last for a very long time! Forgive this dreadful joke. Adieu, dear Fanny. — Your Felix. To Pastor Juhus Schubking, Dessau. Leipzig, February 27tb, 1841. Dear Schubring, Thank you a thousand times for your friendly let- ter, which caused me much pleasure, and was a most welcome birthday gift. Our correspondence had cer- tainly become rather threadbare, but pray don't give up sending me your little notes of introduction ; large let- ters would indeed be better, but in default of these I must be contented with little ones, and you well know that they will always be received with joy, and those who bring them welcomed to the best of my ability. Now for my critical spectacles, and a reply about your Becker " Rheinlied." I like it very much ; it is well written, and sounds joyous and exhilarating, but (for a but must of course be uttered by every critic) the whole poem is quite unsuitable for composition. THE 'eheinlted/ 247 and essentially unmusical. I am well aware tliat in saying this^ I rashly throw down the gauntlet both to you, and many of my colleagues in Germany ; but such is my opinion, and the worst part of it is, that I am confirmed in it by most of the compositions that I know. (For Heaven's sake, let this remain a secret between us, otherwise, as journalists publish every trifle nowa- in Opus 9. " Die Nonne," No. 12 J We may further observe, that the song No. 12, " Die Blumenglocken mit hellem Schein," in the operetta " Heimkehr aus der Fremde " (Son and Stranger), was set to music by Carl Klingemann, the author of the libretto, Mendelssohn's most intimate friend, who died very recently. It had been already published by him * In the tenth edition of Brocthaus's ' ConTersations-Lexicon,' toI. vii., 1852, we read, " She felt great repugnance to publish, so that her brother often, in jest, allowed her compositions to appear under his name." 442 PREFACE TO CATALOGUE OE ia 1829, in a book of songs (Logier, Berlin), with other words, and was afterwards most charmingly and delicately instrumented by Mendelssohn for the operetta. In addition to the list contained in the thematic cata- logue of Mendelssohn's published works, the following have since appeared in Germany. 1. Two Pianoforte Pieces : (a) Andante cantabile, ia B flat; (6) Presto agitato, in G minor (SenfF, Leipzig), 2. Two Songs for four Men's Voices : (a) " Schlum- mernd an des Vaters Brust ;" (6) " Auf, Freunde, lasst das Jahr uns singen," in the " Repertorium fiir Manner- gesang" (Kahnt, Leipzig). A " Te Deum," for a four-part chorus and organ, with English words, has been published in London. Lastly, we must not omit to mention a published work of Mendelssohn's, though not a musical one, namely a translation of the ' Andria ' of Terence. Its complete title is — " The Maiden of Andros, a Comedy by Terence, in the metre of the original, translated by P ; with an introduction and notes, edited by K. W. L. Heyse. (Berlin, 1826, Ferdinand Dummler.)" As the existence of this little work, or at any rate the fact that '' Felix Mendelssohn Bartholdy " is concealed beneath the " F ," is not hitherto generally known, this notice will be received with some interest. II. The second division of the Catalogue is intended to furnish a more ready means of reference to what Men- delssohn has accomplished in the most various stvles IIUSICAL COMPOSITIONS. 443 of composition (besides the published works) ; it is not arranged chronologically, but under different heads, — Church Music, Dramatic, etc. etc. The immense num- ber of the works it includes, bears testimony to the strict and conscientious manner in which Mendelssohn acted with regard to himself, and how many pieces he laid aside, which, even if too much laboured, might have caused great delight and enjoyment to the world. The list also testifies to the caution of his repi'esentatives, and to their desire to act in the same spirit as himself, by not publishing anything among his papers which might be unworthy of his name, or of his importance in the history of art. Minor compositions for special occasions, songs for family fetes, canons in albums, etc. etc., of which a vast number exist, are not included in the Catalogue, chiefly because it was impossible to make even an approach to a complete list. It may be men- tioned, that Mendelssohn added full obligato organ parts to two of Handel's oratorios, viz. "Solomon'' and "Israel in Egypt," as well as to the "Dettingen Te Deum." Those for " Solomon " and the " Te Deum " remain in manuscript ; but those to " Israel in Egypt " are published in the edition of the Handel Society of London, for whom Mendelssohn edited the oratorio. J. R. 444 I. PUBLISHED WOEKS, IN CHEONOLOGICAl OEDBE. 1822. Quarfcett for Pianoforte, Violin, Tenor, and Violoncello, ia C minor, op. 1. Berlin.* 1823. Quartett for Pianoforte, Violin, Tenor, and Violoncello, in P minor, op. 2. Berlin. Sonata for Pianoforte and Violin, in ¥ minor, op. 4. Berlin. 1824. Quartett for Pianoforte, Violin, Tenor, and Violoncello, in B minor, op. 3. Berlin. " Die Hochzeit des Camacho," Opera in Two Acts, op. 10. rirst Act. Berlin. Overture for a Military Band, in C major, op. 24. Dob- beran. Originally composed for the Band of the Dobberan Baths, and subsequently arranged for a full Military Band. * The name of the place invariably indicates where the Work was composed, or at all events finished. MUSICAL COMPOSITIONS. 445 1825. "Die Hoelizeit des Camacho," Overture and Second Act. This Opera was given once in the Berlin theatre, on the 29th Aprfl, 1827. Capriccio for Pianoforte, in P sharp minor, op. 5. Berlin. Octett for four Violins, tyro Tenors, and two Violoncellos, in E flat, op. 20. Berlin. 1826. Quintett for tvro Violins, two Tenors, and Violoncello, in A, op. 18. Berlin. The Intermezzo, Andante sostennto, in F major, was composed subsequently in Paris, in 1832. The Scherzo, in D minor, originally formed the second movement ; the third was a Minuetto, in ¥ shaj:p, Allegro molto ; with a Trio, in D, Canone doppio. Overture to Shakspeare's ' Midsummer's Night's Dream,' in E major, op. 21. Berlin. Song for Voice and Pianoforte, "Es lauschte das Laub," op. 86, no. 1. 1827. Quartett for two Violins, Tenor, and Violoncello, in A minor, op. 13. Berlin. Fugue for two Violins, Tenor, and Violoncello, in E flat, in op. 81. Eugue for Pianoforte, in E minor. Berlin. No. 7 in a collection entitled, " Notre Temps,'' published by Schott, of Mayence. 1828. Quartett for two Violins, Tenor, and Violoncello, in E flat, op. 12. Berlin. At the period of its composition, this Quartett appeared as "the first for stringed instruments." 446 CATALOGUE 01" Overture, " Meeresstille und gliickliclie Fahrt," in D, op. 27. Berlin. Variations for Pianoforte and Yioloncello, in D, op. 17. Berlin. 1829. Song for Voice and Pianoforte, " "Wartend," op. 9, no. 3. Berlin. Song for Voice and Pianoforte, "Der Blumenkranz." Lon- don. This appeared at a much later period, in an Album of Spehr's, Brunswick. Three Fantasias or Caprices for tte Pianoforte, op. 16. Coed Du, in Wales. " Heimkehr aus der Premde," Operetta in One Act, op. 89. London and Berlin. Composed for the celebration of the silver wedding-day of his parents. Performed in pubUo for the first time on the 20th April, 1851, in Leipzig. 1830. Overture, " Die Hebriden," in B minor, op. 26. Eome. Psalm CXV., "Nicht unserm Namen, Herr," for Chorus, Solo, and Orchestra, op. 31. Home. Song for Voice and Pianoforte, " Eeiselied," op. 19, no. 6. Venice. Song -without words, " Grondellied," op. 19, no. 6. Venice. A book of songs with words, and one of songs without words, are each marked as Opus 19. Three pieces of Sacred Music for Solo and Chorus, with Organ, op. 23. Eome. Three Motetta for Pemale Voices with Organ, op. 39. Eome. Composed for the Nuns in TrinitS, de' Monti, in Kome ; but not published tiU 1838, when it was partly re-written. MUSICAL COMPOSITIONS. 447 1831. " Die erste "Walpurgis Nacht," Ballad, for Chorus, Solo, and Orchestra, op. 60. Milan and Paris. Ke-written in Leipzig in 1842, and published in 1843. "Verleih' uns Prieden," Prayer, for Chorus and Orchestra. No opus number. Home. Song for Voice and Pianoforte, " Da lieg' ich unter den Baumen," op. 84, no. 1. Diisseldorf. Song for Voice and Pianoforte, "Die Liebende schreibt," op. 86, no. 3. Untersee. 1832. Concerto for Pianoforte and Orchestra, in G- minor, op. 25. Munich. Capriccio Brillant, for Pianoforte with Orchestra, in B minor, op. 22. London. Fugue for Pianoforte, in B minor, op. 35, no. 3. 1833. Symphony, in A major, op. 90. Berlin. Bepeatedly mentioned in Mendelssolin's Letters from Italy, as the Italian Symphony. Overture, " Zum Mahrchen von der schonen Melusine," in F, op. 32. Berlin. Fantasia for Pianoforte, in F sharp minor, op. 28. Berlin. Entitled on the autograph, " Sonate Ecossaise." Capriccio for Pianoforte, in F sharp minor, op. 33, no. 3. London. " Lied ohne "Worte," in D, op. 30, no. 5. Diisseldorf. 448 CATALOGUE OP Vocal Chorus, " Lord, have mercy," in A minor. No opus number. Berlin. Published in an Album, by Bosenberg, Leipzig. 1834. Eondo Brillant for Pianoforte, in E flat, op. 29. Capriccio for Pianoforte, in A minor, op. 33, no. 1. " Lieder olme Worte :" — Op. 30, Nos. 1 and 4. Op. 85, No. 2. Songs for Voice and Pianoforte : — " Minnelied, op. 34, no. 1. " Auf Fliigeln des Gesanges," op. 34, no. 2. " Sonntagslied," op. 34, no. 5. " Jagdlied," op. 84, no. 3. Eomance for Voice and Pianoforte, " Scblafloser Augen." No opus number. Published in an Album. Breitkopf and Hartel, Leipzig. Three " Volkslieder," for Soprano, Alto, Tenor, and Bass, op. 41, nos. 2, 3, 4. Commencement of the Oratorio of " St. Paul." " Todeslied der Bojaren," from Immermann's Tragedy of " Alexis," for a chorus of men's voices in unison, and wind instruments ; in E minor. First published as a contribution to the fourth volume of Im- mermann's worts. Schaub, Diisseldorf. N.B. — All the works of this year were composed at Diisseldorf. 1835. Oratorio of " St. Paul," op. 36. Diisseldorf and Leipzig. Performed for the first time at the Musical Festival of the Lower Ehine, at Diisseldorf, on the 22nd of May, 1836. MUSICAL COMPOSITIONS. 449 Capriccio for Pianoforte, iu E major, op. 33, no. 2. Diissel- dorf. Fugue for Pianoforte, in A flat, op. 35, no. 4. Diisseldorf. Song for Voice with Pianoforte, " Das Waldschloss." No opus number. Berlin. 1836. Preludes for Pianoforte, op. 35 : — no. 2, in D ; no. 3, in B minor ; no. 5, in F minor. Leipzig. Fugue for Pianoforte, op. 35, no. 6, B flat. Leipzig. Fugue for the Organ, in G, op. 37, no. 2. Leipzig. JEtude and Scherzo for the Pianoforte, in F minor. No opus number. Leipzig. Two-part Song, with Pianoforte, " Sonntagsmorgen," op. 77, no. 1. Leipzig. 1837. Concerto for Pianoforte and Orchestra, in D minor, op. 40. Biagen and Horchheim on the Rhine. Quartett for Two Violins, Tenor, and Violoncello, in E minor, . op. 44, no. 2. Frankfort on the Main. Psalm XLIL, ""Wie der Hirsch schreit," for Chorus, Solo, and Orchestra. Freyburg in Breisgau, and Leipzig. Preludes for Pianoforte, op. 35 : — no. 1, in E minor ; no. 4, in A flat major ; no. 6, B flat. Leipzig. Fugue for Pianoforte, op. 35, no. 2. Leipzig. Three Preludes for the Organ, op. 37. Speyer. Fugue for the Organ, op. 37, no. 1. Speyer. Songs for Voice with Pianoforte : — " Suleika," op. 34, no. 4. "^ "Eeiselied," op. 34, no. 6. >■ Leipzig. " Suleika," op. 57, no. 3. J 3 G 450 CATALOGUE OP Songs for Four Male Voices : — " Sommerlied," op. 50, no. 3. "] " 'Wasserfalirt,'' op. 50, no. 4. I , " So lang man niichtern ist," op. 75, no. 3. i P =• " Geben wir Eath," op. 76, no. 1. Song for Soprano, Alto, Tenor, and Bass, " Im Grunen," op. 59, no. 1. Leipzig. " Song without Words," in A minor, op. 38, no. 5. Speyer. 1838. Serenade and Allegro Giojoso for Pianoforte, with Orches- tra, op. 43. Leipzig. Quartett for Stringed Instruments, in E flat, op. 44, No. 3. Leipzig. Sonata for Pianoforte and Violoncello, in B flat, op. 45. Leipzig. Psalm XCV., " Kommt, lasst uns anbeten," for Chorus, Solo, and Orchestra, op. 46. Leipzig. Andante Cantabile and Presto Agitato, for the Pianoforte, in B. Without any opus number. Berlin. Appeared in an Album. Breittopf and Hajtel, Leipzig. Song for Four Male Voices, " Tiirkisches Schenkenlied," op. 50, No. 1. Leipzig. 1839. Psalm CXIV., "Da Israel aus Egypten zog," for an eight- part Chorus and Orchestra, op. 51. Horchheim. Trio, for Pianoforte, Violin, and Violoncello, in D minor, op. 49. Prankfort, Berlin, and Leipzig. Sonata for the Organ, in C minor, op. 65, no. 2. Prank- fort. MUSICAL COMPOSITIONS. 451 Overture to Victor Hugo's drama, " B,uy Bias," in C minor, op. 95. Leipzig. Chorus for Two Female Voices, with Quartett accompani- ment, from " Euy Bias," in A, op. 77, no. 3. The foregoing two pieces were written for a performance of " Buy Bias " for the benefit of the Theatrical Pension Fund, at the request of the Committee of the Fund. Six Songs, for Soprano, Alto, Tenor, and Bass, op. 48. IFrankfort and Leipzig. Besides these : — "Hirtenlied," op. 88, no. 3. l ^ , ^ ^ „^ .^^ . . ,, ,„„ , > J?rankiort. "Im Wald," op. 100, no. 4. J Songs for Pour Male Voices : — " Liebe und Wein," op. 50, no. 5. 1 " Abendstandchen," op. 75, no. 2. V Leipzig. " Ersatz fur Unbestand." No opus number. J Songs for One Voice with Pianoforte : — " rriihlingslied," op. 47, no. 3. ~\ " Volkslied," op. 47, no. 4. ^Leipzig. " Wiegenlied," op. 47, no. 6. J " Altdeutsches Lied," op. 57, no. 1. Horchhelm. " Hirtenlied," op. 57, no. 2. -^ "HerbstUed," Op. 84, no. 2. " Song without "Words," in F sharp minor, op. 67, no. 2. -Leipzig. 1840. " Hymn of Praise," Symphony Cantata, op. 52. Leipzig. Performed for the first time on the 25th of June, 1840, in the Thomas Church at Leipzig, at the Celebration of the Fourth Centenary of Printing. A " Festgesang," for Male Voices and Brass Band, " Be- geht mit heil'gem Lobgesang." No opus number. For the opening of the same FesliTal in honour of Printing. 2 2 452 CATALOGUE OF Songs for Pour Male Voices : — "Der Jager Absehied," op. 50, no. 2, " "Wanderlied," op. 50, no. 6. Song for Soprano, Alto, Tenor, and Bass, " Der wanderndo Musikant," op. 88, No. 6. 1841. Music for " Antigone," op. 55. Berlin. Performed for the first time on the 6th November, 1841, in the New Palace, at Potsdam, and in the theatre at Berhn on the 13th of AprO, 1842. Variations Serieuses, for the Pianoforte, in D minor, op. 54. Leipzig. Variations for the Pianoforte, in E flat, op. 82. Leip- zig. Allegro Brillant for the Pianoforte, arranged as a Duett, in A, op. 92. Leipzig. Prelude for the Pianoforte, in E minor, for " Notre Temps." Eefer to 1827. Leipzig. Songs for Voice, with Pianoforte accompaniment : — " Erische Eahrt," op. 57, no. 6. Leipzig. " Erster Verlust," op. 99, no. 1. Berlin. " Das Schifflein," op. 99, no. 4. Leipzig. Song for Voice, with Pianoforte, "Ich hor' ein Voglein locken." No opus number. Appeared first as a contribution to a Collection of Poetry by Adolph Bottger. " Songs without "Words :" — " Volkslied," in A minor, op. 53, no. 5.") in A major, op. 53, no. 6. ^Leipzig. „ in B flat, op. 85, no. 6. J MUSICAL COMPOSITIONS. 453 1842. Symphony, in A minor, op. 56. Berlin. Called the " Scotch Symphony," in the Letters of 1830. Songs for Voice with Pianoforte : — " Gondellied," op. 57, no. 5. " Schilflied," op. 71, no. 4. Song for Two Voices, with Pianoforte, " Wie war so schon, ' op. 63, no. 2. " Song without "Words," in A major, op. 62, no. 6. 1843. Music for the "Midsummer Night's Dream," op. 61. See year 1826. Leipzig. Performed for the first time on the 14th of October, 1843, in the New Palace, at Potsdam ; and in the theatre at Berlin, on the 18th Octoher, 1843. Sonata for Pianoforte and Violoncello, in D, op. 58. Leip- zig. Choruses for Eacine's " Athalie." Leipzig. For female voices only, and with pianoforte accompaniment. This work was performed, in its later shape, for the first time on December 1st, 1845, in the Eoyal Theatre at Charlottenburg. See year 1845. Concert Aria for Soprano with Orchestra, in B flat, op. 94. Leipzig. Capriccio for Two Violins, Tenor, and Violoncello, in E minor, in op. 81. Leipzig. Psalm XCL, "Singet dem Herrn ein neues Lied," for Chorus and Orchestra, op. 91. Berlin. For the celebration of New Year's Day, 1844, in the Dom Kirche, at Berlin. 454 CATALOGOE OF Psalm II., " "Warum toben die Heiden ?" for an eight-part Chorus^ op. 78, uo. 1. Berlin. Anthem, "Herr Gott, du bist unsre Zuflucht,"for a Chorus of Eight Voices, op. 79, no. 2. Berlin. Hymn for a Contralto, Chorus, and Orchestra, op. 96. Leipzig. The elaboration of a work formerly published by Simrook, of Bonn, ■with6nt any opus-number, entitled " Three Sacred Songs for an Alto Voice, Chorus, and Organ." Song for Voice with Pianoforte, " Es weiss und rath es doch Keiner," op. 99, no. 6. Songs for Soprano, Alto, Tenor, and Bass : — " Pruhzeitiger Friihling," ' " Abschied Tom Walde," " Die Nachtigall," | op. 59, nos. 2 to 6. Leipzig. "Euhethal," " Jagdlied," " Ich hab' ein Liebchen," op. 88, no. 2."] "Die Waldvoglein," op. 88, no. 4. r Leipzig. " Lob des Priihlings," op. 100, no. 2. J " Songs without Words :" — B, op. 62, uo. 2. -^ E minor, op. 62, no. 3. Gr, op. 62, no. 4. C, op. 67, no. 4. ■Leipzig. 1844. Concerto for the Violin, with Orchestra, in E minor, op. 64. Leipzig. Overture to " Athalie," in D minor, and March of the Priests, in P, op. 74. London. Hymn, "Hor' mein Bitten," for a Soprano, Chorus, and Organ. No number. Berlin. ^Prankfort. srirsiCAL COMPOSITIONS. 455 Sonatas for the Organ, op. 65 : — !P minor, no. 1. C minor, no. 2. A major, no. 3. D minor, no. 6. Psalms for a Choir of Eight Voices, op. 78. Psalm XLIII., " Eichte mich Gott," No. 2. -> Psalm XLII., "Mein Gott, warum hast Du," L Berlin, no. 3. J Songs for Pour Male Voices : — " Wem Gott will," op. 75, no. 1. -] "So riickt denn," op. 75, no. 4. > Berlin. " Eheinweinlied," op. 76, no. 2. J Songs for Soprano, Alto, Tenor, and Bass : — " Neujahrslied," op. 88, no. 1. "Andenken," op. 100, no. 1. " Songs without Words :" — G, op. 62, no. 1. Berlin. E flat, op. 67, no. 1. Leipzig. B minor, op. 51. Berlin. Songs for Two Voices with Pianoforte : — " Gruss," op. 68, no. 2. T • • "Herbstlied," op. 63, no. 3. J Leipzig. " Maiglockchen tmd die Bliimelein," op. 63, no. 6. Berlin. 1845. Music for " Oedipus Ton Kolonos," op. 93. Leipzig and Erankfort, Performed for the first time on the 1st Wovember, 1845, in the New Palace at Potsdam, and in the theatre at Berlin on the 10th November, 1845. Quintett for two Violins, two Tenors, and Violoncello, in B flat, op. 87. Soden. 456 CATALOaUE OF "Athalie," instrumentation and arrangement of the Choruses for Soprano, Alto, Tenor, and Bass. See the years 1843 and 1844. Op. 74. Sonatas for the Organ : — Bflat,op.,65,no.4. Ij,^^^^^,,^. D minor, op. 65, no. 6. J Songs for One "Voice with Pianoforte : — "Trostung," op. 71, no. 1. Leipzig. " Pruhlingslied," op. 71, no. 2. Prankfort. "Wenn sich zwei Herzen scheiden," op. 99, no. 5. Leipzig. "Songs without "Words:" — B flat, op. 67, no. 3. Leipzig. ^' °P- '*' "°- ^-Tprankfort. A, op. 84, no. 5. J Anthems for an Eight-part Chorus : — " Prohlocket, ihr Volker," op. 97, no. 1. " Herr, gedenke," op. 79, no. 4. Commencement of the Oratorio of "Elijah." 1846. Cantata to the " Sons of Art," Male Chorus and Brass Band, op. 68. Written for the first Q-erman-Flemish. Vocal i'estival at Cologne. " Lauda Sion," for Chorus, Solo, and Orchestra, op. 73. For the church of St. Martin, in Liittich. "Elijah," Oratorio, op. 70. Performed for the first time at Birmingham, August 25, 1846. Song for Eour Male Voices, " "Was uns eint als deutsche Briider," op. 76, no. 3. For the G-ermans in Lyons. MUSICAL COMPOSITIONS. 457 Authema for an Eight-part Chorus -. — "Erhaben, O Herr," op. 79, no. 3. "Lasset uns frohlocken," op. 79, no. 5. All the works of this year were composed in Leipzig. 1847. Three Motetts for Chorus and Solo Voices, op. 69. Baden- Baden and Leipzig. Eecitative and Choruses from the unfinished Oratorio, " Christus," op. 97. Finale of the first Act from the unfinished Opera of " Loreley," op. 98. Leipzig. Besides this finale there are only extant, an Ave Maria for Soprano Solo and Female Chorus, a grand March with Chorus, and the beginliing of three other pieces of music. Quartett for Two Violins, Tenor, and Violoncello, in E minor, op. 80. Interlachen. Andante and Scherzo for Two Violins, Tenor, and Violon- cello, in op. 81. Songs for One Voice with Pianoforte : — " An die Entfernte," op. 71, no. 3. Leipzig. " Auf der "Wanderschafb," op. 71, no. 5. Interlachen. " Nachtlied," op. 71, no. 6. Leipzig. Song for Four Male Voices, " Comitat," op. 76, no. 4. Frank- fort. Song for Two Voices with Pianoforte, " Das Aehrenfeld," op. 77, no. 2. Leipzig. Song for Voice with Pianoforte, " Altdeutsches Friihlings- lied," op. 86, no. 6. Mendelssohn's last composition, written on the 7th October, 1847, in Leipzig. 458 II. WOEKS NOT PUBLISHED. Saceed Mrsic. " Magnificat" for Chorus and Orchestra, in D. 1822. "Juba Domine" for Chorus and Soli, without Orchestra. 1822. " G-loria" for a four-part Chorus and Orchestra, in E flat. " Kyrie" for two Choruses and Soli, in C minor. " Jesus meine Zuversieht," Chorale, four and five Voices. 1824. " Ich bin durch der Hofihung Band," Chorale and Pugue, for four and five Voices. " Kyrie" for a five-part Chorus and Orchestra. 1825. " Und ob du mich ziichtigest, Herr," Canon for five Voices. " Beata," Chorus for three Female Voices and Organ. " Te Deum Laudamus," for an eight-part Chorus. Eight movements. 1826. " Tu es Petrus," for a five-part Chorus and Orchestra. 1827. " Ohriste, du Lamm Grottes," Cantata for four Voices and stringed instruments. "Ach Grott vom Himmel sieh darein," Cantata for four Voices and Orchestra. " Vom Himmel hoch, da komm' ich her," Christmas hymn for four voices and Orchestra. Eome. 1831. MUSICAL COMPOSITIONS. 459 " Hora est de somno surgere," for four Four-part Choirs. "Ad vesperaa Dom. XXI. post Trinitatis. Eesponsorium et Hymnus," for three- and four-part Male Chorus. " Beati mortui," for a four-part Male Chorus. Two English Psalm-tunes for four voices. 1839. Nine pieces in the Oratorio of " St. Paul," subsequently omitted : — four Choruses, three Chorales, four Eecitatives, a Soprano Aria, and a Duett for Tenor and Bass. " Herr Grott, dich loben wir," Chorale for double Chorusi Organ, four Trombones, and stringed instruments, for the celebration of the German Tausendjahrige festival, 1843 . Psalm C, " Jauchzet dem Herrn," for a four-part Chorus. 1844. The German Liturgy, for two four-part Choirs. " Wir glauben all' an einen Gott," for Chorus and Orchestra. The most important of these works a cwpella, the " Te Deum," the " Hora est," etc., were written from 1826 to 1828 for the Ber- lin Singing Academy, at that time under Zelter's management, and were constantly sung there. The four last-named pieces were composed for the Cathedral Choir at Berlin. Seculae Cantatas. Grand Festival Music for the Diirer Festival. The Poem by Professor Levetzow. Performed in the Hall of the Singing Academy at Berlin, on the 12th of April, 1828. Instrumental Introduction, and fourteen Numbers — So- los, Grand fugued Choruses, etc. Festival Music, for a festival given in the Hall of the Eoyal Theatre at Berlin, by Alexander von Humboldt. The words by L. Eellstab. For Male Voices, with accompani- ment of Clarionets, Horns, Trumpets, Kettle-drums, Vio- 460 CATALOGUE OP loncello, and Double Bass. Seven numbers, Solos and Choruses. 1827. Eestal Song at the uncovering of the statue of Friedrich August the Just, at Dresden, on the 9 th June, 1842, for two Male Choirs and Brass Band. Dbamatio. "Die beiden Padagogen," Comic Operetta, in one Act, adapted from the IJ'rench. Overture and ten numbers. " Soldatenliebschaft," Comic Operetta, in one Act. Over- ture and fourteen numbers. " Die wandernden Komodianten," Comic Opera in one Act. Overture and twelve numbers. 1821. " Der Onkel aus Boston, oder die beiden Neffen," Comic Opera in three Acts. 1822-1823. Overture and four- teen numbers, with much Ballet Music. Music to Calderon's Tragedy, "The Steadfast Prince." Two Choruses for Male Voices, Battle-piece, Melodrama. 1834. Written for a performance in Diisseldorf. PoE YoiCE, WITH OeCHESTEAL ACCOMPANIMENT OR Stein GBD Instetjmbkts. Eecitative and Aria, " Che vuoi mio cor," for a Contralto, accompanied by Stringed Instruments. 1824. Scena and Aria, for a Soprano, with Orchestra. 1834. Mucli of this was afterwards made use of in the Aria, op. 94, the only instance in which. Mendelssohn's artistic energy per- mitted him so to do. Air for Barytone and Orchestra, with English "Words, writ- ten for Philipps, the singer, of London. 1846. MUSICAL COMPOSITIONS. 461 Songs foe Voice, with PiANoroETE Accompaniment. Songs, finished ballads, several in Italian, chiefly from Men- delssohn's earlier period to the year 1834. The words are, with few exceptions, by unknown poets, and the enu- meration of the individual pieces can be of little interest. Their number is from twenty to thirty. Foe Foue Male Voices. " A frischer Bua bin ich," for Immermann's " Andreas Hofer." 1833. " Der weise Diogenes war der erste der griechischen Sie- ben," Canon for twice Two Voices. 1833. " Musikanten Prugelei." 1833. "Ira Nebelgeriesel, im tiefen Sehnee," Gipsy Song by Groethe, for two Two-part Choirs. " Worauf kommt es iiberall an," by Goethe. 1837. " Auf ihr Herrn und Damen schon," Hunting Song. 1837. Morning Song of the Thuringian Vocal Association, " Seid gegriisset, traute Bruder." For the Festival in Eisenach. 184,7. Foe Full Oechestea. Symphony, in D. 1822. Grand Overture, in 0. 1825. Performed at the Musical Festival in Dusseldorf, at Whitsun- tide, 1833. Svmphony for the celebration of the Eeformation Festival, in D minor. 1830. Performed in London and Berlin. Marches for smaller Military Bands, composed for the use in Church Processions at Dusseldorf. 1833. 462 CATALOGUE 01? Marcli for a full Orchestra, in D, in celebration of the visit of Cornelius the painter to Dresden. ToB Stein&S. Ten Pour-, Mve-, and Six-part Symphonies, in the years 1820 to 1823. Concerto for the Violin, with accompaniment of Stringed Instruments, in D minor. Quartett for Two Violins, Tenor and Violoncello, in E flat. 1823. Many single Four- and Pive-part pieces, Fugues, etc. Foe PiAKoroETE, with Accompaniment. Concerto for Two Pianos, with Orchestra, in E. 1823. Concerto for Two Pianos, with Orchestra, in A flat. 1824. Concerto for Pianoforte and Violin, with Stringed Instru- ments, in D minor. 1823. Concerto for Pianoforte, with Stringed Instruments, in A minor. Sextett for Pianoforte, Violin, Two Tenors, Violoncello, and Double Bass, in D. 1824. Quartett for Pianoforte, Violin, Tenor, and Violoncello, in D minor. Trio for Pianoforte, Violin, and Tenor, in C minor. 1820. Sonata for Pianoforte and Tenor, in C minor. 1824. Sonata for Pianoforte and Clarionet, in E flat. Sonata for Pianoforte and Violin, in D minor. Sonata for Pianoforte and Violin, in F. 1838. " Song without Words," for Pianoforte and Violoncello. For Fraulein Lisa Christiani. MUSICAL COMPOSITIONS. 463 POE PlANOrOETE SoLO. Grand Fantasia. 1823. Fantasia, four bands, in D minor. 1824. Sonatina, in B flat minor. 1824. Sonata, in B flat. 1827. Andante and Allegro, in E major and E minor. 1837. A vast number of Songs witbout "Words, Studies, Preludes, Fugues, JuTenile Pieces, etc., of all dates. Foe Claeionet and Coeno bi Bassetto, wiin PiANoroETE Accompaniment. Two Concertos for tbe Royal Bavarian Kammer-Musiker, Herren Barmann, fatber and son, composed in Munich, in 1832. 465 INDEX. N.B. — A * is prefixed to Mendelssohn's own Compositions. Alexander's Feast, Handel's, 15, 62. Andre, of Offenbach, 119. Andria of Terence, 442. ♦Antigone, 274, 276, 282. Athalie, 384, 385 ; oTerture to, 342, 364. ♦Ave Maria (op. 23, No. 2), 75, 80. Bach, Sebastian, 73, 75, 76, 80, 128,180,208; monument to, 191, 208, 317; cantata in E minor, 41; ' Passion,' 69 ; Chromatic fanta- sia, 216; Mass inB minor, 413. Bauer, Pastor, letters to, 1, 3, 68, 96; 394. Becker's Bheinhed, 247. Beethoven, 23; concerto in G-, 316, 364 ; sonata op. 106, 390. Bennett, Stemdale, 161. Berlin, project for Academy at, 223, 226, 230, 235, 239, 254, 258, 261, 266, 273, 301, 303, 305, 376, 379; state of music there, 271 ; Men- delssohn's appointment, 336, 417. Bemus, letter to, 393. Bendemann, letter to, 410. Birmingham, 133, 210, 402, 404. Birmingham Festival (1837), 133-5, 142; (1846), 400-407. Bliimner, his legacy, 203, 206. Bonifacius,' Schnbring's, 164. Buusen, letters from and to, 353, 355. Butler, Mrs., 283. Cherubini, 27, 28, 60, 147, 187, 192. Chopin, 38, 88, 89. Chorley, 190, 283. Composition, Mendelssohn's desire to stick to, 139, 144. Cramer's Studies recommended, 189. Creation, Haydn's, 79. Crown Prince, the, 11. David, P., letters to, 153, 266, 274. Dehn, letter to, 276. Deidesheim, wine-cellars at, 371. Dilettanti and Artists, 396. Dirichlet, Professor, letter to, 414. Dirichlet, Eebeooa, letters to, 8, 57, 65, 121, 122, 148, 389, 425, 427. ' Don Juan' at Diisseldorf, 16-19. Duprez, 283. Diisseldorf, residence there, 8-87 ; resignation of post, 53, 60. Eckert, 214 ; letters to, 284. Education of a youth in music, 186. Egmont, Beethoven's, 22. Eichhom, Herr, letters from and to, 376, 379. EHjah, oratorio of, 159, 164, 318, 396, 402, 410, 413, 432. 2 H 466 INDEX. England, 364, 367. Ernst, 198. Eumenides, composition of, 353, 356, 382. Extemporizing, Mendelssohn's, 23. Falkenstein, Von, letters to, 203. Family, his, letters to, 22, 44, 115, 149, 161. *Fantasia in F minor (op. 28), 24, 447. Father, his, death of, 93, 94, 96 ; character, 112. Father, his, letters to, 16, 28, 80, 82 ; letters from, 61, 74. Florence, 182. *Four-part songs, 35, 174, 176. Franck, E., letter to, 143. Frankfort, direction of the St. Ce- cilia Association, 109, 111, 116, 123, 170 ; night fete at, 175 ; en- tertainment to Mendelssohn, 178 ; his delight in the place, 362, 366, 389, 393. Frege, Madame, letters to, 404. French painters, 164. Fiirst, letters to, 41, 195. Gade, symphony in C minor, 325 ; letters to, 326, 330. Gluok, 152. Goethe, 19, 79, 115, 121. Grote, Mr., 430. Grimsel, the, 292. Ghihr, 168 169. Griinther, 29. Gusikow, 109. Hahnel, Mademoiselle, 35. Handel, 77, 105, 146, 151 ; his ju- dicious scoring, 26 ; works pre- sented to Mendelssohn, 90, 147. Handel Society, 386. Hauser, F., letter to, 273. Haydn, Creation, 79; "Farewell Symphony," 148. ♦Hebrides, overture, 7, 15. Hensel, Fanny, 54, 125, 126 ; her music, 102, 125, 128, 441 j her death, 422. Hensel, Fanny, letters to, 34, 55, 101, 123, 163, 181, 192, 208, 215, 244, 325, 36?, 368. HiUer, P., 37, 38, 81, 98, 111, 117, 122, 124, 140, 193, 199 ; his OTer- ture in D minor, 98 ; letter to, 152. Hixte, letter to, 87. *Hymn of Praise (Lobgesang), 213, 219, 222, 242. Immermann, 16, 20, 58 ; his ' Miinohhausen,' 242. * ' Infelice,' scena (op. 94), 25. Interlachen, letter from, 288. ' Israel in Egypt,' 12 ; Mendelssohn's edition of, 364. Italy, 141, 181, 209. Jean Paul, 64, 329. Johann, Mendelssohn's servant, 362, 410, 412. Jungfrau, the, 288. King of Prussia, the, letters to, 302, 350 ; from, 241, 313. Klengel, 287. Elingemann, 441 ; letters to, 64, 171, 219, 263, 304, 327, 362, 412. Kostlin, letters to, 277, 323. Kiieken, 292. Lang, Josephine, 277. Leipzig, 71, 85. INDEX. 467 Leipzig Conservatorimn, 203, 213, 311, 316, 409 ; the town-orches- tra of, 343 ; concerts at, 85, 190. Lessing, 162, 313. Libretto of an Opera, 196. Lindblad, 21. Liszt, 201, 202. ♦Liturgy composed for the King, 410. London, 135, 210, 283. Lower Rhine Festival, 145. I in the Catholic Church, 70. Massow, Von, letters to, 300. Measles, Mendelssohn's recovery from, 161. MeeresstiUe, overture, 52, 91. Meiringen, 309. *ilelusina, overture, 15, 34, 47, 73, 105. Merk, 110. Messiah, the, 69. ♦Midsummer Mght's Dream Mu- sic, 338. Moscheles, 90, 92, 406, 409; let- ters to, 7, 25, 158, 189, 332, 385, 399. Mother, letters to his, 37, 52, 108, 111, 114, 125, 126, 133, 167, 175, 200, 208, 212, 238, 280, 288, 290, 311 ; her death, 324. Mozart, D minor concerto, 103 ; Do. for two Pianos, 199 ; " Jupiter"' Symphony, 387 j Zaide, 148; Zauberfiote, 333. Miiller, Herr, letters from and to, 382, 385. Music as a part of worship, 69. Music, the meaning of, 298. *Musikanten-prugelei, 48. Naumann, letter to, 186, 391. Nausikaa, 148. Neukomm, 26, 124,- 134, 143. Oberhofer, singer, of Carlsruhe, 373. *(Edipus, 309, 384. *Organ fugues (op. 37), 123. Organ playing, 45. Otten, Gr., letter to, 335. Painters characterized, 182. Psilatinate, national song of, 372. Palestrina, 2, 10. "Passion" projected by Mendelssohn, 36. Pasta, 272. Paul Mendelssohn, letters to, 138, 198, 221, 223, 226, 229, 233, 239, 249, 261, 313, 320, 336, 339, 341, 342, 363, 402, 407, 426,430, 434. PhUharmonic Society of London, 25, 364. Planche, his opera-text, 173, 196. Pleyel, Madame, 193. *Preludes and fugues (op. 35), 123. Preusser, Madame, letter to, 329. Prince Albert, 404. *Psalm xlii. (op. 42), 322. *Quartett, D major (op. 44, No. 1), 154. *Quartett, E minor (op. 44, Bfo. 2), 139. *Quartett, pianoforte, in C minor (op. 1), 140. *Eeformation Symphony, 252. Eeichardt, 19, 82, 419. " Revolution" in music, 56, 65. Kietz, Julius, letterto, 251 ; his over- ture to 'Hero and Leander,' 251. 468 INDEX. Eome, 184, 194. *Eondo trmant in E flat (op. 29), 24, 25, 46. Eoseu, Dr. P., letter to, 106. Rossini, 117, 118. Ruhr, bathing in the, 45. *Ruy Bias, overture to, 167. Saarn, excursion to, 44. Saored Harmonic Society, 135. "Saint," Mendelssohn's definition of, 162. Samson, Handel's, 116. Saxony, King of, 213. Sohadow, the painter, 129. Schelble, 110, 115. Schirmer, letter to, 162. Schleinitz, letters to, 70, 85, 113, 156. Schroder-Devrient, 245, 312. Schubring, Pastor, letters to, 5, 39, 49, 93, 159, 164, 246, 318, 397. ' Seasons,' Haydn's, 79. Sebastian Hensel, 429 ; letter to, 420, 423. ♦Serenade, etc. (op. 43), 149. Seydehnann, actor, 32. Simrock, A., letters to, 150, 166, 293, 296, 333. Souchay, M. A., letter to, 298. Spohr, 273 ; letter to, 72. Spontini, 272. Staudigl in Elijah, 405. Steffens, R-au, letter to, 418. Stern, J., letter to, 360. *St. Paul, Oratorio of, 5, 25, 39, 40, 49, 54, 55, 67, 73, 84, 89, 95, 113, 120, 130, 174, 373 ; first per- formance of, 113 ; at Birming- ham, 133. St. Peter, projected oratorio on, 129, 130. Switzerland, 288-9. ♦Symphony No. 1, 439. ♦Symphony, the Italian, 7. ♦Symphony, the Scotch, 56, 155, 171, 310, 364. " Tempest, The," 309. Thalberg, 200. Theatre, the, its influence, 51. Theodora, Handel's, 124. Tiect, 354, 356. 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But the piime end kept in view will be to afford, in a wide and liberal sense, pleasure and amusement; and to this end whatever hears more directly upon the practical utilities of life will in- variably be held subordinate. It is proper to state that the Editor as- sumes the right of adapting the original text so as to suit his purpose. Gramma- tical constructions wmch are too involved and difficult will be simplified: modem words and idioms will be substituted for such as have become obsolete or nearh^ ob- solete; and inall cases passages which arg unsuitable to the young will he expunged. Care will he taken to adorn each of the volumes with a number of striking illus- trations. The illustrations to the three volumes now ready are drawn by Mr. Sandercock, a rising artist, whose merit has been acknowledged by competent judges. Special attention will be paid to the binoiug of the volumes. They will be pre- pared for being well thumbed. The type, also, in which they will be printed will be of the clearest and distinctest kind that can be procured. Volumes preparing for Publication Quarterly, uniform with the above three SANDFORD and MERTON {OnMarchZl. The PIIiGRIM'S PROGRESS EVENINGS AT HOME HISTORY of the PIiAGUE The VICAR of WAKEFIELD CITIZEN of the WORLD SWISS FAMILY ROBINSON AND OTHER WORKS, INDEX. Acton's Cookei-y-Book 23 Afternoon of Life 16 Agassiz on Classification 12 ^!cocA:'£ Japan 1 Arago's Scientific BioerapMea ;. 4 Arago's Meteorological Easaye 4 Arago's Popular Astronomy 4 Arago's Treatise on Comets 4 ArbutlniQt''s Herzegovina 9 Arnold's Manual of English Literature 7 Ai^TuM's Poems 21 ^moZd's Merope 21 A mold on Translating Homer 8 Amott on Progress 21 Autobiography of Charles V 1 Ayre'e Treasury of Bible Knowledge. . 20 Bacon's Life, by Spedding 3 Bacon's Works 3 Baj/tdon^s Bents and Tillages 25 Beard's Port-Royal L6 BerUpsch's Alps 8 Black on Brewing 23 Blaine's Encyclopsedia of Rural Sports 14 Blighfs Land's End 10 BoTi&r's Forest Creatures 13 Bourne on the Steam Engine 25 Bourne's Catechism of ditto 25 Bowdler^s Family Shakspeare 20 Boyd's Naval Cadet's Manual 24 Erande'B Dictionary of Science 12 Br&iaut on Cordon-Training 27 Brodie's Psychological Inquiries 10 Brinton on Food 23 Bristoxo's Glossary of Mineralogy 12 Bromfield's Brittany and the Bible L . . . 10 Brunel'a Life, by Beamish 3 Bull's Hints to Mothers 24 Bull on Management of Children 24 Bunsen's Hippolytua 6 Bunsen's Outlines of Universal History 6 Bunsen's Analecta Ante-NiMena 6 Bunsen's Ancient Egypt 6 Bunyan's Pilgrim's Progress illustrated 19 Burke's "Vicissitudes of Farailiea 4 Bum's Agricultural Tour in Belgium 10 JSurton'sLake Regions of Central Africa 9 Burton's Footsteps in East Africa .... 9 Burton's Medina and Mecca 9 Burton's City of the Saints 9 Cabinet Lawyer (The) 26 Calderon's Dramas, by MacCarthy.... 21 CaJuert's "Wife's Manual 20 Cats' and Faarlie's Emblems 19 Chorale-Book CThe) forEngland 19 Clark's Comparative Grammar 7 Clough's Lives from Plutarch 4 Colenso on the Pentateuch 1 Collyrn on Stas-Hunting 15 Comyn's Ellice, a Tale , 16 Coningt