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| author | nfenwick <nfenwick@pglaf.org> | 2025-02-05 02:15:24 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-05 02:15:24 -0800 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..cc52b4a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50473 (https://www.gutenberg.org/ebooks/50473) diff --git a/old/50473-0.txt b/old/50473-0.txt deleted file mode 100644 index 8ac069d..0000000 --- a/old/50473-0.txt +++ /dev/null @@ -1,15874 +0,0 @@ -The Project Gutenberg EBook of Letters of Felix Mendelssohn-Bartholdy from -1833 to 1847, by Felix Mendelssohn-Bartholdy - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Letters of Felix Mendelssohn-Bartholdy from 1833 to 1847 - -Author: Felix Mendelssohn-Bartholdy - -Editor: Paul Mendessohn-Bartholdy - Carl Mendessohn-Bartholdy - -Translator: Lady (Grace Jane) Wallace - -Release Date: November 17, 2015 [EBook #50473] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK LETTERS OF FELIX MENDELSSOHN-BARTHOLDY *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - - - - - - MENDELSSOHN’S LETTERS, - - FROM 1833 TO 1847. - - [Illustration: Drawing of Mendelssohn - - “AND AFTER THE FIRE THERE CAME A STILL SMALL VOICE - AND IN THAT STILL SMALL VOICE ONWARDS CAME THE LORD.” - ELIJAH - - [Illustration: Felix Mendelssohn Bartholdy signature] - - - - - LETTERS - - OF - - FELIX MENDELSSOHN BARTHOLDY, - - FROM 1833 TO 1847. - - EDITED BY - PAUL MENDELSSOHN BARTHOLDY, - OF BERLIN; - AND - DR. CARL MENDELSSOHN BARTHOLDY, - OF HEIDELBERG: - - WITH - - A CATALOGUE OF ALL HIS MUSICAL COMPOSITIONS - - COMPILED BY - - DR. JULIUS RIETZ. - - Translated - - BY - - LADY WALLACE. - - LONDON: - LONGMAN, GREEN, LONGMAN, ROBERTS, & GREEN. - 1863. - - - PRINTED BY - JOHN EDWARD TAYLOR, LITTLE QUEEN STREET, - LINCOLN’S INN FIELDS. - - - - -PREFACE. - - -The Letters of Felix Mendelssohn Bartholdy from Italy and Switzerland, -have amply fulfilled the purpose of their publication, by 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 exhibit 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 -subject of his appointment at Berlin take up a large space; but this is -inevitable, so characteristic are they of the manner in which he -conceived and conducted such matters, 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, compiled by Herr -Kapellmeister Dr. Julius Rietz, is added as a supplement, which, by its -classification and arrangement, will no doubt prove an object of -interest both to musicians and amateurs of music. - -_Berlin and Heidelberg, -June, 1863._ - - - - - -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.[1] I am now however entirely -cured; so, when you think of me, do so as of a joyous musician, who is -doing many things, who is _resolved_ to do many more, and who would -_fain_ accomplish all that can be done. - -For the life of me I cannot rightly understand the meaning of your -recent question and discussion, or what answer I am to give you. -Universality, and everything bordering on æsthetics, 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 sensibility 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 sickly blossom no more resembles a healthy one, than sickly -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 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 ancient 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 6th, 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 believe 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. - -Strange that this should be the case at a time, in other respects so -imbued with deep fervour and earnestness, 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 Rietz, and the more -deeply do I deplore his death. X---- declares that the fault lies very -much with myself, because 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 rejoice in the present, if only for bringing -with it in its course a spring or an Easter festival. - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Coblenz, September 6th, 1833. - -Dear Schubring, - -Just as I was beginning to arrange the sheets of my oratorio,[2] and -meditating on the music that I intend 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--1st. 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 natural, 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 opinion 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 be marked. 4th. -Whether you approve of my employing chorales? From this I have been -strongly dissuaded by various people, and yet I cannot decide on giving -it up entirely, for I think it must be in character with any oratorio -founded on the New Testament. 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 Düsseldorf, 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 composition. The country and the people -suit me admirably, and in winter “St. Paul” is to be given. I brought -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 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 applaud with all my -might; then follows the farce of “Ein Stündchen 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 censure. I stayed at home because I -like best to be in my own room, or with my own family, or in my own -garden, 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. - - -Düsseldorf, 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 tremendously, up -and down. Haydn’s Mass was scandalously 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 encountered them later in the day, they had played the march -so often over that it went famously; and I consider 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 appropriate 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 required, 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 reluctant to take the affair -out of his hands, though there could be no doubt that others would do -infinitely better; 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; so, after the Choral Association on Wednesday, 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 Feast,” 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 found -some splendid things, and took away with me six Masses of Palestrina, -one of Lotti and one of Pergolesi, 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” of Lotti. One of these, “Populus meus” we are to sing in -church next Friday. - -The following day was Sunday, so the steamboat did not come, and knowing -that my presence was necessary in Düsseldorf, I hired a carriage and -drove here. People were crowding along the _chaussée_ 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 Crown -Prince,” again and again. He arrived safely at the Jägerhof 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, Hübner, 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 infinitely more -precious when I am a little way from home. - -I must now describe to you the fête that was given in his honour, and -for which I suggested the employment of some old transparencies, to be -connected by appropriate verses for “Israel in Egypt,” with _tableaux -vivants_. They took place in the great Hall of the Academy, where a -stage was erected. In front was the double chorus (about ninety voices -altogether), standing in two semicircles round my English piano; and in -the room seats for four hundred spectators. R----, in mediæval costume, -interpreted the whole affair, and contrived very cleverly, in iambics, -to combine the different objects, in spite of their disparity. - -He exhibited three transparencies:--first, “Melancholy,” after Dürer, 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, -“Hör’ 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 the first tableau, -“The Children of Israel in bondage,” designed and arranged by Bendemann. -In the foreground 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 makes an effort to relieve him from it; -in the background some beautiful figures with uplifted arms, a few -weeping children in the foreground,--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 staff, 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 trombones, pointing in -different directions. The soprano solo was sung behind the scene, as if -proceeding from 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 effect, for -after the commencement 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 Hübner, and pleased me 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 fête. The next that followed was a -_tableau vivant_, designed and arranged by Schadow, “Lorenzo de’ Medici, -surrounded by the Geniuses of Poetry, Sculpture, and Painting, leading -to him Dante, Raphael, Michael Angelo, and Bramante,” with a -complimentary allusion to the Crown Prince, and a final chorus. The -second division consisted of the comic scenes from the “Midsummer -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 following line:-- - - “So Love was crowned, but Music won the cause”?[3] - -Ramler, with the genuine dignity of a translator, says, “Heil, Liebe, -dir! 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.[4] I feel very much disposed to do -so, but fear it will not go on very swimmingly. Could I understand -Æschylus? tell me this honestly. Further, do you attend to my advice -about pianoforte playing and singing? If you want any songs, as -Christmas 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. - - - - -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.[5] -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 Düsseldorf are an excitable race! The “Don Juan” affair -amused me, although riotous enough, and Immermann had a sharp attack of -fever from sheer vexation.[6] As you, dear Mother, like to read -newspapers, you shall receive in my next letter all the printed articles -on the subject, which engrossed the attention 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 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 _bâton_, 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 Immermann -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 already disposed of all the tickets for the next performance. -Immermann snubbed everybody all round, and in this graceful manner we -retreated from the field. - -Next day in every corner appeared, “Owing to obstacles 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 with articles -on the subject; the instigator of the riot justified 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 director, 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 disturbance. 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 universally 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 with -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 received 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 applause; in short, the public were now as polite -as they formerly were unruly. I wish you had seen the performance: -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 performances, 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 correspondence 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 unluckily rest for this winter, the Musical -Association is not yet sufficiently 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-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; we are therefore quite independent of the rest, -who consequently feel increased respect for us. - -When the great Theatrical Association is fairly established, and the -theatre becomes a settled and civic institution, Immermann is resolved -to give up his situation 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 plays, and _I_ the operas; how this may be, lies -close hidden as yet in the womb of time, but in any event I will not -entirely withdraw from the affair. I have composed 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 -dictation; 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.[7] Thank you very much for the letter -you sent me from Lindblad.[8] 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 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 Father, 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 -uneasiness, 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. - -FELIX. - - - - -TO HIS FAMILY. - - -Düsseldorf, 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, -“Glücklich allein ist die Seele die liebt,” I fairly 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 me, and only two pieces, the -march in C major, and the movement in 6-8 time, where Klärchen 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 morning 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 forenoon, -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 introduced 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. 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 receiving people is from -eight to nine. The Barmer fantasia was well designed; I must describe it -for Fanny. - -A poem had been sent me anonymously, at the end of which 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 compliment, 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 successful. I was anxious, however, -before closing, to introduce 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,[9] is about to be published. I have introduced a fine -massive passage in octaves into my new E flat rondo; I am now going to -work at my _scena_ for the Philharmonic, to edit the three overtures, to -compose another trio or a symphony, and then comes “St. Paul.” Addio. - -FELIX. - - - - -TO I. MOSCHELES, LONDON. - - -Düsseldorf, February 7th, 1834. - -My own poverty in novel passages for the piano struck me very much in -the _rondo brillant_[10] which I wish to dedicate to you; these are what -cause me to demur, and to torment myself, and I fear you will remark -this. In other respects there is a good deal in it that I like, and some -passages please me exceedingly; but 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 my -head for the piano, is about as _tranquil_ as Cheapside,[11] and even -when I control myself, and begin to extemporize very soberly, I -gradually break loose again. On the other hand, the _scena_ which I am -now writing for the Philharmonic is, I 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 quite indifferent -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 overture 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 different 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 complete 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 -refined music; for, without referring to the ideas or the basis of his -works, they appear to me most carelessly composed, and even commonplace. -He also employs brass instruments recklessly, which ought, through -discretion 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 -would not be struck by it, and it seems to me far better to _imitate_ -this, than to over-excite and stimulate the audience, who before the -close have become quite accustomed to all this Cayenne pepper. I have -just looked through Cherubini’s new opera,[12] 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 trombones, as if it were the audience who had skins of -parchment 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 brightness 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. - - - - -TO HIS FATHER. - - -Düsseldorf, March 28th, 1834. - -Dear Father, - -A thousand thanks for your kind letter on my Mother’s birthday. I -received it in the midst of a general rehearsal of the “Wasserträger,” -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 would counsel me to give way to indolence, 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 I said before, -they really are not mere amusements, but positive work, and pleasant -work often too. A good performance in the Düsseldorf theatre does not -find its way into the world at large,--indeed, scarcely perhaps beyond -the _Düssels_ 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 “Wasserträger” was given was most fatiguing; every -day two great rehearsals, often from nine to ten hours each on an -average, besides the preparations 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 “Wasserträger” for the last fifteen or twenty years, -were under the impression that it was some old forgotten opera, which -the committee 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 Düsseldorf opposition kindled into -enthusiasm, and applauded and shouted and wept by turns. A better -Wasserträger than Günther I never saw; he was most touching and natural, -and yet with a shade of homeliness, too, so that the _noblesse_ might -not appear too factitious. He was immensely applauded, and twice called -forward; this rather spoiled him for the second performance, when he -overacted his part, and was too confident; 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 fellows who, in -spite of all my threats and warnings, could not be prevailed on to take -their eyes off the stage during the performance, and to look at their -notes. On Sunday 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 crowded, and the effect 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 Cherubini’s Mass in C major. - -The Government order prohibiting the celebration of 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 Theatrical 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 effect; it also estranges me too much from my -own chief purpose in Düsseldorf, which is to work for myself. I am the -chief superintendent of the musical performances, the arrangements of -the orchestra, and the engagement of the singers, and about every month -I have an opera to conduct (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 Carnival 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 my -advice,--in fact, to give her 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-purchased 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 contained enough of the finest black cloth to make an entire -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 may be. I saw him first in the “Essighändler” 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, tiresome, and full of theatrical -phrases, so that even Seydelmann 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 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 unruffled; the words of the discreet 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. - - - - -TO FANNY HENSEL, BERLIN. - - -Düsseldorf, April 7th, 1834. - -Dear Fanny, - -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 Düsseldorf, 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 instrumental music without any title, -when my own sister (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 Königstadt Theatre. The overture (I mean Kreuzer’s) was -encored, and I disliked it exceedingly, and the whole opera quite as -much; but not Mlle. Hähnel, who was very fascinating, 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 might 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 account 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 _Volks -Lieder_ ought to be written; because every pianoforte accompaniment -instantly recalls a room and a music desk, and also because four voices -can give a song of this kind in greater simplicity without an -instrument; and if _that_ reason be too æsthetic, 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 -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 introduce a -wood-demon into the “Passion.” It is a good idea. Don’t whisper it to -any one, or to a certainty they will really attempt it next year; and -Pölchau declares 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 (carriage 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 return 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 Düsseldorf 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 Rossini’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 mother, (I can’t tell which,) strike -the right note distinctly seventeen times in succession; and when she is -playing at sight, and gradually out of the darkness developes some old -barrel-organ tune, which could be recognized 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. - - -Düsseldorf, 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 celebration of Whitsunday, and expressed in such a -manner 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 downright cross when we arrived. We went -straight to the rehearsal, and, seated in the pit, I heard a movement or -two from “Deborah;” on which I said to Woringen, “I positively will -write to Hiller from here, for the first time for two years, because he -has performed his office so well.” For really his work was unpretending -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. In the first tier was seated a man with 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 execution, 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. Hiller, too, is an admirable player--vigorous, and -yet playful. Both, however, rather toil in the Parisian spasmodic 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 Düsseldorf, -and passed a most agreeable day there, playing and discussing music; -then I accompanied them yesterday to Cologne. Early this morning they -went off to Coblenz _per_ steam,--I in the other direction,--and the -pleasant episode was over. - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Düsseldorf, 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 -cannot myself understand. Last autumn, when I first established 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 -occurred 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? 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; 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 brimstone -itself, and the whole spring, with its leaves and 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 month we are to give Handel’s “Te Deum” (Dettingen). - -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. FÜRST, BERLIN. - - -Düsseldorf, July 20th, 1834. - -Dear Fürst, - -I know only too well, that I have neither written to you, nor thanked -you, since I received your passages for “St. Paul,”[13] but I assure you -that every day, when I return to my work, I do feel sincerely grateful -to you. I certainly, however, ought to have written, for if the work, -which since the spring entirely absorbs 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 succeed better than -formerly. - -This is, indeed, a pleasant, concentrated life, but still not so much so -as you may perhaps imagine, for, unluckily, 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 -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 Immermann in 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 associate is really enjoyable. The -painters are entirely devoid of the slightest arrogance or envy, and -live together 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 between them the [Greek: daimonios]--the tall, quiet -Lessing. All this is cheering, and if you could only hear in our church -music the bass of the choir, it would do your heart good to see one -capital fellow of a painter standing next another, and all shouting like -demons. This very morning we had some very good music in the church, in -which all took part; and when Immermann gives a new piece, they paint -the decorations for it gratis, and when they have a feast, he composes a -poem for them, which I set to music,--and all this is pleasant, and in -good-fellowship. - -But there is a fair to-day, which means that the whole of Düsseldorf are -drinking wine,--not as if this were not the case every day, but they -walk about besides; not as if they did not do this also every day, but -they dance besides (in this frightful heat), and shout, and get tipsy; -and wild beasts are exhibited, and puppet-shows, and cakes baked in the -public streets. So now you know what a fair means. As a curious -spectator, I must go there late in the evening, but, first, I intend to -plunge into the Rhine with a lot of painters. Farewell, till we meet in -Berlin, in September.--Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO HIS PARENTS. - - -Düsseldorf, August 4th, 1834. - -My dear Parents, - -For a week past, during which we have had heavy storms and a very sultry -atmosphere, I felt so jaded that I was unable to do anything all day -long; more especially I cannot compose, which vexes me exceedingly. I -seem to care for nothing beyond eating and sleeping, and perhaps bathing -and riding. My horse is a favourite with all my acquaintances, and -deserves their respect from his good temper, but he is very shy; and -when I was riding him lately during a storm, every flash made him start -so violently, that I felt quite sorry for him. Lately we made an -excursion on horseback to Saarn, for Madame T----’s birthday, which was -celebrated by wreaths of flowers, fireworks, shooting, a large society, -a ball, etc. etc. The route was as charming as ever, though different -from what it was in spring; the apple-tree in the bowling-green, which -was then in blossom, was now loaded with unripe green apples; and -sometimes I was able to ride across the stubble fields, and to get into -the thick shady wood by a side path. We met several _diligences_ at the -very same places, and even the very same flocks of sheep, and there was -the same noisy, merry life going on in the blacksmith’s forge; and a -burgher in Rathingen was shaving himself just the same, thus reviving my -old philosophy, which you, dear Father, always ignore. - -The next day I rode on to Werden, a charming retired spot, where I -wished to inquire about an organ; the whole party drove with me there; -cherry tarts were handed to me on horseback out of the carriages. We -dined in the open air at Werden; I played fantasias and Sebastian Bachs -on the organ to my heart’s content; then I bathed in the Ruhr, so cool -in the evening breeze that it was quite a luxury, and rode quietly back -to Saarn. The bathing in the Ruhr was peculiarly agreeable; first of -all, a spot close to the water with high grass, in which large hewn -stones were lying, as if placed there by some Sultan to shade him and -his clothes; then close to the shore the water comes up to your chin, -and the green hills opposite were brightly lighted up by the evening -sun; and the little stream flowing very quietly along, and so cool and -shady. I felt myself in Germany indeed when, as I was swimming across, -a man on the opposite bank suddenly stood still, and began a regular -conversation with me while I lay in the water puffing,--whether I could -touch the ground where I was? and if swimming was very difficult? Then, -too, I felt myself, alas! quite in Germany when the wife of the -organist, to whom I paid a visit, offered me a glass of _schnapps_, and -regretted so much that her husband was absent just at this time, for he -had so many enemies, who all maintained that he could not play the -organ, and he might have played to me, and then by my judgment (like -Solomon) I could have put to shame all these talkers. Wrangling and -discord are to be found everywhere. A handsome new organ has just been -put up at considerable expense in a large roomy choir, and there is no -way to reach it but by narrow dark steps, without windows, like those in -a poultry-yard, and where you may break your neck in seventeen different -places; and on my asking why this was, the clergyman said it had been -left so purposely, in order to prevent any one who chose, running up -from the church to see the organ. Yet, with all their cunning, they -forget both locks and keys: such traits are always painful to me. - -The evening before this Saarn excursion (a week since) I had a very -great pleasure. I had received the proof-sheets of my rondo in E flat, -from Leipzig, and as I was unwilling to have it published without at -least trying it over once with the orchestra, I invited all our -musicians here to come to the music hall, and played it over with them. -As I could not offer them any payment for this, which they would have -taken highly amiss, I gave them a _souper_ of roast veal and -bread-and-butter, and let them get as tipsy as they could desire. This -was not, however, the great pleasure I alluded to, but my overture to -“Melusina,” which was played there for the first time, and pleased me -extremely. In many pieces I know from the very beginning that they will -sound well, and be characteristic, and so it was with this one as soon -as the clarionet started off into the first bar. It was badly played, -and yet I derived more pleasure from it than from many a finished -performance, and came home at night with a gladness of heart that I have -not known for a long time. We played it over three times, and the third -time, immediately after the last soft chord, the trumpets broke in with -a flourish in my honour, which had a most laughable effect. It was very -pleasant too when we were all seated at dinner, and one of the company -commenced a long oration, with an introduction and all sorts of things, -but, beginning to flounder, he wound up by giving my health, on which -the trumpet and trombone players jumped up like maniacs, and ran off for -their instruments to give me another grand flourish; then I made a -vigorous speech, worthy of Sir Robert Peel, in which I strongly enforced -unity, and Christian love, and steady time, and with a toast to the -progress of music at Düsseldorf I closed my oration. Then they sang -four-part songs, and, among others, one that I gave to Woringen last -year at the Musical Festival, called “Musikanten-prügelei,” the -transcriber (one of the players and singers present) having copied it -for his own benefit at the time, and coolly produced it on this -occasion, which, indeed, I could not myself help laughing at. Then they -all vowed that this was the most delightful evening of their whole -lives; then they began to wrangle again a little, as a proof of the -strong effect my Peel speech had made on them; then the sober ones of -the party, _videlicet_, fat Schirmer and I, pacified them once more, and -towards midnight we separated; they having enjoyed the wine, and I still -more “the lovely Melusina,” and next morning at six o’clock I was on -horseback on my way to Saarn. A couple of charming days they were! - -Dear Mother, I saw the Queen of Bavaria, but not in state. I was seated -in a boat, and just going to jump into the Rhine with two friends, when -her Majesty arrived in her steamboat. As none of us possessed any -swimming attire, so were not in a very fit state to appear at Court, we -sprang just _a tempo_ into the water as she came nearer, and thence saw -all the ceremonies, and how Graf S---- presented the clergy and the -Generals, and how the _senatus populusque Düsseldorfiensis_ stood on -shore and made music. I had no opportunity of seeing the Queen again; -but now I must really conclude having gossiped at a great rate. -Farewell, my dear parents! - -FELIX M. B. - - - - -TO PASTOR SCHUBRING, DESSAU. - - -Düsseldorf, August 6th, 1834. - -How could you for one moment imagine that I was annoyed by your showing -the text to Schneider? Why should I take umbrage at that? I hope you do -not consider me one of those who, when once they have an idea in their -heads, guard it as jealously as a miser does his gold, and allow no man -to approach till they produce it themselves. There is certainly nothing -actually wrong in this, and yet such jealous solicitude is most odious -in my eyes; and even if it were to occur, that some one should -plagiarize my design, still I should feel the same; for one of the two -must be best, which is all fair, or neither are good, and then it is of -no consequence. Moreover, I feel very melancholy to-day, and indeed for -some days past have been lying here, completely knocked up and unable to -write a line, whether from feverishness or the sultriness of the -weather, or from what I know not. The first part of “St. Paul” is now -nearly completed, and I stand before it ruminating like a cow who is -afraid to go through a new door, and I never seem to finish it; indeed, -the overture is still wanting, and a heavy bit of work it will be. -Immediately after the Lord’s words to St. Paul on his conversion I have -introduced a great chorus, “Arise and go into the city” (Acts of the -Apostles, ix. 6), and this I, as yet, consider the best moment of the -first part. - -I don’t know what to say as to your opinion of X----. I think you are -rather hard on him, and yet there is a good deal of truth in what you -assert too, and quite in accordance with what I find in his -compositions. But my belief is, that you do him great injustice in -pronouncing him to be a flatterer, as he never _intends_ to flatter, but -always fully believes in the truth and propriety of what he is saying; -but when such an excitable temperament is not mitigated by some -definite, energetic, and creative powers, or when it can bring forth -nothing but a momentary assimilation to some foreign element, then it is -indeed unfortunate; and I almost begin to fear that this is his case, -for his compositions I exceedingly disapprove of. For a long time past I -have reluctantly come to this conclusion, and it pained me as much to -admit the truth of it to myself, as to you now. - -I grieve also to hear what you write to me of the ---- family, for I -know no feeling more distressing than that of having enemies, and yet it -seems impossible to be avoided; at all events, I can say, to my great -joy, that even now, when I am brought into contact (and disagreeable -contact too) with so many different people, no one can say that there is -one single person with whom I am not on friendly terms, if they will at -all permit me to be so; and I don’t doubt that it is the same in your -case. - -Your remarks about the theatre are quite as unlucky as Breitschneider’s -criticisms; for though I am not myself director, I am what is still -worse, a kind of Honorary Intendant (or whatever you choose to call it) -of the new theatre here _in spe_, and therefore my official zeal prompts -me take up the cause of the stage. But to speak seriously, I am by no -means of your opinion that the theatre is pernicious to three-fourths of -mankind, and I believe that those who are injured by it would find the -same detriment, or perhaps worse, elsewhere, without any theatre. For -there at least we do not find the vapid reality that exists in the -world; and, as a general rule, I do not consider anything wrong in -itself, because it _may_ possibly lead to bad results, but only when it -_must_ inevitably produce them; in a theatrical public, such as you -describe, there are only depraved people, and no healthy ones who visit -the theatre to see a piece as a work of art. I know that to myself it -always was either tiresome or elevating (more commonly the former, I -own), but _pernicious_ it never appeared to me; and to prohibit it on -that account ... but this would involve a wide sphere and a very serious -subject, and politics, tiresome as they are, must have their say in the -matter; and all this cannot be thoroughly discussed in so small a sheet -of paper as this: perhaps in conversation,--but scarcely even then. - -I intended to have sent you some of my works, but prefer doing so from -Berlin; the “Meeresstille” I have entirely remodelled this winter, and -think it is now some thirty times better. I have also some new songs and -pieces for the piano. You say that the newspapers extol me; this is -always very gratifying, though I seldom read them, either the musical -ones or any others; only occasionally English papers, in which there are -some good articles; but my paper is becoming by degrees shorter and -shorter, so my letter is done. Farewell.--Your - -FELIX M. B. - - - - -TO HIS MOTHER. - - -Düsseldorf, November 4th, 1834. - -Dear Mother, - -At last I have leisure to thank you for your kind letters; you know the -great delight your writing always causes me, and I would fain hope that -it does not fatigue you, for you write in as distinct and classical -characters at the end of the letter as at the beginning of the first -line, as you always do; therefore I do entreat you frequently to bestow -this pleasure on me; that I am truly grateful for it you will readily -believe. - -You always take me at once back to my own home, and while I am reading -your letters I am there once more; I am in the garden rejoicing in the -summer; I visit the Exhibition, and dispute with you about Bendemann’s -small picture; I rally Gans on his satisfaction at being invited by -Metternich, and almost think I am again paying court to the pretty -Russians. To be thus transported home is most pleasant to me just at -this time, when, during the last few weeks, I have been fuming and -fretting in a rare fashion at Düsseldorf and its art doings, and Rhenish -_soaring impulses_, and new efforts! I had fallen into a terrible state -of confusion and excitement, and felt worse than during my busiest time -in London. When I sat down to my work in the morning, at every bar there -was a ringing at the bell; then came grumbling choristers to be snubbed, -stupid singers to be taught, seedy musicians to be engaged; and when -this had gone on the whole day, and I felt that all these things were -for the sole benefit and advantage of the Düsseldorf theatre, I was -provoked; at last, two days ago, I made a _salto mortale_, and beat a -retreat out of the whole affair, and once more feel myself a man. This -resignation was a very unpleasant piece of intelligence for our -theatrical autocrat, _alias_ stage mufti; he compressed his lips -viciously, as if he would fain eat me up; however, I made a short and -very eloquent speech to the Director, in which I spoke of my own -avocations as being of more consequence to me than the Düsseldorf -theatre, much as I, etc.: in short, they let me off, on condition that I -would occasionally conduct; this I promised, and this I will certainly -perform. I began a letter to Rebecca long ago, containing the details -of three weeks in the life of a Düsseldorf Intendant, which I have not -yet finished, and I upbraid myself for it. - -I have just arrived at that point with “St. Paul” when I should be so -glad to play it over to some one, but I can find no eligible person. My -friends here are very enthusiastic with regard to it, but this does not -prove much in its favour. The _cantor_[14] is wanting, with her thick -eyebrows and her criticism. I have the second part now nearly all in my -head, up to the passage where they take Paul for Jupiter, and wish to -offer sacrifices to him, for which some five choruses must be found, but -as yet I have not the faintest conception what ... it is difficult. You -ask me, dear Mother, whether I have made any arrangements with -publishers in Leipzig; Breitkopf and Härtel lately informed me that they -would purchase every work I chose to publish, and also a future edition -of my collected works, (does not that sound very grand?) and mention -that they have been very much annoyed by an announcement of another -publisher. So you see possibly I may oblige these people! Besides this, -I have had six applications for my music from other publishers in -various places. This savours rather of _renommage_, but I know you like -to read of such things, and will forgive me for it. - - - - -TO FANNY HENSEL, BERLIN. - - -Düsseldorf, November 14th, 1834. - -My dear Fanny, - -May every happiness attend you on this day, and in the year about to -commence, and may you love me as well as ever. I should like this year -also to have sent you some piece or other, underneath which I could have -written November 14th, but the “weeks of the life of an Intendant” have -swallowed up everything, and I am only slowly becoming myself again. A -few days ago I sketched the overture of “St. Paul,” and thought I should -at least contrive to get it finished, but it is still a long way behind. -If we could only be together now, in the evening, at all events; for -when candles are lighted I feel a much greater longing to be at home -than in the morning; and now here are candles, and the days from -November 11th and December 11th, up to Christmas and the New Year,[15] -are certainly not the best to be far from home, even if the evenings -were not so long. But we must be very busy, and next summer set off on -our travels again, and visit each other. My wish at this moment is, that -the time were come! - -I wonder what you are doing this evening? Music and society? or the -Government newspaper read aloud? (in which, I am told, Hensel’s school -is much extolled, and considered in many respects preferable to ours -here!) - -But, my birthday child! we are not likely to agree on this occasion in -our opinions about pictures; for one of the most repugnant to my -feelings that I ever saw was that of S----. When a work of art aspires -to represent factitious misery, like the famine in the wilderness, I -take no interest in it, if ever so well painted--which this is not. The -whole thing seems to me nothing but a variation on Lessing’s “Royal -Pair,” only this time with dead horses. The tone of art in it is very -commonplace, and even if decked out twenty times over with bright -colours, that does not make it better! I don’t at all approve, either, -of your taking the opportunity of hearing Lafont to speak of the -_revolution_ in the violin since Paganini, for I don’t admit that any -such thing exists in art, but only in people themselves; and I think -that very same style would have displeased you in Lafont, if you had -heard him _before_ Paganini’s appearance, so you must not, on the other -hand, do less justice to his good qualities _after_ hearing the other. I -was lately shown a couple of new French musical papers, where they -allude incessantly to a _révolution du goût_ and a musical transition, -which has been taking place for some years past, in which I am supposed -to play a fine part; this is the sort of thing I do detest. Then I think -that I must be industrious, and work hard, “above all, hate no man and -leave the future to God,”--finish the oratorio completely by March, -compose a new A minor symphony and a pianoforte concerto, and then set -off again on my travels and visit No. 3, Leipziger Strasse. My second -concert took place yesterday, and afterwards a fashionable _soirée_, -with no end of Excellencies and fine titles. The day after to-morrow I -am again to conduct “Oberon,” and shall drive on the orchestra full cry, -like an evil spirit. I have fallen into a very splenetic tone, by no -means in keeping with a birthday tone, but I now resume the latter, and -wish you all possible good fortune; and may 1835 prove a happy year to -you, and may you, and all at home, thoroughly enjoy the day.--Your - -FELIX. - - - - -TO REBECCA DIRICHLET, BERLIN. - - -DÜSSELDORF, NOVEMBER 23RD, 1834. - -My dear, dear Rebecca, - -Can I still expect you to read anything that I write? I have been -remiss, very remiss, in fact behaved shamefully, and I heartily wish it -were not so; but I can’t help it now! Would that I had an opportunity to -make up for it; but unluckily this is not the case; I can therefore only -say that I hope I am still in your good graces, and that I was very -foolish. I ought indeed to have said this to you long since, but I could -not, for I was resolved to write you a long confidential letter the -first day I could find leisure, and this is the very first leisure day. -Now that it is getting dark, and the shutters closed, and lights -brought in at five o’clock, I thought that I must write to you, and, as -it were, pull your door bell and ask if you are at home. Do look kindly -on me. - -How things have been going on with me for some time past it would not be -easy to say, all has been so detestable. But you really must listen to a -little grumbling from me, that you may never take it into your head to -become director of a theatre, nor to permit any one belonging to you to -accept the office of an intendant. Immediately on my return here[16] the -Intendant breezes were wafted towards me. In the statute it is set -forth:--The _intendancy_ is to consist of an intendant and a music -director. The Intendant proposed that I should be the musical intendant, -and he the theatrical intendant. Then the question arose, which was to -take precedence of the other; so here was forthwith a fine piece of -work. I wished to do nothing but conduct and direct the musical studies, -but this was not enough for Immermann. We exchanged desperately uncivil -letters, in which I was obliged to be very circumspect in my style, in -order to leave no point unanswered, and to maintain my independent -ground and basis; but I think I did credit to Herr Heyse.[17] We came to -an agreement after this, but quarrelled again immediately, for he -required me to go to Aix, to hear and to engage a singer there, and this -I did not choose to do. Then I was desired to engage an orchestra,--that -is, prepare two contracts for each member, and previously fight to the -death about a dollar more or less of their monthly salary; then they -went away, then they came back and signed all the same, then they all -objected to sit at the second music desk, then came the aunt of a very -wretched performer, whom I could not engage, and the wife and two little -children of another miserable musician, to intercede with the Director; -then I allowed three fellows to play on trial, and they played so -utterly beneath contempt that I really could not agree to take any of -them; then they looked very humble, and went quietly away, very -miserable, having lost their daily bread; then came the wife again, and -wept. Out of thirty persons there was only one who said at once, “I am -satisfied,” and signed his contract; all the others bargained and -haggled for an hour at least, before I could make them understand that I -had a _prix fixe_. The whole day I was reminded of my father’s proverb, -“Asking and bidding make the sale;” but they were four of the most -disagreeable days I ever passed. On the fourth, Klingemann arrived in -the morning, saw the state of things, and was horrified. In the meantime -Rietz studied the “Templar,” morning and evening; the choruses got -drunk, and I was forced to speak with authority; then they rebelled -against the manager, and I was obliged to shout at them like the Boots -at an inn; then Madame Beutler became hoarse, and I was very anxious on -her account (a new sort of anxiety for me, and a most odious one); then -I conducted Cherubini’s “Requiem” in the church, and this was followed -by the first concert. In short, I made up my mind to abdicate my -Intendant throne three weeks after the reopening of the theatre. The -affair goes on quite as well as we could expect in Düsseldorf: Rietz’s -playing is admirable,--he is studious, accurate, and artistic, so that -he is praised and liked by every one. The operas we have hitherto given -are, the “Templar” twice, “Oberon” twice, which I conducted, “Fra -Diavolo,” and yesterday the “Freischütz.” We are about to perform the -“Entführung,” the “Flauto Magico,” the “Ochsenmenuett,” the “Dorf -Barbier,” and the “Wasserträger.” The operas are well attended, but not -the plays, so that the shareholders are sometimes rather uneasy; five of -the company up to this time have actually run away, two of them being -members of the orchestra. - -The Committee gave a supper to the company, which was very dull, and -cost each member of the Council (including myself) eleven dollars; but -pray refrain from all tokens of sympathy, in case of causing my tears to -flow afresh. But since I have withdrawn from this sphere, I feel as if I -were a fish thrown back into the water; my forenoons are once more at my -own disposal, and in the evenings I can sit at home and read. The -oratorio daily causes me more satisfaction, and I have also composed -some new songs; the Vocal Association gets on well, and we intend -shortly to give the “Seasons,” with a full orchestra. I mean soon to -publish six preludes and fugues, two of which you have already seen; -this is the sort of life I like to lead, but not that of an intendant. -How vexatious it is, that at the close of such well-spent days we cannot -all assemble together to enjoy each other’s society![18] - -I enclose my translation of “Alexander’s Feast;” you must read it aloud -to the family in the evening, and in various passages where the rhymes -are rugged or deficient, if you will let me have your amendments I shall -be grateful. One stipulation, however, I must make, that Ramler, or -rather, I should say, the English text, should not be sacrificed. -_Apropos_, since then I have once more mounted Pegasus, and translated -Lord Byron’s poem, the first strophe of which, by Theremin, is -incomprehensible, and the second false. I find, however, that my lines -halt a little; perhaps, some evening, you may discover something better. - - Schlafloser Augensonne, heller Stern! - Der du mit thränenvollem Schein, unendlich fern, - Das Dunkel nicht erhellst, nur besser zeigst, - O wie du ganz des Glücks Erinn’rung gleichst! - So funkelt längst vergangner Freuden Licht, - Es scheint, doch wärmt sein matter Schimmer nicht, - Der wache Gram erspäht die Nachtgestalt, - Hell, aber fern, klar--aber ach! wie kalt! - -The poem is very sentimental, and I think I should have set it to music -repeatedly in G sharp minor or B major, (but, at all events, with no end -of sharps,) had it not occurred to me that the music of Löwe pleases -you and Fanny; so this prevents my doing so, and there is an end of it, -and of my letter also. Adieu, love me as ever.--Your - -FELIX. - - - - -TO CARL KLINGEMANN, LONDON. - - -Düsseldorf, December 16th, 1834. - -... So now in these lines you have read my whole life and occupations -since I came here; for that I am well and happy, and often think of you, -is included in them, and that I am also diligent and working hard at -many things, is the natural result. I really believe that Jean Paul, -whom I am at this moment reading with intense delight, has also some -influence in the matter, for he invariably infects me for at least half -a year with his strange peculiarities. I have been reading ‘Fixlein’ -again; but my greatest pleasure in doing so, is the remembrance of the -time when I first became acquainted with it, by your reading it aloud to -me beside my sick-bed, when it did me so much good. I also began -‘Siebenkäs’ again, for the first time for some years, and have read from -the close of the prologue to the end of the first part, and am quite -enchanted with this noble work. The prologue itself is a masterpiece -such as no one else could write, and so it is with the whole book, the -friends, and the school-inspector, and Lenette. It revives my love for -my country, and makes me feel proud of being a German, although in -these days they all abuse each other. Yet such people do sometimes rise -to the surface, and I do believe that no country can boast of such a -sterling fellow as this. - - - - -TO REBECCA DIRICHLET, BERLIN. - - -Düsseldorf, December 23rd, 1834. - -Dear Rebecca, - -Why should we not, like established correspondents, exchange repeated -letters on any particular subject about which we differ? I on my part -will represent a methodical correspondent, and must absolutely resume -the question of _révolution_. This is chiefly for Fanny’s benefit, but -are not you identical? Can you not therefore discuss the subject -together, and answer me together, if you choose? And have I not pondered -and brooded much over this theme since I got your letter, which now -prompts me to write? You must, however, answer me in due form, till not -one jot or tittle more remains to be said in favour of _révolution_. -Observe, I think that there is a vast distinction between reformation or -reforming, and revolution, etc. Reformation is that which I desire to -see in all things, in life and in art, in politics and in street -pavement, and Heaven knows in what else besides. Reformation is entirely -negative against abuses, and only removes what obstructs the path; but a -revolution, by means of which all that was formerly good (and really -good) is no longer to continue, is to me the most intolerable of all -things, and is, in fact, only a fashion. Therefore, I would not for a -moment listen to Fanny, when she said that Lafont’s playing could -inspire no further interest since the _revolution_ effected by Paganini; -for if his playing ever had the power to interest me, it would still do -so, even if in the meantime I had heard the Angel Gabriel on the violin. -It is just this, however, that those Frenchmen I alluded to can form no -conception of; that what is good, however old, remains always new, even -although the present must differ from the past, because it emanates from -other and dissimilar men. _Inwardly_ they are only ordinary men like the -former, and have only _outwardly_ learned that something new must come, -so they strive to accomplish this, and if they are even moderately -applauded or flattered, they instantly declare that they have effected a -_révolution du goût_. This is why I behave so badly when they do me the -honour (as you call it) to rank me among the leaders of this movement, -when I well know that, for thorough self-cultivation, the whole of a -man’s life is required (and often does not suffice); and also because no -Frenchman, and no newspaper, knows or ever can know what the future is -to give or to bring; and, in order to guide the movements of others, we -must first be in motion ourselves, while such reflections cause us to -look back on the past, not forward. Progress is made by work alone, and -not by talking, which those people do not believe. - -But, for Heaven’s sake, don’t suppose that I wish to disown either -reformation or progress, for I _hope_ one day myself to effect a reform -in music; and this, as you may see, is because I am simply a musician, -and I wish to be nothing more. Now answer me, I beg, and preach to me -again. - -To-day I have completed and transcribed an entire chorus for “St. Paul.” -I may as well at once reply here to a letter I received this morning, -dictated by my father to Fanny, and to which my mother added a -postscript. First of all, I thank you for writing, and then, dear -Father, I would entreat of you not to withhold from me your advice, as -you say, for it is always clear gain to me; and if I cannot rectify the -old faults, I can at least avoid committing new ones. The non-appearance -of St. Paul at the stoning of Stephen is certainly a blemish, and I -could easily alter the passage in itself; but I could find absolutely no -mode of introducing him at that time, and no words for him to utter in -accordance with the Scriptural narrative; therefore it seemed to me more -expedient to follow the Bible account, and to make Stephen appear alone. -I think, however, that your other censure is obviated by the music; for -the recitative of Stephen, though the words are long, will not occupy -more than two or three minutes, or--_including_ all the choruses--till -his death, about a quarter of an hour; whereas subsequently, at and -after the conversion, the music becomes more and more diffuse, though -the words are fewer. - - - - -TO PASTOR BAUER, BESZIG. - - -Düsseldorf, January 12th, 1835. - - [_About a proposal as to some words for sacred music._] - -... What I do not understand is the purport--musical, dramatic, or -oratorical, or whatever you choose to call it--that you have in view. -What you mention on the subject--the time before John, and then John -himself, till the appearance of Christ--is to my mind equally conveyed -in the word ‘Advent,’ or the birth of Christ. You are aware, however, -that the music must represent one particular moment, or a succession of -moments; and how you intend this to be done you do not say. Actual -church music,--that is, music during the Evangelical Church service, -which could be introduced properly while the service was being -celebrated,--seems to me impossible; and this, not merely because I -cannot at all see into _which_ part of the public worship this music can -be introduced, but because I cannot discover that _any_ such part -exists. Perhaps you have something to say which may enlighten me on the -subject.... But even without any reference to the Prussian Liturgy, -which at once cuts off everything of the kind, and will neither remain -as it is nor go further, I do not see how it is to be managed that music -in our Church should form an integral part of public worship, and not -become a mere concert, conducive more or less to piety. This was the -case with Bach’s “Passion;” it was sung in church as an independent -piece of music, for edification. As for actual church music, or, if you -like to call it so, music for public worship, I know none but the old -Italian compositions for the Papal Chapel, where, however, the music is -a mere accompaniment, subordinate to the sacred functions, co-operating -with the wax candles and the incense, etc. If it be this style of church -music that you really mean, then, as I said, I cannot discover the -connecting link which would render it possible to employ it. For an -oratorio, one principal subject must be adopted, or the progressive -history of particular persons, otherwise the object would not be -sufficiently defined; for if all is to be only contemplative with -reference to the coming of Christ, then this theme has already been more -grandly and beautifully treated in Handel’s “Messiah,” where he begins -with Isaiah, and, taking the Birth as a central point, closes with the -Resurrection. - -When you however say “our poor Church,” I must tell you what is very -strange; I have found, to my astonishment, that the Catholics, who have -had music in their churches for several centuries, and sing a musical -Mass every Sunday if possible, in their principal churches, do not to -this day possess one which can be considered even tolerably good, or in -fact which is not actually distasteful and operatic. This is the case -from Pergolese and Durante, who introduce the most laughable little -trills into their “Gloria,” down to the opera finales of the present -day. Were I a Catholic, I would set to work at a Mass this very evening; -and whatever it might turn out, it would at all events be the only Mass -written with a constant remembrance of its sacred purpose. But for the -present I don’t mean to do this; perhaps at some future day, when I am -older. - - - - -TO HERR CONRAD SCHLEINITZ, LEIPZIG. - - -Düsseldorf, January 26th, 1835. - -Sir, - -Pray receive my thanks for your kind letter, and the friendly -disposition which it evinces towards myself. You may well imagine that -it would be a source of infinite pleasure to me, to find in your city -the extensive sphere of action you describe, as my sole wish is to -advance the cause of music on that path which I consider the right one; -I would therefore gladly comply with a summons which furnished me with -the means of doing so. I should not like, however, by such acceptance to -injure any one, and I do not wish, by assuming this office, to be the -cause of supplanting my predecessor. In the first place, I consider this -to be wrong; and, moreover, great harm ensues to music from such -contentions. Before, then, giving a decided answer to your proposal, I -must beg you to solve some doubts,--namely, at whose disposal is the -appointment you describe? with whom should I be in connection--with a -society, or individuals, or a Board? and should I by my acceptance -injure any other musician? I hope you will answer this last question -with perfect candour, imagining yourself in my place; for, as I -previously said, I have no wish to deprive any one either directly or -indirectly of his situation. - -Further, it is not quite clear to me from your letter, how the direction -of an academy for singing can be combined with my six months’ summer -vacation; for you must be well aware how indispensable continual -supervision is to such an institution, and that anything which can be -accomplished in one half-year, may be easily forgotten in the next; or -is there another director for the purpose of undertaking the duties -instead of me? Finally, I must also confess that in a pecuniary point of -view, I do not wish to accept any position that would be less profitable -than my present one; but as you mention a benefit concert, no doubt this -is a matter that might be satisfactorily arranged, and we should have no -difficulty in coming to an agreement on this point. - -I have been quite candid with you, and hope, in any event, you will not -take it amiss; be so good as to oblige me by sending an answer as soon -as possible, and to believe that I shall ever be grateful to you for -your kind letter, as well as for the honour you have done me. - - - - -TO CAPELLMEISTER SPOHR, CASSEL. - - -Düsseldorf, March 8th, 1835. - -Respected Capellmeister, - -I thank you much for your friendly communication. The intelligence from -Vienna was most interesting to me; I had heard nothing of it. It -strongly revived my feeling as to the utter impossibility of my ever -composing anything with a view to competing for a prize. I should never -be able to make even a beginning; and if I were obliged to undergo an -examination as a musician, I am convinced that I should be at once sent -back, for I should not have done half as well as I could. The thoughts -of a prize, or an award, would distract my thoughts; and yet I cannot -rise so superior to this feeling as entirely to forget it. But if you -find that you are in a mood for such a thing, you should not fail to -compose a symphony by that time, and to send it, for I know no man -living who could dispute the prize with you (this is the second reason), -and then we should get another symphony of yours (first reason). With -regard to the members of the Judicial Committee in Vienna, I have my -own thoughts, which, however, are not very legitimate, but, on the -contrary, somewhat rebellious. Were I one of the judges, not a single -member of the _Comité_ should obtain a prize, if they competed for one. - -You wish me to write to you on the subject of my works, and I cordially -thank you for asking about them. I began an oratorio about a year ago, -which I expect to finish next month, the subject of which is St. Paul. -Some friends have compiled the words for me from the Bible, and I think -that both the subject and the compilation are well adapted to music, and -very solemn,--if the music only prove as good as I wish; at all events I -have enjoyed the most intense delight, while engaged in writing it. I -also composed, some time since, a new overture to the “Lovely Melusina,” -and have another in my head at this moment. How gladly would I write an -opera; but far and near I can find no libretto and no poet. Those who -have the genius of poetry cannot bear music, or know nothing of the -theatre; others are neither acquainted with poetry nor with mankind, -only with the boards, and lamps, and side scenes, and canvas. So I never -succeed in finding the opera which I have so eagerly, yet vainly striven -to procure. Each day I regret this more, but I hope at last to meet with -the man I wish for this purpose. I have also written a good deal of -instrumental music of late, chiefly for the piano, but others besides; -perhaps you will permit me to send you some of these as soon as I have -an opportunity to do so. I am, with the highest esteem and -consideration, your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO FELIX MENDELSSOHN BARTHOLDY, FROM HIS FATHER.[19] - - -Berlin, March 10th, 1835. - -This is the third letter I have written to you this week, and if this -goes on, reading my letters will become a standing article in the -distribution of the budget of your time; but you must blame yourself for -this, as you spoil me by your praise. I at once pass to the musical -portion of your last letter. - -Your aphorism, that every room in which Sebastian Bach is sung is -transformed into a church, I consider peculiarly appropriate; and when I -once heard the last movement of the piece in question, it made a similar -impression on myself; but I own I cannot overcome my dislike to figured -chorales in general, because I cannot understand the fundamental idea on -which they are based, especially where the contending parts are -maintained in an equal balance of power. For example, in the first -chorus of the “Passion,”--where the chorale forms only a more important -and consistent part of the basis; or where, as in the above-mentioned -movement of the cantata (if I remember it rightly, having only heard it -once), the chorale represents the principal building, and the individual -parts only the decorations,--I can better comprehend the purpose and the -conception; but not so certainly where the figure, in a certain manner, -carries out variations on the theme. No liberties ought ever assuredly -to be taken with a chorale. Its highest purpose is, that the -congregation should sing it in all its purity to the accompaniment of -the organ; all else seems to me idle and inappropriate for a church. - -At Fanny’s last morning’s music the motett of Bach, “Gottes Zeit ist die -allerbeste Zeit,” and your “Ave Maria,” were sung by select voices. A -long passage in the middle of the latter, as well as the end also, -appeared to me too learned and intricate to accord with the simple -piety, and certainly genuine catholic spirit, which pervades the rest of -the music. Rebecca remarked that there was some confusion in the -execution of those very passages which I considered too intricate; but -this only proves that I am an ignoramus, but not that the conclusion is -not too abstrusely modulated. With regard to Bach, the composition in -question seems to me worthy of the highest admiration. It is long since -I have been so struck, or surprised by anything, as by the Introduction, -which Fanny played most beautifully; and I could not help thinking of -Bach’s solitary position, of his isolated condition with regard to his -associates and his contemporaries, of his pure, mild, and vast power, -and the transparency of its depths. The particular pieces which at the -time were for ever engraved on my memory, were “Bestelle dein Haus,” and -“Es ist der alte Bund.” I cared less for the bass air, or the alt solos. -What first, through his “Passion,” seemed quite clear to me--that Bach -is the musical type of Protestantism--becomes either negatively or -positively more apparent to me every time that I hear a new piece of -his; and thus it was recently with a Mass that I heard in the Academy, -and which I consider most decidedly anti-Catholic; and, consequently, -even all its great beauties seemed as unable to reconcile the inward -contradiction, as if I were to hear a Protestant clergyman performing -Mass in a Protestant Church. Moreover, I felt more strongly than ever -what a great merit it was on Zelter’s part to restore Bach to the -Germans; for, between Forkel’s day and his, very little was ever said -about Bach, and even then principally with regard to his “wohltemperirte -Clavier.” He was the first person on whom the light of Bach clearly -dawned, through the acquisition of his other works, with which, as a -collector of music, he became acquainted, and, as a genuine artist, -imparted this knowledge to others. His musical performances on Fridays -were indeed a proof that no work begun in earnest, and followed up with -quiet perseverance, can fail ultimately to command success. At all -events, it is an undoubted fact, that without Zelter, your own musical -tendencies would have been of a totally different nature. - -Your intention to restore Handel in his original form, has led me to -some reflections on his later style of instrumentation. A question is -not unfrequently raised as to whether Handel, if he wrote in our day, -would make use of all the existing musical facilities in composing his -oratorios,--which, in fact, only means whether the wonted artistic form -to which we give the name of Handel, would assume the same shape now -that it did a hundred years ago; and the answer to this presents itself -at once. The question, however, ought to be put in a different -form,--not whether Handel would compose his oratorios now as he did a -century since, but rather, whether he would compose any oratorios -whatever; hardly--if they must be written in the style of those of the -present day. - -From my saying this to you, you may gather with what eager anticipations -and confidence I look forward to your oratorio, which will, I trust, -solve the problem of combining ancient conceptions with modern -appliances; otherwise the result would be as great a failure as that of -the painters of the nineteenth century, who only make themselves -ridiculous by attempting to revive the religious elements of the -fifteenth, with its long arms and legs, and topsy-turvy perspective. -These new resources seem to me, like everything else in the world, to -have been developed just at the right time, in order to animate the -inner impulses which were daily becoming more feeble. On the heights of -religious feeling, on which Bach, Handel, and their contemporaries -stood, they required no numerous orchestras for their oratorios; and I -can remember perfectly in my earliest years, the “Messiah,” “Judas,” and -“Alexander’s Feast” being given exactly as Handel wrote them, without -even an organ, and yet to the delight and edification of every one. - -But how is this to be managed nowadays, when vacuity of thought and -noise in music are gradually being developed in inverse relation to each -other? The orchestra, however, is now established, and is likely long to -maintain its present form without any essential modification. Riches are -only a fault when we do not know how to spend them. How, then, is the -wealth of the orchestra to be applied? What guidance can the poet give -for this, and to what regions? or is music to be entirely severed from -poetry, and work its own independent way? I do not believe it can -accomplish the latter, at least, only to a very limited extent, and not -available for the world at large; to effect the former, an object must -be found for music as well as for painting, which, by its fervour, its -universal sufficiency and perspicuity, may supply the place of the pious -emotions of former days. It seems to me that both the oratorios of -Haydn were, in their sphere, also very remarkable phenomena. The poems -of both are weak, regarded as poetry; but they have replaced the old -positive and almost metaphysical religious impulses, by those which -nature, as a visible emanation from the Godhead, in her universality, -and her thousandfold individualities, instils into every susceptible -heart. Hence the profound depth, but also the cheerful efficiency, and -certainly genuine religious influence, of these two works, which -hitherto stand alone; hence the combined effect of the playful and -detached passages, with the most noble and sincere feelings of gratitude -produced by the whole; hence is it also, that I individually could as -little endure to lose in the “Creation” and in the “Seasons” the crowing -of the cock, the singing of the lark, the lowing of the cattle, and the -rustic glee of the peasants, as I could in nature herself; in other -words, the “Creation” and the “Seasons” are founded on nature and the -visible service of God,--and are no new materials for music to be found -there? - -The publication of Goethe’s “Correspondence with a Child” I consider a -most provoking and pernicious abuse of the press, through which, more -and more rapidly, all illusions will be destroyed, without which life is -only death. You, I trust, will never lose your illusions, and ever -preserve your filial attachment to your father. - - - - -TO HIS FATHER. - - -Düsseldorf, March 23rd, 1835. - -Dear Father, - -I have still to thank you for your last letter and my “Ave.” I often -cannot understand how it is possible to have so acute a judgment with -regard to music, without being yourself technically musical; and if I -could _express_, what I assuredly feel, with as much clearness and -intuitive perception as you do, as soon as you enter on the subject, I -never would make another obscure speech all my life long. I thank you a -thousand times for this, and also for your opinion of Bach. I ought to -feel rather provoked that after only one very imperfect hearing of my -composition, you at once discovered what after long familiarity on my -part, I have only just found out; but then again it pleases me to see -your definite sense of music, for the deficiencies in the middle -movement and at the end consist of such minute faults, which might have -been remedied by a very few notes (I mean struck out), that neither I, -nor any other musician would have been aware of them, without repeatedly -hearing the piece, because we in fact seek the cause much deeper. They -injure the simplicity of the harmony, which at the beginning pleases me; -and though it is my opinion that these faults would be less perceptible -if properly executed, that is, with a numerous choir, still some traces -of them will always remain. Another time I shall endeavour to do -better. I should like you, however, to hear the Bach again, because -there is a part of it which you care less for, but which pleases me best -of all. I allude to the alto and bass airs; only the chorale must be -given by a number of alto voices, and the bass very well sung. However -fine the airs “Bestelle dein Haus” and “Es ist der alte Bund” may be, -still there is something very sublime and profound in the plan of the -ensuing movements, in the mode in which the alto begins, the bass then -interposing with freshness and spirit, and continuing the same words, -while the chorale comes in as a third, the bass closing exultantly, but -the chorale not till long afterwards, dying away softly and solemnly. -There is one peculiarity of this music,--its date must be placed either -very early or very late, for it entirely differs from his usual style of -writing in middle age; the first choral movements and the final chorus -being of a kind that I should never have attributed to Sebastian Bach, -but to some other composer of his day; while no other man in the world -could have written a single bar of the middle movements. - -My Mother does not judge Hiller rightly, for, in spite of his pleasures -and honours in Paris, and the neglect he met with in Frankfort, he -writes to me that he envies me my position here on the Rhine, even with -all its drawbacks; and as, no doubt, a similar one may still be met with -in Germany, I do not give up the hope of prevailing on him to forsake -the Parisian atmosphere of pleasures and honours, and return to his -studio. Now farewell, dear Father. I beg you soon let me hear from you -again.--Your - -FELIX. - - - - -TO HIS FATHER. - - -Düsseldorf, April 3rd, 1835. - -Dear Father, - -I am delighted to hear that you are satisfied with the programme of the -Cologne Musical Festival. I shall not be able to play the organ for -“Solomon,” as it must stand in the background of the orchestra and -accompany almost every piece, the choruses and other performers here -being accustomed to constant beating of time. I must therefore -transcribe the whole of the organ part in the manner in which I think it -ought to be played, and the cathedral organist there, Weber, will play -it; I am told he is a sound musician and first-rate player. This is all -so far well, and only gives me the great labour of transcribing, as I -wish to have the performance as perfect as possible. I have had a good -deal of trouble too with the “Morgengesang,”[20] as there is much in it -that requires alteration, owing to the impossibility of executing it as -written, with the means we have here. In doing so, however, it again -caused me extreme pleasure, especially the stars, the moon, the -elements, and the whole of the admirable finale. At the words “und -schlich in dieser Nacht,” etc., it becomes so romantic and poetical, -that each time I hear it I feel more touched and charmed; it therefore -gratifies me to be of any use to so noble a man. The _Comité_ were very -much surprised when I maintained that it was a fine composition, and -scarcely would consent to have it, but at that moment they were in a -mood to be persuaded to anything. I would also have insisted on their -giving an overture of Bach’s, if I had not dreaded too strong a -counter-revolution. There is to be nothing of mine; therefore (from -gratitude, I presume) they persist that my “admirable likeness” shall -appear and be published by Whitsunday, a project from which I gallantly -defend myself, refusing either to sit or stand for the purpose, having a -particular objection to such pretensions. - -You must be well aware that your presence at the festival would not only -be no _gêne_ to me, but on the contrary, would cause me first to feel -true joy and delight in my success. Allow me to take this opportunity to -say to you, that the approbation and enjoyment of the public, to which I -am certainly very sensible, only causes me real satisfaction when I can -write to tell you of it, because I know it rejoices you, and one word of -praise from you is more truly precious to me, and makes me happier, -than all the publics in the world applauding me in concert; and thus to -see you among the audience, would be the dearest of all rewards to me -for my labours. - -My oratorio[21] is to be performed in Frankfort in November, so Schelble -writes to me; and much as I should like you to hear it soon, still I -should prefer your hearing it first next year, at the Musical Festival. -Before decidedly accepting the proposal, I have stipulated to wait till -after the performance at Frankfort, that I may judge whether it be -suitable for the festival; but should this prove to be the case, as I -hope and wish it may, it will have a much finer effect there, and -besides it is the festival that you like, and Whitsunday instead of -November; and above all, I shall then know whether it pleases you or -not, on which point I feel by no means sure. - -I cannot close this letter without speaking of the heavenly weather that -delights us here. Light balmy air and sunshine, and a profusion of -green, and larks! To-day I rode through the forest, and stopped for at -least a quarter of an hour to listen to the birds, who in the deep -solitude were fluttering about incessantly and warbling.--Your - -FELIX. - - - - -TO HERR CONRAD SCHLEINITZ, LEIPZIG. - - -Düsseldorf, April 16th, 1835. - -Sir, - -I thank you cordially for your last letter, and for the friendly -interest which you take in me, and in my coming to Leipzig. As I -perceive by the Herr Stadtrath Porsche’s letter, as well as by that of -the Superintendent of the concerts, that my going there does not -interfere with any other person, one great difficulty is thus obviated. -But another has now arisen, as the letter of the Superintendent contains -different views with regard to the situation from yours. The direction -of twenty concerts and extra concerts is named as among the duties, but -a benefit concert (about which you wrote to me) is not mentioned. I have -consequently said in my reply what I formerly wrote to you, that in -order to induce me to consent to the exchange, I wish to see the same -pecuniary advantages secured to me that I enjoy here. If a benefit -concert, as you say, would bring from 200 to 300 dollars, this sum would -certainly be a considerable increase to my salary; but I must say that I -never made such a proposal, and indeed would not have accepted it, had -it been made to me. It would be a different thing if the association -chose to give an additional concert, and to devote a share of the -profits towards the increase of my established salary. During my musical -career, I have always resolved never to give a concert for myself (for -my own benefit). You probably are aware that, personally, pecuniary -considerations would be of less importance to me, were it not that my -parents (and I think rightly) exact from me that I should follow my art -as a profession, and gain my livelihood by means of it. I, however, -reserved the power of declining certain things which, in reference to my -favoured position in this respect, I will never do; for example, giving -concerts or lessons. But I quite acknowledge the propriety of what my -parents insist on so strongly, that in all other relations I shall -gladly consider myself as a musician who lives by his profession. Thus, -before giving up my present situation, I must ascertain that one equally -advantageous is secured to me. I do not consider that what I require is -at all presumptuous, as it has been offered to me here, and on this -account I trust that a similar course may be pursued in Leipzig. An -association was at that time formed here, who entrusted to me the duty -of conducting the Vocal Association, concerts, etc., and made up my -salary partly in common with the Vocal Association, and partly by the -profits of the concerts. Whether anything of this kind be possible with -you, or whether it could be equalized by an additional concert, or -whether the execution of particular duties is to be imposed on me, I -cannot of course pretend to decide. I only wish that, in one way or -another, a definite position should be assured to me, like the one I -enjoy here; and if your idea about the benefit concert could be -modified and carried out, there would then be a good hope for me that -the affair might turn out according to my wish. - -If you can induce the directors to fulfil the wishes I have expressed, -you will exceedingly oblige me, for you know how welcome a residence and -active employment in your city would be to me. In any event, continue -your friendly feelings towards me, and accept my thanks for them. - - - - -TO THE HERR REGIERUNGS-SECRETAIR HIXTE, COLOGNE. - - -Düsseldorf, May 18th, 1835. - -Sir, - -I thank you much for the kind letter you have gratified me by addressing -to me. The idea which you communicate in it is very flattering for me, -and yet I confess that I feel a certain degree of dislike to do what you -propose, and for a long time past I have entertained this feeling. It is -now so very much the fashion for obscure or commonplace people to have -their likeness given to the public, in order to become more known, and -for young beginners to do so at first starting in life, that I have -always had a dread of doing so too soon. I do not wish that my likeness -should be taken, until I have accomplished something to render me more -worthy, according to my idea, of such an honour. This, however, not -being yet the case, I beg to defer such a compliment till I am more -deserving of it; but receive my best thanks for the friendly good-nature -with which you made me this offer.[22]--I am, etc., - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO HIS FAMILY. - - -Leipzig, October 6th, 1835. - -For a week past I have been seeking for a leisure hour to answer, and to -thank you for the charming letters I have received from you; but the -London days, with their distractions, were not worse than the time has -been since Fanny left this till now. At length, after the successful -result of the first concert, I have at last a certain degree of rest. - -The day after I accompanied the Hensels to Delitsch, Chopin came; he -intended only to remain one day, so we spent this entirely together in -music. I cannot deny, dear Fanny, that I have lately found that you by -no means do him justice in your judgment of his talents; perhaps he was -not in a humour for playing when you heard him, which may not -unfrequently be the case with him. But his playing has enchanted me -afresh, and I am persuaded that if you, and my Father also, had heard -some of his better pieces, as he played them to me, you would say the -same. There is something thoroughly original in his pianoforte playing, -and at the same time so masterly, that he may be called a most perfect -virtuoso; and as every style of perfection is welcome and acceptable, -that day was most agreeable to me, although so entirely different from -the previous ones with you,--the Hensels. - -It was so pleasant for me to be once more with a thorough musician, and -not with those half virtuosos and half classics, who would gladly -combine _les honneurs de la vertu et les plaisirs du vice_, but with one -who has his perfect and well-defined phase; and however far asunder we -may be in our different spheres, still I can get on famously with such a -person; but not with those half-and-half people. Sunday evening was -really very remarkable when Chopin made me play over my oratorio to him, -while curious Leipzigers stole into the room to see him, and when -between the first and second part he dashed into his new Études and a -new concerto, to the amazement of the Leipzigers, and then I resumed my -“St. Paul;” it was just as if a Cherokee and a Kaffir had met to -converse. He has also such a lovely new _notturno_, a considerable part -of which I learnt by ear for the purpose of playing it for Paul’s -amusement. So we got on most pleasantly together; and he promised -faithfully to return in the course of the winter, when I intend to -compose a new symphony, and to perform it in honour of him. We vowed -these things in the presence of three witnesses, and we shall see -whether we both adhere to our word. My collection of Handel’s works -arrived before Chopin’s departure, and were a source of quite childish -delight to him; they really are so beautiful that I am charmed with -them; thirty-two great folios, bound in thick green leather, in the -regular nice English fashion, and on the back, in big gold letters, the -title and contents of each volume; and in the first volume, besides, -there are the following words, “To Director F. M. B., from the Committee -of the Cologne Musical Festival, 1835.” The books were accompanied by a -very civil letter, with the signatures of all the Committee, and on -taking up one of the volumes at random it happened to be “Samson,” and -just at the very beginning I found a grand aria for Samson which is -quite unknown, because Herr von Mosel struck it out, and which yields in -beauty to none of Handel’s; so you see what pleasure is in store for me -in all the thirty-two volumes. You may imagine my delight. Before -setting off on his journey Moscheles came to see me, and during the -first half-hour he played over my second book of “songs without words” -to my extreme pleasure. He is not the least changed, only somewhat older -in appearance, but otherwise as fresh and in as good spirits as ever, -and playing quite splendidly; another kind of perfect virtuoso and -master combined. The rehearsals of the first subscription gradually drew -near, and the day before yesterday my Leipzig music-directorship -commenced. I cannot tell you how much I am satisfied with this -beginning, and with the whole aspect of my position here. It is a quiet, -regular, official business. That the Institute has been established for -fifty-six years is very perceptible, and moreover, the people seem most -friendly and well-disposed towards me and my music. The orchestra is -very good, and thoroughly musical; and I think that six months hence it -will be much improved, for the sympathy and attention with which these -people receive my suggestions, and instantly adopt them, were really -touching in both the rehearsals we have hitherto had; there was as great -a difference as if another orchestra had been playing. There are still -some deficiencies in the orchestra, but these will be supplied by -degrees; and I look forward to a succession of pleasant evenings and -good performances. I wish you had heard the introduction to my -“Meeresstille” (for the concert began with that); there was such -profound silence in the hall and in the orchestra, that the most -delicate notes could be distinctly heard, and they played the adagio -from first to last in the most masterly manner; the allegro not quite so -well; for being accustomed to a slower _tempo_, they rather dragged; but -at the end, where the slow time 4/4 _ff_ begins, they went capitally; -the violins attacking it with a degree of vehemence that quite startled -me and delighted the _publicus_. The following pieces, an air in E major -of Weber, a violin concerto by Spohr, and the introduction to “Ali -Baba” did not go so well; the one rehearsal was not sufficient, and they -were often unsteady; but, on the other hand, Beethoven’s B flat -symphony, which formed the second part, was splendidly given, so that -the Leipzigers shouted with delight at the close of each movement. I -never in any orchestra saw such zeal and excitement; they listened -like--popinjays, Zelter would say. - -After the concert I received, and offered in turn, a mass of -congratulations: first the orchestra, then the Thomas School collegians -(who are capital fellows, and go to college, and are dismissed so -punctually that I have promised them an order); then came Moscheles, -with a Court suite of _dilettanti_, then two editors of musical papers, -and so on. Moscheles’ concert is on Friday, and I am to play his piece -for two pianos[23] with him, and he is to play my new pianoforte-concerto. -My “Hebrides” have also contrived to creep into the concert. This -afternoon Moscheles, Clara Wieck, and I, play Sebastian Bach’s triple -concerto in D minor. How amiable Moscheles is towards myself, how -cordially he is interested in my situation here, how it delights me that -he is so satisfied with it, how he plays my rondo in E flat to my great -admiration, and far better than I originally conceived it, and how we -dine together every forenoon in his hotel, and every evening drink tea -and have music in mine,--all this you can imagine for yourself, for you -know him,--especially you, dear Father. These are pleasant days; and if -I have not much leisure to work, I mean to make up for it hereafter, and -shall derive as much benefit from it then as now. - -My first concert caused me no perturbation, dear Mother, but to my shame -I confess, that I never felt so embarrassed at the moment of appearing -as on that occasion; I believe it arose from our long correspondence and -treaty on the subject, and I had never before seen a concert of the -kind. The locality and the lights confused me. Now farewell all. May you -be well and happy, and pray write to me very often.--Your - -FELIX. - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Leipzig, December 6th, 1835. - -Dear Schubring, - -You have no doubt heard of the heavy stroke that has fallen on my happy -life and those dear to me.[24] It is the greatest misfortune that could -have befallen me, and a trial that I must either strive to bear up -against, or must utterly sink under. I say this to myself after the -lapse of three weeks, without the acute anguish of the first days, but I -now feel it even more deeply; a new life must now begin for me, or all -must be at an end,--the old life is now severed. For our consolation -and example, our Mother bears her loss with the most wonderful composure -and firmness; she comforts herself with her children and grandchildren, -and thus strives to hide the chasm that never can be filled up. My -Brother and Sisters do what they can to fulfil their duties better than -ever, the more difficult they have become. I was ten days in Berlin, -that by my presence my Mother should at least be surrounded by her whole -family; but I need scarcely tell you what these days were; you know it -well, and no doubt you thought of me in that dark hour. God granted to -my Father the prayer that he had often uttered; his end was as peaceful -and quiet, and as sudden and unexpected as he desired. On Wednesday, the -18th, he was surrounded by all his family, went to bed late the same -evening, complained a little early on Thursday, and at half-past eleven -his life was ended. The physicians can give his malady no name. It seems -that my grandfather Moses died in a similar manner,--so my uncle told -us,--at the same age, without sickness, and in a calm and cheerful frame -of mind. I do not know whether you are aware that more especially for -some years past, my Father was so good to me, so thoroughly my friend, -that I was devoted to him with my whole soul, and during my long absence -I scarcely ever passed an hour without thinking of him; but as you knew -him in his own home with us, in all his kindliness, you can well realize -my state of mind. The only thing that now remains is to do one’s duty, -and this I strive to accomplish with all my strength, for he would wish -it to be so if he were still present, and I shall never cease to -endeavour to gain his approval as I formerly did, though I can no longer -enjoy it. When I delayed answering your letter, I little thought that I -should have to answer it thus; let me thank you for it now, and for all -your kindness. One passage for “St. Paul” was excellent, “der Du der -rechte Vater bist.” I have a chorus in my head for it which I intend -shortly to write down. I shall now work with double zeal at the -completion of “St. Paul” for my Father urged me to it in the very last -letter he wrote to me, and he looked forward very impatiently to the -completion of my work. I feel as if I must exert all my energies to -finish it, and make it as good as possible, and then think that he takes -an interest in it. If any good passages occur to you, pray send them to -me, for you know the intention of the whole. To-day, for the first time, -I have begun once more to work at it, and intend now to do so daily. -When it is concluded, what is to come next, God will direct. Farewell, -dear Schubring, bear me in your thoughts.--Your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PASTOR BAUER, BESZIG. - - -Leipzig, December 9th, 1835. - -I received your kind letter here, on the very day when the christening -in your family was to take place, on my return from Berlin, where I had -gone in the hope of alleviating my Mother’s grief, immediately after the -loss of my Father. So I received the intelligence of your happiness, on -again crossing the threshold of my empty room, when I felt for the first -time in my inmost being, what it is to suffer the most painful and -bitter anguish. Indeed the wish which of all others every night recurred -to my mind, was that I might not survive my loss, because I so entirely -clung to my Father, or rather still cling to him, that I do not know how -I can now pass my life, for not only have I to deplore the loss of a -father (a sorrow which of all others from my childhood I always thought -the most acute), but also that of my best and most perfect friend during -the last few years, and my instructor in art and in life. - -It seemed to me so strange, reading your letter, which breathed only joy -and satisfaction, calling on me to rejoice with you on your future -prospects, at the moment when I felt that my past was lost and gone for -ever; but I thank you for wishing me, though so distant, to become your -guest at the christening; and though my name may make a graver -impression now than you probably thought, I trust that impression will -only be a grave, and not a painful one, to you and your wife; and when, -in later years, you tell your child of those whom you invited to his -baptism, do not omit my name from your guests, but say to him that one -of them on that day recommenced his life afresh,--though in another -sense, with new purposes and wishes, and with new prayers to God. - -My Mother is well, and bears her sorrow with such composure and dignity -that we can all only wonder and admire, and ascribe it to her love for -her children, and her wish for their happiness. As for myself, when I -tell you that I strive to do my duty and thus to win my Father’s -approval now as I always formerly did, and devote to the completion of -“St. Paul,” in which he took such pleasure, all the energies of my mind, -to make it as good as I possibly can; when I say that I force myself to -the performance of my duties here, not to pass quite unprofitably these -first days of sorrow, when to be perfectly idle is most consonant to -one’s feelings; that, lastly, the people here are most kind and -sympathizing, and endeavour to make life as little painful to me as they -can,--you know the aspect of my inner and outer life at this moment. -Farewell. - - - - -TO FERDINAND HILLER. - - -Leipzig, January 24th, 1836. - -My dear Ferdinand, - -I now send you my promised report of the performance of your D minor -overture, which took place last Thursday evening. It was well executed -by the orchestra; we had studied it repeatedly and carefully, and a -great many of the passages sounded so well as to exceed my expectations. -The most beautiful of all was the first passage in A minor, _piano_, -given by wind instruments, followed by the melody,--which had an -admirable effect; and also at the beginning of the free fantasia, the -_forte_ in G minor, and then the _piano_, (your favourite passage,) -likewise the trombones and wind instruments, _piano_, at the end in D -major. The Finale, too, exceeded my expectations in the orchestra. But, -trusting to our good understanding, I could not resist striking out, -after the first rehearsal, the _staccato_ double-basses in the melody in -A major, and each time the passage recurred in F and D major, replacing -them by sustained notes; you can’t think how confused the effect was, -and therefore I hope you will not take this liberty amiss. I am -convinced you would have done the same; it did not sound as you would -have liked. - -I have something else, too, on my conscience that I must tell you. The -Overture neither excited myself nor the musicians during its performance -as I could have wished; it left us rather cold. This would have been of -little consequence, but it was remarkable that all the musicians to whom -I spoke said the same. The first theme and all the beginning, the -melodies in A minor and A major, particularly delighted them; and up to -that point they had all felt enthusiastic, but then their sympathy -gradually subsided; till, when the close came, they had quite forgotten -the striking impression of the theme, and no longer felt any interest in -the music. This seems to me important, for I think it is connected with -the difference which we have so repeatedly discussed together, and the -want of interest with which you at all times regard your art, being now -at length become perceptible to others. I would not say this to you, -were it not that I am perfectly convinced of this being a point which -must be left to each _individual_, as neither nature nor talents, even -of the highest order, can remedy it; a man’s own will alone can do so. -Nothing is more repugnant to me than casting blame on the nature or -genius of any one; it only renders him irritable and bewildered, and -does no good. No man can add one inch to his stature: in such a case all -striving and toiling is vain, therefore it is best to be silent. -Providence is answerable for this defect in his nature. But if it be the -case, as it is with this work of yours, that precisely those very -themes, and all that requires talent or genius (call it as you will), is -excellent and beautiful and touching, but the development not so -good,--then, I think, silence should not be observed; then, I think, -blame can never be unwise, for this is the point where great progress -can be made by the composer himself in his works; and as I believe that -a man with fine capabilities has the absolute duty imposed on him of -becoming something really superior, so I think that blame must be -attributed to him, if he does not develope himself according to the -means with which he is endowed. And I maintain that it is the same with -a musical composition. Do not tell me that it is so, and therefore it -must remain so. I know well that no musician can alter the thoughts and -talents which Heaven has bestowed on him; but I also know that when -Providence grants him superior ones, he _must_ also _develope_ them -properly. Do not declare, either, that we were all mistaken, and that -the execution was as much in fault as the composition. I do not believe -it. I do believe that your talents are such that you are inferior to -_no_ musician, but I scarcely know one piece of yours that is -systematically carried out. The two overtures are certainly your best -pieces, but the more distinctly you express your thoughts, the more -perceptible are the defects, and in my opinion you must rectify them. - -Do not ask me how, for that you know best yourself. After all, it is -only the affair of a walk, or a moment,--in short, of a thought. If you -laugh at me for this long lecture, perhaps you may be quite right; but -certainly not so if you are displeased, or bear me a grudge for it; -though indeed it is very stupid in me even to suggest such a -possibility. But how many musicians are there who would permit another -to address them thus? And though you must see in every expression of -mine how much I love and revere your genius, still I have told you that -you are not absolute perfection, and this musicians usually take highly -amiss. But you will not: you know my sincere interest in you too well. - - - - -TO FANNY HENSEL, BERLIN. - - -Leipzig, January 30th, 1836. - -Dear Fanny, - -To-day at length I can reply to your charming letters, and lecture you -severely for saying in your first letter that it was long since you had -been able to please me by your music, and asking me how this was. I -totally deny this to be the fact, and assure you that all you compose -pleases me. If two or three things in succession did not satisfy me as -entirely as others of yours, I think the ground lay no deeper than this, -that you have written less than in former days, when one or two songs -that did not exactly suit my taste were so rapidly composed, and -replaced so quickly by others, that neither of us considered much why it -was that they were less attractive; we only laughed together about them, -and there was an end of it. - -I may quote here “Die Schönheit nicht, O Mädchen,” and many others in -the “_prima maniera_ of our master” which we heartily abused. Then came -beautiful songs in their turn, and so it is at present, only they cannot -follow each other in such quick succession, because you must often now -have other things to occupy your thoughts besides composing pretty -songs, and that is a great blessing. But if you suppose that your more -recent compositions seem to me inferior to your earlier ones, you are -most entirely and totally mistaken, for I know no song of yours better -than the English one in G minor, or the close of the “Liederkreis,” and -many others of later date; besides, you are aware that formerly there -were entire _books_ of your composition that were less acceptable to me -than others, because my nature always was to be a screech-owl, and to -belong to the savage tribe of brothers. But you know well how much I -love _all_ your productions, and some are especially dear to my heart; -so I trust that you will write to me forthwith that you have done me -injustice, by considering me a man devoid of taste, and that you will -never again do so. - -And then, neither in this letter nor in your former one do you say one -word about “St. Paul” or “Melusina,” as one colleague should write to -another,--that is, remarks on fifths, rhythm, and motion of the parts, -on conceptions, counterpoint, _et cætera animalia_. You ought to have -done so, however, and should do so still, for you know the value I -attach to this; and as “St. Paul” is shortly to be sent to the -publisher, a few strictures from you would come just at the right -moment. I write to you to-day solely in the hope of soon receiving an -answer from you, for I am very weary and exhausted from yesterday’s -concert, where, in addition to conducting three times, I was obliged to -play Mozart’s D minor concerto. In the first movement I made a -_cadenza_, which succeeded famously, and caused a tremendous sensation -among the Leipzigers. I must write down the end of it for you. You -remember the theme, of course? Towards the close of the cadence, -arpeggios come in _pianissimo_ in D minor, thus-- - -[Illustration: Musical notation] - -Then again G minor arpeggios; then - -[Illustration: Musical notation] - -Then [Illustration: Musical notation] arpeggios, and - -[Illustration: Musical notation] - -[Illustration: Musical notation] - -etc., to the close in D minor. Our second violin player, an old -musician, said to me afterwards, when he met me in the passage, that he -had heard it played in the same Hall by Mozart himself, but since that -day he had heard no one introduce such good _cadenzas_ as I did -yesterday, which gave me very great pleasure. - -Do you know Handel’s “Coronation Anthem”? It is most singular. The -beginning is one of the finest which not only Handel, but any man, ever -composed; and all the remainder, after the first short movement, -horridly dry and commonplace. The performers could not master it, but -are certainly far too busy to grieve much about that. - -Many persons here consider “Melusina” to be my best overture; at all -events, it is the most deeply felt; but as to the fabulous nonsense of -the musical papers, about red coral and green sea monsters, and magic -palaces, and deep seas, this is stupid stuff, and fills me with -amazement. But now I take my leave of water for some time to come, and -must see how things are going on elsewhere.[25] I received to-day a -letter from Düsseldorf, with the news of the musical doings there, and a -request to send “St. Paul” soon for the Musical Festival. I cannot deny -that when I read the description of their concerts, and some concert -bills which were enclosed, and realized the state of the musical world -there, I had a most agreeable sensation at my change of position. They -cannot well be compared; for while there they are engaged in perpetual -quarrelling and strife and petty criticisms, here, on the contrary, -during the course of this whole winter, my situation has not caused me -to pass one disagreeable day, or to hear hardly one annoying expression, -while I have enjoyed much pleasure and gratification. The whole -orchestra, and there are some able men among them, strive to guess my -wishes at a glance; they have made the most extraordinary progress in -finish and refinement, and are so devoted to me, that I often feel quite -affected by it. - -Would that I were less sad and sorrowful; for sometimes I do not know -what to do, and can only hope that the approaching spring and the warm -weather may cheer me. - -I trust you and yours may all continue well and happy, and sometimes -think of me.--Your - -FELIX. - - - - -TO DR. FREDERICK ROSEN, LONDON, - -(PROFESSOR OF ORIENTAL LANGUAGES.) - - -Leipzig, February 6th, 1836. - -My dear Friend, - -I had intended writing to you long ago, but have always delayed it till -now, when I am compelled to do so by Klingemann’s announcement that your -‘Vedas’ is finished. I wish therefore to send you my congratulations at -once; and though I understand very little of it, and consequently can -appreciate its merits as little, still I wish you joy of being able to -give to the world a work so long cherished, and so interesting to you, -and which cannot fail to bring you new fame and new delight. And when I -feel how little I, who never learnt the language, can do justice to the -vast circumference of such a work, I may indeed congratulate you on the -fact, that no spurious connoisseurs or _dilettanti_ can grope their way -into your most favourite thoughts, while you must feel the more secure -and tranquil in your own vocation, because arrogant ignorance cannot -presume to attack you behind your bulwarks of quaint letters and -hieroglyphics. They must at least first be able to decipher them -tolerably, before they can attempt to criticize; so you are better off -in this respect than we are, against whom they always appeal to their -own paltry conceptions. - -I feel like a person waking drowsily. I cannot succeed in realizing the -present, and there is a constant alternation of my old habitual -cheerfulness and the most heartfelt deep grief, so that I cannot attain -to anything like steady composure of mind. In the meantime, however, I -occupy myself as much as possible, and that is the only thing that does -me good. My position here is of the most agreeable nature,--cordial -people, a good orchestra, the most susceptible and grateful musical -public; only just as much work to do as I like, and an opportunity of -hearing my new compositions at once. I have plenty of pleasant society -besides, so that this would indeed seem to be all that was required to -constitute happiness, were it not deeper seated! - -Farewell, dear friend, and do not forget your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO HIS MOTHER. - - -Leipzig, February 18th, 1836. - -Dear Mother, - -I cannot write home without enclosing a few lines for you, and thanking -you a thousand times for your dear letter, and begging you to write to -me as often as you wish to make me very happy. I have scarcely thanked -you, and Fanny, and Rebecca, for the beautiful presents you sent to me -on the 3rd, and which made the day so pleasant to me. The leader of the -orchestra, when I went to rehearsal on the morning of that day, -addressed me in a complimentary speech, which was very gratifying, and -when we sat down to dinner at S----’s, I found a silver cup, which four -of my friends here had ordered for me, with an inscription and their -names, under my napkin. All this was welcome and cheering. In the -evening, when I had carefully put away your store of linen, and placed -Rebecca’s travelling-case beside my map of Germany and the keys of my -trunk, and had read “Fiesko” in Fanny’s book, which I was formerly so -pleased with, (but now less so,) then I felt considerably older, and -thought of Aunt Lette, who wrote me a note on my twentieth birthday, -which began, “My poor Felix! actually ten years hence no longer a boy!” - -I am curious to learn whether Gusikow pleased you as much as he did me. -He is quite a phenomenon; a famous fellow, inferior to no virtuoso in -the world, both in execution and facility; he therefore delights me more -with his instrument of wood and straw, than many with their pianofortes, -just because it is such a thankless kind of instrument. A capital scene -took place at his concert here. I went out to join him in the room where -he was, in order to speak to him and compliment him. Schleinitz and -David wished to come with me; a whole group of Polish Jews followed in -our wake, anxious to hear our eulogiums; but when we came to the side -room, they pressed forward so quickly, that David and Schleinitz were -left in the rear, and the door shut right in their faces; then the Jews -all stood quite still, waiting to hear the compliments Gusikow was about -to receive. At first I could not speak for laughing, seeing the small -room crammed full of these bearded fellows, and my two friends shut out. -It is long since I so much enjoyed any concert as this, for the man is a -true genius. - -The direction of the St. Cecilia Association at Frankfort-on-the-Maine -has been confidentially offered to me. I can with truth say that it -caused me more pain than pleasure, because it is evident from this that -Schelble’s return is considered out of the question. If it really be so, -(which I shall take care to ascertain), I will on no account accept the -offer. But if there were a possibility of improvement, and I could in -any degree be of service to Schelble, by giving an impetus to his -Institute next summer (for I hear that all the winter it has been almost -dead), and if he could resume the duties himself next winter, I should -feel real pleasure in doing this for him, even if all my travelling -projects were to be overthrown. For once it would be doing a real -service, both to a friend, and to the cause itself. - -And now I must dress, for I am going to direct a concert. Merk is here; -he gives a concert next Sunday, where I am to play with him again: it is -the seventh time this winter, but I could not possibly refuse; for when -I see my old companion again, the whole autumn of 1830 is brought before -my eyes, and our music at Eskele’s, our playing billiards at the -Kärnthner Thor, and driving to Baden in a _fiacre_, etc. Besides, he is -beyond all question the very first of all living violoncello players. -Farewell, dear Mother.--Your - -FELIX. - - - - -TO HIS MOTHER. - - -Düsseldorf, June 1st, 1836. - -Dear Mother, - -I hope you have forgiven my long silence. There was so much to do, both -before and during my journey here, that I was scarcely able to attend -even to the duties of the passing hour; and what has gone on here since -my arrival[26] you know better than if I had myself written, for I trust -Paul and Fanny are now happily returned, and of course described -everything verbally to you. - -On Saturday, the 4th, I am to go to Frankfort, a week hence to direct, -for the first time, the St. Cecilia Association. To be sure, my charming -Swiss projects, and the sea-baths in Genoa have thus melted into air; -but still, my being able to do a real service to Schelble and his -undertaking, is of no small value in my eyes. There seemed to be an idea -that the St. Cecilia Association would be dispersed, and Schelble -appeared very much to dread the lukewarmness of the members during his -absence. As they all hoped and believed that I could prevent this by my -presence, I did not for a moment hesitate, though the Frankfort -musicians will be desperately astonished, and will now see what can be -done within eight weeks. Hiller, whom I like so much, is by chance to -be in Frankfort the whole time, which will be a great advantage for me. - -It gives me peculiar pleasure to be able to write to you that I am now -fairly established in Germany, and shall not require to make a -pilgrimage into foreign countries to secure my existence. This, indeed, -has only been evident during the last year, and since my being placed at -Leipzig; but now I have no longer any doubts on the subject, and think -there is no want of modesty in rejoicing at the fact, and mentioning it -to you. - -The manner in which I was received on my journey, in Frankfort, and -afterwards here, was all that a musician could desire; and although this -may mean in reality little or nothing, still it is a token of friendship -which is always gratifying; and I value all such tokens, because I am -well aware that I have taken no steps to call them forth. I therefore -almost rejoice when you call me “the reverse of a charlatan,” and when -many things fall to my share unasked for, about which others give -themselves a great deal of trouble; for I may then venture to believe -that I deserve them. I wish only I could have written these words to my -father, for he would have read them with satisfaction. But his dearest -wish was progress; he always directed me to press forwards, and so I -think I am doing his will when I continue to labour in this sense, and -endeavour to make progress without any ulterior views beyond my own -improvement. Farewell, dear Mother.--Your - -FELIX. - - - - -TO HERR ADVOCAT CONRAD SCHLEINITZ, _Leipzig_. - - -Cologne, July 5th, 1836. - -Dear Schleinitz, - -I have in vain sought a moment of leisure, after the Musical Festival, -to send you my first greeting and letter since my journey. In Düsseldorf -the bustle was great, and no end to all kinds of music, _fêtes_, and -recreations, which never left me a quiet moment. I have been staying a -day here to revive and to rest, with my old President,[27] and as -evening is now approaching, about the time when you often used to peep -into my room, I feel an impulse, if only for a moment, to shake hands -and say good-evening. - -You would certainly have been for some time well amused and delighted -with the Musical Festival; and from your taking so friendly an interest -in me and my “St. Paul,” I thought a hundred times at least during the -rehearsals, what a pity it was that you were not there. You would -assuredly have been delighted by the love and goodwill with which the -whole affair was carried on, and the marvellous fire with which the -chorus and orchestra burst forth, though there were individual passages, -especially in the solos, which might have annoyed you. I think I see -your face, could you have heard the St. Paul’s aria sung in an -indifferent, mechanical manner, and I think I hear you breaking loose -on the Apostle of the Gentiles in a dressing-gown; but then I know also -how charmed you would have been with the “Mache dich auf,” which went -really splendidly. My feelings were singular; during the whole of the -rehearsals and the performance I thought little enough about directing, -but listened eagerly to the general effect, and whether it went right -according to my idea, without thinking of anything else. When the people -gave me a flourish of trumpets or applauded, it was very welcome for the -moment, but then my Father came back to my mind, and I strove once more -to recall my thoughts to my work. Thus, during the entire performance I -was almost in the position of a listener, and tried to retain an -impression of the whole. Many parts caused me much pleasure, others not -so; but I learnt a lesson from it all, and hope to succeed better the -next time I write an oratorio. - -FELIX MENDELSSOHN BARTHOLDY. - - - - -Frankfort, July 14th, 1836. - -Dear Mother and dear Rebecca, - -I have just received your affectionate letters, and must answer them -instantly, for indeed I had been eagerly expecting them for several days -past, during which I have done nothing but lie on the sofa and read -Eckermann’s ‘Conversations with Goethe,’ and long for letters from home -which I could answer. I am as much delighted with Eckermann as you are, -my dear Mother and Sister. I feel just as if I heard the old gentleman -speaking again, for there are many things introduced into the work which -are the very same words I have heard him use, and I know his tone and -gestures by heart. I must say that Eckermann is not sufficiently -independent. He is always rejoicing over “this important phrase, which -pray mark well.” But it must be admitted that it was a difficult -position for the old man, and we ought to be grateful to him for his -faithful notices, and also for his delicacy,--a contrast to Riemer. - -Here I am, seated in the well-known corner room with the beautiful view, -in Schelble’s house, he and his wife being gone to visit his property in -Swabia, and they do not return to Frankfort so long as I am here; but -the accounts his wife has sent here are very consolatory, and inspire us -all with much hope. There is no one living in this house but Schelble’s -mother-in-law, and a maid-servant, on one side,--and myself, with two -travelling-bags and a hat-box, on the other. At first I was unwilling to -come here, owing to many remembrances, but now I am glad that I came. A -very kind reception, an excellent grand pianoforte, plenty of music, -entire rest, and undisturbed tranquillity, are all things which are -nowhere to be found in an inn; and I might well be envied the view from -my corner window. In this splendid summer weather I see all down the -Maine, with its numerous boats, rafts, and ships, the gay shore -opposite, and above all, my old favourite, the Wartthurm, facing the -south, and on the other side the blue hills. I came here with plans for -great industry, but for nearly a week I have done little else every -forenoon, but admire the prospect and sun myself. I must go on in the -same way for a couple of days still,--idleness is so pleasant, and -agrees with me so well. My last days in Düsseldorf, and my first here, -were crammed so full that I could only recover my balance by degrees. -The very day of my arrival here, I had to direct the St. Cecilia -Association; then came my numerous acquaintances, old and new, and the -arrangements for the next few weeks. I was obliged to take a rest after -all this, or at least I said so to myself, to palliate, and furnish a -pretext for my love of idleness. The St. Cecilia Association went on -well, and they were very friendly; I however made a speech that deserved -to have been written down. We sang some things from “Samson,” and some -from the B minor Mass of Bach. There was much worth remembering in the -former. The Bach went almost faultlessly, though it is fully twice as -difficult; and so I had a fresh opportunity of admiring how Schelble, by -dint of his admirable tenacity, has succeeded in making his will obeyed. -I shall not be able to do much for the association. Six weeks are not -sufficient, and even under the most favourable circumstances, Schelble’s -physician wishes him to rest the whole of the ensuing winter. How the -matter will proceed then we know not. All the musicians here think too -much about themselves, and too little about their work; but we shall see -how this may be, and what we have now to do is to provide for the -intervening time; and I rejoice to be able in this respect to oblige -Schelble. I must say my life assumes a most agreeable form here. Never -could I have thought, that through my overtures and songs, I could have -become such a lion with the musical world. The “Melusina” and the -“Hebrides” are as familiar to them as to us at home (I mean No. 3, -Leipziger Strasse), and the _dilettanti_ dispute warmly about my -intentions. - -Then Hiller is here, at all times a delightful sight to me, and we have -always much that is interesting to discuss together. To my mind, he is -not sufficiently--what shall I call it?--one-sided. By nature he loves -Bach and Beethoven beyond all others, and would therefore prefer -adopting wholly the graver style of music; but then he is much delighted -also with Rossini, Auber, Bellini, etc., and with this variety of tastes -no man makes real progress. So this forms the subject of all our -conversations as soon as we see each other, and it is most agreeable to -me to be with him for some time, and, if possible, to lead him to my -mode of thinking.... Early yesterday I went to see him, and whom should -I find sitting there but Rossini, as large as life, in his best and most -amiable mood. I really know few men who can be so amusing and witty as -he, when he chooses; he kept us laughing incessantly the whole time. I -promised that the St. Cecilia Association should sing for him the B -minor Mass, and some other things of Sebastian Bach’s. It will be quite -too charming to see Rossini obliged to admire Sebastian Bach; he thinks, -however, “different countries, different customs,” and is resolved to -howl with the wolves. He says he is enchanted with Germany, and when he -once gets the list of wines at the Rhine Hotel in the evening, the -waiter is obliged to show him his room, or he could never manage to find -it. He relates the most laughable and amusing things about Paris and all -the musicians there, as well as of himself and his compositions, and -entertains the most profound respect for all the men of the present -day,--so that you might really believe him, if you had no eyes to see -his sarcastic face. Intellect, and animation, and wit, sparkle in all -his features and in every word, and those who do not consider him a -genius, ought to hear him expatiating in this way, and they would change -their opinion. - -I was lately with S---- also, but it was miserable to hear him grumbling -and abusing everybody; at last he vowed that all men were nothing but a -tiresome pack; I answered that I considered this very modest on his -part, as I concluded he did not look upon himself as an angel or a -demigod, when, quite contrary to my expectations, we instantly became -the best of friends, and he ended by declaring, that after all, the -world pleased him very well. This is not surprising, as he was sitting -in his garden in the country, with a beautiful landscape and a lovely -view; and in a region like this, in such weather and under such a sky, -very little fault can be found with the world. The scenery round -Frankfort pleases me this time beyond everything,--such fruitfulness, -richness of verdure, gardens and fields, and the beautiful blue hills as -a background! and then a forest beyond; to ramble there in the evenings -under the splendid beech-trees, among the innumerable herbs and flowers -and blackberries and strawberries, makes the heart swell with gratitude. - -Yesterday afternoon I visited André at Offenbach; he sends you his kind -regards, and is the same fiery, eager person he ever was. His reception -of me was however more cordial and more gratifying than that of all the -other musicians; he really does somewhat resemble my father. Is it not -singular that several persons here have lately said to me, that I am -like what André was in his younger days, and you may remember that _he_ -was formerly often mistaken for _my father_. He scanned me closely from -head to foot, and said I had now my third face since he had first known -me; the second he had not at all approved of, but now he liked me much -better. The conversation then turned on counterpoint and Vogler, and he -attacked him in spite of Zelter, and dragged forth a couple of folios -as proof on his side. I could not prevail on myself to go to the -Rothschilds, in spite of their very flattering invitation. I am not in -the vein or humour at present for balls or any other festivities, and -“Like should draw to like.” At the same time, these people really cause -me much pleasure, and their splendour and luxury, and the universal -respect with which the citizens here are forced to regard them all -(though they would gladly assault them if they dared) is a real source -of exultation, for it is all owing entirely to their own industry, good -fortune, and abilities. The 15th has actually dawned; this is a regular -chattering, gossiping letter.--Your - -FELIX. - - - - -TO REBECCA DIRICHLET, BERLIN. - - -Frankfort, July 2nd, 1836. - -... Such is my mood now the whole day; I can neither compose nor write -letters, nor play the piano; the utmost I can do is to sketch a -little,[28] but I must thank you for your kind expressions about “St. -Paul;” such words from you are the best and dearest that I can ever -hear, and what you and Fanny say on the subject the public say also ... -no other exists for me. I only wish you would write to me a few times -more about it, and very minutely as to my other music. The whole time -that I have been here I have worked at “St. Paul,” because I wish to -publish it in as complete a form as possible; and moreover, I am quite -convinced that the beginning of the first, and the end of the second -part, are now nearly three times as good as they were, and such was my -duty; for in many points, especially as to subordinate matters in so -large a work, I only succeed by degrees in realizing my thoughts and -expressing them clearly; in the principal movements and melodies I can -no longer indeed make any alteration, because they occur at once to my -mind just as they are; but I am not sufficiently advanced to say this of -_every_ part. I have now, however, been working for rather more than two -years at one oratorio; this is certainly a very long time, and I rejoice -at the approach of the moment when I shall correct the proofs, and be -done with it, and begin something else. - -I must tell you of the real delight with which I have read here the -first books of Goethe’s ‘Wahrheit und Dichtung.’ I had never taken up -the book since my boyhood, because I did not like it then; but I cannot -express how much it now pleases me, and how much additional pleasure I -take in it, from knowing all the localities. One of its pages makes me -forget all the _misères_ in literature and art of the present day. - - - - -TO REBECCA DIRICHLET, BERLIN. - - -Leipzig, January 8th, 1837. - -... Last Wednesday there was a _fête_ at the Keils’, where it rained -Christmas gifts and poems; among others I got one, celebrating my -betrothal in a romantic vein “at Frankfort-on-the-Zeil,” and which was -much admired. As they began to sing songs at table, and I was looking -rather dismal, Schleinitz suddenly called out to me that I ought to -compose music for my romance on the spot, that they might have something -new to sing, and the young ladies bringing me a pencil and music-paper, -the request amused me very much, and I composed the song under shelter -of my napkin; while the rest were eating cakes, I wrote out the four -parts, and before the pine-apples were finished, the singers got their A -note, and sang it to such perfection and so _con amore_ that it caused -universal delight and animated the whole society. - - - - -TO FERDINAND HILLER. - - -Leipzig, January 10th, 1837. - -... You once extolled my position here because I had made friends of all -the German composers: quite the reverse; I am in bad odour with them all -this winter. Six new symphonies are lying before me; what they may be -God knows, (I would rather not know,)--not one of them pleases me, and -no one is to blame for this but myself, who allow no other composer to -come before the public,--I mean in the way of symphonies. Good heavens! -should not these “Capellmeisters” be ashamed of themselves and search -their own breasts? But that detestable artistic pedantry, which they all -possess, and that baneful spark divine of which they so often -read,--these ruin everything. I sent my six preludes and fugues to the -printer’s to-day; I fear they will not be much played, still I should -like you to look over them once in a way, and to say if any of them -pleased you, or the reverse. Next month three organ fugues are to be -published,--_me voilà perruque_! Heaven grant that some spirited -pianoforte piece may occur to me, to efface this unpleasant impression. - - - - -TO FANNY HENSEL, BERLIN. - - -Frankfort-a.-M., May 29th, 1837. - -This is but a sorry time for musicians. Look at the St. Cecilia -Association,--experienced singers, good respectable people, obliging -chiefs,--nothing requisite but a little pianoforte playing, and a little -goodwill towards music, and a little knowledge; neither genius, nor -energy, nor politics, nor anything else very particular. I should have -thought that fifty people at least would have offered themselves, so -that we might have had a choice; but scarcely two have come forward -whom it is possible to appoint, and not one who is capable of carrying -on the association in the right, true, and noble spirit in which it was -commenced,--that is, in plain German, not one who can perceive that -Handel and Bach, and such people, are superior to what they themselves -can do or say. Neukomm, in whom I would have placed most confidence in -this respect, was in treaty for the situation, and had decidedly -accepted it, and now all of a sudden he as decidedly declines it. So -there will be no one to undertake the affair but Ries, who will probably -do so, but unfortunately he is deficient in that necessary respect for -the great works of art, which is, and always will be to me, the chief -consideration. It is grievous to think of all the trouble and hard work -which it cost Schelble to lay a good foundation, and now the end is that -it will be finally broken up. People here are highly satisfied with -Hiller’s mode of directing, although they were so troublesome to him at -first; but two months hence he goes to Italy, being resolved not to stay -here, and who knows that this may not be the very reason why they all -now regret him so much! This is an odious thing in the world. - -It has just occurred to me that if you wish to sing anything during the -next few months, send for “Theodora,” by Handel, and look it over; at -all events it will please you, as there are some splendid choruses and -airs in it, and perhaps you might manage to have it translated into -German (which, indeed, ought to be very much better done, for the text -is perfectly absurd), and perform it in your own house, with a small -choir. Unluckily, it is not adapted for a performance on a large scale, -but some parts of it, the final chorus for instance, are as fine as -anything you ever heard of Handel’s. - - - - -TO HIS MOTHER. - - -Frankfort, June 2nd, 1837. - -... You write to me about Fanny’s new compositions, and say that I ought -to persuade her to publish them. Your praise is, however, quite -unnecessary to make me heartily rejoice in them, or think them charming -and admirable; for I know by whom they are written. I hope, too, I need -not say that if she does resolve to publish anything, I will do all in -my power to obtain every facility for her, and to relieve her, so far as -I can, from all trouble which can possibly be spared her. But to -_persuade_ her to publish anything I cannot, because this is contrary to -my views and to my convictions. We have often formerly discussed the -subject, and I still remain exactly of the same opinion. I consider the -publication of a work as a serious matter (at least it ought to be so), -for I maintain that no one should publish, unless they are resolved to -appear as an author for the rest of their life. For this purpose, -however, a _succession_ of works is indispensable, one after another. -Nothing but annoyance is to be looked for from publishing, where one or -two works alone are in question; or it becomes what is called a -“manuscript for private circulation,” which I also dislike; and from my -knowledge of Fanny I should say she has neither inclination nor vocation -for authorship. She is too much all that a woman ought to be for this. -She regulates her house, and neither thinks of the public nor of the -musical world, nor even of music at all, until her first duties are -fulfilled. Publishing would only disturb her in these, and I cannot say -that I approve of it. I will not, therefore, persuade her to this -step,--forgive me for saying so. If she resolves to publish, either from -her own impulse or to please Hensel, I am, as I said before, quite ready -to assist her so far as I can; but to encourage her in what I do not -consider right, is what I cannot do. - - - - -TO HIS MOTHER. - - -Bingen, July 13th, 1837. - -Dear Mother, - -We have been here for the last eight days, having suddenly left -Frankfort; and as it is nearly decided that we are to reside here for -some weeks, I now write to thank you for your affectionate letters. - -I feel rather provoked, that Fanny should say the new pianoforte school -outgrows her,--this is far from being the case; she could cut down all -these petty fellows with ease. They can execute a few variations and -_tours de force_ cleverly enough, but all this facility, and coquetting -with facility, no longer succeeds in dazzling even the public. There -must be soul, in order to carry others along with you; thus, though I -might perhaps prefer listening to D---- for an hour than to Fanny for an -hour, still at the end of a week I am so tired of him that I can no -longer listen to him, whereas then I first begin to enjoy hearing the -other style of playing, and that is the right style. All this is not -_more_ than Kalkbrenner could do in his day, and it will pass away even -during our day, if there be nothing better than mere execution; but this -Fanny also has, so she has no cause to fear any one of them all. - -The view from these windows is of itself well worth a journey here, for -our hotel is situated close to the Rhine, opposite Niederwald,--the -Mäusethurm to the left, and to the right Johannisberg. To-day I have at -last succeeded in borrowing a piano and a Bible; both were very -difficult to hunt out, first because the people at Bingen are not -musical, and secondly because they are Catholics, and therefore ignore -both a piano and Luther’s translation; however, I have at length -procured both, and so I begin to feel very comfortable here. I must now -be very busy, for as yet I have not written out a single note of my -concerto, and yesterday I heard from Birmingham that the Musical -Festival is all arranged, and they are in hopes that Queen Victoria will -be present. That would be capital! - -Old Schadow and W. Schadow were here lately, along with their families, -and we stumbled upon each other quite unexpectedly in the entrance hall; -I wish you could have heard the description the old man gave of Fanny’s -accompaniment on the piano; he was full of _enthousiasme_, and most -excited on the subject; a sketch also of the _séances_ of the musical -section of the Academy where he is obliged to preside, was not bad by -way of contrast; except Spontini, no one either speaks or shows any -signs of life in it, for which there are good reasons. - -It is indeed very sad to see the way in which the latter contrives to -irritate all Berlin against him, destroying and ruining everything, and -yet causing himself only vexation, and anxiety and worry: like an -ill-assorted marriage, where both parties are in the wrong when they -come to blows. - -Ask Fanny, dear Mother, what she says to my intention of playing Bach’s -organ prelude in E flat major in Birmingham-- - -[Illustration: musical notation] - -and the fugue at the end of the same book. I suspect it will puzzle me, -and yet I think I am right. I have an idea that _this_ very prelude will -be peculiarly acceptable to the English, and you can play both prelude -and fugue _piano_ and _pianissimo_, and also bring out the full power of -the organ. Faith! I can tell you it is no stupid composition. - -I have lately determined to have a new oratorio ready for the next -Düsseldorf Musical Festival; two years are yet to come before then, but -I must stick to my work. I will write about the text as soon as I have -decided on the subject. I hear nothing of Holtei and his opera libretto, -and so I must begin a second oratorio, much as I should have liked to -write an opera just at this moment. I sadly want a true thorough-going -man for many fine projects; whether he will appear, or whether I am -mistaken, I know not, but hitherto I have never been able to discover -him. - -I occupy myself continually here in drawing figures, but I don’t succeed -very well. From want of practice this winter, I have forgotten what I -knew much better last summer, when Schadow gave me every day a short -drawing lesson at Scheveling, and taught me to sketch peasants, -soldiers, old apple-women, and street boys. Yesterday, however, I made a -drawing of Bishop Hatto, at the moment of being eaten up by the mice,--a -splendid subject for all beginners. In this letter, music, the Rheingau, -and gossip go hand-in-hand. Forgive this, dear Mother. It is the same in -real life. - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Bingen-a.-R., July 14th, 1837. - -Dear Schubring, - -I wish to ask your advice in a matter which is of importance to me, and -I feel it will therefore not be indifferent to you either, having -received so many proofs to the contrary from you. It concerns the -selection of a subject of an oratorio, which I intend to begin next -winter. I am most anxious to have your counsels, as the best suggestions -and contributions for the text of my “St. Paul” came from you. - -Many very apparent reasons are in favour of choosing St. Peter as the -subject,--I mean its being intended for the Düsseldorf Musical Festival -at Whitsuntide, and the prominent position the feast of Whitsunday would -occupy in this subject. In addition to these grounds, I may add my wish -(in connection with a greater plan for a later oratorio) to bring the -two chief apostles and pillars of the Christian Church, side by side in -oratorios,--in short, that I should have a “St. Peter” as well as a “St. -Paul.” I need not tell you that there are sufficient internal grounds to -make me prize the subject, and far above all else stands the outpouring -of the Holy Ghost, which must form the central point, or chief object. -The question therefore is (and this you can decide far better than I -can, because you possess the knowledge in which I am deficient, to guide -you) whether the place that Peter assumes _in the Bible_, divested of -the dignity which he enjoys in the Catholic or Protestant Churches, as a -martyr, or the first Pope, etc. etc.,--whether _what is said of him in -the Bible_ is alone and in itself sufficiently important to form the -basis of a _symbolical_ oratorio. For, according to my feeling, the -subject must not be treated historically, however indispensable this was -in the case of “St. Paul.” In historic handling, Christ must appear in -the earlier part of St. Peter’s career, and, where He appears, St. Peter -could not lay claim to the chief interest. I think, therefore, it must -be symbolical; though all the historical points might probably be -introduced,--the betrayal and repentance, the keys of heaven given him -by Christ, his preaching at Pentecost,--not in an historical, but -prophetic light, if I may so express myself, in close connection. - -My question then is, whether you think this possible, or at least so far -possible, that it may become an important and personal object for every -member of the community?--also, whether it is your opinion, that even if -actually feasible, it should be carried out entirely by means of -Scriptural passages, and what particular parts of the Bible you would -especially recommend for the purpose? Lastly, if in this event you will -hereafter, as you previously did, make a selection of certain passages -out of the Bible, and send them to me? - -The chief thing, however, is the first point, for I am still in the -dark about it; in fact, about the possibility of the whole undertaking: -write to me as soon as you can on the subject. In thinking it over, my -first idea was that the subject must be divided into two parts: the -first, from the moment of forsaking the fishermen’s nets down to the “Tu -es Petrus,” with which it must close: the second to consist of the Feast -of Pentecost only; from the misery after the death of Christ and -repentance of Peter, to the outpouring of the Holy Ghost.[29] - -Forgive me for assailing you so suddenly with all this. During the few -months since we have met, I cannot tell you what a great and happy -change has taken place in me.[30] I hope you will come and stay with us -next winter, and pass some days here; then you will in a short time see -for yourself, what even at any length I really could not describe. I -intend to be in Leipzig again, the end of September, and till then, -shall remain principally here on the Rhine, or at Frankfort. Pray answer -me soon, if only by a few lines.--Your - -F. M. B. - - - - -TO HIS MOTHER. - - -Leipzig, October 4th, 1837. - -Dearest Mother, - -It ought to have been my first occupation to write to you as soon after -the busy time of the last few weeks as I had some leisure, to thank you -for so many loving letters. I wished also to let you know of our safe -arrival here, and yet two days have elapsed without the possibility of -doing so. I seize the early morning for this purpose, or people will -again come, one succeeding another till the post hour is passed, which -happened yesterday and the day before. I cannot at this time attempt to -describe the Birmingham Musical Festival; it would require many sheets -to do so, and whole evenings when we are once more together even -cursorily to mention all the remarkable things crowded into those -days.[31] One thing, however, I must tell you, because I know it will -give you pleasure, which is, that I never had such brilliant success, -and can never have any more unequivocal than at this festival. The -applause and shouts at the least glimpse of me were incessant, and -sometimes really made me laugh; for instance, they prevented my being -able for long to sit down to the instrument to play a pianoforte -concerto; and what is better than all this applause, and a sure proof of -my success, were the offers made to me on all sides, and of a very -different tenor this time from what they ever were before. - -I may well say that I now see, beyond doubt, that all this is only -bestowed on me because in the course of my work, I do not in the least -concern myself as to what people wish, and praise and pay for, but -solely as to what I consider good, so I shall now less than ever allow -myself to be turned aside from my own path. I therefore peculiarly -rejoice in my success, and I feel more confident than ever, that not the -smallest effort shall be made by me to ensure success, nor indeed ever -has been made. I had besides a very striking proof of the value of all -such things, in the manner in which Neukomm was on this occasion -received in Birmingham. You know how highly they honoured, and really -overvalued him formerly, and how much all his works were prized and -sought after here, so that the musicians used to call him the king of -_Brummagem_;[32] whereas on this occasion they neglected him shamefully, -giving only one short composition of his the first morning (the worst of -all), and the public receiving him without the slightest attention; this -is really disgraceful in those men who, three years ago, knew nothing -better or higher than Neukomm’s music. The only thing he can be -reproached with is, that three years since he wrote an oratorio for the -Musical Festival, where effect was chiefly studied. The huge organ, the -choruses, the solo instruments, all were introduced on purpose to -please the audience, and people soon find this out, and it never -answers; but that they should treat him with such ingratitude in return, -is a fresh proof of how little their favour is to be relied on, and what -the fruits of it are when sought after. - -I found him, as usual, most amiable and as kind as ever, and may well -take example from him in a hundred things. I never met with any one who -combined greater integrity, with calmness and refinement, and he is -indeed a steady, true friend. - -I send you a complete _programme_ of the Musical Festival. Imagine such -a mass of music! and besides this prodigious pile, the various -acquaintances who came flocking thither at that time; a man must be as -cold-blooded as a fish to stand all this. Immediately after I had played -the last chord on the splendid organ, I hurried off to the Liverpool -mail, and travelled six days and five nights in succession, till I -arrived in Frankfort to rejoin my family. The mail goes to London in ten -hours and a half, exactly the same distance as between this and Berlin; -I calculated that on my journey, and envied the English on this account. -I arrived in London towards midnight, where I was received by -Klingemann, and we went together to the Committee of the Sacred Harmonic -Society, who formally presented to me a large solid silver box, with an -inscription. At half-past twelve o’clock I was again in the mail, and at -Dover next morning at nine, when there was no time even for breakfast, -as I was obliged to go off directly to the small boat which conveyed us -to the steamboat, for being low water it could not remain in the -harbour, so I was already sea-sick when I reached the ship, had a -miserable passage, and instead of arriving at Calais in three hours, we -were five hours before landing at Boulogne, and just so much further -from Frankfort. I went to the Hôtel Meurice, where I made myself as -comfortable as I could, and set off at nine at night in the diligence to -Lille. This is the moment (however furious Dirichlet may be) to impress -on you, that French and Belgian diligences, with their glass windows, on -a paved _chaussée_, with their three clumsy horses in front, whose tails -are tied up, and who do not go forwards but round and round, are the -most utterly detestable means of being expedited in the whole world, and -that a German _Schnellpost_ is a hundred times pleasanter, quicker, and -better than these utterly detestable, etc., _vide supra_. The September -days were being celebrated all over Belgium, and trees of liberty -erected in the squares in front of the town-halls. I arrived at Cologne -at ten o’clock in the morning; a steamboat was to sail at eleven, and to -go on through the night, so I took my place in it, rejoicing to be able -to lie down full length on this the fifth night, and free from the -rattle of the pavement. I fell asleep about nine, and did not wake till -two in the morning, when I perceived that the steam-boat was not -moving, and in answer to my questions I was told, that the fog was so -thick (as on the previous day) that it would be impossible to set off -again at all events before six o’clock the same evening, and we should -not arrive in Mayence till six at night. The steamer was lying-to quite -close to Horchheim, so I hired two sailors to go with me to carry my -things; I showed them the old familiar footpath by the side of the -Rhine, got to Coblenz at three o’clock in the morning, took post-horses, -and was at Frankfort on Wednesday afternoon at half-past three o’clock. -I found them all well, and we have since made out our journey famously, -from Thursday afternoon till Sunday at two o’clock, when we arrived -here. - -The first subscription concert began at six o’clock the same evening. I -directed the “Jubilee” overture and the C minor symphony, but the -trombones and drums were so noisy, that, at the end of the concert, I -own I felt rather _caput_. These were fourteen of the most crowded days -any one could imagine; but as I lived so entirely for enjoyment and -pleasure the whole of last summer, I am glad, just before my return -here, to have had such a busy time, and one so important for my -vocation. It is quite too lovely here, and every hour of my new domestic -life is like a festival; whereas in England, notwithstanding all its -honours and pleasures, I had not one single moment of real heartfelt -enjoyment; but now every day brings only a succession of joy and -happiness, and I once more know what it is to prize life. Have I not -entered into as many minute details about myself, as if I were some -sickly potentate, dear Mother?--Your - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, October 29th, 1837. - -Dear Brother, - -First of all, my most cordial congratulations on the day when this -letter will reach you; may you pass it happily, and may it prove a good -harbinger of the coming year. You mention in your letter of yesterday, -that your quiet, settled and untroubled position sometimes makes you -almost anxious and uneasy; but I cannot think you right in this feeling; -as little as if you were to complain of the very opposite extreme. Why -should it not be sufficient for a man to know how to secure and to enjoy -his happiness? I cannot believe that it is at all indispensable first to -earn it by trials or misfortunes; in my opinion, heartfelt grateful -acknowledgment is the best Polycrates’ ring; and truly in these days it -is a difficult problem to acknowledge, and to enjoy good fortune, and -other blessings, in such a manner as to share them with others, thus -rendering them cheerful and glad also, and showing too that the -difference is equally great between this and idle arrogance. It is -singular that in my position, I might complain of the very reverse of -what troubles you; the more I find what are termed encouragement and -recognition in my vocation, the more restless and unsettled does it -become in my hands, and I cannot deny that I often long for that rest of -which you complain. So few traces remain of performances and musical -festivals, and all that is personal; the people indeed shout and -applaud, but that quickly passes away, without leaving a vestige behind, -and yet it absorbs as much of one’s life and strength as _better_ -things, or perhaps even more; and the evil of this is, that it is -impracticable to come half out, when you are once in; you must either go -on the whole way, or not at all. I dare not even attempt to withdraw, or -the cause which I have undertaken will suffer, and yet I would gladly -see that it was not merely _my_ cause, but considered a good and -universal one. But this is the very point where people are wanting to -pursue the same path--not an approving public (for that is a matter of -indifference), but fellow-workers (and they are indispensable). So in -_this_ sense I long for a less busy life, in order to be able to devote -myself to my peculiar province--composition of music, and to leave the -execution of it to others. It seems, however, that this is not to be, -and I should be ungrateful were I dissatisfied with my life as it is. - -Fanny will probably give you to-morrow the parts of my new quartett from -me. Whether it will please you or not is uncertain; but think of me when -you play it and come to any passage which is peculiarly in my style. -How gladly would I have given you something better and prettier, in -honour of your birthday, but I did not know what to send. - -Yesterday evening my C minor quartett was played in public by David, and -had great success. They were made to play the scherzo twice, and the -adagio pleased the audience best of all, which caused me very great -astonishment. In a few days I mean to begin a new quartett, which may -please me better. I also intend soon to compose a sonata for violoncello -and piano for you,--by my beard, I will! - -And now farewell; till our happy, happy meeting in February.--Your - -FELIX. - - - - -TO FERDINAND HILLER, MILAN. - - -Leipzig, December 10th, 1837. - -My dear Ferdinand, - -You have written to me in spite of my want of punctuality last month, -for which I am heartily grateful, though I really could scarcely have -hoped it. The arrangement of a new house, taking possession of it, the -numerous concerts and affairs, in short, all the various hindrances of -whatever nature, that a steady-going civilian, like myself, can venture -to enumerate to a joyous, lively Italian like you,--my installation as -master and tenant of the mansion, music director of the subscription -concerts,--all these things prevented my being a punctual correspondent -last month. But for that very reason I wished to entreat of you, and now -do so right heartily, even amid the vast difference in our position, and -the objects that surround us, let us steadily adhere to our promise to -write monthly letters. I think it would be a source of great interest -and benefit to both, to hear from each other now, when we must mutually -appear so desperately outlandish--though for this very reason nearer -than ever. I at least, when I think of Milan, and Liszt, and Rossini, -have a singular feeling in knowing that you are in the midst of them -all, and probably you feel the same, when, in the plains of Lombardy, -you think of Leipzig and of me. But next time you must really write me a -long minute letter, full of details; you do not know how much they would -interest me,--you must tell me where you are living, and what you are -writing, and all about Liszt, and Pixis, and Rossini; about the white -Duomo and the Corso. I do dearly love that bright land, and when you -write to me from thence, I love it more than ever. You are not to halve -your sheet of paper. Above all, tell me if you amuse yourself there as -thoroughly and divinely as I did? Do so, I beg, and inhale the air with -the same delight, and idle away your days as deliberately as I did; but -why say all this? you are sure to do so at all events. But pray do write -to me about it at full length. Do you wish to know whether I like this -as much as ever? When I am living as a married man in a pretty, new, -comfortable house, with a fine view over gardens and fields, and the -towers of the city, and feel so comfortable and happy, so glad and so -peaceful, as I have never done since I quitted the parental roof; when, -in addition to this, I have good means, and goodwill on every side, I -ask you how I can be otherwise than happy? If I am to hold any -situation, this is the best; but there are many days when I think that -to have no fixed situation, would be best after all. Directing so -perpetually during two such months, takes more out of me than the two -years when I was composing all day long. I can scarcely ever compose -here in winter, and when I ask myself after the greatest excitement, -what has really occurred, it is in fact scarcely worth naming; at least -it does not interest me much whether the acknowledged good works are -given a degree oftener, or a degree better, or not. The only things that -interest me are new compositions, and of these there is a great lack; -often therefore I feel as if I should like to retire altogether, and not -conduct any longer, but only write; and yet such a regular musical life, -and the duty of directing it, has a certain charm too. What care you for -this in Milan? and still I must write it if you wish to know how I like -my position here. I felt just the same in Birmingham; I never made such -a decided effect with my music as there, and never saw the public so -much, or so exclusively occupied with myself individually, and yet -there is even in this, something--what shall I call it?--fleeting and -evanescent, which I find irksome and depressing, rather than cheering. -Would that there had not been an instance of the exact reverse of all -these enthusiastic praises, with regard to Neukomm, whom they on this -occasion criticized so disdainfully, and received with as much coldness -and neglect, in fact set aside as completely, as three years ago they -extolled him to the skies, when they placed him above all other -composers, and applauded him at every step. Of what value then is their -favour? You will, no doubt, say that Neukomm’s music is not worth -much,--there we quite agree; but those who were formerly enchanted with -it, and now give themselves such airs, don’t know this. The whole thing -made me feel most indignant, while Neukomm’s calm and perfectly -indifferent demeanour, appeared to me the more admirable and dignified, -when contrasted with the others, and I like him better than ever since -this manly conduct. - - - - -TO EDOUARD FRANCK, BRESLAU, (NOW DIRECTOR OF THE BERNE CONSERVATORIUM.) - - -Leipzig, January 8th, 1838. - -I did not receive your letter of the 25th of October till two days ago, -and at the same time a splendid copy of your “Études.” I was afraid you -had given up the completion of the work, as it was so long since I had -heard anything of it; I was therefore the more agreeably surprised by -its arrival. You wish me to give you an opinion about the compositions -themselves; but you are well aware how superfluous I consider all such -criticisms, whether of my own or of others; to go on working I consider -the best and only thing to do, and when friends urge this after every -fresh work, their doing so in itself contains a kind of verdict. I -believe that no man ever yet succeeded in controlling and commanding the -minds of others by _one_ work; a succession of works all aiming at one -point can alone do it. Such then is your function, and the duty which -God has imposed on you, by the talents he has given you. Fulfil it then; -I believe that the happiness of life lies entirely on this, and cannot -be attained without it, and the omission would be a very great sin. - -Thus the wish that you may go forward on your path, and pursue your -labours, is the sole criticism I have at present to send you of your -work. - -We have already discussed most of the details; there are no faults, and -you are master of your tools; but continue to use them more and more, as -I have already said. - -No doubt, you can almost imagine you hear me saying all this, and at -last I shall appear to you in the light of a _basso ostinato_, who is -perpetually growling, and ends by being tiresome beyond measure; for -instead of expressing my thanks, I begin the old song all over again, -but still I am not deficient in gratitude either, and I wish to tell you -so again and again in my very best manner. Write to me soon and at -length (or rather by music, which says all things); you know what -sincere pleasure every letter of yours causes me. Farewell, and once -more accept my thanks for the gratification you have bestowed on me, and -doubtless on many others by your first work.--I am, with esteem, yours, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO THE HON. COMMITTEE OF THIS YEAR’S LOWER RHINE MUSICAL FESTIVAL. - - -Leipzig, January 18th, 1838. - -I am deeply grateful for the invitation contained in your letter of the -8th of January. Your kind remembrance is not less prized by me than the -prospect of again attending such a pleasant festival, and deriving from -it as much enjoyment as that for which I have already to thank the -Rhenish Musical Festivals. I therefore accept your invitation with -sincere delight, if God grants health to me and mine, and if we can -mutually agree on the selection of the music to the full satisfaction of -both parties. The more successful the previous Cologne festival was with -regard to the arrangement of the pieces performed, especially in -Handel’s work with the organ, the more important it seems to me to have -at least _one_ piece in the programme by which this year’s festival may -be distinguished from others, and by means of which progress may, as far -as possible, be manifested. For this purpose I consider it absolutely -necessary to have the name of Sebastian Bach in the programme, if only -for one short piece; for it is certainly high time that at these -festivals, on which the name of Handel has shed such lustre, another -immortal master, who is in no one point inferior to any master, and in -many points superior to all, should no longer be forgotten. The same -scruples which exist in opposition to this, must also have existed in -former years with regard to the works of Handel, and you are all -grateful to those who, disregarding these obstacles, revealed to you -such treasures of sublimity and elevation. Earn for yourself, then, -similar thanks from the Rhenish friends of music by making a beginning -which is indeed difficult (for this I do not deny), and must be -proceeded with cautiously, but which will certainly be attended with the -best results, and universally imitated by others. When anything of -Bach’s has been once performed, it will be easy to discover that it is -beautiful, and to perform it again; but the difficulty is the beginning. -The proposal that I wish to make to you on this subject is, to introduce -into this Musical Festival a short Psalm of Bach’s (about twenty minutes -or half an hour in length), and if you are afraid of doing this on the -second day, from the dread of scaring away the public, whom this learned -name might alarm, then do so on the first day, and give in addition a -rather shorter oratorio of Handel’s. It is pretty certain that no fewer -people will come to hear Handel, for those who do not fear the one will -be equally disposed to like the other, and there are still three or four -totally unknown and truly admirable oratorios of his, which would not -occupy more than an hour and a half, or scarcely two hours at most, and -would be a welcome novelty to all lovers of music. I became first -acquainted with these works by the splendid gift of the previous -committee,[33] and I shall be very glad if you can derive any benefit -from these volumes for this year’s festival. With regard to the second -day, I may first inquire whether you intend to apply to Cherubini for -his grand “Requiem;” it must be translated, and is entirely for men’s -voices, but as it will only last an hour, or even less, that would not -much matter, and according to the universal verdict it is a splendid -work. At present, however, the chief object seems to me to be the first -point in this letter, and I therefore beg you will arrange about it as -soon as possible. - - - - -TO REBECCA DIRICHLET. - - -Leipzig, February, 1838. - -... In our concerts we are playing a great deal of what is called -historical music, so in the last but one we had the whole of Bach’s -_suite_ in D major, some of Handel and Gluck, etc. etc., and a violin -concerto of Viotti’s; in the last of all, Haydn, Righini, Naumann, etc.; -and in conclusion Haydn’s “Farewell Symphony,” in which, to the great -delight of the public, the musicians literally blew out their lights, -and went away in succession till the violinists at the first desk alone -remained, and finished in F sharp major. It is a curious, melancholy -little piece. We previously played Haydn’s trio in C major, when all the -people were filled with amazement that anything so beautiful should -exist, and yet it was very long ago published by Breitkopf and Härtel. -The next time we have Mozart, whose C minor concerto I am to play, and -we are also to have a quartett of his for the first time from his -unfinished opera, “Zaïde.” Then comes Beethoven, and two concerts remain -for every possible kind of modern composition, to make up the full -number of twenty. - -Yesterday evening we thought much of you. At a late hour, when I had -finished writing, I read aloud ‘Nausikaa’ to Cécile, in Voss’s -translation, repeating to her at the end of every ten verses the -profound philological remarks which you made when we used to read it -together during our Greek lesson, and which now recurred to me in -hundreds. Moreover, this poem is really irresistible when it becomes -sentimental. I always felt an inclination to set it to music, of course -not for the theatre, only as an epic, and this whole day I feel renewed -pleasure in the idea; but is anything at this moment to be done with -German poets? Last week four opera _libretti_ were sent to me, each one -more ridiculous than the other; the only result is to make enemies for -myself. I therefore write instrumental music, and long for the unknown -poet, who perhaps lives close to me or at Timbuctoo,--who knows?... - - - - -TO HIS FAMILY. - - -Leipzig, April 2nd, 1838. - -... This evening Madame Botgorscheck’s concert takes place,--an -excellent contralto singer, who persecuted me so much to play, that I -agreed to do so, and it did not occur to me till afterwards that I had -nothing either short or suitable to play, so I resolved to compose a -rondo, not one single note of which was written the day before -yesterday, but which I am to perform this evening with the whole -orchestra, and rehearsed this morning.[34] It sounds very gay; but how I -shall play it the gods alone know,--indeed hardly they, for in one -passage I have marked a pause of fifteen bars in the accompaniment, and -have not as yet the most remote idea what I am to introduce during this -time. Any one, however, who plays thus _en gros_ as I do, can get -through a good deal.... - - - - -TO A. SIMROCK, BONN. - - -Berlin, July 10th, 1838. - -In recommencing our correspondence, I must first of all thank you for -the great friendliness you showed towards me in Cologne. It is the first -time that any publisher ever assured me of his satisfaction at the -success of my compositions; this occurrence would in itself have been a -source of lively gratification to me, but it is much enhanced by the -kind and flattering manner in which you manifest your satisfaction, and -for which I shall ever feel indebted to you. From the time of your first -letter about “St. Paul,” in which you expressed a wish to have it for -your house, when I had not yet thought of publication at all, much less -of success,--also during the period of its being printed, with its -manifold alterations and interpolations, up to the present moment,--you -have been cordial and complaisant towards me to a degree which, as I -already said, I never before met with, and for which I cordially thank -you. - -Would it not be well worth while for any publisher in Germany to publish -just now some of Handel’s principal oratorios from the _original_ -scores? This ought to be done by subscription, which would, I think, be -successful, as not one of these scores exists with us. I thought of -composing the organ parts for this purpose; they must, however, appear -in small notes in the score, or in notes of another colour, so that, -first, those who wished it could have Handel pure; second, my organ -parts in addition if required, and where there was an organ; and third, -in a _supplement_, the organ part arranged for clarionets, bassoons, and -other wind instruments of the modern orchestra, when no organ can be -had. Such a score would be useful to all institutes for oratorio music, -and we should at last have the true Handel in Germany, not one first -dipped in the waters of the Moselle and thoroughly diluted. I was -assured in England, that a very considerable number of subscribers to -such a score might be procured there. What do you think of this? You -have published the pianoforte editions of these oratorios,--perhaps a -selection might be made from some of them. Of course I am anxious to -have your really candid and sincere opinion of this proposal, which I -only mention to you, because it has often suggested itself to me, and -recurs to me at this moment.--I am, with sincere esteem, your obedient - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO FERDINAND HILLER. - - -Berlin, July 18th, 1838. - -... The whole condition of music here is connected with the sand, with -the situation, and with official life, so that though you may have great -satisfaction in individuals, it is not easy to be on terms of intimacy -with any one. Gluck’s operas are indeed most charming. Is it not -remarkable that they always attract a full house, and that the public -applaud, and are amused, and shout? And that this should be the only -place in the world where such a thing seems possible? And that on the -next evening the “Postillon” should draw an equally crowded house? And -that in Bavaria it is forbidden to have music in any church, either -Catholic or Protestant, because it is supposed to desecrate them? And -that chorales seem to have become indispensable in the theatre? The -chief thing, however, is to have novelty, and plenty of good and fine -compositions in the world; thence it is that I am so eagerly expecting -your overture and your opera. - -You probably heard that I was at Cologne during the Musical Festival: -all went off well. The organ had a fine effect with Handel, and still -more so with Sebastian Bach (in a newly-discovered composition of his, -which you have not yet seen, with a stately double chorus); but even -there, to my mind at least, new and untried works were wanting to excite -interest; I should like so much to have something doubtful, to furnish -both the public and myself with an opportunity of giving an opinion. We -all know beforehand what we are to think of Beethoven, Bach, and Handel. -This ought to be so, but let us have other things besides. You are quite -right in saying that it is better in Italy, where the people insist -every year on having new music, and every year a fresh criticism--if -only the music and likewise the criticisms, were a shade better! I hear -you growl and say, what is better? Well then, more according to my -taste, if you will. To be sure, my taste is peculiar, such a possibility -sometimes suggests itself to me; but I must make use of it as it is, in -which case I can contrive to swallow as little, as the stork out of the -flat dish.... - - - - -TO CONCERTMEISTER FERDINAND DAVID, LEIPZIG. - - -Berlin, July 30th, 1838. - -Dear David, - -Many thanks for your letter, which gave me great pleasure. Since I came -here I have been constantly thinking how really delightful it is that we -are to meet and live together, instead of your being in one place and I -in another, following our avocations without hearing much of each other, -which is, no doubt, the case with many good fellows in our dear yet -rather aggravating Fatherland; but on reflecting further, I discovered -that there are not many musicians who, like yourself, pursue steadily -the broad straight road in art, or in whose active course I could feel -the same intense delight that I do in yours. Such things are seldom said -in conversation, therefore let me write to-day, how much your rapid and -welcome development during the last few years has surprised and rejoiced -me; it is often grievous to me to see so many with the noblest -aspirations, but inferior talents, and others with great talents yet low -tendencies; so that to see true genius, combined with right good will, -is doubly cheering. People of the former class swarm here; almost all -the young musicians who visit me may, with few exceptions, be included -in that number. They praise and prize Gluck and Handel, and all that is -good, and talk about them perpetually, and yet what they do is an utter -failure, and so very tedious. Of the second class there are examples -everywhere. As I said, therefore, the very thought of your character -rejoices me, and may Heaven permit us to succeed more and more in -candidly expressing our wishes and our inmost thoughts, and in holding -fast all that is dear and sacred in art, so that it shall not perish!... - -No doubt, you are preparing many new things for next winter, and I -rejoice heartily in the idea of hearing them. I have just finished my -third quartett in D major, and like it much. May it only please you as -well!--I almost think it will, for it is more spirited, and seems to me -likely to be more grateful to the players than the others. I intend in a -few days to begin to write out my symphony, and to complete it in a -short time, probably while I am still here. I should also like to write -a violin concerto for you next winter. One in E minor runs in my head, -the beginning of which gives me no peace. My symphony shall certainly be -as good as I can make it, but whether it will be popular and played on -the barrel-organs, I cannot tell. I feel that in every fresh piece I -succeed better in learning to write exactly what is in my heart, and -after all, that is the only right rule I know. If I am not adapted for -popularity, I will not try to acquire it, nor seek after it; and if you -think this wrong, then I ought rather to say I _cannot_ seek after it, -for really I _cannot_, but would not if I could. What proceeds from -within, makes me glad in its outward workings also, and therefore it -would be very gratifying to me were I able to fulfil the wish you and my -friends express; but I can do nothing towards it or about it. So much in -my path has fallen to my share without my having even once thought of -it, and without any effort on my part, that perhaps it may be the case -with this also; if not, I shall not grumble on the subject, but console -myself by knowing that I did what I could, according to my best powers -and my best judgment. I have _your_ sympathy, and _your_ delight in my -works, and also that of some valued friends. More could scarcely be -desired. A thousand thanks, then, for your kind expressions and for all -your friendship towards me.--Your - -FELIX M. B. - - - - -TO HERR ADVOCAT CONRAD SCHLEINITZ, LEIPZIG. - - -Berlin, August 1st, 1838. - -Dear Schleinitz, - -... What you write me about your increased business rejoices me much. -You know how often we have talked over the subject, but I cannot share -your sentiment, that any one profession is preferable to another. I -always think that whatever an intelligent man gives his heart to, and -really understands, must become a noble vocation; and I only personally -dislike those in whom there is nothing personal, and in whom all -individuality disappears; as, for example, the military profession in -peace, of which we have instances here. But with regard to the others, -it is more or less untrue. When one profession is compared with another, -the one is usually taken in its naked reality, and the other in the most -beautiful ideality, and then the decision is quickly made. How easy it -is for an artist to feel such reality in his sphere, and yet esteem -_practical_ men happy who have studied and known the different relations -of men towards each other, and who help others to live by their own life -and progress, and at once see the fruits of all that is tangible, -useful, and benevolent instituted by them. In one respect, too, an -upright man has the hardest stand to make, in knowing that the public -are more attracted by outward show than by truth. But individual -failures and strife must not be allowed to have their growth in the -heart; there must be something to occupy and to elevate it far above -these isolated external things. This speaks strongly in favour of my -opinion, for it is the best part of every calling, and common to all; to -yours, to mine, and to every other. Where is it that you find beauty -when I am working at a quartett or a symphony? Merely in that portion of -myself that I transfer to it, or can succeed in expressing; and you can -do this in as full a measure as any man, in your defence of a culprit, -or in a case of libel, or in any one thing that entirely engrosses you, -and that is the great point. If you can only give utterance to your -inmost thoughts, and if these inmost thoughts become more and more -worthy of being expressed, ... all the rest is indifferent. I thank you, -therefore, for the report you give me of your occupations, and hope you -will often send me equally good tidings.--Your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO I. MOSCHELES, LONDON. - - -Leipzig, October 28th, 1838. - -My dear Friend, - -A thousand thanks for your continued friendship towards me, and also for -occasionally assuring me of it; a letter from you cheers me for a long -time to come, and what you write of yourself and others is always so -fertile, and as much yourself, as if I heard you speaking, and were -agreeing with you, and rejoicing in doing so. If I were a little more -mild, and a little more just, and a little more judicious, and a good -many other things a little more, perhaps I, too, might then have a -judgment equal to yours; but I am so soon irritated, and become -unreasonable, whereas you love what is good, and yet what is bad appears -to you worth amendment. - -On the occasion of Clara Novello’s concert, a vast amount of rivalry, -and bad artistic feeling, was brought to the light of day, which I -neither wish to exist by day, nor by night, nor indeed in the world at -all. In fact, when really _good_ musicians condescend to depreciate each -other, and to be malicious, and to sting in secret, I would sooner -renounce music altogether, or rather, I should say, musicians; it is -such petty, tinkering work, and yet it seems to be the fashion! -formerly, I thought it was so only with bunglers, but I see it is the -same with all. A straightforward character alone is a protection against -such an example, and a straightforward fellow, who despises it. Yet -this serves to endear goodness to us still more, and we rejoice doubly -in the contrast, and in good art, and in good artists, and in letters -from you; and thus the world is by no means so bad after all. - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Leipzig, November 2nd, 1838. - -Dear Schubring, - -Many, many thanks for your letter, which I received the day before -yesterday, and for the parcel, which came to-day. You have again -rendered me an essential service, and I feel most grateful to you; how -can you ask whether I wish you to proceed in the same way? When all is -so well put together, I have almost nothing to do, but to write music -for the words. I ought to have previously told you, that the sheets you -took away with you are by no means to be regarded as containing a mature -design, but as a mere combination of the materials I had before me for -the purpose of eventually forming a plan. So the passage of the widow, -and also of the raven, being left out, is decidedly most advisable, and -also the whole commencement being abridged, in order that the main -points may be dwelt on to one’s heart’s content. I would urgently -entreat you to proceed with your work, so far as your time and leisure -will permit, and soon to send me the continuation of the first part, -from where you left off, and which must now be of considerable length. -Rest assured that, as I already told you, you will earn my most sincere -gratitude. - -You say that at first, you could not make anything of the subject, but -that a sudden light dawned on you. I figured to myself Elijah as a -grand, mighty prophet, such, as we might again require in our own day -energetic and zealous, but also stern, wrathful, and gloomy; a striking -contrast to the Court myrmidons and popular rabble,--in fact, in -opposition to the whole world, and yet borne on angels’ wings. Is this -the inference you drew from the subject, and this the sense in which you -conceived an affection for it? I am anxious to do justice to the -_dramatic_ element, and, as you say, no epic narrative must be -introduced. I am glad to learn that you are searching out the real sense -of the Scriptural words, which cannot fail to touch every heart; but if -I might make one observation, it is that I would fain see the Dramatic -Element more prominent, as well as more exuberant and defined,--appeal -and rejoinder, question and answer, sudden interruptions, etc. etc. Not -that it disturbs me, for example, Elijah first speaking of the -assembling of the people, and then forthwith addressing them. All such -liberties are the natural privileges of such a representation in an -oratorio; but I should like the representation itself to be as spirited -as possible; for instance, it annoys me that Elijah does not reply to -Ahab’s words, No. 16 till No. 18; various other speeches and a chorus -intervening. I should like to have had an instant and eager rejoinder, -etc. etc. - -But we shall no doubt presently agree on such points, and I would only -entreat you, when you resume your work, to think of this wish of mine. -Above all, accept my thanks for your kindness, and write to me soon on -the same subject.--Ever your - -FELIX M. B. - - - - -TO HIS FAMILY. - - -Leipzig, November 5th, 1838. - -I have felt unequal to resume the train of my musical compositions since -the measles. You cannot conceive the chaos that accumulates round me, -when I am obliged neither to write, nor to go out, for three weeks. At -last, here I am, correcting the parts of my three violin quartetts, -which are to appear this winter, but I never can contrive to complete -them, owing to so many letters, and affairs, and other _odiosa_. The -Shaws are here, who don’t know one word of German, and not many words of -French, and yet they live with thorough, downright Leipzigers, who only -speak their Leipzig vernacular; and Bennett, with two young English -musicians, and six new symphonies, and letters, and passing strangers, -and rehearsals, and Heaven knows what all the other things are, which -swallow up the day, leaving no more trace than if it had never existed. -Truly the most delightful of all things is to be enabled to store up -precious and enduring memorials of past days, to tell that these days -were; and the most hateful of all things is, when time passes on, and we -pass with it, and yet grasp nothing. - -I am reading Lessing just now frequently, with true enjoyment and -gratitude. At the end of the most fatiguing day, this famous fellow -makes me feel quite fresh again; though Germany fares rather badly when -you read his letters to his grandfather, or to Nicolai, Gleim, and -Eckert; and yet Lessing wrote in German, and in such German, too, that -it cannot be well translated! - - - - -TO PROFESSOR SCHIRMER, DÜSSELDORF, - -(NOW DIRECTOR OF THE CARLSRUHE ACADEMY.) - - -Berlin, November 21st, 1838. - -So I am said to be a saint! If this is intended to convey what I -conceive to be the meaning of the word, and what your expressions lead -me to think you also understand by it, then I can only say that, alas! I -am not so, though every day of my life I strive with greater -earnestness, according to my ability, more and more to resemble this -character. I know indeed that I can never hope to be altogether a saint, -but if I ever approach to one, it will be well. If people, however, -understand by the word ‘saint’ a Pietist, one of those who lay their -hands on their laps, and expect that Providence will do their work for -them, and who, instead of striving in their vocation to press on towards -perfection, talk of a heavenly calling being incompatible with an -earthly one, and are incapable of loving with their whole hearts any -human being, or anything on earth,--then, God be praised! such a one I -am not, and hope never to become, so long as I live; and though I am -sincerely desirous to live piously, and really to be so, I hope this -does not necessarily entail the other character. It is singular that -people should select precisely _this_ time to say such a thing, when I -am in the enjoyment of so much happiness, both through my inner and -outer life, and my new domestic ties, as well as busy work, that I -really never know how sufficiently to show my thankfulness. And, as you -wish me to follow the path which leads to rest and peace, believe me, I -never expected to live in the rest and peace which have now fallen to my -lot. I offer you a thousand thanks for your good wishes, and beg you not -to be uneasy on either of these points. - -It is pleasant to learn what you write to me of yourself and your works, -and that you also are persuaded that what people usually call honour and -fame are but doubtful advantages, while another species of honour, of a -more elevated and spiritual nature, is as essential as it is rare. The -truth of this is best seen in the case of those who possess all possible -worldly distinctions, without deriving from them one moment of real -pleasure, but only causing them the more greedily to crave after them; -and this fact was first made quite evident to me in Paris. I rejoice -that you are not one of those who speak in a contemptuous strain of -French painters, for I have always received great pleasure from the good -ones of the present day, and I cannot believe in the sincerity of those -persons who, at sight of one your pictures, fall into ecstasies, and yet -presume from the height of their throne to look down on one of Horace -Vernet’s. What I mean is, that if one beautiful object pleases the eye, -another cannot fail also to inspire sympathy; at least, so it is with -myself. - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Leipzig, December 6th, 1838. - -Dear Schubring, - -Along with this you will receive the organ pieces and “Bonifacius” which -I also enclose. Thank you much for the latter, and for the manuscripts -you have from time to time sent me for “Elijah;” they are of the -greatest possible use to me, and though I may here and there make some -alterations, still the whole affair, by your aid, is now placed on a -much firmer footing. With regard to the dramatic element, there still -seems to be a diversity of opinion between us. In such a character as -that of Elijah, like every one in the Old Testament, except perhaps -Moses, it appears to me that the dramatic should predominate,--the -personages should be introduced as acting and speaking with fervour; not -however, for Heaven’s sake, to become mere musical pictures, but -inhabitants of a positive, practical world, such as we see in every -chapter of the Old Testament; and the contemplative and pathetic element -which you desire, must be entirely conveyed to our apprehension by the -words and the mood of the acting personages. - -In your “Bonifacius,” for instance, this was a point to which I was by -no means reconciled; in my opinion he ought to have been treated -dramatically throughout, like a theatrical representation (in its best -sense) only without _visible_ action. The Scriptural allusions too -should, according to my idea, be more sparingly introduced, and placed -in his mouth alone. The contrast between this style of language (which -pervades the whole) and that at the coronation, is not sufficiently -equalized. Pepin, and all the pagans, and pagan priests, flit before me -like shadows or misty forms, whereas, to satisfy me, they must be solid, -robust men. Do not be displeased that I send you a bit of criticism -along with my thanks, for such is my insufferable custom. Besides a cold -and cough make me unusually rabid to day. I am now about to set to work -on the “Elijah,” and to plough away at the soil as I best can; if I do -not get on with it, you must come to my aid; and I hope as kindly as -ever, and preserve the same regard for your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO A. SIMROCK, BONN. - - -Leipzig, March 4th, 1839. - -The manuscripts which I ought to have sent you last year are not yet -finished; I wished to make them as perfect as I could; but for this both -leisure and good humour were requisite, and during the period of -constant concerts these too often failed. Now I hope shortly to complete -the pieces, and thus free myself from debt. - -But they are not “songs without words,” for I have no intention of -writing any more of that sort, let the Hamburgers say what they will! If -there were too many such _animalculæ_ between heaven and earth, at last -no one would care about them; and there really is quite a mass of piano -music composed now in a similar style; another chord should be struck, I -say.--I am, with entire esteem, your obedient - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO HIS MOTHER. - - -Leipzig, March 18th, 1839. - -You wish to know how the overture to “Ruy Blas” went off. Famously. Six -or eight weeks since an application was made to me in favour of a -representation to be given for the Theatrical Pension Fund (an excellent -benevolent institution here, for the benefit of which “Ruy Blas” was to -be given). I was requested to compose an overture for it, and the music -of the romance in the piece, for it was thought the receipts would be -better if my name appeared in the bills. I read the piece, which is -detestable, and more utterly beneath contempt than you could believe, -and said, that I had no leisure to write the overture, but I composed -the romance for them. The performance was to take place last Monday -week; on the previous Tuesday the people came to thank me politely for -the romance, and said it was such a pity I had not also written an -overture, but they were perfectly aware that time was indispensable for -such a work, and the ensuing year, if I would permit them, they would -give me longer previous notice. This put me on my mettle. I reflected on -the matter the same evening, and began my score. On Wednesday there was -a concert rehearsal, which occupied the whole forenoon. Thursday the -concert itself, yet the overture was in the hands of the copyist early -on Friday; played three times on Monday in the concert room, tried over -once in the theatre, and given in the evening as an introduction to the -odious play. Few of my works have caused me more amusing excitement. It -is to be repeated, by desire, at the next concert, but I mean to call -it, not the overture to “Ruy Blas,” but to the Theatrical Pension Fund. - - - - -TO FANNY HENSEL, BERLIN. - - -Frankfort, June 18th, 1839. - -Dear Fanny, - -Give me your best advice! The eccentric Capellmeister Guhr is become my -particular friend, and we are quite inseparable. Lately we were in a -pleasant cordial mood, and I was eagerly questioning him about his -extensive and rare collection of Bach’s works, among which are two -autographs, the choral preludes for the organ, and the “Passecaille,” -with a grand fugue at the end of it,-- - -[Illustration: musical notation] - -when he suddenly said, “I’ll tell you what, you shall have one of these -autographs; I will make you a present of it, for you take as great -delight in them as I do; choose which you prefer,--the preludes or the -‘Passecaille.’” This was really no trifling gift, for I know that he -has been offered a considerable sum of money for these pieces, but he -refused to part with them, and I would myself have paid a good price for -them had they been for sale, and now he freely gives me one; but the -question is, which shall I take? I have by far the strongest inclination -for the preludes, because they begin with the “Altes Jahr,” because they -include other great favourites of mine, and because the “Passecaille” -and the fugue are already published. But you must also have a voice in -the matter, for you will feel no common interest in it. So send me your -vote, _Cantor_! - -Is not Guhr a most singular being? and yet I can get on better with him -than with any other of the Frankfort musicians. He enjoys life, and -lives and lets live, but is sharp enough as a director, and beats common -time so distinctly that they cannot fail to play to it, as if they were -in arm-chairs; and my other colleagues here are so desperately -melancholy, and always talking of musical critiques, and recognition, -and flattering testimonials, and constantly thinking about themselves, -and constantly fishing for compliments (but these compliments must be -genuine; they even aspire to outpourings of the heart!). This is both -provoking and sad; and yet (behind people’s backs) they can play as mad -pranks as any one. Much as I like Frankfort for a summer visit, I do not -wish to be settled here as a musician, owing to all the above reasons, -and many others besides. - -At the concert of the St. Cecilia Association, where I had an -opportunity of fairly estimating their musical organization, I felt -quite melancholy at the difference between our sense of music in Leipzig -and what was given here; for though it goes on very fairly, and -sometimes sounds well, still, as a rule, it seems as if they were -playing from sheer weariness, or from compulsion, and vastly little of -that zeal and love are apparent in the orchestra which so often prevail -among us. In fact, when I compare the whole elements of the orchestra -here with ours at Leipzig, I feel just as I did when I returned from -Düsseldorf, and thought myself in Paradise. The St. Cecilia Association, -too, has deteriorated, which is not the fault of one person or another, -but of all combined, for the soil here is far from being favourable to -music, though all the better for apples and cherries and wine, and other -good things. I wish you could see the Sachsenhäusen hill at this moment, -with all its ripe cherries and blooming vines! Moreover, there are many -delightful people here, and some among them genuinely musical. For -painting much is done, and it seems to be making real progress. This is -a very different life from what it was three or four years ago when I -was here, and found everything disorganized by discord and strife. - -A tolerably good, though not very extensive exhibition of paintings is -just closed, which contained some admirable, and many very pretty -things. This change of tune and subject brings us back to Hensel. When -does he go to England? when does he return? does he take any pictures -with him? and what may they be? are you going to Italy? do I know -anything of anything? I am writing a trio (the first part is finished), -a sonata for the violin (ditto), a symphony (not ditto), and a letter to -you (which is now quite finished). But when will you write to me?--Your - -FELIX. - - - - -TO CARL KLINGEMANN, LONDON. - - -Hochheim, near Coblenz, August 1st, 1839. - -My dearest Friend, - -I earnestly hope that you may fulfil your intention of visiting us late -in the autumn. The time seems to me endless till you become acquainted -with my wife; besides, it is indeed very long since you and I have -conversed in the unreserved confidence of home. When I was in England, -two years ago, my wife kept a small diary, which she began after our -marriage, and every day during my stay in England she left a blank space -in its pages, that I might write the record of my days opposite to hers. -For some time past I have accustomed myself to do this, and entered -every detail minutely into the little green book (you ought to know it, -for you gave it to me in 1832),--the date of Rosen’s death, that of my -visit to Birmingham, etc. Now I have arrived exactly at the -anniversary, and my diary clearly shows me how much I was then out of -sorts, and very different from what I ought to have been. The constant -publicity, the grand scale of things on every side, in fact, everything -around me attracted me less than formerly, and made me feel bewildered -and irritable. May we therefore soon meet in Germany! You certainly -would not enjoy yourself less here after England, and I do delight in -this beautiful country. The summer months I recently passed in Frankfort -have thoroughly refreshed me; in the morning I worked, then bathed or -sketched; in the afternoon I played the organ or the piano, and -afterwards rambled in the forest, then into society, or home, where I -always found the most charming of all society: this was the mode in -which my life was agreeably spent, and you must add to all this the -glorious summer days which followed each other in uninterrupted -succession. - -We have now been here nearly a fortnight, and three or four days hence -we intend to go up the Rhine, back to Frankfort, and return to Leipzig -about the middle of the month. Your wish to have X---- in London (though -very natural, I admit), is one in which we do not at all agree, and yet -my reasons are by no means egotistical,--quite the reverse. I am -convinced that it would not be for his benefit, were he to assume a -position in the world which would oblige him to take an interest in so -many things, not only foreign to art, but actually adverse to it. A -certain number of guineas might accrue to him, but no real gain, either -for his happiness or his progress in art. Formerly I used positively to -hate all speculators in art, but now I feel chiefly compassion for them, -because I see so few who are at rest; it is a never-ending strife for -money and fame, and the most superior talents, as well as inferior ones, -join in it. Highly as I esteem X----, I am by no means sure that he -would not make shipwreck on this rock, and even if he did not lose the -brightest part of his genius, he would certainly have to deplore the -best part of his life and happiness; and after all, for what? The -reformation and improvement of individual cities, even were they as -important as London, is in fact either impossible or indifferent; but if -a man only strives thoroughly to perfect his own being, and to purify -himself by degrees from all dross, in acting thus he is working for all -cities alike; and if he does so even in a village, his labours are -certain to make their way into the world, and there to exercise their -due influence. I would rather, therefore, that X---- remained in Germany -wherever music is most appreciated; but you must not ask me where that -is,--whether at Frankfort or Vienna? but it lies in the air no doubt; -therefore I shall always advise his not leaving Germany. - -Planché’s work gets on very slowly, and possibly I may have a new -oratorio ready before his text is completed. The number of friends that -“St. Paul” has gained me is really quite remarkable. I could never have -anticipated it. It was performed twice at Vienna in the spring, and they -want to have a festival there in November, with one thousand performers -(“St. Paul” is to be given), which I shall probably go to conduct. This -has surprised me the more, because no other work of mine has ever made -its way into Vienna. I must be in Brunswick for the Musical Festival the -end of this month, in order to conduct “St. Paul;” and it is always a -source of twofold pleasure to me when I have no personal acquaintances -in a place, which will be the case there. - -My new pieces are a trio, completed for piano, violin, and violoncello, -in D minor; a book of four-part songs, to be sung in the open air; some -songs for one voice, organ fugues, half a Psalm, etc. I mean to continue -the four-part songs, and have thought a good deal about the capabilities -of this style; and it does seem the most natural of all music when four -people are rambling together in the woods, or sailing in a boat, and -have the melody all ready with them and within them. In quartetts for -male voices alone, both for musical and other reasons, there is -something prosaic in the four male voices, which has always been -perceptible; whereas in those I allude to, the combination of male and -female voices will sound more poetical, and this will, I hope, also be -perceptible. - -Do send me a song or two, to sing in autumn, or better still, in -summer, or in spring, or on the water, on the grass, or on a bridge, or -in the woods, or in the garden; to the stork, or to a kind Providence, -or to the people of the cities and plains, or for a dance, or a wedding, -or as a _souvenir_. It might be a popular romance! - -I should like much to hear your sentiments about the events in your -Fatherland;[35] they interest me more than you perhaps imagine. Be sure -you come to us the end of autumn! Cecilia says your room is ready, and -sends you her remembrances.--I am always yours. - -FELIX M. B. - - - - -TO HIS MOTHER. - - -Frankfort, July 3rd, 1839. - -Dear Mother, - -We are leading the most agreeable, happy life imaginable here. I am -therefore resolved not to go away till obliged to do so, and to give -myself up entirely for the present to a sense of comfort and pleasure. -The most delightful thing I ever saw in society was a _fête_ in the -forest here: I really must tell you all about it, because it was unique -of its kind. Within a quarter of an hour’s drive from the road, deep in -the forest where lofty spreading beech-trees stand in solitary grandeur, -forming an impenetrable canopy above, and where all around nothing; was -to be seen but green foliage glistening through innumerable trunks of -trees,--this was the locality. We made our way through the thick -underwood, by a narrow footpath, to the spot, where on arriving, a -number of white figures were visible in the distance, under a group of -trees, encircled with massive garlands of flowers, which formed the -concert-room. How lovely the voices sounded, and how brilliantly the -soprano tones vibrated in the air; what charm and melting sweetness -pervaded every strain! All was so still and retired, and yet so bright! -I had formed no conception of such an effect. The choir consisted of -about twenty good voices; during the previous rehearsal in a room, there -had been some deficiencies, and want of steadiness. Towards evening, -however, when they stood under the trees, and uplifting their voices -gave my first song, “Ihr Vöglein in den Zweigen schwank,” it was so -enchanting in the silence of the woods, that it almost brought tears to -my eyes. It sounded like genuine poetry. The scene too was so beautiful; -all the pretty female figures in white, and Herr B---- standing in the -centre, beating time in his shirt sleeves, and the audience seated on -camp stools, or hampers, or lying on the moss. They sang through the -whole book, and then three new songs which I had composed for the -occasion. The third (“Lerchengesang”) was rather exultingly shouted than -sung, and repeated three times, while in the interim strawberries, -cherries, and oranges were served on the most delicate china, and -quantities of ice and wine and raspberry syrup carried round. People -were emerging in every direction out of the thicket, attracted from a -distance by the sound of the music, and they stretched themselves on the -ground and listened. - -As it grew dark, great lanterns and torches were set up in the middle of -the choir, and they sang songs by Schelble and Hiller, and Schnyder, and -Weber. Presently a large table, profusely decorated with flowers and -brilliantly lighted, was brought forward, on which was an excellent -supper with all sorts of good dishes and wines; and it was most quiet -withal, and lonely in the wood, the nearest house being at the distance -of at least an hour, and the gigantic trunks of the trees looking every -moment more dark and stern, and the people under their branches more -noisy and jovial. After supper they began again with the first song, and -sang through the whole six, and then the three new ones, and the -“Lerchengesang” once more three times over. At length it was time to go; -in the thicket we met the waggon in which all the china and plate was to -be taken back to the town; it could not stir from the spot, nor could we -either, but we contrived to get on at last, and arrived about midnight -at our homes in Frankfort. The donors of the _fête_ were detained in the -forest till two o’clock, packing up everything, and lost their way along -with the large waggon, finding themselves unexpectedly at Isenburg; so -they did not get home till long afterwards. There were three families -who had the merit of this idea, and whom we have to thank for this -memorable _fête_. Two of these we were not at all acquainted with, and -the third only slightly. I know now how songs ought to sound in the open -air, and hope shortly to compose a gay book of them. - -It must be tiresome enough for you to read descriptions of _fêtes_ long -past, and indeed such descriptions are of no great interest even to -those who were present, but far more trying to those who were not; and -yet I cannot resist telling you also of an entertainment given by Herr -E----, which took place last week, because I know you rejoice in any -marks of honour bestowed on me, and this was indeed a very great one. We -were invited, along with many whom we knew and some whom we did not -know, chiefly members of the St. Cecilia Association. First, we had some -music, and played and sang; then, the door of a dark room was thrown -open, and from an opposite direction resounded my overture to the -“Midsummer Night’s Dream.” While it was being played a curtain drew up, -and displayed a most charming tableau, Titania sleeping in a flower; -hovering over her was Cobweb spreading out the curtain, Peaseblossom -fanning her, Moth, and the others,--all represented by lovely young -girls; and a whole succession of tableaux followed, accompanied by my -music. The second was a German girl of the olden time in her chamber, -while her lover, in rain and snow, was singing under her window, -“Leucht’t heller als die Sonne,” which seemed to please her uncommonly. -This was succeeded by an “Ave” for eight voices, with the Angel, bearing -a lily in his hand, appearing to the kneeling Mary. Then came a -beautiful Zuleika, in a Persian apartment, who, without changing her -attitude, sang my song in E minor very sweetly and prettily. This was -followed by a masterpiece--Spanish peasants’ nuptials,--three handsome -couples of lovers dancing, admirably costumed and placed, and behind -them a pathetic Don Quixote, when the little chorus in C, “Nun zündet -an” was appropriately sung. Next came a youth with a small neckcloth and -a large shirt-collar, in a vineyard with a sketch-book, and he sang “Ist -es wahr?” and most charmingly he sang it. Seventhly (for I am now -falling into the catalogue style), a chapel, with a handsome Gothic -(mock) organ, at which was seated a nun, with two others standing by -her, who sang from the printed music “Beati omnes,” the choir responding -behind the scenes. Eighthly, two girls at a well, singing by heart, in -the most enchanting manner, my duett, “Ich wollt’, meine Liebe” having -contrived, under some pretext, to get the music transcribed. Ninthly, -St. Paul on the ground, his escort in alarm, and a chorus of women -singing behind the scenes. Tenth and last, before the curtain was drawn -up, “As the hart panteth after the water-brooks” was sung, while I was -wondering how they would manage to represent the panting of the hart, -and who was to attempt it. But now comes something more especially for -you, Mother. They had dressed S----, who is thought to resemble me, to -personate myself; and there he was, sitting in an inspired attitude, -writing music, and chewing away at his handkerchief,[36] and by his side -a lovely St. Cecilia with a wreath. Now, Mother, I hope you will no -longer call me the “reverse of a charlatan;” for my describing all this -myself, without the ink turning red for shame, is really a strong -measure! - -As I am in a boasting mood, I may as well tell you at once that I have -proposals from two musical festivals for 1840. And now enough of myself -and my braggadocio. I have however been very busy here, and have -completed a pianoforte trio, five four-part songs for the open air, and -three fugues for the organ, as well as commenced many others. I have -practised the organ so steadily, that on my return to Leipzig I purpose -giving an organ concert there, and I think that my pedal playing is now -very tolerable. - -Dear Fanny! I beg that among the six great organ preludes and fugues of -Bach, published by Riedl, you will look at the fugue No. 3, in C major. -Formerly I did not care much about them, they are in a very simple -style; but observe particularly the four last bars, natural and simple -as they are, I fell quite in love with them, and played them over at -least fifty times yesterday. How the left hand glides and turns, and -how gently it dies away towards the close! It pleased me beyond all -measure. - - - - -TO FANNY HENSEL, BERLIN.[37] - - -Leipzig, September 14th, 1839. - -Dear Fanny, - -Wishing to note down a great many things for your benefit, I examined my -diaries, but found very little in them, and say to myself, “Hensel will -show her and tell all this a hundred times better than I can.” - -So only with a view to perform my promise:-- - -_Isola Bella._--Place yourself on the very highest point, and look right -and left, before and behind you,--the whole of the island and the whole -of the lake are at your feet. - -_Venice._--Do not forget Casa Pisani, with its Paul Veronese, and the -Manfrini Gallery, with its marvellous ‘Cithern Player’ by Giorgione, and -a ditto, ‘Entombment,’ by Titian (Hensel laughs at me). Compose -something in honour of the ‘Cithern Player;’ I did so. When you see the -‘Assumption of the Virgin,’ think of me. Observe how dark the head of -Mary--and indeed her whole figure stands out against the bright sky; the -head looks quite brown, and there is an ineffable expression of -enthusiasm and overflowing felicity, that no one could believe without -having actually seen it. If you don’t think of me, too, at sight of the -golden glory of the sky behind Mary,--then there is an end of all -things! Likewise two certain cherubs’ heads, from which an ox might -learn what true beauty is; and if the ‘Presentation of Mary,’ and the -woman selling eggs underneath, do not please you,--then call me a -blockhead! Think of Goethe when you see the Lions in front of the -Arsenal: “Stehen zwei altgriechische Löwen,” etc. Sail in a gondola at -night, meeting other black gondolas hurrying along. If you don’t then -think of all sorts of love stories, and other things which might occur -within them while they glide by so quickly,--then am I a dolt! - -_Florence._--The following are among my notes on the portrait gallery -(see if you find them true, and write to me on the subject):-- - -“Comparison between the head and its production, between the man’s work -and his exterior--the artist and his portrait. Titian, vigorous and -royal; Domenichino, precise, bright, very astute, and buoyant; Guido, -pale, dignified, masterly, keen; Lanfranco, a grotesque mask; Leonello -Spada, a good-natured _fanfaron_ and a reveller; Annibale Carracci, -peeping and prying; the two Caraccis, like the members of a guild; -Caravaggio, rather commonplace and cat-like; Guercino, handsome and -affected, melancholy and dark; Bellini the red-haired, the stern, -old-fashioned teacher; Giorgione, chivalrous, fantastic, serene, and -clear; Leonardo da Vinci, the lion; in the middle, the fragile, heavenly -Raphael, and over him Michael Angelo, ugly, vigorous, malignant; Carlo -Dolce, a coxcomb; Gerard Dow, a mere appendage among his kitchen -utensils,” etc. etc. - -In the large gallery to the left of the tribune, look at a little -picture by Fra Bartolommeo, scarcely larger than this sheet of paper, -but with two doors, all so neatly and carefully painted and finished. -When you enter the gallery, salute first the busts of the Medici, for -they were its founders. In the tribune there are some good things. Do -not fail to see all the painted churches, which are quite beyond -belief,--Maria Novella, St. Annunziata (you must see Andrea del Sarto -there; remark also Fra Bartolommeo falling backwards downstairs from -terror, because the angel has already been painting on his canvas). -Examine also this said angel’s painting in the ‘Annunciation’ of Fra -Bartolommeo; it is very fine (Hensel laughs). - -To St. Marco, the Academy, etc. etc. - -If the site of Brunelli’s statue, near the Duomo, does not please you, I -can’t help you. The Duomo itself is not bad. Walk about a great deal. - -_Milan._--Don’t fail to go to the top of the cathedral, on account of -the millions of pinnacles, and the splendid view. - -_Genoa._--It is pleasant to be in the Villetta Negri at nightfall. - -_Betwixt Genoa and Florence_, see everything. Do not miss visiting the -church of St. Francesco in Assisi, on any account whatever. The same -with regard to all Perugia. - -Drink a flask of _aleatico_ in Florence, and add another of _vino -santo_. - -_Rome._--Holy Week; be as weary as you please during the whole chanting -of the Psalms, it’s no matter, but listen carefully when they intone the -_last_, “Benedictus Dominus Israel,”--all four voices _unisono -fortissimo_ in D minor,--it sounds very grand. Observe the strange -modulations produced by chance, when one unmusical priest after another -takes the book and sings; the one finishing in D major, and the other -commencing in B flat minor. Above all, see and hear everything in the -Sistine Chapel, and write some melodies, or something, from thence to -your F. M. B. Greet old Santini. Feast your eyes on the brilliant aspect -of the chapel on Palm Sunday, when all the Cardinals are robed and carry -palms, and when the procession with the singers arrives. The -“Improperia,” on Good Friday, in B flat major, are very fine. Notice -when the old Cardinal sings the “Credo,” the first day of Easter, and -all the bells ring out, and the ceremony becomes all alive once more, -with cannon shots, etc. etc. Drive to the _Grotta ferrata_, it is really -quite too lovely, and all painted by Domenichino. Don’t forget the echo -near Cecilia Metella. The tower stands to the left of the road. In the -same direction, about fifty yards further, among some old ruined walls -and stones, there is the most perfect echo I ever chanced to meet with -in my life; it seems as if it never would cease muttering and murmuring. -It begins in a slight degree, close behind the tower, but the further -you proceed, the more mystical it becomes. You must try to find the -right spot. Learn to distinguish between the different orders of monks. - -_Naples._--When there is a storm at Chiatamone, and the grey sea is -foaming, think of me. Don’t fail to live close to the sea. I lived at -Santi Combi, Santa Lucia (I think No. 13), it was most lovely there. Be -sure you go from Castellamare to Amalfi, _over_ Mount St. Angelo. It is -the chief highway of all Italy. Proceed from Amalfi to Atrani, and see -the church there, and then view the whole glorious landscape from above. -Never get overheated. And never fly into a passion. And never be so -delighted as to agitate yourself. Be wonderfully haughty and arrogant; -all the beauty is there for you only. - -Eat as a salad, broccoli with ham, and write to me if it is not capital. -So far my good advice. Enough for to-day. Farewell, dearest Fanny, and -dear Hensel family all. We think of you daily and hourly, and rejoice in -your good fortune and in your enjoyment. - -FELIX. - - - - -TO PROFESSOR NAUMANN, BONN. - - -Leipzig, September 19th, 1839. - -Sir, - -Pray accept my thanks for the great proof of confidence you show me, by -the purport of your esteemed letter of the 12th of this month. Believe -me, I thoroughly appreciate it, and can indeed feel how important to you -must be the development and future destiny of a child so beloved and so -talented. My sole wish is, like your own, that _those_ steps should be -taken, best calculated to reward his assiduity and to cultivate his -talents. As an artist, I consider this to be my duty, but, in this case, -it would cause me peculiar pleasure from its recalling an early and -happy period of my life. - -But I should unworthily respond to your confidence, did I not -communicate frankly to you the many and great scruples which prevent my -_immediately_ accepting your proposal. In the first place, I am -convinced, from repeated experience, that I am totally deficient in the -talent requisite for a practical teacher, and for giving regular -progressive instruction; whether it be that I take too little pleasure -in tuition, or have not sufficient patience for it, I cannot tell, but -in short, I do not succeed in it. Occasionally, indeed, young people -have stayed with me, but any improvement they have derived was solely -from our studying music together, from unreserved intercourse, or casual -conversation on various subjects, and also from discussions; and none -of these things are compatible with actual teaching. Now the question -is, whether in such early youth, a consecutive, unremitting, strict -course of discipline, be not of more value than all the rest? It also -appears to me that the estrangement of your son from the paternal roof -just at his age, forms a second, and not less important objection. Where -the rudiments of education are not wholly wanting (and the talents of -your wife alone are a security against this), then I consider that the -vicinity of his parents, and the prosecution of the usual elements of -study, the acquirement of languages, and the various branches of -scholarship and science, are of more value to the boy than a one-sided, -even though more perfect cultivation of his genius. In any event such -genius is sure to force its way to the light, and to shape its course -accordingly, and in riper years will submit to no other permanent -vocation, so that the early acquired treasures of interest, and the -hours enjoyed in early youth under the roof of a parent, become doubly -dear. - -I speak in this strain from my own experience, for I can well remember -that in my fifteenth year, there was a question as to my studying with -Cherubini in Paris, and I know how grateful I was to my father at the -time, and often since, that he at last gave up the idea, and kept me -with himself. It would of course be very different if there were no -means in Bonn, of obtaining good and solid instruction in thorough-bass -and the piano; but this I cannot believe, and whether that instruction -be rather better or more intellectual (provided indeed it be not -positively objectionable), is of less moment when compared with the -advantages of a longer stay in his own home. Further, my life hitherto -has been so unsettled, that no summer has passed without my taking -considerable journeys, and next year I shall probably be absent from -here for five or six months; this change of associations would only be -prejudicial to youthful talent. The young man therefore must either -remain here alone all summer or travel with me, and neither of these are -advisable for him. - -I state all these disadvantages, because I am myself so well aware of -them, and fully estimate the importance of the subject. If you do not -participate in my views on mature consideration, and are still of -opinion that _I_ alone can assist your boy in the attainment of his -wish, then I repeat that in any case (irrespective of this) I should -esteem it my duty to be useful and serviceable, so far as my ability -goes, to a youthful genius, and to contribute to his development by the -exercise of my own powers; but even in this event, a personal interview -is indispensable, if only for a few hours, in order to arrange -everything clearly, and until then I cannot give an unqualified consent. - -Were you to bring the lad to me at Easter, I fear I should have already -set off on my summer excursion. Indeed, the only period when I am -certain to be in Leipzig, is from autumn till Easter. I quite agree -with Madame Naumann, that it is most essential to cultivate -pianoforte-playing at present as much as possible, and not to fail in -studying Cramer’s exercises assiduously and steadily; but along with -this daily training on the piano, two hours a week devoted to -thorough-bass might be useful, as such a variety would be a pleasant -change, rather than an interruption. The latter study indeed ought to be -pursued in an easy and almost playful manner, and chiefly the practical -part, that of deciphering and playing figured bass; these are the main -points, and can be entirely mastered in a short time; but the sooner it -is begun, the sooner is it got quit of, and this is always a relief with -such dry things. And now once more accept my thanks for the trust you -have reposed in me, which I thought I could only adequately respond to -by entire sincerity.--I am, your faithful - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO I. MOSCHELES, LONDON. - - -Leipzig, November 30th, 1839. - -My dear Friend, - -Your letter from Paris delighted me exceedingly, although the -proceedings you describe are not very gratifying. The state of matters -there must be very curious. I own that I always felt a kind of -repugnance towards it, and this impression has not been diminished by -all we have recently heard from thence. Nowhere do variety and outward -consideration play so prominent a part as there, and what makes the case -still worse is, that they not only coquet with orders and decorations, -but with artistic inspiration and soul. The very great inward poverty -which this betrays, along with the outward glitter of grandeur and -worldly importance which such _misères_ assume, is truly revolting to -me, even when I merely read of them in a letter. I infinitely prefer our -German homeliness and torpor and tobacco-pipes, though, indeed, I can’t -say much in their favour since the recent events in Hanover, in which I -am deeply interested, though I grieve to say they do not exhibit our -Fatherland in a pleasing aspect; so that neither here nor there is life -at present very enjoyable: therefore we ought the more heartily to thank -God, that within the domain of art there lies a world far removed from -all besides; solitary, yet replete with life, where refuge is to be -found, and where we can feel that it is well with us. - -Chorley seems to have taken great pleasure in our concerts. On what a -splendid scale we could have them if a very little money were only -forthcoming! but this hateful money is a hindrance and a stumbling-block -all over the world, and we do not get forward as we ought. On one side -we have the worthy civilians, who think that Leipzig is Paris, and that -everything is admirable, and that if the members of the orchestra were -not starving it would no longer be Leipzig; and on the other side we -have the musicians, or rather they leave us as soon as they possibly -can, and I give them letters to you in the hope that they may be thus -rescued from their misery. - -I have not assisted Pott’s undertaking by any musical contribution. If -you could only see the detestable proceedings in Germany at present with -regard to monuments, you would have given nothing either. They speculate -on great men, in order, through their reputation, to make a name for -themselves, and trumpet forth in the newspapers, while with their real -trumpets they make very bad music, “as deadening as a foggy breeze.” If -Halle for Handel, Salzburg for Mozart, and Bonn for Beethoven, etc., are -really desirous to form good orchestras, capable of playing and -comprehending thoroughly their works, then I shall be delighted to give -them my aid, but not for mere stones, when the orchestra are themselves -even more worthless stones, and not for their _conservatoriums_, where -there is nothing worth conservation. My present hobby is our poor -orchestra and its improvement. By dint of incessant running to and fro, -writing, and tormenting others, I have at last contrived to scrape -together about five hundred _thalers_, and before I leave this I expect -to get twice that sum for them. If the town does this, it can then -proceed to erect a monument to Sebastian Bach, in front of the Thomas -School. But first of all, the money. You see I am a rabid Leipziger. It -would touch your feelings, too, if you saw all this close at hand, and -could hear how the people strain every nerve to accomplish what is -really good. - -Has Onslow written anything new? and old Cherubini? That is a matchless -fellow! I have got his “Abencerrages,” and cannot sufficiently admire -the sparkling fire, the clever original phrases, the extraordinary -delicacy and refinement with which the whole is written, or feel -sufficiently grateful to the grand old man for it. Besides, it is all so -free and bold and spirited. - - - - -TO FANNY HENSEL, ROME. - - -Leipzig, January 4th, 1840. - - This little page shall go to Rome from here, - And wish you prettily a good new year. - -You see my letter begins in the true ballad-monger style; if you chance -to be in the Coliseum at the moment you receive it, the contrast will be -rather grotesque. Whereabouts do you live in Rome? Have you eaten -broccoli and ham? or _zuppa Inglese_? Is the convent of San Giovanni and -Paolo still standing? and does the sun shine every morning on your -buttered roll? I have just played to Ferdinand Hiller your Caprices in -B flat major, G major, E major, and F major, which surprised us both; -and though we tried hard to detect the cloven foot in them, we could not -do so,--all was unmixed delight. Then I vowed at last to break through -my obstinate silence. Pray forgive it! It happened thus:--First came the -christening, and with it my mother and Paul. In the meantime the -subscription concerts had begun; then my mother left us; then Paul, a -fortnight later; then came Hiller to stay with us, intending to remain a -week, heard a couple of rehearsals, and decided to remain the whole -winter, for the purpose of completing his oratorio of “Jeremiah,” and -producing it here in March; then came an abominable cold and catarrh, -which for three weeks confined me to bed, or to my room, but always in -very bad humour; then came Breitkopf and Härtel, begging to have the -manuscript of my second set of four-part songs, which they have now got, -and the trio, which they have not yet got; then came the copyist, -petitioning for the score of the new Psalm, which was performed most -gloriously the day before yesterday, as a commencement to the new year’s -concert; then came 116 friends; then came Madame Pleyel, who counts for -216 more, and she played the piano right well; then came Christmas, to -which I was forced to contribute fourteen gifts, some musical, some -pictorial, some practical, and some juvenile; and now comes the benefit -concert of Madlle. Meerti,--so here you have an _abrégé_ of my -_histoire universelle_ since my last letter. - -But tell me, for Heaven’s sake, what are you doing at Rome? “The finest -part of the _old hole_ is its situation,” said General Lepel once; but -he is mistaken. There are still greater charms within her walls. What do -you say, by the bye, to the drone of the _Pifferari_, whom the painters -paint so admirably, and which produce such indescribable sensations in -every nose, while sounding through it?--and to the church music in St. -Luigi dei Francesi and others? I should like to hear you on that -subject. Can you tell me the names of all the Cardinals from a mere -glimpse of their hoods or trains? I could do this. When you are with a -certain _Madame_ by Titian in the Sciarra Palace, and with two other -certain _Mesdames_ also by him (the one in a state of nature, the other -unfortunately not) in the Borghese Palace,[38] or with the ‘Galatea’ or -any other Raphael, if you do not then think of me, and wish I were in -Rome, I shall assuredly in that case wish you were the Marchesa Muti -Papazurri, whose breadth is greater than her height, and that is five -feet six inches. I will now give you some advice. Go to Monte Testaccio, -and settle yourself comfortably in one of the little inns there; you -will feel precisely the same as if you were in Rome. If you have already -seen Guido’s ‘Aurora.’ be sure you go to see it again. Mark well the -horrible fifths of the Papal singers when they adorn each of their four -parts at the same moment with flourishes. On a fine Sunday, go on -walking the whole day, till the sun sets, and it becomes cool; then come -down from Monte Pincio, or wherever you may be, and have your dinner. -Compose a vast deal, for it gets on famously at Rome. Write me soon a -long letter. Look out of the windows of any convent near the Lateran, -towards the Albano mountains. Count the houses in Frascati in the -sunshine; it is far more beautiful there than in all Prussia and Poland -too. - -Forgive this harebrained letter, for I could not make it better. -Farewell, dearest Fanny. May God bless you, and your journey, and your -whole year; and continue to love your - -FELIX. - - - - -TO I. FÜRST, BERLIN. - -[_On the subject of a Libretto that he was writing for an Opera._] - - -Leipzig, January 4th, 1840. - -Dear Fürst, - -You upbraid me extravagantly in the beginning of your welcome letter, -but at its close you draw so admirable a moral, that I have only to -thank you anew for the whole. You do me injustice in suggesting that my -sole reason for wishing to see the _scenarium_ is that I may raise -difficulties from the starting-point, and bring the child into the world -forthwith in its sickly condition. - -It is precisely on opposite grounds that I wish this, in order to -obviate subsequent difficulties and organic maladies. If these are, as -you declare, born with him, it is best to abstract them from the child, -while it is still possible, without injuring every part; if the injury -admits of a remedy at all, it can now be cured, without attacking the -whole organization. - -No longer to speak figuratively, what deters me, and has always hitherto -deterred me from the composition of a _libretto_ is neither the verse, -nor the individual words, nor the mode of handling (or whatever you call -it), but the course of the action, the dramatic essence, the march of -events,--in short, the _scenarium_. If I do not consider this to be good -and solid in itself, then my firm conviction is that the music will not -be so either, nor the whole satisfy the pretensions that I must make in -executing such a work, though they may indeed entirely differ from those -which are usually made, and from those of the public. But I have long -since given up all idea of conforming to their tastes, simply for this -reason, that is impossible; so I must follow the dictates of my own -conscience, now as ever. - -Planché’s text can never, even with the best will on both sides, become -such a work as I want; I am almost disposed to give up my purpose as -utterly hopeless. I would rather never compose an opera at all, than one -which from the very commencement I considered only indifferent; moreover -I could not possibly compose for such a one, were you to give me the -whole kingdom of Prussia to do so. All this, and the many annoyances -certain to occur at the completion of a text, if I should not feel -disposed to undertake it, render it my duty to proceed step by step, and -rather to move too slowly than too hastily; on this account I have -resolved, unless we first agree about the _scenarium_, never to beguile -any poet into undertaking so laborious a work, which may after all prove -vain. This _scenarium_ may be prolix or brief, detailed or merely -sketched,--on these points I do not presume to dictate, and quite as -little, whether the opera should be in three, four, or five acts; if it -be really good, just as it is written, then eight acts would not be too -many for me, nor one too few, and I say the same as to a ballet or no -ballet. The only criterion is, whether it harmonizes or not with the -musical and other existing feelings of my nature; and I believe that I -am able to discern this quite as well from the _scenarium_ as from the -finished text, and that is moreover a point which no one can decide save -myself personally. - -I have thus placed the whole truth before you, and Heaven grant that all -these things may not deter you from writing an opera, that you may also -entrust it to me for composition, and that I may at length through you -see a long-cherished wish fulfilled. I need not tell you how eagerly I -shall await your decision.--Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, February 7th, 1840. - -Dear Brother, - -Every word, alas! that you write about Berlin and the course of things -there, corresponds but too well with my own views on the subject. The -proceedings there are far from gratifying, and what strikes me as the -most hopeless part is, that all its inhabitants are of one accord on the -subject, and yet, in spite of this universal feeling, no change to what -is good and healthy is ever effected. But where cannot the individual -man live and thrive? especially in Germany, where we are all compelled -to isolation, and must, from the very first, renounce all idea of -working together in unison. Still it has its bright side and its -original aspect. When are you coming here again to play billiards with -us? I have been living a stirring life all through this winter. Fancy my -being obliged to play in public four times last week, and two pieces on -each occasion. Last Saturday week, the first Quartett Soirée took place, -where pianoforte music was introduced; so I played Mozart’s sonata in A -major, with David, and the B flat major trio of Beethoven. On Sunday -evening Ernst played four quartetts at Hiller’s; one of them was the E -minor of Beethoven, and mine in E flat major. Early on Monday the -rehearsal took place, and in the evening the concert, where I -accompanied him in his “Elegie,” and in three songs besides; on the -following Thursday, Hiller and I played Mozart’s concerto, written for -two pianos, into which we introduced two grand _cadenzas_, and at the -close of the second part of the concert, we played Moscheles’ duett in G -major.[39] The Saturday after, I again played with David at the Quartett -Soirée, a new rondo of Spohr’s, and wound up with my trio. In addition, -we are to have a musical soirée at D----’s, a meeting of the -Liedertafel, a ball, etc. etc.; and yet, with all this, every one -complains that I persist in living so retired. Latterly I have become -quite tired of music, and think I must take to painting once more; but -my Swiss sketches are coming to an end, and fain would I return thither -to make new ones, but I already see that there is no hope of such a -thing this summer. Hiller lately said that I was like those ancient -barbarians, who took such delight in the luscious fruits and the warm -sun of the South, that they were always longing for them once more; and -there really is some truth in this. Would that our orchestra had not so -many attractions. Yesterday they played the B flat major symphony of -Beethoven famously. In the course of a few days the choruses (now -completed) in Hiller’s oratorio are to be rehearsed. I feel as much -anxiety on the subject as if they were my own, or even greater. - -Last week I had an agreeable occupation, which was that of distributing -the five hundred dollars, granted to the orchestra, amongst its various -members; the sum is small and the aid trifling, still I felt great -satisfaction in having even accomplished this much. Next year I mean to -begin it all over again, and then I hope to do a real service to the -musicians; whether they thank me or not, is after all quite a matter of -indifference. - -Pray send for a little work, which contains the most beautiful and -interesting descriptions I have read for a long time. They are Eastern -translations by Rückert, and the title is ‘Erbauliches und Beschauliches -aus dem Morgenlande.’ If this book does not delight you beyond measure, -I will never recommend one to you again. Do look into it often, for it -is most extraordinary.--Your - -FELIX. - - - - -TO HIS MOTHER. - - -Leipzig, March 30th, 1840. - -The turmoil of the last few weeks was overpowering. Liszt was here for a -fortnight, and caused quite a paroxysm of excitement among us, both in a -good and evil sense. I consider him to be in reality an amiable -warm-hearted man, and an admirable artist. That he plays with more -execution than all the others, does not admit of a doubt; yet Thalberg, -with his composure, and within his more restricted sphere, is more -perfect, taken as a virtuoso; and this is the standard which must also -be applied to Liszt, for his compositions are inferior to his playing, -and, in fact, are only calculated for virtuosos. A fantasia by Thalberg -(especially that on the “Donna del Lago”) is an accumulation of the most -exquisite and delicate effects, and a continued succession of -difficulties and embellishments that excite our astonishment; all is so -well devised and so finished, carried out with such security and skill, -and pervaded by the most refined taste. - -On the other hand, Liszt possesses a degree of velocity and complete -independence of finger, and a thoroughly musical feeling, which can -scarcely be equalled. In a word, I have heard no performer whose musical -perceptions, like those of Liszt, extended to the very tips of his -fingers, emanating directly from them. With this power, and his enormous -technicality and practice, he must have far surpassed all others, if a -man’s own ideas were not after all the chief point, and these, hitherto -at least, seem denied to him; so that in this phase of art, most of the -great virtuosos equal, and indeed excel him. But that he, along with -Thalberg, _alone_ represents the highest class of pianists of the -present day, is, I think, undeniable. Unhappily the manner in which -Liszt has acted towards the public here has not pleased them. The whole -misunderstanding is, in fact, as if you were listening to two persons -disputing, who are both in the wrong, and whom you would fain interrupt -at every word. As for the citizens in general, who are angry at the high -prices, and do not wish to see a clever fellow prosper too much, and -grumble accordingly, I don’t in the least care about them; and then the -newspaper discussions, explanations, and counter-explanations, -criticisms and complaints, and all kinds of things are poured down on -us, totally unconnected with music; so that his stay here has caused us -almost as much annoyance as pleasure, though the latter was indeed often -great beyond measure. - -It occurred to me that this unpleasant state of feeling might be most -effectually allayed, by people seeing and hearing him in private; so I -suddenly determined to give him a _soirée_ in the Gewandhaus, of three -hundred and fifty persons, with orchestra, choir, mulled wine, cakes, my -“Meeresstille,” a Psalm, a triple concerto by Bach (Liszt, Hiller, and -I), choruses from “St. Paul,” fantasia on “Lucia di Lammermoor,” the -“Erl King,” the “Devil and his Grandmother,” and goodness knows what -else; and all the people were delighted, and played and sang with the -utmost enthusiasm, and vowed they had never passed a more capital -evening,--so my object was thus happily effected in a most agreeable -manner. - -I have to-day formed a resolution, in which I heartily rejoice, and that -is, never again to take any part as judge of the prizes at a musical -competition. Several proposals of this kind were made to me, and I did -not know why I should be so annoyed by these, till I clearly saw that it -was in fact a display of arrogance on my part, to which I would not -myself submit from others, and should therefore carefully avoid; thus -setting oneself up as a proficient, and my taste as incontrovertible, -and in an idle hour passing in review all the assembled competitors, and -criticizing them, and, God knows, possibly being guilty of the most -glaring injustice towards them. So I resolved once for all to renounce -the office, and feel quite relieved by having done so. - - - - -TO THE KREIS-DIRECTOR VON FALKENSTEIN, DRESDEN. - - -Leipzig, April 8th, 1840. - -Sir, - -Emboldened by the assurance of your kind feelings in our recent -conversation, and by the conviction that you have sincerely at heart the -condition of art here, and its further cultivation (of which you have -already given so many proofs), permit me to lay before you a question -which seems to me of the highest importance to the interest of music. - -Would it not be possible to entreat his Majesty the King, to dispose of -the sum bequeathed by the late Herr Blümner for the purpose of -establishing an institution for art and science (the investment of which -is left to the discretion of his Majesty), in favour of the erection and -maintenance of a fundamental music academy in Leipzig? - -Permit me to make a few observations on the importance of such an -institution, and to state why I consider that Leipzig is peculiarly -entitled to aspire to such a one, and also what I consider to be the -fitting basis for its organization. - -For a long period music has been indigenous in this country, and the -sense of what is true and genuine, the very phase which must be nearest -the heart of every ardent and thoughtful friend to art, has at all times -struck its roots deep into this soil. Such universal sympathy does not -certainly come by chance, nor is it without influential results on -general cultivation; music having thus become an important power, not as -a mere passing enjoyment, but as a more elevated and intellectual -requirement. Those who feel sincere solicitude about this art, must -eagerly wish that its future prospects in this land should rest on the -most solid foundation. - -The positive, technical, and material tendencies so prevalent at the -present day, render the preservation of a genuine sense of art, and its -further advancement, of twofold importance, but also of twofold -difficulty. A solid basis alone can accomplish this purpose; and as the -extension of sound instruction is the best mode of promoting every -species of moral improvement, so it is with music also. If we had a good -music academy,--embracing all the various branches of this art, and -teaching them from one sole point of view, as only the means to a higher -end,--then the practical and material tenets, which, alas! can number -even among our artists many influential adherents, might, no doubt, yet -be effectually checked. - -Mere private instruction, which once bore much good fruit for the world -at large, on many accounts now no longer suffices. Formerly, students -of various instruments were to be found in every class of society, -whereas now this amateurship is gradually passing away, or is chiefly -confined to one instrument--the piano. - -Scholars desirous of enjoying further instruction, almost invariably -consist of those who propose devoting themselves to this branch of art, -and who rarely possess the means of paying for private lessons. The most -admirable talent is indeed often to be found amongst this class; but, on -the other hand, teachers are seldom placed in such fortunate -circumstances as to be able to devote their time, without remuneration, -to the training of even the finest genius; thus both sides endure -privation; the former being unable to obtain the wished-for instruction, -and the latter losing the opportunity of implanting, and practically -enforcing, their own knowledge. A public institution would, at this -moment, be of the most vital importance to teachers as well as to -pupils; and the latter would thus acquire the means of improving -capabilities which otherwise must often remain undeveloped and wasted; -while, for the teachers of music, such a standard of combined action -from _one_ point of view, and for the attainment of _one_ purpose, would -also be advantageous, as the best remedy against lukewarmness and -isolation, the unfruitfulness of which, in these days, is but too apt to -exercise a ruinous influence on the mind. - -In Leipzig the need of a school for music, in which Art may be pursued -with conscientious study and an earnest mind, is deeply felt; and for -various reasons Leipzig seems peculiarly suited for it. The university, -already a central locality for intellectual aspiring young men, and the -school of knowledge, would, in many relations, connect itself with that -of music. In most of the other large towns of Germany public amusements -dissipate the mind, and exercise an injurious influence over the young; -here, however, most of these amusements are more or less connected with -music, or consist wholly of it; thus there are very few public -recreations except those allied to music; so this institution would -benefit both the cause and the individual; moreover, for that especial -branch of art which must always remain the chief basis of musical -studies--the more elevated class of instrumental and sacred -compositions--Leipzig, by its very numerous concerts and oratorios, -possesses the means of cultivating the taste of young artists to an -extent that few other German cities can offer. - -Through the lively sympathy with which the principal works of the great -masters for the last fifty years have been received and acknowledged -here (often for the first time in Germany), and by the careful attention -with which these works have been invariably executed, Leipzig has -assumed a high position among the musical cities of our Fatherland. -Lastly, in support of this petition I may add that Herr Hofkriegsrath -Blümner, who cherished so great a love for poetry and the poetical in -every art, always devoted special attention to the state of music here, -and indeed took an active charge in the direction of the concerts, in -which he was warmly interested; so that such an apportionment of his -bequest, would undoubtedly be quite in accordance with the artistic -feelings of the testator. - -While other establishments of public utility are constantly encouraged, -and some even richly endowed, the music here has never received the -smallest aid from any quarter. The musical institution in the capital -being supported by Government, is it not then peculiarly desirable that -this city should receive the sum bequeathed by one of its inhabitants, -where such a boon would be received with peculiar gratitude on every -side. On all these grounds, may his Majesty then be graciously disposed -not to refuse the fulfilment of a wish so warmly cherished, and thus -impart a new stimulus and a fresh impulse to art. It would give an -impetus to musical life here, the effects of which would speedily and -enduringly be disseminated, with the best influence. - -Allow me to enclose in this envelope some general outlines for the -arrangement of such a musical academy, and receive the assurance of the -distinguished esteem, with which I have the honour to remain, your -devoted servant, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO HIS MOTHER. - - -Leipzig, August 10th, 1840. - -On Thursday I gave an organ concert here in the Thomas Church, from the -proceeds of which old Sebastian Bach is to have a monument erected to -his memory in front of the Thomas School. I gave it _solissimo_, and -played nine pieces, winding up with an extempore fantasia. This was the -whole programme. Although my expenses were considerable, I had a clear -gain of three hundred dollars. I mean to try this again in the autumn or -spring, and then a very handsome memorial may be put up.[40] I practised -hard for eight days previously, till I could really scarcely stand -upright, and nothing was heard all day long in my street but organ -passages! - - - - -TO FANNY HENSEL, BERLIN. - - -Leipzig, October 24th, 1840. - -Dear Fanny, - -I make use of my first morning’s leisure since my return from England, -to thank you for your most admirable and charming letter, which welcomed -me on my return here. When I first saw it lying, and broke the seal, I -had somehow a kind of presentiment that it might contain some bad -news--(I mean, something momentous). I don’t know how this was, but the -very first lines made me see it in a very different light, and I read on -and on with the greatest delight. What a pleasure it is to receive such -a letter, with such a flavour of life and joy, and all that is good! The -only tone in a minor key, is that you do not expect to like Berlin much -after Rome; but this I consider a very transitory feeling; after a long -sojourn in Italy where could any one be contented? There, all is so -glowing! and our dear German home life, which I do so heartily love, has -this in common with all that is German and dear, that it is neither -splendid nor brilliant, but its stillness and repose only the more -surely fascinate the heart. After every absence I felt just the same -when the joy of the first days of reunion were past; I missed the -variety and the excitement of travelling so much, that home seemed sadly -monotonous, and I discovered all sorts of deficiencies, whereas during -my journey all was perfect, and all was good. The same feelings have -often recurred to me recently at the Leipzig Liedertafel, and at the -innumerable demands and intrusions, etc. etc.; but this did not last, -and was certainly only a fallacy. All that is good, and that we like in -our travels, is, in fact, our wonted property at home, only we there -exact a still larger portion. If we could only preserve through life the -fresh, contented, and lofty tone of feeling which, for the first few -days on returning from a journey, leads us to look at every object with -such satisfaction, and on the journey makes us rise superior to all -annoyances; if we could only remain inwardly in this buoyant travelling -spirit, while continuing to live in the quiet of home,--we should indeed -be vastly perfect! Instead of this, last night, at the twenty-fifth -anniversary of the Liedertafel, I was as angry as if I had been a young -boy. They sang so false, and talked even more falsely; and when it -became peculiarly tiresome, it was in the name of “our German -Fatherland,” or “in the good old German fashion.” Yet, when I came back -from England I had formed such a strong resolution never to discompose -myself about anything, and to remain entirely neutral![41] I was eight -days in London, and the same in Birmingham, and to me the period passed -like a troubled dream; but nothing could be more gratifying than meeting -with so many friends quite unchanged. Although I could only see them for -so short a time, yet the glimpse into so friendly an existence, of -which we hear nothing for years, but which remains still linked with our -own, and will ever continue to be so, causes most pleasurable -sensations. - -Of course I was constantly with Klingemann and Moscheles, and with the -Alexanders also, where, in the most elegant _rococo_ drawing-rooms, -among all the newest and most fashionable objects, I found my father’s -portrait, painted by Hensel, in its old favourite place, and standing on -its own little table; and I was with the Horsleys also, and in many -other houses where I felt happy and at home; when I recall my excessive -uneasiness at the prospect of the journey, and how we paced up and down -here together and discussed it, making each other, in fact, only -mutually more nervous, and yet all is now so happily over, and I so -happily returned to my family,--I ought scarcely to do anything all day -long but rejoice and be thankful,--instead of which I fly into a passion -with the Liedertafel, and you do the same with the Art Exhibition! - -You ask me whether we are to have peace or war? How have I got such a -fine reputation as a newsmonger? Not that I do not deserve it, for I -maintain through thick and thin that we shall have peace, but combined -with much warlike agitation; though when a _politicus_ by profession -like Paul is in the family, he must be applied to. He may say what he -likes, but no war shall we have. - -Though, when I 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 MOTHER. - - -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 subscription 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 pleasure 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 orchestra, and the -whole audience, made the very best bows and curtsies they could -accomplish. Then came a hubbub and confusion like Noah’s ark. Perhaps -the King will now bestow the 20,000 _thalers_ which I long ago -petitioned might be given towards the music here. In that case, I could -with truth say that I had done good service to the music of -Leipzig.[42] - -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 _you_ 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 irresistible 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 versâ_. A -thousand minutiæ are involved in the affair, which appear insignificant, -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 reason why I cannot approve of all -the other fine adjuncts, down to the “fiery rain” of the Government -paper. In the meanwhile, time pursues its steady jog-trot pace. Thiers -is no longer minister. A number of arrests have been made in Frankfort, -and Queen Christina 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 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 Liedertafels, 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, BERLIN. - - -Leipzig, November 14th, 1840. - -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 occasion; 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 Soirées, 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 celebration 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. Do you know, I -think your suggestion as to the “Nibelungen” most luminous! It has been -constantly in my head ever since, and I mean to employ my first leisure -day in reading over the poem, for I have forgotten the details, and can -only recall the general colouring and outlines, which seem to me -gloriously dramatic. Will you kindly communicate to me your more -specific ideas on this subject? The poem is evidently more present to -your memory than to mine. I scarcely remember what your allusion means, -as to the sinking into the Rhine. Can you point out to me the various -passages which struck you as particularly dramatic, when the idea first -occurred to you? and above all, say something more definite on the -subject, as the whole tone and colouring, and characteristics, take my -fancy strongly; therefore I beg of you to do so, and soon too; it will -be an essential service to me. Refer entirely to the poem itself, for -before your letter can arrive, I shall certainly have read it, though I -shall not the less eagerly expect your opinion. Accept my thanks for -this happy thought, as for all else. - -Yes! the arpeggios in the chromatic fantasia[43] are certainly the chief -effect. I take the liberty to play them with all possible _crescendos_, -and _pianos_, and _fortissimos_, pedal of course, and to double the -notes in the bass; further, to mark the small passing notes at the -beginning of the arpeggios (the crotchets in the middle parts), etc., -and likewise the principal notes of the melody just as they come: -rendered thus, the succession of glorious harmonies produces an -admirable effect on our rich-toned new pianos. For example, the -commencement, merely thus:-- - - N.B.--Each chord played in double arpeggios; afterwards only once, - as they come. - -[Illustration: musical notation] - -Then to the end thus:-- - -[Illustration: musical notation] - -[Illustration: musical notation] - -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. Zucalmaglio, thank him for his -packet and the letter I received from him; at the same time (though this -is quite between ourselves) I cannot compose 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 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, November 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 -continuance, and pray that Heaven may grant it, while I daily rejoice -afresh in the peaceful monotony of my life. At the beginning of the -winter 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 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 -resuming 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 first line begins, “Sie -sollen ihn nicht haben, 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 Leipzig 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 inspiration. - -So the people here lie like print, just as they do with you, and -everywhere else. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -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 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 have 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 had just appeared, and my name -was printed full length; yet I cannot give a direct contradiction to -this, for as regards the public I am dumb. At the same time Härtel sent -me a message that if I would compose for it, 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, 1840. - -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,[44] your letter arrived, and I can only repeat the -same thing. 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 -attended 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, however, 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 composer, like Grimms, you -can say) I should hesitate much to accept the proposal. Either of these -situations 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 -so, 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 musical -classes, without any definite sphere of work, etc.; and then No. 4 -declares that I am to give sundry concerts 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 towards 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 every ordinary -director must be, which is only possible by the establishment of a -Musical Academy as a Royal Institution, 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 the two are to be -blended, I cannot consent to undertake them. - -Finding (after you left us) on more mature deliberation that a situation -as a composer is impossible, and, in fact, is nowhere to be met with, -it occurred to me that the offer might be renewed of a public sphere of -activity, 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 outward 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 - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -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, without 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 -did in a former letter; he mentions the salary, the direction 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 offer, 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 _bonâ 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, undertake 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 performance 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 performances, 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 instruction of the performers, etc.; that I would have -nothing to do with the orchestra, except on _this_ condition, that I -was to be absolute director-in-chief of these concerts, etc. - -In short, I showed that I was well disposed to accept the situation, but -should require the most unqualified support throughout, otherwise I -could not efficiently 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 Massow, 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 I 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 offer (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 given -any hint of such a transaction, 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 -probable 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, because such a step must be final.--Your - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, Jan. 2nd, 1841. - -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 between Massow and me, to impair that delightful and -perfect 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 -unhesitatingly 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 dissatisfied with me, for not being prepared to -accept your opinion at once--_angry_, I do not think you will be, but -as I have already said, do not permit anything whatever to be changed -between you and me,--promise me this; you know how much 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 I 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, perhaps, than I ought to have -done. You also wish to persuade me to go now to Berlin, but you will -soon be convinced, that this winter, such a thing is impossible. I have -five subscription concerts, and three extra concerts to direct in -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 independent 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 affair 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, 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 are 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 will 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 expressed a wish to know my -duties, before I could explain 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 back_ 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 because it is -right and desirable for the affair itself, and in order to enable _any_ -good musician (not merely myself) 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 considerations. - -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 are to be discovered even in this 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 communion, 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. 9th, 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. I -however see from your letter that I was entirely and totally wrong, and -I thank you much for it, and subscribe to all you say on the subject. -But there is one idea you must dismiss from your thoughts as much as I -have done the other, and that is the dread of foreign influences, as you -call them, which you allude to in your letter. You must not suppose that -I ever act in any affair but from my own conscientious impulses, far -less in a matter in which I myself and my happiness are so very closely -involved. Believe me, that in general, I invariably strive to do and say -nothing but what I hold to be right in my conscience and instinct, and -it is a proof that we have, alas! lived much asunder, and only met in -days of enjoyment, and not of work, when you fear that I am easily -swayed, not only in conversation, but in action. No! all goes on very -slowly with me, but when at last I do a foolish thing, I have at least -_one_ merit, which is, to have devised it entirely myself. With regard -to this _special_ case, I probably gave you cause for suspicion, by -writing to you that I told my friends here, David and Schleinitz of the -offer, and in my last letter I did not allude to them again. I can -assure you, however, that both have long ago given me such proofs of -sincere friendship, that I could not possibly have been silent to them -on this occasion, and both urged my acceptance, and saw the thing in the -most favourable light. - -That not the smallest step I have taken in the whole affair may be -unknown to you, I must add, that I felt myself obliged to communicate -the circumstance candidly, 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 expressed 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 Falkenstein 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 preserve 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 -system 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 opinion, which is shown by sending anonymous and -libellous verses, and by hissing an old masterpiece.[45] 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 Schön; pray do this if you -possibly can. He seems to be a determined fellow!--Your - -FELIX. - - - - -TO HERR X----. - - -Leipzig, January 22nd, 1841. - -Sir, - -I beg to offer you my thanks for the confidence you have shown me by -your polite letter, and the accompanying music. I have looked over your -overture with much pleasure, and discovered many unmistakable 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 more intimate and confidential manner. The greater part of the -instrumentation, and especially the melodious 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 degree. 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, besides 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 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 acquainted, the connection will, no doubt, be closer, and my -critical remarks rendered unnecessary.--I am, with sincere esteem, -yours, - -FELIX 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 uneasy to see how the flood swells, if a -few days elapse without my stemming it, and guarding against it. -Variations 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 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 winning -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 all, and probably it has been the same with you. - -The Berlin affair 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 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 -instituted, seven are positively useless, and indeed preposterous. 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 Government paper, and laughed at them; -but when a grave minister or official 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 course, and where -the teachers of the different branches are named. I require these _data_ -thoroughly to understand 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 do, 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 rejoice 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, us 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 legacy -bequeathed two years ago, will now probably be entirely devoted to -musical 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 -‘Münchhausen’ some time ago, but only the first volume; 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 with these exceptions bringing nothing of his own into the world, -advancing nothing and contributing nothing, I cannot help thinking that -it is the greatest blasphemy which can be committed against Providence, -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 contradistinction 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. - - - - -TO FANNY HENSEL, BERLIN. - - -Leipzig, February 14th, 1841. - -Salut et Fraternité! - -Have you read the wrathful letter which the Emperor 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, or 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 another. 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, he 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 truly brilliant subscription concerts. I tell you we glitter -brightly--in Bengal fire. The other day, in our last historical concert -(Beethoven), Herr Schmidt was suddenly taken ill, and could not sing to -his “Ferne Geliebte” in the “Liederkreis.” 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 audience 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 Lipinski,--and thus, according to Franck’s witticism, we descend -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 how to -take the other _tempi_, ask G---- about them. He understands that -capitally in my Psalms. With submission, 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 JULIUS SCHUBRING, DESSAU. - - -Leipzig, February 27th, 1841. - -Dear Schubring, - -Thank you a thousand times for your friendly letter, which caused me -much pleasure, and was a most welcome birthday gift. Our correspondence -had certainly become rather threadbare, but pray don’t give up sending -me your little notes of introduction; large letters 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, and -essentially unmusical. I am well aware that 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 nowadays, I may possibly be some day conveyed -across the frontiers as a Frenchman.) But, jesting apart, I can only -imagine music when I can realize the mood from which it emanates; mere -artistically correct tones to suit the rhythm of the poetry, becoming -_forte_ when the words are vehement, and _piano_ when they are meek, -sounding very pretty, but expressing nothing,--I never yet could -comprehend; and still such is the only music I can discover for this -poem. Neither forcible, nor effective, nor poetical, but only -supplementary, collateral, musical music. The latter, however, I do not -choose to write. In such cases, the fable of the two vases often recurs -to me, who set off together on a voyage, but in rolling to and fro one -smashed his companion, the one being made of clay and the other of iron. -Besides, I consider the poem to be neither bold nor cautious, neither -enthusiastic nor stoical, but only very positive, very practical, very -suitable indeed for many at the present day; however, I cannot even -momentarily interest myself in any object of which I can perceive the -momentary nature, and from which I can expect no durability. I am -becoming philosophical; pray forgive me, and forgive the whole -diatribe, which is uncivil besides, because you composed the song -yourself. But as you have an immense majority of musicians on your side, -you will not, I think, be offended by my dissentient protestation, but -probably rather disposed to laugh at it. I could not help coming out -with what I thought. - -You wish to know how I am. As well as possible. Yet if we see each other -in the course of a few weeks, you may perhaps hear the same complaints -from me that you did last year. I often thought of them since, and -laughed at them, because I was so well and so gay; but for a week past -such languor seems to creep over me, that, as I told you, I might sing -the very same old song of a year ago. I don’t know whether this arises -from the approach of spring, or the enormous quantity of music which I -was engaged in during the winter, and which has fairly exhausted me; for -several years past the two always come together. But I believe it is the -latter; I have conducted fifteen public performances since -January,--enough to knock up any man. Farewell, my dear friend.--Your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, March 3rd, 1841. - -Dear Paul, - -You gave me extreme pleasure by the _brochure_[46] you sent me -yesterday, and after having exulted not a little in its contents, I must -now thank you much for having forwarded it to me. I read of it in the -‘Allgemeine Zeitung,’ but had it not been for your kindness, this clever -publication would not have found its way to my room for many a day. I -have read it through twice with the deepest attention, and agree with -you that it is a most remarkable sign of the present time in Prussia, -that nothing more true, more candid, or more sober in form and style -could be desired, and that a year ago a similar pamphlet could not have -appeared. In the meanwhile, it is prohibited, and we shall soon see in -how far it is merely an individual lofty spirit expressing his views, or -a spirit that has really impressed and fired the whole community, for -the great misfortune with us has always been want of unanimity, of -_esprit de corps_. A sorrowful feeling oppresses me when I so surely -see, or think I see, that the path lies open, level and plain, on which -the whole of Germany might receive a development which it probably never -had, except in years of war, and not even then, because these years of -war were years of violence also: a path on which no one would lose, and -all would gain in life, power, movement, and activity; this path is -likewise that of truth, and honour, and fidelity to promises, and yet -time after time it is never trodden, while new reasons are perpetually -found for avoiding it. This is most melancholy! In the meantime it is -fortunate that there are people who know how to set forth, what by far -the greater number feel, but cannot express. I should have to quote the -whole of the pamphlet, to name all the particular passages written so -entirely in consonance with the feelings of my heart; but I started up -from joy at both the little paragraphs on the Dantzic letter and -Hanover, for they came in so naturally, and quite as a matter of course; -and then the glorious close! As I said before, the next fortnight will -prove, whether such a spirit has the right on his side in these days, -not merely in theory but in practice. God grant it may be so! - -If you hear anything further of your statesman[47] (I do not believe the -_brochure_ is his, though quite in accordance with his creed), or any -more details that can be communicated to me, I beg you will not fail to -do so. I begin to interest myself very much in this man. What a glorious -contrast this work forms to all the French ones of last year that I -have seen. Here is indeed real substance, not merely subtleties; -vigorous truth and inborn dignity, not merely well-bred politeness or -evasion of the laws. - -But the work is prohibited! This is a humiliation, even amid all my -delight. Farewell; thank you again cordially for your kindness -always.--Your - -FELIX. - - - - -TO JULIUS RIETZ, MUSIC DIRECTOR AT DÜSSELDORF, (NOW CAPELLMEISTER AT -DRESDEN.) - - -Leipzig, April 23rd, 1841. - -Add -Dear Rietz, - -Yesterday evening we performed your overture to “Hero and Leander” and -the “Battle Song,” amid loud and universal applause, and with the -unanimous approbation of the musicians and the public. Even during the -rehearsal of the overture, towards the end in D major, I perceived in -the orchestra those smiling faces and nodding heads, which at a new -piece of yours I am so glad to see among the players; it pleased them -all uncommonly, and the audience, who yesterday sat as still as mice and -never uttered a sound, broke out at the close into very warm applause, -and fully confirmed the judgment of the others. I have had great delight -in all these rehearsals, and in the performance also; there is -something so genuinely artistic and so genuinely musical in your -orchestral works, that I feel happy at the first bar, and they captivate -and interest me till the very end. But as you persist in wishing me to -place my critical spectacles on my nose, I must tell you that there was -one wish I formed in hearing both pieces: that you may now write many -works in succession. The chief reason for this I do not require to tell -you, for it lies on the surface. But I have yet another wish: I perceive -a certain spirit, especially in the overture, which I myself know only -too well, for in my opinion it caused my “Reformation Symphony”[48] to -fail, but which can be surely and infallibly banished by assiduous work -of different kinds. Just as the French, by conjuring tricks and -overwrought sentiment, endeavour to make their style harrowing and -exciting, so I believe it possible, through a natural repugnance to this -style, to fall into the other extreme, and so greatly to dread all that -is _piquant_ or sensuous, that at last the musical idea does not remain -sufficiently bold or interesting; that instead of a tumour, there is a -wasting away: it is the contrast between the Jesuit churches, and their -thousand glittering objects, and the Calvinists, with their four white -walls; true piety may exist in both, but still the right path lies -between the two. I entreat you to pardon this preaching tone, but how is -it possible to make oneself understood on such subjects? The fundamental -thoughts in your overture and my “Reformation Symphony” (both having, -in my opinion, similar qualities), are more interesting from what they -indicate, than actually interesting in themselves; of course I do not -plead for the latter quality alone (as that would lead us to the -French), nor for the first alone either; both must be united and -blended. The most important point is to make a thema, or anything of the -kind which is in itself musical, really interesting: this you well -understand in your instrumentation, with every second oboe or trumpet, -and I should like to see you steer boldly in _that_ direction in your -next works,--without, however, injuring by the greater finish and -sharpness of your musical thoughts, your excellent foundation, or your -masterly and admirably carried out details of instrumentation, etc. As -ideas cannot be either more highly finished or sharpened, but must be -taken and made use of as they come, and as a kind Providence sends -them--so work is the only thing which either I or others can possibly -desire for such an artist as yourself, and for works of art like yours, -where the only question is of any trifling deviation in their tendency. - - - - -_Report to his Majesty the King of Prussia,[49] from the Wirklich -Geheimrath Herr von Massow._ - - -Berlin, May 20th, 1841. - -Your Majesty was pleased verbally to desire me to enter into -communication with Herr Felix Mendelssohn Bartholdy, in Leipzig, with a -view to summon him to Berlin, and to fix his residence there by -appointment. I therefore on the 11th of December last wrote to Herr -Mendelssohn, in accordance with your Majesty’s commands, and made the -following offer:-- - -That he should be appointed Director of the musical class of the Academy -of Arts, with a salary of three thousand thalers. - -I also mentioned that it was your Majesty’s intention to reorganize the -musical class of the Academy, and to connect it with some existing -establishments for the development of musical cultivation, as well as -with others yet to be formed; that Herr Mendelssohn’s advice on the -subject was requested; that he was to be appointed the future head of -this institute. Further, that it was your Majesty’s pleasure a certain -number of concerts (to be hereafter fixed) were to be given every year -under his direction, with the aid of the Royal orchestra and the members -of the opera, in which oratorios especially, but also other works, such -as symphonies, etc., were to be performed. Herr Mendelssohn, in two -letters addressed to me, on the 15th December and the 2nd January, -expressed his gratitude to your Majesty for so honourable an offer, as -well as his entire satisfaction with regard to the title and the salary; -he however reserved his full acceptance of the proposal, until the -duties involved in the situation offered to him in Berlin, were more -minutely detailed. The conscientiousness thus shown by Herr Mendelssohn -cannot fail to be acknowledged and respected; at the same time, he -promised to come to Berlin this spring. - -The Academy of Arts being regulated by the _Ministerium_ of the -departments of science, instruction, and medicine,--it was from this -source alone, that the wished-for copy of the rules could be obtained -for Herr Mendelssohn; as this, however, could not be immediately -effected, Minister Eichhorn resolved to discuss the whole affair himself -with Herr Mendelssohn regarding the reorganization of the musical class, -and your Majesty was pleased to permit the affair to rest for the time. -Herr Mendelssohn, according to his promise, recently came here, and he -adheres to his resolution not to accept any _fixed situation_ in your -Majesty’s service, till he is previously informed what duties he is -expected to undertake. - -The proposed reforms in the musical section, which are probably to be -effected, in connection with many other changes in the Academy of Arts, -necessitate the dissolution of existing arrangements, and the formation -of entirely new relations. The Royal _Ministerium_, if a larger musical -institute were established, would put in their claim for the Royal -Theatre, which, by previous regulations of existing institutes, must be -included, along with most of the artists attached to it. The sum of -money requisite for this purpose must be fixed and granted. These are -all reasons which prevent the Royal Ministerium, within so short a -period, being able to arrange such a comprehensive affair sufficiently -to lay these proposals before your Majesty; and also render it -impossible to define the situation for Herr Mendelssohn, or to prescribe -the duties which, as Director of the musical class, he must undertake to -fulfil. - -Herr Mendelssohn, on the other hand, must declare, in the course of a -few weeks, whether it is his intention to give up his situation in -Leipzig or not; he therefore presses for a decision. - -Under these circumstances, with the express stipulation however of your -Majesty’s approbation, I have made the following proposal to Herr -Mendelssohn:-- - -That for the present he should only for a certain period fix his -residence in Berlin,--say, a year,--_placing himself at your Majesty’s -disposal_, in return for which, your Majesty should confer on him the -title of _Capellmeister_; but without imposing on him the performance of -the duties of this office in the Royal Opera; likewise the -previously-named salary of three thousand _thalers pro anno_ to be -bestowed on him; during this time, however, he is neither to hold _any_ -office, nor to undertake any _definite duties_, unless in the course of -this period Herr Eichhorn should furnish him, with the long wished-for -details, and he should declare himself satisfied with them, in which -case the reserved consent as to a definitive nomination should ensue. - -Herr Mendelssohn has already assured me that he is prepared to accept -the proposal, and if your Majesty be pleased to give your consent, Herr -Eichhorn would gain time to consult with Herr Mendelssohn on this -affair, and to place distinct proposals before your Majesty. From the -well-known honourable character of Herr Mendelssohn, it may be -confidently anticipated, that in this kind of interim relation, he will -be the more anxious to devote all his powers to your Majesty, from the -very fact of his duties not being more closely defined. Such a relation, -however, can only be advisable for a certain time; one year has -therefore been agreed on. If, contrary to expectation, the -reorganization of the musical class of the Academy and the establishment -of a musical institute, be not so carried out as to cause Herr -Mendelssohn the conviction of finding a field of activity for his bent -and his vocation, or if the claims on him should prevent his acceptance, -or lastly, which I subjoin at the express desire of Herr Mendelssohn, -should the expectations now entertained by your Majesty with regard to -him not be fulfilled, then the relation now formed shall be dissolved at -the end of the appointed period on the above conditions, and therefore -in an honourable manner. - -Herr Eichhorn, whom I have informed of the proposal made through me to -Herr Mendelssohn, and also of his acceptance, has, on his side, stated -no objections. - -Your Majesty’s decision is respectfully solicited at your pleasure; and -awaiting your Majesty’s further commands, I am, with the deepest -reverence, - -Your Majesty’s faithful servant, - -V. MASSOW. - - - - -_Memorandum by Mendelssohn, on the subject of a Music Academy to be -established at Berlin._ - - -Berlin, May, 1841. - -It is proposed to establish a German Music Academy in Berlin, to -concentrate in one common focus the now isolated efforts in the sphere -of instruction in art, in order to guide rising artists in a solid and -earnest direction, thus imparting to the musical sense of the nation a -new and more energetic impetus; for this purpose, on the one side, the -already existing institutes and their members must be concentrated, and -on the other, the aid of new ones must be called in. - -Among the former may be reckoned the various Royal academies for -musical instruction, which must be united with this Musical Academy, and -carried on as branches of the same, with greater or less modifications, -in _one_ sense and in _one_ direction. In these are included, for -example, the Institute for Élèves of the Royal Orchestra; the Organ -Institute; that of the Theatre (limited to the theatre alone) for -instruction in singing, declamation, etc. Further, the members of the -Royal _Capelle_ must be required to give instruction on their various -instruments. A suitable locality can no doubt be found among the Royal -buildings, and also a library, with the requisite old and new musical -works, scores, and books. - -The new appointments to consist of-- - -1. A head teacher of composition; the best that can be found in Germany, -to give regular instructions in theory, thorough-bass, counterpoint, and -fugues. - -2. A head teacher of solo singing; also the best to be had in Germany. - -3. A head teacher of choral singing, who should strive to acquire -personal influence over the scholars under his care, by good -pianoforte-playing and steady direction. - -4. A head teacher of pianoforte-playing, for which office a man of the -most unquestionable talent and reputation must alone be selected. The -other teachers for these departments could be found in Berlin itself; -nor would there be any difficulty in procuring teachers of Æsthetics, -the history of music, etc. - -The complete course to last three years; the scholars, after previous -examination, to be instructed _gratis_; no prize works to be admitted -but at stated periods; all the works of the scholars, from the time of -their admission, to be collected and criticized in connection with each -other, and subsequently a prize (probably consisting of a sum sufficient -for a long journey through Germany, Italy, France, and England) to be -adjudged accordingly. Every winter a certain number of concerts to take -place, in which all the teachers (including the above-named members of -the Royal _Capelle_) must co-operate, and by which, through the -selection of the music, as well as by its execution, direct influence -may be gained over the majority of the public. - -The following principle must serve as a basis for the whole Institute: -that every sphere of art can only elevate itself above a mere -handicraft, by being devoted to the expression of lofty thought, along -with the utmost possible technical finish, and a pure and intellectual -aim; that also solidity, precision, and strict discipline in teaching -and learning, should be considered the first law, thus not falling short -in this respect of any handicraft; that in every department, all -teaching and learning should be exclusively devoted to the thoughts -intended to be expressed, and to that more elevated mood, to which -technical perfection in art must ever be subordinate. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, July 9th, 1841. - -Dear Brother, - -I send you with this, a copy of the Minister Eichhorn’s letter, which I -received this evening. It is evident from it, that the King only intends -to make me Capellmeister, if the plan, for the Academy is carried out; -not otherwise. If this be his irrevocable determination, I have only to -choose between two alternatives; to go to Berlin on the 1st of August -without the title, and without any further public appointment, and -merely receive the salary there--or at once to break off all further -negotiations on the matter, and never to renew them. - -Now I must confess, first, that I could not without unpleasant feelings -enter on an office, after having considerably abated my own demands; -secondly, that I still find all those reasons valid, now as heretofore, -which made such a title necessary, in Herr Massow’s opinion, as well as -in my own, in order to enable me to give the desired concerts and -performances in the course of the winter; and, thirdly, it appears to me -only just, that from the first I should receive a public proof of the -King’s confidence; for very possibly after the lapse of a year, no -renewal of the relation may be desired on the _other_ side, in which -case I alone shall be the losing party, for _they_ only risk conferring -a title for nothing, while _I_ lose my present situation, and you know -that this costs me no small sacrifice. I beg you will communicate this -letter and Eichhorn’s to Von Massow. He will observe that his proposals, -and the results of my whole residence in Berlin, are again detailed, so -that I must go to Berlin under very different circumstances, which, as I -said, I am very unwilling to do. Hear what Massow says, and let me know. -Do not forget to place strongly before him, that I always thought it -probable, and now more likely than ever, that no definitive arrangement -about the Academy should take place in one year; not indeed from any -fault on my side, or from any want of complaisance in me, but from want -of decision on their part. I therefore wished at that time, and wish -now, that there should be something definite, _for which_ I am called to -Berlin. I cannot say to any one that the mere direction of the Academy -is a sufficient purpose. If they choose to make me “Geheimsecretär,” -instead of Capellmeister, I am equally content, but I should like to -have some ostensible ground for going there, if I am to go at all; -probably the affair will be now more complicated by my having in the -meanwhile received the much-discussed title (deuce take it!) in Saxony; -they will say, what is the use of a second? and pronounce it to be -obstinacy on my part. I appeal however to the above reasons, and think, -on the contrary, that it proves I did not, or do not, insist on this -point from any love of a title. - -Pray, pray forgive me, dear Brother, you have most cause to complain; -for in any case I shall reap some advantage, having at the worst gained -valuable experience, but you only much plague and lost time (even at the -best, by which I mean my remaining in Berlin). Forgive me.--Ever your - -FELIX.[50] - - - - -TO CARL KLINGEMANN, LONDON. - - -Leipzig, July 15th, 1841. - -My dear Friend, - -To-morrow I go with some pleasant friends to Dresden to hear Ungher and -Moriani sing, to see Raphael and Titian paint, and to breathe the air of -that lovely region. A few days after my return I am off for a year to -Berlin, one of the sourest apples a man can eat, and yet eaten it must -be. Strangely enough, there seems to be a misunderstanding between _us_ -on this affair, and hitherto we have scarcely ever had one. You think I -want your advice, and mean to act according to it; but, in fact, when I -say anything to you, or discuss anything, I say it and do it from no -other reason than from instinct. I _must_ speak to you or discuss -whatever is of importance to me, or nearly concerns me; it cannot be -otherwise, and this proceeds so little from that tiresome asking for -advice, that I am convinced, if you had not answered me at all, and if -we had not spoken to each other for ten years, I should have asked you -the same questions, and expected your answer as eagerly, and received it -with as much pleasure as now. There is a curious misapprehension on your -part, with regard to the comparison between the two cities. You believe -(and several of the residents here, as well as strangers, have told me -the same), that here in Leipzig we have comfort, domestic life, and -retirement; and in Berlin, public efficacy in and for Germany, and -active work for the benefit of others, etc. etc.; whereas it is in truth -exactly the reverse. It is just because I am so unwilling to be burdened -with a sinecure, the public active efficiency which you so urged on me -formerly, and which seemed to myself so necessary, having become -gradually dear to me, and nothing of the kind being possible in -Berlin,--it is for these very reasons I go there unwillingly. There, all -efforts are private efforts without any echo in the land, and _this_ -they certainly do have here, small as the nest is. I did not establish -myself in Leipzig with a view to a quiet life; on the contrary, I felt a -longing to do so, because here all is so gay and motley. On the other -hand, I have mastered and learned many things, which could only be thus -mastered and learned, nor have I been idle either; I think I am on a -better footing with my countrymen, in Germany, and have gained their -confidence more than I should probably have done all my life long in -Berlin, and that is worth something too. That I am now to recommence a -private life, but at the same time to become a sort of school-master to -a Conservatorium, is what I can scarcely understand, after my excellent -vigorous orchestra here. I might perhaps do so if I were really to enjoy -an entirely private life, in which case I should only compose and live -in retirement; but the mongrel Berlin doings interfere; the vast -projects, the petty execution, the admirable criticism, the indifferent -musicians, the liberal ideas, the Court officials in the streets, the -Museum and the Academy, and the sand! I doubt whether my stay there will -be more than a year; still I shall of course do all in my power, not to -allow this time to pass without some profit to myself and others. I -shall have no solitude during the time, for I must bestir myself and -write what I can; a couple of earlier melodies may bring up the -rear-guard. Many others have come to light since their date; you see I -defend myself vigorously, with claws and teeth. Believe me, Berlin is at -the present day the city which is the least efficacious, and Leipzig the -most beneficial to the public. Do you know what I have recently been -composing with enthusiasm? Variations for the piano,--actually eighteen -on a theme in D minor, and they amused me so famously, that I instantly -made fresh ones on a theme in E flat major, and now for the third time -on a theme in B flat major. I feel quite as if I must make up for lost -time, never having written any before. - - - - -TO CONCERT-MEISTER FERDINAND DAVID, LEIPZIG. - - -Berlin, August 9th, 1841. - -Dear Friend, - -You wish to hear some news about the Berlin Conservatorium,--so do -I,--but there is none. The affair is on the most extensive scale, if it -be actually on any scale at all, and not merely in the air. The King -seems to have a plan for reorganizing the Academy of Arts; this will not -be easily effected, without entirely changing its present form into a -very different one, which they cannot make up their mind to do; there is -little use in my advising it, as I do not expect much profit for music -from the Academy, either in its present or future form. The musical -portion of the new academy is, I believe, to become a Conservatorium; -but to reorganize one part alone, is an idea which cannot be entertained -under any circumstances, so it depends now on the three others. A -director is not yet found for the architectural department, and in the -four different departments the existing members cannot (or at least will -not) be superseded, or their privileges diminished,--so these members -must first die off; but we must die off as well as they, and whether the -reorganization will then take place in the wished-for manner is the -question. _One_ service I have at all events accomplished here, in -having placed these relations in a clear light, and free from all -circumlocution,--so that there will be no longer any necessity to refer -to these projects, or the discussions connected with them, until the -obstacles are removed. - -You will ask, then, what in the world do they want with me just now in -Berlin? My answer is, on the one side, I really do not know; on the -other, I believe that it is intended to give, during the winter, some -great concerts, with the addition of all their best means, and that I am -to direct them, some in church, and some in the concert hall; but -whether they will ever take place seems to me very doubtful: at all -events these are, in my opinion, the only projects which can or will be -carried out at this time. - - - - -TO PRESIDENT VERKENIUS, COLOGNE. - - -Berlin, August 14th, 1841. - -Dear and esteemed Herr President, - -Though so much delighted by recognizing on the address of your letter of -yesterday the well-known writing, I was equally grieved by the grave and -mournful tone of your words, and I cannot tell you how much the -intelligence of your continued illness alarms and distresses me. It is, -indeed, often the case, that in moments of indisposition, everything -seems to us covered with a black veil,--that illness drags within its -domain, not only the body, but also the spirit and the thoughts (thus it -is always with me when I am ailing or ill), but with returning health, -these mournful images are chased away. God grant this may be the case -with you, and soon, too, very soon; such sorrowful moments, however, are -not less distressing at the time, though they quickly pass away, and are -forgotten. Would that I could do anything to make you more cheerful, or -to drive away such sad thoughts! These are the moments when distance -seems doubly painful; when cordially-loved and honoured friends are in -suffering, and yet we must go on living apart from them, instead of -being near to sympathize with them, even if unable to do them good, or -to alleviate their troubles. - -You say that my letters are agreeable to you. I shall therefore -frequently write; let me know if I do so too often; and Heaven grant -that, in return, I may soon receive good news of your recovery, from -yourself, or one of your family! - -I have now been a fortnight here with my family, and am living with my -mother and brother and sisters, in the very same house, which I quitted -twelve years ago, with a heavy heart. The more unaccountable is it to -me that, in spite of the delight of being with my mother and family -once more, in spite, also, of every advantage, and many and glad -memories, there is scarcely a place in all Germany where I feel so -little at home as here. The ground of this may be, that all the causes -which formerly made it impossible for me to begin and to continue my -career in Berlin, and which drove me away, still subsist, just as they -formerly did, and are likely, alas! to subsist to the end of time. There -is the same frittering away of all energies and all people, the same -unpoetical striving after outward results, the same superfluity of -knowledge, the same failure in production, and the same want of nature, -the same illiberality and backwardness as to progress and development, -by which, indeed, though the latter are rendered safer and less -dangerous, still they are robbed of all merit, and of all life. I -believe that these qualities will one day be reproduced here in all -things; that it is the case with music, there can be no doubt whatever. -The King has the best inclination to alter and to improve all this; but -if he were to hold fast his will steadily for a succession of years, and -were he to find none but people with the same will, working unweariedly -in accordance with it,--even then, results and happy consequences could -not be anticipated, till _after_ a succession of years had elapsed; yet -here these are expected first and foremost. The soil must be entirely -ploughed and turned up before it can bring forth fruit, at least so it -seems to me in my department; the musicians work, each for himself, and -no two agree; the amateurs are divided and absorbed into thousands of -small circles; besides, all the music one hears is, at the best, only -indifferent; criticism alone is keen, close, and well-studied. These are -no very flattering prospects, I think, for the approaching period, and -to “organize this from the foundation” is not my affair, for I am -deficient both in talent and inclination for the purpose. I am, -therefore, waiting to know what is desired of me, and probably this will -be limited to a certain number of concerts, which the Academy of Arts is -to give in the coming winter, and which I am then to direct. In my next -letter, I will write you some musical details. Heaven grant that I may -soon be tranquillized about your recovery, and may we meet again in -cheerfulness and health; God grant it!--Ever your faithful - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PRESIDENT VERKENIUS, COLOGNE. - - -Berlin, August 23rd, 1841. - -Dear Herr President, - -You see that I take advantage of your permission, and write constantly; -if it be too much for you, let me know it, or do not read my letters. -May it please God that I shall soon receive good news of your returning -health! I think of it every day, and I wish it every day! In my -previous letter, I promised you some details of musical life here, so -far as I am acquainted with it. Unfortunately, there is very little that -is cheering to relate. Here, as everywhere else, it is principally the -committees which ought to be answerable for this; while, as these are -appointed, more or less, by the public, I cannot make the distinction -which seems so usual with the Berliners, who abuse and revile all -committees, both musical and others, and yet like to see them remain in -their old form. The whole tendency of the musicians, as well as of the -_dilettanti_, is too little directed to the practical; they play chiefly -that they may talk about it, before and afterwards, so the discussions -are better and wiser than in most other places in Germany, but the music -more defective. Unfortunately, there is very little to discuss with -regard to music and its deficiencies; the only thing to be done is to -feel, and to improve it; so I have not the least idea how it is ever to -become better. In the orchestra (excellent as some individual members of -it are), this is, alas! too perceptible. In operas and symphonies, I -have heard blunders, and false notes constantly played, which could only -proceed from the grossest carelessness. The people are Royal -functionaries, and cannot be brought to account, and if the conversation -turns on these faults afterwards, they strive to prove that there is no -such thing as time, or should be none,--what can I say? but _item_, it -goes badly. I have played my trio ten or twelve times here; on each -occasion the same mistakes were made in the time, and the same careless -blunders in the accompaniment, though they were the first artists here -who played with me. The blame of this state of things rests chiefly on -Spontini, who was for so long a period at their head, and who rather -oppressed, than sought to elevate and improve, the many excellent -musicians in this orchestra. My conviction is, that Spohr would be the -man to aid them, and to restore proper order; but just because he is so, -he will not be elected; too many talk about it, and wish to have -everything in ideal beauty; and this produces mediocrity. The -_dilettanti_ doings are even worse. Their chief organ and institution is -the Academy for Singing, and there each individual considers himself far -superior to the Director. But if they really did all know properly how -things should be, they would sing better together,--whoever -directed,--and the false notes, and errors in time, would -disappear,--but they by no means disappear. So here again, it is mostly -all talk. I lately heard Pasta in “Semiramide.” She sings now so -fearfully out of tune, especially in the middle notes, that it is quite -painful to listen to her; but, of course, the splendid remains of her -great talent, the traces of a first-class singer, are often -unmistakable. In any other city, this dreadful want of tune would have -been felt first of all, and, afterwards, the remembrance that she was a -great artist would have recurred; here every one said, beforehand, that -here was the Pasta, she was old, she could no longer sing in tune, so -this must be put out of the question. In other places, they would -perhaps have unjustly abased her; here they as unjustly praised her to -the skies, and after deliberate reflection, and entire consciousness of -the state of things, they continued to be delighted,--this is a bad kind -of delight! - -How hypochondriacal this letter is become! I ought rather to write to -you in a gayer strain, to cheer you. Next time I shall try to find a -more rose-coloured aspect; forgive the dark-brown hues of to-day.[51] -With the most heartfelt and cordial wishes for your recovery, I am -always, your loving - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO FRANZ HAUSER, - -(PRESENT DIRECTOR OF THE CONSERVATORIUM IN MUNICH.) - - -Berlin, October 12th, 1841. - -... I do not know what you have been told about Berlin and its -prospects. If, however, you allude to the project of which all the -people and all the journals are speaking, that of establishing a Musical -Conservatorium here, then I regret to be obliged to say, that I know no -more about it than every one else seems to know. It is said the desire -for it exists, and perhaps a remote prospect, but far too remote for -anything to be told about it with the least certainty at present. Years -may pass away, nothing may ever come of it (which is not at all -improbable), and also it may soon be again discussed. During the last -three months which I passed here I came to this conclusion, on seeing -the proceedings more closely. I am so kindly received on every side, -that personally I can wish for nothing better, and have only cause for -gratitude. But though it is easy for a person here to do what he -chooses, it is proportionably difficult to aid the cause; and yet that -is, after all, the most important point, and should be the very first. -If I only knew how to make this better! In the meanwhile I write music, -and when asked a question I answer it. - - - - -TO CONCERT-MEISTER FERDINAND DAVID, LEIPZIG. - - -Berlin, October 21st, 1841. - -Dear David, - -Thanks for your having at once read through ‘Antigone.’ I felt assured -beforehand that it would please you beyond measure when you did so; and -the very impression which reading it made on me, is in fact the cause of -the affair being accomplished. There was a great deal of talking about -it, but no one would begin; they wished to put it off till next autumn, -and so forth, but as the noble style of the piece fascinated me so much, -I got hold of old Tieck, and said “Now or never!” and he was amiable, -and said “Now!” and so I composed music for it to my heart’s content; we -have two rehearsals of it daily, and the choruses are executed with such -precision, that it is a real delight to listen to them. All in Berlin of -course think that we are very sly, and that I composed the choruses to -become a court favourite, or a court _musicus_, or a court fool; while -at the beginning I thought, on the contrary, that I would not mix myself -up with the affair; but the piece itself, with its extraordinary beauty -and grandeur, drove everything else out of my head, and only inspired me -with the wish to see it performed as soon as possible. The subject in -itself was glorious, and I worked at it with heartfelt pleasure. It -seems to me very remarkable that there is so much in art quite -unchangeable. The parts of all these choruses are to this day so -genuinely musical, and yet so different from each other, that no man -could wish anything finer for his composition. If it were not so -difficult here to come to any kind of judgment about a work! There are -only shameless flatterers, or equally shameless critics to be met with, -and there is nothing to be done with either, for both from the very -first deprive us of all pleasure. As yet I have had only to do with -admiration. After this performance the learned will, no doubt, come -forward and reveal to me how I should and must have composed, had I been -a Berliner.--Your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PROFESSOR DEHN, BERLIN.[52] - - -Berlin, October 28th, 1841. - -Sir, - -The kind and amiable feelings which your letter of yesterday testified -towards me, caused me great pleasure, and I beg to thank you very -sincerely and truly. Although I entirely agree with you that my choruses -to ‘Antigone’ will furnish an opportunity for a number of unfair and -malignant attacks, still I cannot meet these unpleasant probabilities by -the means which you are so good as to propose to me. I have always made -it an inviolable rule, never to write on any subject connected with -music, even in newspapers, nor either directly or indirectly to prompt -any article to be written on my own compositions; and although I am well -aware how often this must be both a temporary and sensible disadvantage, -still I cannot deviate from a resolution which I have strictly followed -out under all circumstances. I decline, therefore, accepting your -obliging offer; but I beg you will believe that my gratitude for the -friendly intentions you expressed remains the same; and in the hope of -soon finding an opportunity to repeat this assurance in person, I am, -etc.[53] - - - - -TO PROFESSOR KÖSTLIN, TÜBINGEN. - - -Berlin, December 15th, 1841. - -... When I was lately in society, I was seated next a lady at supper who -spoke the South German dialect, and seemed at home in Stuttgart, so I -thought I would ask her if she knew anything of Tübingen, and inquired -about Professor Köstlin. She said she did not know him, but one of her -acquaintances had written to her that he had been recently betrothed. -This was the first happy news. She did not know the name of the bride, -but so far she remembered, that she was from Munich, and a fine musical -genius. I had instantly a presentiment. I vowed it must be Josephine -Lang. She thought it was another name; but she would look at the letter -when she went home. Next morning I got a note. “The bride of Herr -Köstlin is Josephine Lang after all, and he has been recently in Munich, -and then in Stuttgart with her,” etc. Had it not been for this last -piece of intelligence, I would have written to you instantly, to offer -you both my congratulations, and to express my most heartfelt joy. Now I -have got your welcome letter, and the details of the piece of good news -the South German lady told me; first, then, receive my thanks for it, -and then accept my fervent prayers for a blessing on your fortunate -union, my wishes for health for you and your bride (happiness and every -other good you already have), and my cordial, most cordial sympathy in -all connected with you both, now and for the future. Whatever concerns -you, concerns me also. If I were not the most miserable correspondent in -the world, I should have written to your bride six months ago, to thank -her for the two books of songs she published. I have done so in thought -twenty times at least. It is long since I have seen any new music so -genial, or which affected me so deeply, as these charming songs; their -appearance was equally unexpected and welcome, not only to me, but to -all those whose predilections are in accordance with my own, who -participate in my love of music, and feel in a similar manner with -myself. I sent my Sister a copy at the time from Leipzig, but when it -arrived she had already bought one, without our ever having corresponded -on the subject. The “poem” in F sharp major, is, I think, best of all, -and the “Lenau Meer,” in C major, and the “Frühlingskinder” in E, and -the “Goethe’schen geliebten Bäume” in D; I also think the -“Blumauer’sche” in F major 3/8 wonderfully lovely. Nothing more charming -could be devised than the happy way in which they prattle together, one -after the other telling their tale, and all so delicate and sportive, -and a little amorous too. In so many passages in both books, I thought I -heard Josephine Lang’s voice, though it is a long time now since I have -heard her sing; but there are many inflections peculiar to her, and -which she inherits from the grace of God, and when such a turn occurred -in the music, she made a little turn with her head; and in fact the -whole form, and voice, and manner, were once more placed before my eyes -by these songs. I intended to have written all this to her, and to have -thanked her a thousand times in my name, and in that of all my friends. -Now this will come sadly in the background, for our cordial -congratulations must take place of everything else, and prevent any -other topic being alluded to. But when you tell her of these, tell her -at the same time what pleasure she caused us all. - -For Heaven’s sake, urge her to continue composing. It is really your -duty towards us all, who continually long and look for good new music. -She once sent me a collection of the music of various composers, with -some of her own, saying that among so many master-works she hoped I -would view her attempts with indulgence, etc. Oh, Gemini! how petty many -of these _chefs-d’œuvre_ appear beside her fresh music! So, as I -said, instigate her strongly to new compositions. - -If I have still a wish to form, it is that your blissful betrothal mood -may be continued in marriage; that is, may you be like me, who feel -every day of my life that I cannot be sufficiently thankful to God for -my happiness. - -Do not punish me for my laziness as a correspondent. I really cannot -contrive to write a tolerably sensible letter to-day; still, you must -write to me from time to time. If it were by music I should not -complain, for _your_ music is speech, though probably you have other -things to think of. - -And now farewell for to-day, and remember kindly your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO HIS MOTHER. - - -London, June 21st, 1842. - -Dear Mother, - -Your letter of yesterday was most charming, and gave us so much -pleasure,[54] that I must thank you for it in detail to-day; I could -scarcely do so as I wished for the previous one, containing quite a -kaleidoscope of events in Berlin, which through the glasses of your -description assumed constant novel and pleasing forms. If I could write -half as well, you should receive to-day the most charming letter, for we -are daily seeing the most beautiful and splendid objects; but I am -somewhat fatigued by the incessant bustle of this last week, and for two -days past I have been chiefly lying on the sofa reading ‘Wilhelm -Meister,’ and strolling through the fields with Klingemann in the -evening, to try to restore myself. - -So if the tone of this letter is rather languid and weary, it -accurately paints my feelings. I have really been urged to do too much. -Lately, when playing the organ in Christ Church, Newgate Street, I -almost thought, for a few moments, I must have been suffocated, so great -was the crowd and pressure round my seat at the organ; and two days -afterwards I played in Exeter Hall before three thousand people, who -shouted hurrahs and waved their handkerchiefs, and stamped with their -feet till the hall resounded with the uproar; at the moment I felt no -bad effects from this, but next morning my head was confused and -stupefied. Add to this the pretty and most charming Queen Victoria, who -looks so youthful, and is so gently courteous and gracious, who speaks -such good German and who knows all my music so well; the four books of -songs without words and those with words, and the symphony, and the -“Hymn of Praise.” Yesterday evening I was sent for by the Queen, who was -almost alone with Prince Albert, and who seated herself near the piano -and made me play to her; first seven of the “songs without words,” then -the serenade, two impromptus on “Rule Britannia,” Lützow’s “Wilde Jagd,” -and “Gaudeamus igitur.” The latter was somewhat difficult, but -remonstrance was out of the question, and as they gave the themes, of -course it was my duty to play them. Then the splendid grand gallery in -Buckingham Palace where they drank tea, and where two boars by Paul -Potter are hanging, and a good many other pictures which pleased me -well. I must tell you that my A minor symphony has had great success -with the people here, who one and all receive us with a degree of -amiability and kindness which exceeds all I have ever yet seen in the -way of hospitality, though this sometimes makes me feel my head quite -bewildered and strange, and I am obliged to collect my thoughts in order -not to lose all self-possession. - -_June 22nd._--To-day, however, I can continue my letter in a more -cheerful spirit; I have slept away my weary mood, and feel again quite -fresh and well. Yesterday evening I played my concerto in D minor, and -directed my “Hebrides” in the Philharmonic, where I was received like an -old friend, and where they played with a degree of enthusiasm which -caused me more pleasure than I can describe. The people make such a fuss -with me this time that I feel really quite abashed; I believe they -clapped their hands and stamped for at least ten minutes after the -concerto, and insisted on the “Hebrides” being repeated. The directors -are to give a dinner at Greenwich next week, and we are to sail down the -Thames _in corpore_ and to make speeches. They talk of bringing out -‘Antigone’ at Covent Garden as soon as they can procure a tolerable -translation. Lately I went to a concert in Exeter Hall where I had -nothing whatever to do, and was sauntering in quite coolly with -Klingemann,--in the middle of the first part, and an audience of about -three thousand present,--when just as I came in at the door, such a -clamour, and clapping, and shouting, and standing up ensued, that I had -no idea at first that I was concerned in it; but I discovered it was so. -On reaching my place, I found Sir Robert Peel and Lord Wharncliffe close -to me, who continued to applaud with the rest till I made my bow and -thanked them. I was immensely proud of my popularity in Peel’s presence. -When I left the concert they gave me another hurrah. - -Oh! how splendidly Mrs. Butler, at Chorley’s, lately read aloud -Shakespeare’s ‘Antony and Cleopatra;’ we have always been on the most -friendly terms since our acquaintance twelve years ago, when she was -Miss Fanny Kemble; and she gave this reading in honour of me, and quite -too beautiful it was; and Lady Morgan was there, and Winterhalter, and -Mrs. Jameson, and Duprez, who afterwards sang a French Romance of a -starving old beggar, and another of a young man losing his reason, with -the _refrain_, “Le vent qui vient à travers la montagne me rendra fou!” -“Sweet!” said the ladies; and Benedict, and Moscheles, and the -Grotes--who can enumerate them all! This evening at seven o’clock we -dine with Bunsen, and as we do not know what to do with our evening -afterwards, we shall probably drive to Charles Kemble’s about eleven -o’clock and be among his early guests; the late ones will not arrive -till after midnight. We have too such invariably bright and beautiful -weather. One day lately we saw first in the morning the Tower, then the -Katharine Docks, then the Tunnel, and ate fish at Blackwall, had -luncheon at Greenwich, and home by Peckham; we travelled on foot, in a -carriage, on a railway, in a boat, and in a steamboat. The day after -to-morrow we intend to go to Manchester for a couple of days, and next -week be on our way back to Frankfort. I have given up the musical -festival at the Hague, though they pressed me very hard to go there for -my “Hymn of Praise.” I wish to have nothing to do with music during the -next few weeks. - -I have still a vast deal to say to Fanny about the Bridgewater -Collection, where pictures and sketches by Hensel are hanging up, and -Sutherland House, and Grosvenor House, etc. etc.; and to Rebecca, about -the meeting of scientific men at Manchester, to which I was invited, but -unfortunately I could not go to greet Whewell. Jacoby and Enke were also -there; I alone was absent. - -But I must conclude. May we soon have a happy meeting, dearest Mother, -and dearest Brother and Sisters.--Your - -FELIX. - - - - -TO CARL ECKERT, PARIS. - - -Berlin, January 26th, 1842. - -Dear Eckert, - -I have been long in your debt for an answer to your kind letter; pray -forgive this. I have been living such a stirring, excited life this -year, that I am more than ever unable to carry on any correspondence. I -need not tell you the great pleasure I felt in hearing from you, and -always shall feel every time that I do so. You know how entirely you won -my regard during the years when you resided in Leipzig, and how highly I -both honour and estimate your talents and your character. It is really -difficult to say which, in the present day, should be considered most -important; without talent nothing can be done, but without character -just as little. We see instances of this day after day, in people of the -finest capacities, who once excited great expectations, and yet -accomplish nothing. May Heaven bestow on you a continuous development of -both, in the same measure that within the last few years you have made -progress; or rather, _bestow all this on yourself_, for Heaven can do no -more than endow you with the germs and capabilities for this end, with -which it has already so richly endowed you: the rest becomes the affair, -and the responsibility, of each individual. Such a preaching tone must -sound very strange to you, living in joyous Paris; but it is a part of -the world and of life, that every wild animal has its own special skin -and roar, so I continue to roar in my old tones. - -Hofrath Förster sent me yesterday your “Lieder ohne Worte,” and your -overture, so I have occupied myself with little else than with you and -your compositions, and heartily rejoice in both; in the former from the -memory of the past, and in the latter from the pleasure of the present. -Both yesterday and to-day I have looked through, and played through, -your charming “Lieder” with the greatest delight; they all please me, -and are thoroughly genial, earnest music. More, more, a thousand times -more, in this and every other style! The overture in F sharp major, too, -caused me great pleasure, and suits me almost throughout; a few passages -only seem to me rather too amplified: we must not write, however, but -speak on this subject when we meet again, although the only really -important thing I have to say with regard to your music, I have already -said in this letter,--more, more! You have reached a standard, that may -in every relation well be called a mastership, which all musicians or -friends to music must highly esteem, and beyond which nothing actually -extrinsic (whether it be called erudition or recognition, facility and -knowledge, or honour and fame) is any longer worth striving for; but -this is, in my opinion, just the time when true work really first -begins. The question is then solely what is felt and experienced within -a man’s own breast, and uttered from the depths of his heart, be it -grave or gay, bitter or sweet,--character and life are displayed here; -and in order to prevent existence being dissipated and wasted when -brilliant and happy--or depressed and destroyed when the reverse--there -is but one safeguard--to work, and to go on working. So, for your sake, -I have only _one_ wish, that you may bring to light what exists within -you, in your nature and feelings, which none save yourself can know or -possess. In your works, go deeper into your inmost being, and let them -bear a distinct stamp; let criticism and intellect rule as much as you -please in all outward questions and forms, but in all inner and original -thought, the heart alone, and genuine feeling. So work daily, hourly, -and unremittingly,--_there_ you never can attain entire mastery or -perfection; no man ever yet did, and therefore it is the highest -vocation of life. - -I was three weeks in Leipzig not long since, where I was well amused, -and both heard and assisted in much good music. One morning I went to -the Klengels; it was on the Wednesday of the fast-week, at eleven -o’clock in the forenoon; the old gentleman was sitting in his -dressing-gown at the piano. As during the whole week there had been no -rehearsal of any concert, he had made Nanné sing a little. The -conversation turned on Julius’s “Lieder.” “If we only had an alto!” said -they. I offered to sing _falsetto_; the music was brought, and good red -wine beside. We sat round the table, and sang all his songs, which -delighted me exceedingly, and some of yours also. I had a great deal to -do that morning, but I stayed on till half-past one o’clock, and could -not resolve to come away. See if you can find such mornings in Paris! -“And you in Berlin,” you will reply. - -Now, farewell; continue your regard for me, and ever believe me your -friend, - -FELIX. - - - - -TO HIS MOTHER. - - -Interlachen, August 18th, 1842. - -My dearest Mother, - -Do you still remember our staying, twenty years ago, in a pretty small -inn here, shaded by large walnut-trees (I sketched some of them), and -our lovely young landlady? When I was here ten years ago, she refused to -give me a room, I looked so shabby from my pedestrian journey; I believe -that was the only single vexation I at that time experienced, during the -whole course of my tour. Now we are living here again as substantial -people. The Jungfrau, with her silver horns, stands out against the sky, -with the same delicate, elegant, and pointed outlines, and looks as -fresh as ever. The landlady, however, is grown old, and had it not been -for her manner, I should never have recognized her to be the same -person. I have again sketched the walnut-trees, much better than I did -at that time, but far worse than they deserve; the post in Untersee -brings us letters from the same house as it did then, and many new -houses are built; and the Aar gurgles, and glides along as rapid, and -smooth, and green as ever,--_time is, time was, time is past_. I have, -in fact, nothing more to write about, except that we are all well, and -think of you daily and hourly.[55] - -Descriptions of Switzerland are impossible, and instead of a journal, -such as I formerly kept, I this time sketch furiously, and sit in front -of a mountain, and try to draw its likeness, and do not give it up till -I have quite spoiled the sketch; but I take care to have at least one -new landscape in my book every day. He who has not seen the Gemmi knows -nothing of Switzerland; but this is what people say of every new object -in this most incredibly beautiful country. With regard to this land, I -feel just as I do about clever books; when one is exchanged for another, -in every exchange a new phase presents itself, always equally fine and -equally admirable. So now, when I see this country with my wife, I have -quite a different impression from the previous times; then I wished -forthwith to climb every-crested mountain, and to run into every meadow; -this time, on the contrary, I should like to stay everywhere, and to -remain for months in one spot. I am by no means sure that some fine -spring I may not set off, bag and baggage, not returning to the north -till all the leaves are gone. Such, at least, are my daily thoughts, and -castles in the air. In a few days we are going into Oberland; I rejoice -at the thoughts of the full moon in Lauterbrunn. We then return here, -across Furka and Grimsel to the Lake of Lucerne and the Righi, and -thence away from the land of all lands, and back to Germany,--where it -is not so bad, after all. I own there are many days when the world -pleases me most exceedingly. I am writing fine novelties, dear Mother! -Forgive me, for I have nothing better to say; besides, I know that Paul -wrote to you at full length a few days ago. When we meet, I shall have a -tale to tell that will know no end. I wish I only knew whether I am to -remain in Berlin permanently, or merely for a few weeks. How gladly -would I write to you that it was to be the former; but the whole affair -has taken so many strange twists and turns of late, that I feel quite -astray and bewildered when I try to think what is to be done. On my -return it will all come right, no doubt. Do not be displeased with me, I -entreat, on account of this prolonged uncertainty; it is no fault of -mine.--Ever your - -FELIX. - - - - -TO HIS MOTHER. - - -Zurich, September 3rd, 1842. - -Dear Mother, - -I am not so hard-hearted a correspondent as to rest satisfied with only -writing to you once from Switzerland. Indeed, our Swiss expedition is -drawing nearly to a close for the present. There are few more herdsmen’s -huts to be seen; neither glaciers, nor anything of the kind; rocks, and -so forth, just as little; but we still have the greenish-blue lake, and -the clean houses, and the bright gardens, and a chain of mountains, such -as could only stand on the confines of a land like this. So my -greetings to you all once more from Switzerland! How beautiful all has -been, and most thoroughly have we enjoyed it! A gay mood, perfect -health, and clear weather, combined to impress all the marvels indelibly -on our souls. We were obliged to give up the expeditions we had planned -the last few days, owing to the rain, and mists, and unfavourable -weather; unfortunately the Righi was among the number, and the -Schaffhausen Rheinfall, neither of which is there any chance of our -seeing, for the weather continues cloudy, and the air very cold and -comfortless for a journey. But, with these two exceptions, we have seen -everything in as great beauty as we could have wished or expected; and I -am particularly delighted that, on the last fine forenoon, I -accomplished my expedition over the _Surene_ (“Durch der Surener -furchtbar Eisgebirg,” _vide_ ‘William Tell’). On the same afternoon it -began to rain in Engelberg, and next day I was obliged to tramp through -the whole of the Unterwalden under an umbrella, nor has it ever been -fair since. I sought out my former guide, and we mutually recognized -each other, to our great joy.[56] He is now the landlord of the ‘Crown’ -in Meiringen. Dearest Mother, recommend the man and his house to all -your correspondents. I am quite determined to write to London and ask -Murray to praise the ‘Crown’ in Meiringen, in his next red Guide-book to -Switzerland; he can do so with a clear conscience. Michael has a good -house, an extremely pretty wife, and five fine children, for whom I -bought a few little trifles and some toy soldiers in Untersee, and thus -we had a happy meeting after the lapse of eleven years. He brought me -the words of the song in G major he sang at that time, the melody of -which I had retained, but always plagued myself in vain about the -verses. When I told him that we wished to go to the Grimsel, he got very -red, and said, “Then I must go too--I must go.” He entrusted the public -room (which is his department) to the care of a friend, and was ready -next morning with his mountain staff and blouse, and led the horses past -some awkward places, and the ladies past the most dangerous ones, and us -too, when it was possible to cut off the distance by footpaths; and the -people in Guttann laughed at seeing him again. “It is only for a little -while,” said he; and a man who was making hay called out to him, “Oho! -Michael, so you can’t give up being a guide yet?” He confided to me, -that it did sometimes seem hard to be obliged to do so, and if he did -not think of his wife and children, who knows what might happen? We -separated on the Grimsel. This was a pleasant episode. I have sketched a -great deal, and taken much trouble, but more than a mere scrawl cannot -be accomplished here. Still, it may serve as a kind of diary, and as -such I feel an attachment to all the old leaves in my book, and to the -present ones also. - -Kücken has just been with me; he is going to Paris, having composed an -opera, which he is anxious to have performed first in Berlin; he got the -_libretto_ from a man in Vienna. The Faulhorn, Meyerbeer, Rungenhagen, -the Brünig, the Lungernsee, Donizetti, and the drivers, enlivened the -conversation by turns,--not forgetting the Conservatorium in Berlin, and -the Grimsel and Furka in the snow. But what kind of letter is this? Paul -is resolved to see Zurich, so I must conclude. I feel as if you must be -provoked at my chit-chat, all about nothing. Well, then, we are all -perfectly hale and hearty, and love you very dearly, and think of you -always and everywhere, and send you a thousand greetings, and hope for a -joyful meeting. Such is, after all, the chief substance of every letter -we long for, and so it is of this one also. _Au revoir_, dearest -Mother.--Ever your - -FELIX. - - - - -TO A. SIMROCK, BONN. - - -Frankfort, September 21st, 1842. - -Dear Herr Simrock, - -I write to you to-day on a particular subject, relying on your most -entire discretion and perfect secrecy; but I know too well from -experience, your kindly feeling towards myself, to doubt the fulfilment -of my wish, and in full confidence in your silence I shall now come to -the point. During my stay here I heard by chance that my friend and -colleague in art, Herr X----, had written to you about the publication -of some new works, but hitherto had received no answer. Now both in the -interest of art, as well as in that of my friend, I should indeed be -very glad if the answer were to prove favourable; and as I flatter -myself that you place some value on my opinion and my wish, it occurred -to me to write to you myself on the subject, and to beg of you, if you -possibly can, to make some of my friend’s works known to the German -public. My wish for the secrecy which I beg you to observe _towards -every one_ and under _all circumstances_, is owing to this: that I feel -certain Herr X---- would be _frantic_ if he had the most remote idea -that I had taken such a step on his behalf. I know that nothing would be -more intolerable to him than not to stand absolutely on his own ground, -and therefore he _never_ must know of this letter; but, on the other -hand, it is the positive duty of one artist towards another to assist as -much as possible in overcoming difficulties and annoyances, when such -efforts are noble and in a good cause, and both of these are so to the -highest degree in this case. I therefore beg you to publish some of his -compositions, and, above all, if possible, to enter into a more -permanent connection with him. I am well aware that the German -publishers have not hitherto had any very brilliant success (as it is -called) with the works he has written, and whether this may be otherwise -in future I cannot pretend to say; but that they _well deserve_ to -succeed, is a point on which I have no doubt; and on that account, and -_solely_ on that account, I now make my request. Were it not so, however -great a friend he might be of mine, I would not do this. In fact, the -only consideration which ought to have any influence, is the _intrinsic_ -value of a work,--that being the only thing which would _inevitably_ -ensure success, if there were any honesty in the world. It is too -provoking to hear the oft-told tale of clever, meritorious artists, who, -at the beginning of their career, are in such a state of anxious -solicitude that their works should be purchased and made known, and when -one of these chances to make a good hit, and gains great applause and -becomes vastly popular, still this success does not cause him -satisfaction equal to all his previous anxiety and vexation; for this -very reason I should like you to act differently, and to place more -value on true worth than on any chance result. This system, in fact, -must soon be abolished, and in such a case the only question is, how -soon? and after how many more annoyances? and this is just the point -where a publisher can be useful and valuable to an artist. When -universal popularity ensues, they are all ready enough to come forward, -but I think you are the very man to act differently, not losing sight of -the ideal, but also doing what is practical and right. Forgive the -liberty I have taken, and if possible, comply with my wish. So far as I -have heard, there is no pretension to any considerable sum for these -works, but a very strong desire that they may be generally circulated -and made known, and that the correspondence should be carried on in a -friendly artistic spirit. If you will or can enter into the affair, I -rely on your _sacred silence_ as to my interference, my name, or my -request. If I shortly hear from my friend that you have written to him -in a kind manner, and have agreed to assist him in making the public -familiar with his songs and pianoforte works, how heartily shall I then -rejoice! Perhaps you will say, what does this lazy composer, and still -more lazy correspondent, mean? But I have improved in the latter -respect, as the _figura_ proves; and with regard to the former, I mean -to set to work shortly, and to overwhelm you with music-paper (as soon -as it is well filled), and to request in my own name, what I now so -urgently and anxiously entreat in that of my friend.--Ever yours, with -esteem, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO A. SIMROCK, BONN. - - -Berlin, October 10th, 1842 - -Sir, - -If I ever was agreeably surprised by any letter, it was by yours, which -I received here yesterday. Your kind and immediate compliance with my -request, and also the very handsome present you make me for my “Songs -without Words,” render it really difficult for me to know how to thank -you, and to express the great pleasure you have conferred on me; I must -confess that I had not expected such ready courtesy, and satisfactory -compliance with my letter of solicitation. I now doubly rejoice in -having taken a step which a feeling of false shame, and that odious -worldly maxim, “Don’t interfere in the affairs of others,” which -occurred to me while writing, nearly deterred me from carrying out. Your -conduct, as displayed in your letter of yesterday, has confirmed me more -than ever in what I esteem to be good and right; so I intend to lay -aside for ever the (so-called) highly-prized worldly wisdom, and -henceforth to pursue a straightforward course according to my own first -impulse and feeling; if it fails a hundred times, still _one_ such -success is ample compensation. What artist, too, would not, at the same -time, be highly delighted by the kind manner in which you allude to my -compositions, and evince your approbation? Who would not prize and -esteem this beyond all other recognition? I ought especially to feel -thus, and by hereafter producing better works, strive to deserve the -good and friendly feeling shown to me for my present ones. I hope one -day, in some degree at least, to succeed in doing so; and if not, you -will at all events know that neither goodwill nor earnest efforts were -wanting. So I thank you for the fulfilment of my request, I thank you -for the flattering and handsome present, and, above all, I thank you for -your kindly sentiments about myself and my music, both of which are so -much indebted to you, and which will fill me with gratitude and pleasure -so long as I live.--I am, with esteem, your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO MARC-ANDRÉ SOUCHAY, LÜBECK.[57] - - -Berlin, October 15th, 1842. - -... There is so much talk about music, and yet so little really said. -For my part I believe that words do not suffice for such a purpose, and -if I found they did suffice, then I certainly would have nothing more to -do with music. People often complain that music is ambiguous, that their -ideas on the subject always seem so vague, whereas every one understands -words; with me it is exactly the reverse; not merely with regard to -entire sentences, but also as to individual words; these, too, seem to -me so ambiguous, so vague, so unintelligible when compared with genuine -music, which fills the soul with a thousand things better than words. -What the music I love expresses to me, is not thought too _indefinite_ -to be put into words, but, on the contrary, too _definite_. I therefore -consider every effort to express such thoughts commendable, but still -there is something unsatisfactory too in them all, and so it is with -yours also. This, however, is not your fault, but that of the poetry, -which does not enable you to do better. If you ask me what _my_ idea is, -I say--just the song as it stands; and if I have in my mind a definite -term or terms with regard to one or more of these songs, I will disclose -them to no one, because the words of one person assume a totally -different meaning in the mind of another person, because the music of -the song alone can awaken the same ideas and the same feelings in one -mind as in another,--a feeling which is not, however, expressed by the -same words.[58] Resignation, melancholy, the praise of God, a -hunting-song,--one person does not form the same conception from these -that another does. Resignation is to the one, what melancholy is to the -other; the third can form no lively idea of either. To any man who is by -nature a very keen sportsman, a hunting-song and the praise of God would -come pretty much to the same thing, and to such a one the sound of the -hunting-horn would really and truly be the praise of God, while we hear -nothing in it but a mere hunting-song; and if we were to discuss it ever -so often with him, we should get no further. Words have many meanings, -and yet music we could both understand correctly. Will you allow this to -serve as an answer to your question? At all events, it is the only one -I can give,--although these too are nothing, after all, but ambiguous -words! - - - - -TO WIRKLICH GEHEIMRATH HERR VON MASSOW. - - -Berlin, October 23rd 1842. - -Your Excellency, - -Permit me respectfully to ask whether you will be so good as to assist -in procuring me an audience of his Majesty, to place before him my -present position here, and my wishes with regard to it. - -Your Excellency is aware that I am not so situated as to be able to -accept the proposal of Herr Eichhorn to place myself at the head of the -whole of the Evangelical Church music here. As I already told the -Minister (and your Excellency quite agreed to this in our last -conversation), such a situation, if considered _practically_, must -either consist of a general superintendence of all the present -organists, choristers, school-masters, etc., or of the improvement and -practice of the singing choirs in one or more cathedrals. Neither of -these, however, is the kind of work which I particularly desire. -Moreover, the first of these functions is superfluous if such places are -properly filled; and the second, to be really effectually carried out, -demands more vast and comprehensive regulations, and greater pecuniary -resources than could be obtained at this moment. - -With regard to the other plans which were proposed, partly for the -reorganization of the present Institute, and partly for the -establishment of a new one, difficulties have arisen which render the -establishment of these plans void; and thus the case now occurs which -your Excellency may remember I always anticipated, much to my regret, at -the very beginning of our correspondence in December, 1840,--there is no -opportunity on my side for a practical, influential, musical efficiency -in Berlin. - -Herr Eichhorn declared that this would be altered in the course of time; -that everything was being done in order to bring about a different state -of things, and he requested me to wait with patience till the building -was completed which it was proposed to erect. - -I think, on the contrary, that it would not be responding properly on my -part to the confidence the King has placed in me, if I were not at once -to employ my energies in fulfilling what your Excellency at that time -told me, in the name of the King, were his designs; if, instead of at -least making the attempt to animate and ennoble my art in this country -(as your Excellency was pleased to say), I were to continue to work for -myself personally; if I were to wait instead of to act. The very depth -of my gratitude for such flattering confidence constrains me to say all -this candidly to his Majesty,--to state that circumstances, over which I -have no control, now render the fulfilment of his commands impossible. - -My wish is that his Majesty would permit me in the meantime to reside -and to work, and to await his commands in some other place, where I -could for the moment be useful and efficient. As soon as the building is -finished, of which Herr Eichhorn spoke, or so soon as the King required -any service from me, I should consider it a great happiness to hasten -back and to exert my best energies for such a Sovereign, whose mandates -are in themselves the highest rewards for an artist. - -I would fain have written this to the King sooner, but when I reflected -that my communication would only meet his Majesty’s eye among a vast -number of others, I thought I could express my views and feelings of -most sincere gratitude, more plainly and better, verbally, even if only -by a few words; and that your Excellency may be so obliging as to -promote my wish is my present request, and the object of this letter.--I -am, your Excellency’s most devoted - -FELIX M. B. - - - - -TO HIS MAJESTY THE KING OF PRUSSIA.[59] - - -Berlin, October, 28th, 1842 - -Your Majesty, - -In the memorable words your Majesty was pleased to address to me, you -mentioned that it was intended to add a certain number of able singers -to the existing Royal Church choirs, to form a nucleus for these -choirs, as well as for any amateurs of singing who might subsequently -wish to join them, serving as a rallying-point and example, and in this -manner gradually to elevate and to ennoble church music, and to ensure -its greater development. - -Also, in order to support the singing of the congregation by -instruments, which produce the most solemn and noble effects,--as your -Majesty may remember, during the celebration of the Jubilee in the -Nicolai Church,--it is proposed that a small number of instrumentalists -(probably selected from the members of the Royal Orchestra) should be -engaged, who are also intended to form the basis for subsequent grand -performances of oratorios, etc. - -The direction of a musical choir of this instructive nature, a genuine -Royal Orchestra, your Majesty expressed your intention to entrust to me, -but, till its formation, to grant me entire freedom of choice with -regard to my place of residence. - -The execution of this plan will fulfil to the utmost all my wishes as to -public musical efficiency; I can never cease to be grateful to your -Majesty for it, and I do not doubt that the organization of such an -institution could be effected here without any serious difficulties. - -But I would request your Majesty not to devolve this organization on me -personally, but merely to permit me to co-operate with my opinion and -advice, which I shall always be gladly prepared to give. Until however, -to use your Majesty’s own expression, the instrument is ready on which I -am hereafter to play, I wish to make use of the freedom of action so -graciously accorded me, and shortly to return to Leipzig, for the -direction of the Town Hall concerts. The orders which your Majesty was -pleased to give me, I shall there with the utmost zeal and to the best -of my abilities carry into execution; at the same time I entreat your -Majesty, as I am engaged in no public sphere of action here till the -organization of the Institute, and am till then to enjoy entire liberty, -to be allowed to give up one-half of the salary, previously granted to -me, so long as I take advantage of this entire freedom from work. - -In repeating my heartfelt thanks for all the favours which your Majesty -has so liberally bestowed on me,--I am, till death, your Majesty’s -devoted servant, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO CARL KLINGEMANN, LONDON. - - -Leipzig, November 23rd, 1842. - -We are now again settled in Leipzig, and fairly established here for -this winter and till late in the spring. The old localities where we -passed so many happy days so pleasantly are now re-arranged with all -possible comfort, and we can live here in great comfort. I could no -longer endure the state of suspense in Berlin; there was in fact nothing -certain there, but that I was to receive a certain sum of money, and -that alone should not suffice for the vocation of a musician; at least I -felt more oppressed by it from day to day, and I requested either to be -told plainly I should do _nothing_ (with which I should have been quite -contented, for then I could have worked with an easy mind at whatever I -chose), or be told plainly what I was to do. As I was again assured that -the results would certainly ensure my having employment, I wrote to Herr -von Massow begging him to procure me an audience of the King, that I -might thank him verbally, and endeavour to obtain my dismissal on such -and such grounds, requesting him to communicate the contents of this -letter to his Majesty; this he did, and appointed a day for the -audience, at the same time saying that the affair was now at an end; the -King very much displeased with me, and that it was his intention to take -leave of me in very few words. He had made me some proposals in the name -of the King to which I could not altogether agree, and with which I do -not now detain you, as they led to nothing, and could lead to nothing. -So I was quite prepared to take my leave of Berlin in very bad odour, -however painful this might be to me. I was at length obliged also to -speak to my mother on the subject, and to break to her that in the -course of eight days I must return to Leipzig; I could not have believed -that this would have affected her so terribly as it actually did. You -know how calm my mother usually is, and how seldom she allows any one to -have a glimpse of the feelings of her heart, and therefore it was doubly -and trebly painful to me to cause her such a pang of sorrow, and yet I -could not act otherwise; so next day I went to the King with Massow--the -most zealous friend I have in Berlin--and who first took a final leave -of me in his own house. The King must have been in an especial good -humour, for instead of finding him angry with me, I never saw him so -amiable and so really confidential. To my farewell speech he replied: he -could not indeed compel me to remain, but he did not hesitate to say, -that it would cause him heartfelt regret if I left him; that by doing -so, all the plans which he had formed from my presence in Berlin would -be frustrated, and that I should leave a void which he could never fill -up. As I did not admit this, he said if I would name any one capable of -carrying such and such plans into execution as well as he believed I -could do, then he would entrust them to the person I selected, but he -felt sure I should be unable to name one whom he could approve of. The -following are the plans which he detailed at full length; first of all, -to form a kind of real _capelle_, that is, a select choir of about -thirty very first-rate singers, and a small orchestra (to consist of the -_élite_ of the theatrical orchestra); their duties to consist in Church -music on Sundays and at festivals, and besides this, in performing -oratorios and so forth; that I was to direct these, and to compose -music for them, etc. etc. “Certainly,” said I, “if there were any chance -of such a thing here, if this were only accomplished;” it was the very -point at issue on which I had so much insisted. On which he replied -again, that he knew perfectly well I must have an instrument to make -music on, and that it should be _his_ care to procure such an instrument -of singers and players; but when he had procured it, he must know that I -was prepared to play on it; till then I might do as I liked, return to -Leipzig, or go to Italy,--in short, be entirely unfettered; but he must -have the certainty that he might depend on me when he _required_ me, and -this could only be acquired by my remaining in his service. Such was at -least the essential substance of the whole long conversation; we then -separated. He said I was not to give him my decision _immediately_, -because all difficulties could not be for the moment entirely obviated; -I was to take time to consider, and to send my answer to Massow, who was -present during the whole of this conversation of an hour and a quarter. -He was quite flushed with excitement when we left the room, repeating -over and over again, “Surely you can never _now_ think of going away!” -and to tell you the truth, I thought more of my dear mother than of all -the rest. In short, two days afterwards I wrote to the King, and said -that after his words to me I could no longer think of leaving his -service, but that, on the contrary, my best abilities should be at his -command so long as I lived. He had mentioned so and so (and I repeated -the substance of our conversation), that I would take advantage of the -liberty he had granted me, and remain in Leipzig _until_ I was appointed -to some _definite_ sphere of work; on which account, I begged to -relinquish one-half of my salary, so long as I was not really engaged in -active work. This proposal he accepted, and I am now here again with my -wife and child. I have been obliged definitively to decline the offers -of the King of Saxony; but in order to do so in the most respectful -manner, I went to Dresden a few days after my return here, thanked the -King once more verbally, and entreated him not the less to bestow the -twenty thousand _thalers_ (which an old Leipziger bequeathed in his will -to the King for the establishment of an Academy of Art) to found a -school for music in Leipzig, to which he graciously acceded. The -official announcement came the day before yesterday. This music school -is to be organized next winter, at least in its chief features; when it -is established, I may well say that I have been the means of procuring a -durable benefit for music here. If they begin anything solid in Berlin, -I can settle there with a clear conscience; if they allow the matter to -stand over, it is probable that I may go on with my half-salary and my -situation here for more than a year, and my duties be confined, as now, -to executing particular commands of the King,--for instance, I am to -supply him with music for the “Midsummer Night’s Dream,” the “Storm,” -and “Œdipus Coloneus.” - -Such then is the desired conclusion of this long, long transaction. -Forgive all these details, but I wished to inform you minutely of every -particular. - -A request occurs to me which I long ago intended to have made to you. In -Switzerland I saw my former guide, Michael, whom, on my previous -mountain-expeditions, I always found to be an excellent, honest, -obliging fellow, and on this occasion I met with him again, married to a -charming pretty woman; he has children, and is no longer a guide, but -established as landlord of the ‘Krone.’ During our first visit to -Meiringen this summer, we lived at the Hôtel de Reichenbach, but the -second time we were at the ‘Krone,’ and quite delighted with the -cleanliness, and neatness, and the civil behaviour of all the people in -the house. It is a most genuine Swiss village inn, taken in its best -sense. Now Michael’s greatest wish is to be named among the inns at -Meiringen, in the new edition of Murray’s ‘Switzerland,’ and I promised -to endeavour to effect this for him.[60] Is it in your power to get this -done? The first inn there is the ‘Wilde Mann,’ the second the -‘Reichenbach,’ and the third undoubtedly the ‘Krone;’ and if Murray -recommends it as such, I am convinced it will do him credit. He might -also mention that it is most beautifully situated, with a full view of -the Engelhorn, and the glacier of the Rosenlaui. Michael said that the -editor of the Handbook had been there, and very much _fêté_ by the other -landlords; his means did not admit of this, still he would give him a -good round sum of money if he would only mention him. I was indignant, -and said, “_Without money, or not at all_.” But I thought of many -musical newspapers and composers, so I did not lecture him much on the -subject, from the fear that he might one day hear something of the same -sort from one of my colleagues, and take his revenge. There is now a -general complaint, that the large town hotels have superseded the -smaller comfortable genuine Swiss inns; this is one of the latter sort. -Murray must really recommend it. Pray do what you can about this, and -tell me if you succeed. Forgive my troubling you, the secretary to an -embassy, with such things, but if you knew Michael you would like him, I -know. I would fain draw a great deal now, and gladly devote myself to -all manner of _allotria_, including composition; but I see lying before -me an enormous thick packet of proofs of my A minor symphony, and the -‘Antigone,’ which must absorb all my leisure time; and then the -frightful heap of letters! - -My dearest friend, may these lines find you in good health, and in a -happy frame of mind; may you think of me, as I shall of you, so long as -life lasts; and may you also soon be able to tell me yourself that it is -so, and again rejoice your true friends by your presence, for Cecile -writes this letter from first to last along with me, and knows all I -have said, and is, like myself, for ever and ever your friend. - -F. M. B. - - - - -TO HIS MOTHER. - - -Leipzig, November 28th, 1842. - -Dearest Mother, - -As pen and paper must again serve instead of our usual evening hour for -tea, I begin by making a suggestion, which is, whether you would like me -to write to you regularly every Saturday (perhaps only a few words, but -of this hereafter); and that one of the family, as often as you cannot -or will not write, should undertake to send me a punctual reply. In -addition to the joy of knowing beforehand the day when I am to hear of -you, it is in some degree indispensable to ensure my writing to you, for -time _must_ be found for a weekly letter; while, were this not the case, -I should be ashamed to send you only a few lines, should it happen that -I could not accomplish more. You can have no idea of the mass of -affairs--musical, practical, and social--that have accumulated on the -table in my study since my return here. The weekly concerts; the extra -ones; the money the King has at length bestowed at my request on the -Leipzigers, and for the judicious expenditure of which I only yesterday -had to furnish the prospectus; the revisal of “Antigone” and of the A -minor symphony, its score and parts; and a pile of letters. These are -the principal points, which, however, branch off into a number of -secondary ones. Besides, Raupach has already sent me the first chorus of -“Athalia.” The “Midsummer Night’s Dream” and “Œdipus” daily work more -busily in my head; I am really anxious at last to make the “Walpurgis -Nacht” into a symphony cantata, for which it was originally intended, -but did not become so from want of courage on my part, and I must also -complete my violoncello sonata. - -Old Schröder’s concert took place three days ago, in which I played, and -directed the overture to “Ruy Blas;” the old _déclamatrice_ delighted us -all exceedingly by the great power and spirit of her voice, and every -gesture. In particular passages I thought she laid rather too much -stress on the expression of the words, and gave too much preference to -details over the voice; but as a whole her genius was highly remarkable. -In her youth, had she the reputation of laying more stress on effect -than was admissible? and what were her best parts in those days? Her -daughter (looking younger, and wilder, and more of a madcap than ever) -sang also, and sings this evening in Döhler’s concert; she will also -probably sing in our subscription concert next Thursday; the days which -she passes in any town, are not of the most quiet description for her -acquaintances. We had besides, Tichatschek, Wagner, Döhler, -Mühlenfels,--so there was a continual hurry and excitement last week. - -Make them read aloud to you at the tea-table the passage from the last -of Lessing’s ‘Antiquarian Letters,’ “Wenn ich Kunstrichter wäre,” etc. -etc.,--and tell me whether any of you dispute the point, or whether you -all agree with me, that it is the most exhaustive address which can be -made to a critic, indeed to every critic. At this moment, when so many -artists, old and young, good and bad, come here, this passage daily -recurs to me.--Your - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, December 5th, 1842. - -My dear Brother, - -As we agreed (and indeed very properly) that I was to take no step with -regard to my affairs in Berlin without informing you immediately of -every detail, I write you these lines to-day, although I am over head -and ears in business. I received yesterday from the King the following -communication:-- - -“By the enclosed written document you will perceive the tenor of the -communication I have this day made on the subject of an Institute for -the Improvement of Church Singing; it is addressed to the Special -Commissioners, W. G. R. von Massow and W. G. R. General Intendant of -Court Music, Graf von Redern. I have also, in compliance with your own -wish, informed the Minister of State, Eichhorn, and the Finance -Minister, Von Bodelschwingh, that, until you enter on your functions, -you decline receiving more than fifteen hundred _thalers_, instead of -three thousand. I nominate you General Music Director, and entrust to -you the superintendence and direction of church and sacred music as your -appointed sphere of action.--Charlottenburg, November 22nd, 1842.” - -The enclosure consists of a Cabinet order, which is drawn up in a most -clear and judicious style, entirely in the spirit of our interview, and -thoroughly in accordance with my wishes, manifestly with the -co-operation of Herr von Massow, and with the true and honest purpose of -carrying out the affair. That no material obstacles exist, is again -evident from this cabinet order, but whether I may consider the -accomplishment of the project as certain, I cannot say with any security -till I actually see it. The affair of the Conservatorium was still -further advanced, and seemed even more decided. On the other hand, I -adhere to my former views, and do what I can to promote the project, and -to display my goodwill towards it. - -Herr von Massow writes to me (only yesterday) that I had better soon -come again to Berlin, to converse with him and Graf von Redern, and that -only one or two days would be required; I shall, however, answer him -that I mean to go there on the 17th, and have arranged to remain till -the 23rd. A longer stay is unfortunately impossible; still you and I can -have some political gossip together, and be inseparable during my stay. - -The King having on this occasion conferred on me a new title,[61] almost -embarrasses me; I am unwilling to be of the number of those in the -present day, who possess a greater number of decorations than they have -written good compositions, and yet it seems rather like it; at all -events, I really have no idea what return I can possibly make for all -this, still, as I have not in any way sought it, I may be excused. To -refuse such a thing is out of the question, and there is no one who does -not rejoice in being over-estimated, because on some other occasion the -balance is sure to be made even by depreciation.--Ever your - -FELIX. - - - - -TO HIS MOTHER. - - -Leipzig, December 11th, 1842. - -Dearest Mother, - -On the 21st or 22nd, we give a concert here for the King, who has sworn -death and destruction to all the hares in the country round. In this -concert we mean to sing for his benefit (how touching!) the partridge -and hare hunt out of the “Seasons.” My “Walpurgis Nacht” is to appear -once more in the second part, in a somewhat different garb indeed from -the former one, which was somewhat too richly endowed with trombones, -and rather poor in the vocal parts; but to effect this, I have been -obliged to re-write the whole score from A to Z, and to add two new -arias, not to mention the rest of the clipping and cutting. If I don’t -like it now, I solemnly vow to give it up for the rest of my life. I -think of bringing with me to Berlin a movement from the “Midsummer -Night’s Dream,” and one from “Œdipus.” The music school here, please -God! will make a beginning next February; Hauptmann, David, Schumann and -his wife, Becker, Pohlenz, and I, are to be the teachers at first. It -commences with ten sinecures; the rest who may wish to have instruction, -must pay seventy-five _thalers_ a year. Now you know all that I know, -the rest can only be taught by experience and trial. - -I wished for you recently at a subscription concert. I think I never -played the Beethoven G major concerto so well,--my old _cheval de -bataille_; the first cadence especially, and a new return to the solo, -pleased me exceedingly, and apparently the audience still more. - -What you write to me about the _répertoire_ of your Berlin concerts, -does not inspire me with any wish to hear more about them. The -arrangement of the “Aufforderung zum Tanz,” and the compositions of -English ambassadors,--these are valuable things! If experiments are to -be thus made and listened to, it would be advisable to be rather more -liberal towards the works of our Fatherland. You will again say that I -am cynical; but many of my ideas are so intimately connected with my -life and my views on art, that you must be indulgent with regard to -them. - -The monument to old Sebastian Bach is now very handsome.[62] Bendemann -was here the day before yesterday, to inspect it once more. All the -inner scaffolding had been removed, so the pillars and smaller columns, -and scrolls, and above all the bas-reliefs, and the grand, antiquated -old features sparkled clearly in the sun, and caused me great delight. -The whole structure, with its numerous elegant decorations, is really -typical of the old fellow. It is now covered up again, and will remain -so till March, when it is to be inaugurated on his birthday, by one of -his motetts. Cedars are to be planted round the monument, and a Gothic -seat placed in front of it. We are anxious, however, not to make too -much fuss on the subject, and to avoid the present pompous style of -phraseology, and the worship of art and artists, which is so much the -fashion. - -Here, the outward aspect of things is now as much too flourishing, as it -formerly was too miserable for artists, which would be very pleasant for -us, but it does harm to the cause. Art is becoming spoiled and sluggish, -so we should rather be grateful to our present enemies than be angry -with them. I also consider it too much good fortune that the King of -Prussia has nominated me General Music Director. This is another new -title and new honour, whereas I really do not know how to do enough to -deserve the old ones. - -This is a hallowed day for us all, with its delightful and memorable -recollections;[63] think of me too on this anniversary, as I do of you -and of him, so long as life endures.--Your - -FELIX. - - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Leipzig, December 16th, 1842. - -My dear Schubring, - -I now send you, according to your permission, the text of “Elijah,” so -far as it goes. I do beg of you to give me your best assistance, and -return it soon with plenty of notes on the margin (I mean Scriptural -passages, etc.). I also enclose your former letters on the subject, as -you wished, and have torn them out of the book in which they were. They -must, however, be replaced, so do not forget to send them back to me. In -the very first of these letters (at the bottom of the first page), you -properly allude to the chief difficulty of the text, and the very point -in which it is still the most deficient--in universally valid and -impressive thoughts and words; for of course it is not my intention to -compose what you call “a Biblical Walpurgis Night.” I have endeavoured -to obviate this deficiency by the passages written in Roman letters, -but there is still something wanting, even to complete these, and to -obtain suitable comprehensive words for the subject. This, then, is the -first point to which I wish to direct your attention, and where your -assistance is very necessary. Secondly, in the “dramatic” arrangement. I -cannot endure the half operatic style of most of the oratorio words, -(where recourse is had to common figures, as, for example, an Israelite, -a maiden, Hannah, Micaiah, and others, and where, instead of saying -“this and that occurred,” they are made to say, “Alas! I see this and -that occurring.”) I consider this very weak, and will not follow such a -precedent. However, the everlasting “he spake” etc., is also not right. -Both of these are avoided in the text; still this is, and ever will be, -one of its weaker aspects. - -Reflect, also, whether it is justifiable that no positively dramatic -figure except that of Elijah appears. I think it is. He ought, however, -at the close, at his ascension to heaven, to have something to say (or -to sing). Can you find appropriate words for this purpose? The second -part, moreover, especially towards the end, is still in a very -unfinished condition. I have not as yet got a final chorus; what do you -advise it to be? Pray study the whole carefully, and write on the margin -a great many beautiful arias, reflections, pithy sentences, choruses, -and all sorts of things, and let me have them as soon as possible. - -I also send the ‘Méthode des Méthodes.’ While turning over its leaves, I -could not help thinking that you will here and there find much that will -be useful. If that be the case, I beg you will keep it as long as you -and your young pianoforte player may require it. I don’t use it at all. -If it does not please you, I can send you instead, a sight of -Zimmermann’s ‘Pianoforte School,’ which is composed pretty much on the -same principle, and has only different examples, etc. - -Speaking is a very different thing from writing. The few minutes I -lately passed with you and yours, were more enlivening and cheering than -ever so many letters.--Ever your - -FELIX M. B. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, December 22nd, 1842.[64] - -My dear Brother, - -I wrote to you the day after our arrival here that we were all well, and -living in our sorrow as we best could, dwelling on the happiness we once -possessed. My letter was addressed to Fanny, but written to you all; -though it seems you had not heard of it, and even this trifle shows, -what will day by day be more deeply and painfully felt by us,--that the -point of union is now gone, where even as children we could always -meet; and though we were no longer so in years, we felt that we were -still so in feeling. When I wrote to my Mother, I knew that I wrote to -you all, and you knew it too; we are children no longer, but we have -enjoyed what it really is to be so. Now, this is gone for ever! At such -a time, with regard to outward things, we are as if in a dark room, -groping to find the way, hour after hour. Tell me if we cannot arrange -that I should write to one of you by turns once every week, and get an -answer from you, so that we may at least hear of each other every three -weeks, independent of more frequent letters; or say whether any better -arrangement occurs to you. I thank you a thousand times for your kind -question about the house. I had thought of asking you for it, and now -you offer it to me. But before we finally settle this, I should like you -to bring the subject cautiously on the _tapis_, in the presence of our -sisters and brother-in-law. If you perceive that any unpleasant feeling -is awakened in their minds by such a proposal, when for the first time, -in Berlin, I am not to live under the same roof with them, and if they -give any indication of such a feeling, even by a single word or remark, -(you will quickly observe this, and I rely entirely on you,) then we -must give it up. In any other event, I shall thankfully accept your -kindness. My next visit to Berlin will be a severe trial to me; indeed, -all I say and do is a trial to me,--anything, in short, that is not -mere patient endurance. I have, however, begun to work again, and that -is the only thing which occupies me a little. Happily, I have some -half-mechanical work to do,--transcribing, instrumentation, and similar -things. This can be accomplished by a kind of almost animal instinct, -which we can follow, and which does us more good than if we had it not. -But yesterday I was obliged to direct. That was terrible. They told me -that the first time would be terrible, but sooner or later it must be -done. I thought so too, but I would fain have waited for a few weeks. -The first thing was a song of Rochlitz’s; but when in the rehearsal the -alto sang, _piano_, “Wie der Hirsch schreit,”[65] I was so overcome, -that I was obliged afterwards to go out of the room, to give free vent -to my tears. - -To-day, Heaven be praised, I am not required to see or speak to any one, -and my cough is better. Thus time glides on; but what we have once -possessed is not less precious, and what we have now lost not less -painful with time. Farewell, dearest Brother. Continue to love me.--Your - -FELIX. - - - - -TO PROFESSOR KÖSTLIN, TÜBINGEN. - - -Leipzig, January 12th, 1843. - -Dear Herr Köstlin, or rather, dear Herr Godfather, - -You have caused me much joy by your kind letter of yesterday, and by the -happy intelligence it contained, and above all, by your wish that I -should be godfather! Indeed, you may well believe that I gladly accede -to the request, and after reading your letter, it was some moments -before I could realize, that I could not possibly be present at the -baptism. In earlier days, no reasoning would have been of any avail; I -would have taken post horses and arrived in your house for the occasion. -This I cannot now do, but if there be such a thing as to be present in -spirit, then I shall indeed be so. The remembrance of me by such -well-beloved friends, and this proof of your regard, which causes a -still more close and enduring tie between us, cannot fail to cause true -joy and exhilaration of heart; and believe me, I feel this joy, and -thank you and your wife for it. - -That I am to be godfather is then settled; but there are a thousand -things I still wish to know, and if, when the christening is over, you -do not write me all the details which you omit in this letter, you must -expect a good scolding. You forget that I have myself three children, so -I am doubly interested in such things. You do not even mention the name -the boy is to have, and whether he is fair or dark, or has black or blue -eyes. My wife is as desirous as I am to know all this, and we hope that -after the christening you will write to us every particular. You were -rather displeased with me for being so bad a correspondent. I earnestly -entreat of you never to be displeased with me on that account; I cannot -remedy this; it is a fault which, in spite of the best resolutions on my -part, I constantly fall into, and which I shall never be cured of so -long as I live. There is so much that stands in my way; first, a really -instinctive dislike to pen and paper, except where music is concerned; -then the various scattered branches of a perfect maze of professional -and other avocations, which I am obliged to undertake partly for myself -and partly for others, so that I really sometimes can only carry on life -like a person in a crowd pushing his way, and shoving along with both -his elbows, using his feet too, as well as his fists and teeth, etc. -This is, in fact, my mood many a week; I extort the time for writing -music, otherwise I could not go on from day to day, but I cannot find -leisure to write letters. - -We have had recently a bitter heavy loss to bewail,--that of my dear -Mother. I intended to have written in a gay mood all through this -letter, and not by a single word to allude to anything, that by its -melancholy nature might disturb your happiness, but I feel that I must -write this to you, otherwise all that I say would appear mere hypocrisy. -You must therefore take part in my sorrow, for I could not conceal from -you the event that during the last few weeks, has so bowed us down from -grief, and which it will be long before we can recover from. Yet such a -letter as yours is welcome at all times, and in all sorrow, and just as -I know how you will feel towards me on hearing this, so you know how -cordially I sympathize with your joy; this may well be called sincere -attachment! Give your wife a thousand greetings and congratulations from -me. Tell me if she has composed new songs or anything else; what I -should like best would be to receive one from her in a letter; they -always delight me so much, when I hear and play them.--Ever your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO FANNY HENSEL, BERLIN. - - -Leipzig, January 13th, 1843. - -... We yesterday tried over a new symphony by a Dane of the name of -Gade, and we are to perform it in the course of the ensuing month; it -has given me more pleasure than any work I have seen for a long time. He -has great and superior talents, and I wish you could hear this most -original, most earnest, and sweet-sounding Danish symphony. I am writing -him a few lines to-day, though I know nothing more of him than that he -lives in Copenhagen, and is twenty-six years of age, but I must thank -him for the delight he has caused me; for there can scarcely be a -greater than to hear fine music; admiration increasing at every bar, and -a feeling of congeniality; would that it came less seldom! - - - - -TO A. W. GADE, PROFESSOR OF MUSIC, COPENHAGEN. - - -Leipzig, January 13th, 1842. - -Sir, - -We yesterday rehearsed for the first time your symphony in C minor, and -though personally a stranger, yet I cannot resist the wish to address -you, in order to say what excessive pleasure you have caused me by your -admirable work, and how truly grateful I am for the great enjoyment you -have conferred on me. It is long since any work has made a more lively -and favourable impression on me, and as my surprise increased at every -bar, and yet every moment I felt more at home, I to-day conceive it to -be absolutely necessary to thank you for all this pleasure, and to say -how highly I esteem your splendid talents, and how eager this symphony -(which is the only thing I know of yours) makes me to become acquainted -with your earlier and future compositions; but as I hear that you are -still so young, it is the thoughts of those to come in which I -particularly rejoice, and your present fine work, causes me to -anticipate these with the brightest hopes. I once more thank you for it -and the enjoyment I yesterday had. - -We are to have some more rehearsals of the symphony, and shall probably -perform it in the course of three or four weeks. The parts were so full -of mistakes, that we were obliged to revise them all, and to have many -of them transcribed afresh; next time it will not be played like a new -piece, but as one familiar and dear to the whole orchestra. This was -indeed the case yesterday, and there was only one voice on the subject -among us _musicians_, but it must be played so that _every one_ may hear -it properly. Herr Raymond Härtel told me, there was an idea of your -coming here yourself in the course of the winter. I hope this may be the -case, as I could better and more plainly express my high estimation and -my gratitude to you verbally, than by mere empty written words. But -whether we become acquainted or not, I beg you will always look on me as -one who will never cease to regard your works with love and sympathy, -and who will ever feel the greatest and most cordial delight in meeting -with such an artist as yourself, and such a work of art as your C minor -symphony.--Your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO CARL KLINGEMANN, LONDON. - - -Leipzig, January 13th, 1843. - -I cannot as yet at all reconcile myself to distraction of thought and -every-day life, as it is called, or to life with men who in fact care -very little about you, and to whom what we can never forget or recover -from, is only a mere _piece of news_. I now feel however more vividly -than ever what a heavenly calling Art is; and for this also I have to -thank my parents; just when all else which ought to interest the mind -appears so repugnant, and empty, and insipid, the smallest real service -to Art lays hold of your inmost thoughts, leading you so far away from -town, and country, and from earth itself, that it is indeed a blessing -sent by God. A few days previous to the 11th, I had undertaken to -transcribe my “Walpurgis Nacht,” which I had long intended to do, and -caused the voice parts of the whole of the voluminous score, to be -written out and copied afresh. Then I was summoned to Berlin, and after -an interval of some weeks, I have now begun to write the instrumental -parts in my little study, which has a pretty view of fields, and -meadows, and a village. I sometimes could not leave the table for hours, -I was so fascinated by such pleasant intercourse with the old familiar -oboes and tenor violins, which live so much longer than we do, and are -such faithful friends. I was too sorrowful, and the wound too recent, to -attempt new compositions; but this mere mechanical pursuit and -employment, was my consolation the whole time that I was alone, when I -had not my wife and children with their beloved faces, who make me -forget even music, and cause me daily to think how grateful I ought to -be to God, for all the benefits he bestows on me. - -You have not quite understood my previous letter. You say “I _could not -act otherwise_ in my official position.” It was not _that_, it was my -Mother I alluded to. All the plans and projects have since then been -dragging on slowly; I have my half-salary, and begun the music for the -“Midsummer Night’s Dream,” “Œdipus” and others for the King. My -private opinion is still, that he is resolved to allow things to rest as -they are; in the meantime, I have established the Conservatorium here, -the official announcement of which you will read in the newspapers, and -it gives me a great deal to do. - - - - -TO MADAME EMMA PREUSSER. - - -Leipzig, February 4th, 1843. - -Dear Lady, - -I send “Siebenkäs,” according to your desire. May it cause you half the -pleasure it caused me when I first read it, and very frequently since. I -believe that the period when we first learn to love, and to know such a -glorious work, is among the happiest hours of our lives. As you have -read very little of Jean Paul, were I in your place, I would not concern -myself much about the prologues, but at first entirely discard the -“Blumenstücke,” and begin at once at page 26, and follow the story of -“Siebenkäs” to its close. When you have read this, and perhaps also the -“Flegel Jahre,” and some more of his wonderful works, then no doubt you -will like and prize all he has written,--even the more laboured, the -less happy, or the obsolete,--and then you will no longer wish to miss -the “Blumenstücke,” the prologues, and the “Traum im Traum,” etc. etc. - -As soon as you wish for anything new, you will always find me at the -service of you and yours.--Your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO A. W. GADE, PROFESSOR OF MUSIC, COPENHAGEN. - - -Leipzig, March 3rd, 1843. - -Sir, - -Your C minor symphony was performed for the first time yesterday at our -eighteenth subscription concert here, to the lively and unalloyed -delight of the whole public, who broke out into the loudest applause at -the close of each of the four movements. There was great excitement -among the audience after the scherzo, and the shouting and clapping of -hands seemed interminable; after the adagio the very same; after the -last, and after the first,--in short, after all! To see the musicians so -unanimous, the public so enchanted, and the performance so successful, -was to me a source of delight as great as if I had written the work -myself, or indeed I may say greater,--for in my own compositions, the -faults and the less successful portions always seem to me most -prominent, whereas in your work, I felt nothing but pure delight in all -its admirable beauties. By the performance of yesterday evening you have -gained the whole of the Leipzig public, who truly love music, as -permanent friends; none here will ever henceforth speak of you or of -your works but with the most heartfelt esteem, and receive with open -arms all your future compositions, which will be assiduously studied, -and joyfully hailed, by all friends to music in this town. - -“Whoever wrote the last half of this scherzo is an admirable genius, and -we have a right to expect the most grand and glorious works from him.” -Such was the universal opinion yesterday evening in our orchestra and in -the whole hall, and we are not fickle here. Thus you have acquired a -large number of friends for life by your work; fulfil then our wishes -and hopes by writing many, many works in the same style, and of the same -beauty, and thus imparting new life to our beloved art; and to effect -this, Heaven has bestowed on you all that He can bestow. - -Besides the rehearsal which I formerly wrote to you about, we recently -had two others, and with the exception of some trifling unimportant -mistakes, the symphony was played with a degree of spirit and enthusiasm -which at once showed how highly enchanted the musicians were with it. I -hear that it is to be published by Kistner, so permit me to ask, whether -the heading of the first introduction, 6/4 time, afterwards repeated, -may not give rise to misapprehension? If I am not mistaken it is marked -_moderato sostenuto_. Instead of this _sostenuto_, ought it not rather -to be printed _con moto_, or _con molto di moto_? That heading would, it -seems to me, lead to the right _tempo_, if it were 6/8 time instead of -6/4; but in 6/4 time, it is so very customary to count the separate -crotchets slowly and deliberately, that I think the movement would be -taken too slow, which I found to be the case at the first rehearsal, -until I no longer paid any attention to the notes or the heading, but -adhered to the sense alone. As many musicians cling so closely to such -headings, I was resolved at all events to mention to you my doubts on -this subject. - -Allow me to thank you once more for your obliging letter, and the -friendly intention which you inform me of in it;[66] but I thank you -still more for the pleasure which you have caused me by the work itself; -and pray believe that no one will follow your future course with warmer -sympathy, or anticipate your future works with more anxiety and hope -than your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO I. MOSCHELES, LONDON. - - -Leipzig, April 30th, 1843. - -... Our Music Academy here has made a famous beginning; fresh notices -of students arrive almost daily, and the number of teachers, as well as -of lessons, have been necessarily very much increased. - -Two serious maladies, however, are apparent, which I mean vigorously to -resist with might and main so long as I am here: the Direction is -disposed to increase and generalize,--that is, to build houses, to hire -localities of several stories,--whereas, I maintain that for the first -ten years, the two rooms we have, in which simultaneous instruction can -be given, are sufficient. Then all the scholars wish to compose and to -theorize, while it is my belief that practical work, thorough steady -practising, and strict time, a solid knowledge of all solid works, etc., -etc., are the chief things which can and must be taught. From these, all -other knowledge follows as a thing of course, and anything further is -not the affair of learning, but the gift of God. I need not however, I -am sure, say that notwithstanding this, I am far from wishing to render -Art a mere handicraft. - - - - -TO M. SIMROCK, BONN. - - -Leipzig, June 12th, 1843. - -Sir, - -Herr Herrmann, some time since, inquired of you once, in my name, about -the printed score of the “Zauberflöte;” but I now apply to yourself to -know whether any copy of it still exists in the original German, or if -any ever did exist? And if neither be the case, I should like to know -whether you are disposed to allow the original correct text to be -substituted in your plates of this opera, and some proofs to be taken? -It appears to me almost a positive duty, that such a work should descend -to posterity in its unvitiated form; _we_ indeed all know perfectly -well, for instance, the aria beginning, with the words “Dies Bildniss -ist bezaubernd schön,” but if in the course of a few years the younger -musicians always see it printed thus, “So reizend hold, so zaub’risch -schön,” they will acquire a false idea of Mozart’s thoughts; and I go so -far as to assert, that even the most undeniably bad passages in such a -text deserve to be retained, as Mozart composed music for them, and they -have thus become household words all through Germany. If improvements -are to be proposed, it is all very well, but in that event they ought to -stand _side by side_ with the original words; in no case must they be -entirely banished, otherwise fidelity towards the great deceased master -is not properly observed. I beg you will say a few words on this point -when you write to Herr Herrmann; and if you resolve to alter your -plates, then I shall be the first, but certainly not the last, of your -customers to thank you for it.--Your obedient - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO G. OTTEN, HAMBURG. - - -Leipzig, July 7th, 1843. - -Sir, - -My best thanks for your obliging letter, which contains much that is -really far too kind and flattering about myself and my music. Gladly, in -compliance with your friendly invitation, would I at some future time -come to express my thanks to you personally, and to play to you as you -wish me to do. Since we met in Dessau I have learnt a good deal more, -and have made progress. But you must not compare my playing with my -music; I feel quite embarrassed by such an idea, and I am certainly not -the man to prevent people worshipping the golden calf, as it is called -in the fashion of the day. Moreover, I believe that this mode will soon -pass away, even without opposition. To be sure, a new one is sure to -start up; on this account therefore it seems to me best to pursue one’s -own path steadily, and especially to guard against an evil custom of the -day, which is not included in those you name, but which however does -infinite harm,--squandering and frittering away talents for the sake of -outward show. This is a reproach which I might make to most of our -present artists, and to myself also more than I could wish; I have no -great inclination therefore to extend my travels, but rather to restrict -them far more, in order to strive with greater earnestness for my own -improvement instead of the good opinion of others. - -I conclude by thanking you for your friendly letter, and pray remember -kindly your obedient - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, July 21st, 1843. - -Dear Brother, - -I had almost hoped to be able to answer your letter in person, for I was -very nearly taking a journey to Berlin again. Herr von Massow has sent -me a communication connected with that tedious everlasting affair, which -irritated me so much that it almost made me ill, and I do not feel right -yet. In my first feeling of anger, I wished to go to Berlin to speak to -you and break off the whole affair; but I prefer writing, and so I am -now writing to you. Instead of receiving the assent to the proposals on -which we had agreed in the interview of the 10th,[67] Herr von Massow -sends me a commission to arrange for orchestra and chorus, without -delay, the chorale, “Herr Gott, Dich loben wir,” the longest chorale and -the most tiresome work which I ever attempted; and the day after I had -finished it and sent it off, I receive an official document which I -must sign before the assent of the King can be solicited; when I had -signed it, the others present at that conference would also subscribe -their names. In this deed all the stipulations are correctly stated, but -six or eight additional clauses are written on the margin, not one -syllable of which had ever been named during the conference, -invalidating the whole intention of the above stipulations, and placing -myself and the Institute in the most entire subservience to Herr von -Küstner,--and in short, showing in the clearest light all the -difficulties to which I formerly alluded, and the existence of which -Herr von Massow denied. Among other things, it is said, the appointment -of the orchestra for all church music is to be devolved on the -_theatrical_ music direction; before every concert there must be an -application made to the General _Intendancy_, whether the day, which -according to our agreement was to be settled once for all at the -beginning of the winter, is to continue the same or be altered, etc.; -all things of which _not one syllable_ had been alluded to in the -conference. As I told you, I fretted myself till I was quite ill about -it. Remembering your words, I thought it the most judicious plan to -write direct to the King, and break off the affair. After two days’ -consideration, I did not think I was justified in doing so; I therefore -wrote to Herr von Massow, why and wherefore I could not give my -signature, requesting him to inform me whether the King intended to -carry out our former agreement. If he did not feel disposed to do so, -or if he, Herr von Massow, considered it necessary to insert new clauses -in the agreement, I should then consider the affair impracticable, and -must act accordingly. In the other view of the case, he knew that I was -prepared to come; I was also to say how far I had got with “Œdipus.” -I answered that in accordance with Tieck’s wish, I had arranged the -“Midsummer Night’s Dream” with music, to be performed in the new palace; -that I had also, by special commission from the King, written -choruses,[68] and that I had not resumed the choruses of “Œdipus” -since the previous autumn, because another Greek piece had been -appointed to be performed. I said all this in a friendly manner, but I -do assure you that the affair cost me four most angry, disturbed, and -irksome days. If I could only have spoken to you for a single hour! I -should have been glad to know whether you approved of my course, that is -of my letter, or whether you would have preferred a short letter -resigning the appointment. It is really too provoking that in all and -everything the same spirit prevails; in this case too, all might be -smoothed over and set to rights by a few words, and every moment I -expect to hear them spoken, and then there would be a possibility of -something good and new; but they are not spoken, and they are replaced -by a thousand annoyances, and my head at last is so bewildered that I -think I become almost as perverted and unnatural, as the whole affair -is at last likely to turn out. Forgive me for causing you to have your -share of annoyance, but now I have told you all--and enough. I have not -been able to work during these days. To make up for this, I have done -the “Jungfrau” for you in Indian ink; the mountain I think is excellent, -but I have again utterly destroyed the pines in the foreground. I mean -now, too, to resume your sonata.--Your - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, July 26th, 1843. - -Dearest Brother, - -I have just received your kind letter, and indeed at the very moment -when I was about to write to you and beg you to give me quarters. Next -Tuesday, the 1st of August, I am obliged to return to Berlin to rehearse -and perform the “Tausendjährige Reich,” and to hear from the King his -views with regard to the composition of the Psalms. He yesterday -summoned me for this purpose, and of course I must go, and of course I -must live with you; but is it also of course that my visit is convenient -to you? This time I shall remain at least eight days; on the sixth is -the celebration of the above-mentioned “Reich.” Give me a line in -answer. - -I have a reply to my letter from Von Massow, who writes me the King’s -invitation; he says we are sure to agree, and that some matters of form -are the only things in question; that I shall spare myself the annoyance -and vexation which such a tiresome correspondence must entail, and that -as I am coming at all events for the “Tausendjährige Reich,” I can also -reply personally to the _zehntausendjährige_ affair. Herr von Massow, in -fact, says pretty plainly, “Asking and bidding make the bargain;” that -he wished to see whether I would sign; and this not being the case, the -others would no doubt give way, etc. etc. All this is very confusing, -and I do not at all like it. To be sure, it is true that his head must -also be in a maze, and he appears to take all imaginable trouble about -the affair. I mean to bring you the whole of the everlasting papers for -your inspection; we can read them together when we meet. I hope, on this -occasion, not merely to have a Court dinner with the King, but a -satisfactory discussion on business; probably the easiest mode of -bringing about a result. I wish, if possible, to defer this till after -the celebration of the _tausendjährig_ festival; the chorale, that I -wrote for it, is, I believe, just what the King wishes, at all events it -furnishes an opportunity for a complete understanding. - -My anger, which was indeed greater on this occasion than for a long time -past, I shook off in a defile on the way to Naumburg, close to Rippach, -where you drive down to Meissenfels; and a couple of good talks and -walks with Mühlenfels, fairly banished every trace of it. Kösen was a -pretty sight; we met Mlle. F---- and Herr C---- under the hazel bushes -and lovely lime-trees, and from every shrub, instead of glow-worms -glittered the order of the red eagle, of different classes; but it was -really beautiful. And now I am writing music once more instead of -painting fir-trees; therefore I cannot positively promise to finish the -“Jungfrau” before eight days. I have washed out the forest recently, for -the second time. It is a year the day after to-morrow since we set off -to Switzerland.--Your - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, August 26th, 1843. - -Dear Brother, - -I yesterday received a letter from Herr von Massow containing the -intelligence that the King had fully sanctioned the affair of the -Wirklich Geheimrath; I wished to write this to you instantly.[69] To-day -I got a second letter, with the information that the King desires to -have three representations in the New Palace in the second half of -September, namely, 1, “Antigone;” 2, “The Midsummer Night’s Dream;” 3, -“Athalia” (“Medea” is to be given between Nos. 1 and 2, and all the four -within fourteen days), and I am invited to Berlin for the purpose. Now I -would rather not write, for I have a frightful quantity of things to do -before then, as not one of the scores is yet fit for the transcriber, -and the overture to “Athalia” still wanting, as well as the -instrumentation of the whole, etc. etc. I have written nevertheless that -I would come, and the music should be finished.--Ever your - -FELIX. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, September 16th, 1843. - -Dear Brother, - -Six days ago, Herr von Küstner (after a silence of ten days, in spite of -all my letters and messages) wrote to me, that the whole project of the -representations in the New Palace was postponed till October. So of -course I receive from him a letter to-day, saying that “on Tuesday, the -19th, ‘Antigone’ is to be given.” Luckily I smelt a rat, and shall set -off to Berlin by the first train the day after to-morrow. - -I defer all else till we meet. You gave me permission to occupy the only -hotel in Berlin that I like, so I mean to go to you. _Au revoir._--Your - -FELIX. - - - - -TO THE HOCH EDELRATH OF LEIPZIG. - -(THE CORPORATION.) - - -Leipzig, October 3rd, 1843. - -To the Corporation of the City of Leipzig, I am indebted for the -privilege of considering myself as in every sense belonging to that -city. I therefore take the liberty to address myself to the Corporation -on a subject which, though it does not personally concern me, is closely -connected with the interests of Art in this place, and with the city -itself. I hope on this account for their indulgence, and esteem it my -plain, bounden duty as a citizen, not to be idly silent on such an -occasion, but to express my dutiful wish, and request, in confidence to -the corporation. - -The town orchestra here has communicated to me a memorial, in which they -beg that some alterations may be made in the terms of their contract -with the lessee of the theatre. Their chief object is an increase of -their salaries, which have for many years remained the same, and also an -improvement in the deputy regulations; and for the attainment of this -purpose the intervention of the Corporation is requested. - -The petition has been rejected in its most essential points; for, -instead of the increase of salary demanded, the reply is that the lessee -of the theatre means to expend three hundred thalers more yearly on the -orchestra (which three hundred thalers must be divided among thirty-one -persons), and that “if he is satisfied with the performances of the -orchestra, and if his receipts admit of it, he may possibly be disposed -to grant a donation to the orchestra.” - -I can only attribute such a proposal to some indistinct statement in the -memorial, or some obscure expressions. For, in my opinion, it is not a -question of alms, but of just claims. - -I am well aware that it may be no easy matter to apply a scale of -payment to an intellectual body like that of the orchestra, and to tax -it in thalers and groschen; but in days like the present, when so much -is said about intellectual qualifications, there is one thing absolutely -certain, that it is possible for _justice_ and _injustice_, _fairness_ -and _unfairness_, to exist in the remuneration of intellectual services; -that this does not depend upon the goodwill, more or less, or on the -favour of those who pay, but that a positive _right_ exists, which he -has the privilege of claiming who devotes his life to an intellectual -vocation, and can therefore legitimately demand that his life should be -sustained, if he carries out his calling well and blamelessly. This the -orchestra here, do in the most admirable manner; and under such a -conviction I do, in my inmost heart, consider that the salaries fixed in -the contract between the lessee of the theatre and the orchestra, are -unjust. Perhaps they were so even at the time they were settled, but are -now, owing to the change in the times, infinitely more so; the evidence -of which is so clearly set forth in the first memorial of the orchestra, -that I believe only a glance at it is necessary to prove the justice of -my assertion. - -If the Corporation be also of this opinion, and convinced of the -unfairness of these points, the question would then be, in how far it is -_possible_ for the lessee of the theatre to comply with the wishes of -the orchestra; if, by his consent to increase the salaries, he would not -become bankrupt himself; and whether, in endeavouring to obtain justice -for the orchestra, injustice might not be done to the lessee? - -Three things may form a criterion on this point,--the average receipts -of the lessee hitherto; the comparison between other theatrical salaries -and those of this orchestra; and lastly, the pay of other German -orchestras, in cities of the same standing as Leipzig. - -With regard to the receipts of the lessee, it will be difficult to -obtain exact information. In spite of all the official documents and -rendering of accounts, I venture to assert that there is not a person in -Leipzig who is thoroughly acquainted with the fact, except the former -lessees themselves, who will at once decline answering any such -questions. In so far as I have seen of similar official documents, here -and in other cities, it seems an undeniable truth that, in an -undertaking of the kind, a yearly additional payment of two thousand -thalers would not cause the speculation to become a losing instead of a -good one. This is evident by a glance at the variable and sometimes -enormous salaries of the singers, male and female, for whose engagement -no theatre _entrepreneur_ would grudge an outlay like the above, in -order to cast greater lustre on his stage. - -These salaries also furnish a complete answer to the second point; being -almost everywhere so greatly increased during the years when the -orchestra here have only received the old scale of payment, that a -theatrical lessee of the former date, would perhaps also have declared, -that such an amount of money was utterly irreconcilable with any profits -to himself. Singers, after a certain number of years, deteriorate; their -places must be supplied, new contracts made, and thus they can obtain -for themselves that justice which the members of the orchestra in vain -demand. Singers are paid in Leipzig at the same rate as in other places; -but not so the orchestra. If it be said, singers are only selected and -paid according to the requirements and fashion of the day, whereas, with -regard to the orchestra, it is so in a minor degree, for whether it be -better or worse constituted or paid, the public know nothing,--then this -is an additional reason for my writing this letter; for I consider it my -duty, and that of every friend to music, to protest against such a -theory. Just because the orchestra is not an article of luxury, but the -most necessary and important basis for a theatre,--just because the -public invariably regard with more interest articles of luxury than -more essential things,--on this very account, it is a positive duty to -endeavour to effect, that what is legitimate and necessary, should not -be disparaged and superseded by a love of glitter. Indeed, this was why -the Corporation took under their protection this orchestra, in the new -theatre contracts. If, however, they sanction the lessee of the theatre -making a contract with the orchestra, and permit the old and obsolete -salaries to remain as they are, then such protection would be no -benefit, but rather an injury to the orchestra. Things would thus -necessarily remain, year after year, in a position which has no parallel -in any German city of the same rank as Leipzig. - -This leads me to the third point. It has been said that a comparison of -the salaries here with those in other towns is inadmissible. But how is -it possible to arrive in a better manner at a scale of justice or -injustice, in similar payments? As in other towns orchestras are better -paid, as in spite of this, lessees do not become bankrupt (and I believe -no instance was ever known of a theatrical manager being ruined by the -high salaries of an orchestra), as the same pretensions with regard to -services are made by the musicians here as elsewhere,--is it not clear -from all this, that the same mode of acting is possible here as -elsewhere? The pay which the orchestra in Frankfort-on-the-Maine -receives from the _theatre alone_, is not only higher than it would be -here, were the increase in question granted, but it is almost without -exception _higher than it is here for the theatre, concert, and church -music combined_, even if the demand in question were complied with. -Should not this prove that the prayer of the orchestra here is not -unreasonable,--that the theatre lessee may accede to it without any -risk? Indeed, may not a refusal on his part, lead to the inference that -this city considers its own musicians inferior to those of other towns -of a similar class? And yet such cannot be the case, for the -performances of our orchestra are not only equal to that of Frankfort, -but to those of every other German city; indeed, undeniably superior to -most of those with which I am acquainted! The favourable and wide-spread -musical reputation which Leipzig enjoys through the whole of Germany, it -owes entirely and solely to this orchestra, the members of which must -get on as they best can, in the most sparing and scanty manner. Such a -good reputation is certainly not without material advantage for the town -of Leipzig, even independent of the intellectual benefit to art. Shall, -then, those individuals to whom such happy results are owing, remain in -a state of privation, now as formerly, irrespective of these services, -and the change in the times, while the whole community thrives by their -merits, and the city itself derives honour and profit from them? - -I shall only add a few words with regard to the deputy rule, or rather -_misrule_, as it ought more properly to be called; for it is really -difficult to form an idea of the confusion in this department, without -knowing it from personal experience, which I had an opportunity of -doing. This also has been minutely stated in former memorials, and I now -add an example from my own knowledge. In the concert of the day before -yesterday, the clarionet players were obliged to pay a silver thaler -each to their theatre deputy, so that each of them, for his services at -the rehearsal, and performance in the first subscription concert, _paid_ -eight groschen. It may be suggested to raise the prices of the -concert-tickets; but this would not check the mischief. A strict rule as -to deputies can alone effect this. On the contrary, it is very desirable -that the scale adopted for payment of the concerts, should equally be -applied to the payment of extra performances in the theatre, which -demand the same amount of time and energy. - -This brings me to the last point on which I wish to touch. If there be -the greatest difficulties in the way of repairing these evils, what -difficulty can there be in greatly raising the former fixed salaries for -extra performances? It is notorious that they are in no degree in -proportion to the increased receipts of the lessee; they are not in -proportion to the remuneration for other extra services, such as -concerts, church music, etc.; they are not even in proportion to the set -price fixed for the town musicians for balls, weddings, and so forth. I -am perfectly convinced that such an augmentation could be effected -without difficulty, and without any injury to the theatre lessee, and a -portion of the just complaints of the orchestra would thus be obviated. -May they all meet with that consideration to which their equity and -justice entitle them! - -In conclusion, I beg forgiveness from the Corporation for the great -liberty which I have taken in writing this letter; it regards a matter -which does not personally concern me, and from which neither evil nor -good can accrue to me, and which only affects me in so far as it relates -to the interests of artists whom I so highly prize and esteem; it is of -importance to art also in this city; and I certainly can never see with -calmness or indifference, the increasing or decreasing reputation of -such an artistic institution as Leipzig possesses in this admirable -orchestra. May my words accordingly prove the heartfelt love and esteem -with which, so long as I live, I must ever regard all that affects the -honour of Leipzig in her artistic and musical sphere.--I am always the -devoted servant of the Corporation, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO THE KING OF PRUSSIA. - - -Berlin, 1844. - -Your Majesty, - -I venture in these lines to bring before you a petition which I have -much at heart. - -Among the vast number of compositions sent to me from musicians here and -in other places, I lately received some works of a young man of the name -of G----, in which I perceived such unmistakable talent and such genuine -musical feeling, that they seemed to me like an oasis in the desert. -They consisted of a set of songs, and a grand piece of music for Good -Friday, which, (each in its own peculiar style,) displayed genuine -conceptions, and a true artistic nature. Indeed, the sacred music -inspires me with a strong hope, that the composer may accomplish -something really important in this sphere. Nothing is wanting for the -full development of his talents save that he should reside for some time -in a large city, in order to hear music and to become acquainted with -musicians; for since his youth, he has for the last eight years been a -teacher in the country, and during all that long period has lived -entirely apart from music, with no one but himself to rely on. - -His most anxious wish is therefore to come to Berlin, there to pursue -his musical studies and compositions, and to cultivate his talents for -future practical efficacy. But for the fulfilment of this wish all -pecuniary resources are wanting, and gladly as I would lend him a -helping hand to attain his aim in a musical point of view, as far as my -ability goes, and willing as he is by his own labours in giving lessons -to endeavour to gain his own livelihood, still this latter resource is -always very precarious, and especially just at first, accompanied by so -many difficulties, that I could scarcely advise him to give up the -situation of tutor, by which he now gains his living. - -If your Majesty were graciously pleased to furnish the young man with -the means of residing here, where he could hear and practise music till -he could become familiar with the musical world, from which he has been -so long estranged, then all obstacles would be removed, and your Majesty -have made one happy man the more. - -I believe if he were allowed for two years two hundred thalers each -year, this would suffice, with his modest ideas and simple mode of -living, to enable him to accomplish the visit to Berlin he so eagerly -desires, and along with what he could and would make by his own -industry, secure his existence in the meantime. - -His Excellency Herr von Massow, to whom I had an opportunity of -detailing personally the circumstances of the young man, encouraged me -to approach your Majesty with this petition. May, in any event, my -presumption be forgiven. The fulfilment of my request will be a fresh -reason, among many others, to feel the most heartfelt gratitude and -thankfulness towards your Majesty, and I need not say that such a -fulfilment would make the young man happy for life.[70] - - - - -_From Wirklich Geheimrath Ritter Bunsen, to Felix Mendelssohn -Bartholdy_, _Frankfort-on-the-Maine_.[71] - - -Berlin, Sunday morning, April 28th, 1844. - -My dear and esteemed Friend, - -I hope that these lines may find you free from all cares and anxieties. -I send them to you in a kindly spirit for the sake of the cause and -yourself. - -You have _hurt_ the feelings of the King by your refusal to compose -music for the “Eumenides.” I was with him when Graf Redern gave him back -the book with this decision. As I saw this touched the King very nearly, -though he was not in the least _excited_, I remarked that perhaps you -conceived that the whole trilogy was to be set to music. His Majesty -answered, “That would be all the better, but it could not prevent -Mendelssohn composing for the ‘Eumenides,’ which, in itself, may be -regarded as a splendid whole.” I really did not know what to say, and I -confess to you that your answer has deeply grieved myself. The affair, -too, is much talked of _here_, and minutely discussed. In this good town -it is thought “very wrong” in you to go to England instead of composing -for the King. The King himself is quite determined not to let the affair -drop. It has been suggested to him to entrust the work to another -artist, who, it seems, has promised to undertake the affair at once. You -neither _must_ nor _can_ permit this; you neither can nor will annoy the -King. I also heard Tieck speaking of the affair the day before -yesterday, who began to talk of it when I was with him. The King sent -him also a message on the subject. You can understand that his Majesty, -taking into consideration the short span of life remaining to the great -_Chorodidascalos_, and knowing that _he_ alone can put it on the stage -here, is somewhat impatient. Tieck shares the universal opinion about -you here, although with the most entire recognition of your character -and of your genius. I may also further say to you, quite in confidence, -that your declining to compose some songs for “Wie es euch gefällt” has -left a painful impression on Tieck, and elsewhere; he is of opinion that -your reason for this, “to allow some time to elapse between this and the -Midsummer Night’s Dream,” is a very insufficient one; for the more and -the oftener the public are offered good food, the sooner will they turn -away from the wretched stuff on which they are now nourished. - -But this is immaterial compared with the chief point. - -Rejoice me soon by the intelligence that the whole thing is a -misunderstanding, and that you are willing to compose music for the -“Eumenides.” Tieck himself says that the choruses might be here and -there shortened; a trilogy, too, might be accomplished with great -curtailments. But the “Eumenides,” as a whole, with any curtailments -which may appear advisable to you, must first be separately performed. -What a glorious subject! What an unparalleled effect! Your “Antigone” -choruses are making the tour of Europe; those of Æschylus would do the -same. You will aid in establishing a new phase in art. Reflect that the -King loves you; that your refusal affected him very painfully; that -after having endured so much misapprehension, so many bitter -disappointments, so many obstacles in the noblest paths of his reign, he -is not prepared to meet with difficulties in this quarter also. “Et tu -Brute fili.” Pour out your heart to me as I have done to you. You know -that you may depend upon me. We must all assist in supporting this noble -Prince in his good and grand ideas. The world requires new elements of -life; happy he who can help to create them!--Unchangeably your faithful -friend, - -BUNSEN. - - - - -TO THE WIRKLICH GEHEIMRATH BUNSEN. - - -Frankfort-a.-M., May 4th, 1844. - -Your Excellency’s kind letter I received here when on the point of -setting off for England. First of all, I hasten to thank you in the most -heartfelt manner for this fresh proof of your friendly feelings towards -myself. I wish I may one day be able to express more clearly my -gratitude for all your kindness and friendship! I know how to -appreciate these to the fullest extent, and am proud of them, as the -best and dearest which can ever be my portion in this world. - -To all those who have discussed with me the performances of Æschylus’s -“Eumenides,” to the King, to Graf Redern, and more particularly to -Geheimrath Tieck,--I have declared that I consider this representation, -and, above all, the composition of the choruses, a most difficult and -perhaps impracticable problem, _but that I would nevertheless make the -attempt to solve it_. I asked Herr Geheimrath Tieck what time was -allowed me to make my decision; whether my attempt would be considered -by the King worthy of being performed, or if it were likely to be -permitted to rest in my desk? He answered me that the representation -could only take place in the _large Opera-House_; that pieces of this -kind could not be produced in small localities; this was a very -different affair from the “Antigone,” etc., and as the opening of the -Opera-House was fixed for the 15th of December, it would be time enough -if I occupied myself with the music during my stay in England, or after -my return thence. Moreover, it was signified to me that in the event of -my not undertaking the commission, some other composer would be -selected. In accordance with truth I was obliged to answer, that it -would certainly be more agreeable to me if another person were chosen -for this purpose, as in my eyes the difficulties were immense; but I -always and everywhere declared my entire readiness to attempt the -composition, adding that my decision on the point should at all events -be made early enough, to give ample time to any other composer who could -more easily solve the difficulties, so that no obstacles should be -thrown in the way on my side. - -What your Excellency therefore has written to me about this affair, -comes upon me the more unexpectedly and vexatiously since Herr -Geheimrath Tieck, in the conversations we held together on the subject, -thoroughly agreed in my views of the difficulties attending its -execution,--acknowledging them in his turn to be almost insuperable; and -yet, to his express question, whether I would not undertake the -composition of the choruses he received from me, agreeably to the -above-mentioned explanations, the following answer,--that I was, _on the -contrary_, ready to make the _attempt_, and I should certainly _not be -any hindrance_ in the matter. Indeed, with a view to facilitate the -idea, I suggested _to him_ that some of the choruses, which appeared to -me unsuitable, should be curtailed, a proposal which, as you write to -me, he fully concurs in. - -I have always spoken only of an attempt, and must now do the same. My -not being able at once to accept and consent to the request as I would -to any other, is partly owing to the novel nature and extraordinary -difficulty of the piece itself, (I can appeal to the judgment of any -musician as to the fact,) and partly to the high estimation in which I -hold the refined artistic feeling of the King--to whom it is impossible -to offer indiscriminately failures and successes--and lastly owing to a -certain duty that I owe to myself, which makes me unwilling to undertake -music, in the success of which I, at least to a considerable degree, -place no faith. I thought I might hope that this should not cause my -goodwill to be doubted, which I have already proved in the course of -this year by the accomplishment of various very difficult tasks, which -were demanded in the _shortest_ time. - -The key of the riddle seems to me to be, that my views as to the -difficult nature of the representation, are shared by many who may -probably have wished to convince the King also of the fact; for this -purpose they have selected me as the origin of these difficulties, which -I am not, and never will be; they lie, unluckily, far more in the piece -itself. And now permit me a few words on this point also. - -Because I owe so much gratitude to the King,--because I honour him in -the depths of my soul as an admirable, noble prince and man,--on this -very account I think that all I do by his command should be done with a -good conscience, and in a cheerful spirit. If I were to accept his ideas -_without that_, were I to produce them before people without being -myself really and truly inspired by them, were I to use his commands as -a cloak for my failure, and further, to represent my failure as the -result of his ideas,--then I should utterly ruin these ideas, and then I -should utterly ruin the good opinion which I trust he still has of me; -_then_ he would have a right to apply to me the words, “Et tu Brute.” -For thus it appears to me most of those seem to act who entail on him, -as you say, so many obstacles and deceptions, and I never will join such -“assassins.” - -I will always obey the commands of a sovereign so beloved by me, even at -the sacrifice of my personal wishes and advantage. If I find I cannot do -so with a _good artistic conscience_, I must endeavour candidly to state -my scruples or my incapacity, and if that does not suffice, then I must -go. This may sound absurd in the mouth of a musician, but shall I not -feel duty as much in _my_ position as others do in _theirs_? In an -occurrence so personally important to me, shall I not follow the -dictates of integrity and truth, as I have striven to do all my life? - -After this fresh experience, I fear even what I verbally mentioned to -your Excellency already,--that my stay on such slippery ground, and -under such perplexing circumstances, is impossible. But by this mode of -acting, and this _alone_, can I hope, independently of momentary -impressions, to preserve the good opinion of his Majesty, which is more -important to me than all the rest; indeed it is only thus that I can -hope _really_ to serve the King and his ideas. I cannot be an -indifferent, doubtful, or secretly discontented servant to such a -monarch; he could not employ me _thus_, and _thus_ I would not only be -useless to him, but sacrifice myself. - - - - -TO JULIUS STERN, PARIS, (NOW PROFESSOR IN BERLIN.) - - -London, May 27th, 1844. - -Dear Herr Stern, - -You well know the very great pleasure your kind letter was sure to cause -me; at the same time I was perfectly aware that in the first moments -after the representation[72] you would view in far too favourable a -light, and far too highly prize, my music and its success. But that you -should do so, and feel yourself thus rewarded for the many and great -efforts which this representation has cost you, is indeed to me a source -of the highest gratification. Accept my most cordial thanks. May I, by -better works, deserve your too partial opinion! May all my works find -friends as loving to adopt them, and to bring them to a satisfactory -execution! May this also be the case at all times with your own works; I -cannot desire anything better for you. - -I am also exceedingly indebted to you for having been so kind as to -thank the performers in my name. According to your suggestion, I am -writing some lines to Herr Morel, who directed the music, requesting him -to be assured of my gratitude, and to express this also to Herr Boccage; -but do not be displeased with me if I decline taking the other -hint,--as to making a present to the leading performers. This would be -contrary to the fixed principles which I adopted at the beginning of my -musical career,--never in any way to mix up my personal position with my -musical one, or ever to improve the latter by the influence of the -former, or in any manner to bribe public or private opinion with regard -to me, or even to attempt to strengthen it. Precisely owing to the -heartfelt gratitude I entertain towards all those who interest -themselves in my music, it would be impossible for me to follow the -fashion of giving similar presents, without for ever embittering for the -future, the gratitude, and the joy emanating from it. And although this -fashion may have been introduced by great authorities, I must always -remain true to myself, and to what I deem to be right, and feel to be -right; so you must excuse me for not complying with this practice.[73] I -trust that you will not be angry with me, and rather defend me against -those who may attack me on this account. You will acknowledge that every -man must fix certain rules by which he is to live and act, and will not -therefore misconstrue my adhering to mine. My hearty greeting to all my -friends, and may we have a happy meeting in our Fatherland.--Your -devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO CARL KLINGEMANN, LONDON. - - -Soden, near Frankfort-a.-M., July 17th, 1844. - -My dearest Friend, - -I found all my family well, and we had a joyful meeting when I arrived -here on Saturday, in health and happiness, after a very rapid journey. -Cécile looks so well again,--tanned by the sun, but without the least -trace of her former indisposition; my first glance told this when I came -into the room, but to this day I cannot cease rejoicing afresh every -time that I look at her. The children are as brown as Moors, and play -all day long in the garden. I employed yesterday and the day before -entirely in recovering from my great fatigue, in sleeping and eating,--I -did not a little in that way, and so I am myself again now, and I take -one of the sheets of paper that Cécile painted for me to write to you. -Once more I thank you from my very heart for the past happy time,--all -that is good and imperishable in it comes from you; so I feel most -grateful to you, and pray continue to love me, as I shall you so long as -I live. - -I am sitting here at the open window, looking into the garden at the -children, who are playing with their “dear Johann.”[74] The omnibus to -Königstein passes this twice every day. We have early strawberries for -breakfast, at two we dine, have supper at half-past eight in the -evening, and by ten we are all asleep. Hoffmann von Fallersleben is -here, and paid me a visit yesterday. All those who are entitled to do -so, wear a bit of ribbon in their button-holes, and are called -“Geheimrath;” all the world talking of Prussia and blaming her,--in fact -they speak of nothing else. The country is covered with pear-trees and -apple-trees, so heavy with fruit that they are all propped up; then the -blue hills, and the windings of the Maine and the Rhine; the -confectioner, from whom you can buy thread and shirt-buttons; the -well-spring No. 18, which is also called the Champagne Spring; the Herr -Medicinalrath Thilenius; the list of visitors, which comes out every -Saturday, as ‘Punch’ does with you; the walking-post, who, before going -to Frankfort, calls as he passes to ask what we want, and next day -brings me my linen back; the women who sell cherries, with whom my -little four-year-old Paul makes a bargain, or sends them away, just as -he pleases; above all, the pure Rhenish air,--this is familiar to all, -and I call it Germany! - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Soden, July 19th, 1844. - -My dear Brother, - -I am once more on German ground and soil; well, fresh, and happy at -home, having found all my family in the best health possible; and we -now pass our days pleasantly here, in this most lovely country. - -My visit to England was glorious; I never was anywhere received with -such universal kindness as on this occasion, and I had more music in -these two months than elsewhere in two years. My A minor symphony twice, -the “Midsummer Night’s Dream” three times, “St. Paul” twice, the trio -twice; the last evening of my stay in London the “Walpurgis Nacht,” with -quite wonderful applause; besides these, the variations for two -performers on the piano, the quartett twice, the D major and E minor -quartett twice, various songs without words, Bach’s D minor concerto -twice, and Beethoven’s G major concerto. These are some of the pieces -which I played in public. Then, in addition, the direction of all the -Philharmonic and other concerts, the innumerable parties, the -publication of “Israel in Egypt,” which I worked at for the Handel -Society, and revised from the manuscript; and in the midst of all this -the composition of the overture to “Athalia,” which, being excessively -troublesome, was no slight task.[75] - -You can gather from this how gay and stirring my life was. My chief -aim--to do a service to the Philharmonic Society--succeeded beyond all -expectation; it is the universal opinion that they have not had such a -season for years past. This, to be sure, does not cure the radical evil -which I this time amply experienced, and which, must prevent the Society -continuing to prosper--the canker in its constitution--musical _rotten -boroughs_, etc. But more of this and many other points when we meet. One -thing I must also mention, which I regretted chiefly on your account. I -was invited to go to Dublin, to be made a Doctor by the University -there, and Morgan John O’Connell wished to give me a letter to his uncle -in prison; but I could not accept it, on account of the short time, and -the intense excitement of such a journey, in five days. The thought of -the great pleasure you would have felt in my doing so was constantly -present with me, and I gave up the idea with sincere regret. What a -strange contrast this quiet little spot forms to all the previous -immense excitement! Here a walk of ten minutes brings you to the heights -of the Taunus, with a view over the valleys of the Maine and Rhine, as -far as Frankfort, Worms, and Mayence. Here I can look all around for -days and days, and require nothing further, and yet do as much, or, in -fact, more, than in the midst of the excitement in London.--Your - -FELIX. - - - - -TO FANNY HENSEL, BERLIN. - - -Soden, July 25th, 1844. - -If you refuse to come to Soden for a fortnight, to enjoy with me the -incredible fascinations of this country and locality, all my -descriptions are of no avail; and, alas! I know too well that you will -not come. I therefore spare you many descriptions. My family improve -every day in health, while I lie under apple-trees and huge oaks. In the -latter case, I request the swine-herd to drive his animals under some -other tree, not to disturb me (this happened yesterday); further, I eat -strawberries with my coffee, at dinner and supper; I drink the waters of -the Asmannshäuser spring, rise at six o’clock, and yet sleep nine hours -and a half (pray, Fanny, at what hour do I go to bed?). I visit all the -wondrously beautiful environs, I generally meet Herr B. in the most -romantic spot of all (happened yesterday), who gives me the latest and -best report of you all, and addresses me as General Music Director, -which sounds as strange here as Oberursel, and Lorschbach, and -Schneidheim would to you. Then towards evening I have visits from Lenau, -and Hoffmann von Fallersleben, and Freiligrath, when we stroll through -the fields for a quarter of an hour near home, and find fault with the -system of the world, utter prophecies about the weather, and are unable -to say what England is prepared to do in the future. Further, I sketch -busily, and compose still more busily. (_A propos_, look for the organ -piece in A major, that I composed for your wedding, and wrote out in -Wales, and send it to me here immediately; you shall positively have it -back, but I require it. I have promised an English publisher to furnish -him with a whole book of organ pieces, and as I was writing out one -after another, that former one recurred to me. I like the beginning, but -detest the middle, and am re-writing it with another choral fugue; but -should like to compare it with the original, so pray send it here.) -Further, I must unluckily go to-morrow to Zweibrücken,[76] and I don’t -feel much disposed for this; still, there is first-rate wine at Dürkheim -(as credible witnesses inform me), and I hear the country is very -beautiful, and to-morrow week (God willing) I shall be here again, when -I shall once more lie under the apple-trees, etc., _dal segno_. Ah! if -this could go on for ever! - -Jesting apart, the contrast of these days with my stay in England is so -remarkable, that I can never forget it. The previous three weeks _not a -single hour_ unoccupied, and here the whole of the bright days free, -without an employment of any kind, except what I choose for myself -(which is the sole fruitful and profitable kind), and what is not done -to-day is done to-morrow, and there is leisure for everything. In -England this time, it was indeed wonderful; but I must describe to you -when we meet each concert there, and each bramble-bush here. - -Now, tell me what you are doing, and _he_, and all of you. It is high -time that Sebastian[77] should write me a letter. Read him these lines -from his uncle (no other part of the letter; he ought to think it -contained something worth reading), and do really make him write to me. -But I stipulate beforehand, that none of you are to read his letter, or -he would be on ceremony, and write in a fine style, or even write first -a rough copy. - -Farewell, dear Sister; may we soon meet again. Do not forget the piece -for the organ, and still less its author; forget, however, the stupidity -of this letter, and that I am such a lazy correspondent.--Your - -FELIX. - - - - -TO FANNY HENSEL, BERLIN. - - -Soden, August 15th, 1844. - -Look again in the music shelves, in the compartment where there is a -great deal of loose music lying; among it you will find an open red -portfolio, which contains a quantity of my unbound manuscript -music--songs, pianoforte pieces, printed and unprinted; there you will -positively find the organ piece in A major. It is just possible that I -may in so far be mistaken; that it is in a _bound_ music-book which lies -in “_my_ compartment,” and in which many similar pieces are bound -together. I found the piece, however, in one of the two last winter, -and _stans pede in uno_ (Sebastian will explain this) looked through it, -marvelled at the odious middle part, and also at the charming -commencement (between ourselves, all from modesty). Now, pray search -diligently, and send it off to Soden as soon as you find it. I shall -laugh heartily if, by describing to you at the distance of Soden where -the piece is, you find it. I must tease you about this for the rest of -my life. - -I am going to make an expedition on foot to Wiesbaden to-morrow, to -visit Uncle Joseph; and the day after to Hamburg, also on foot, to -attend Döhler’s concert. Prume is to call for me, and we are to go -together. I heard Döhler and Piatti in their last concert in London, and -clapped and shouted for them; and now I mean to do the same at Hamburg, -which will be diverting enough. The day before yesterday I was at -Eppstein, where there was a new organ and a church festival, and where -the Vocal Associations of Frankfort, Wiesbaden, and Mayence offered to -sing, and were present; but a letter came from the Amtmann in Königstein -forbidding them to sing, so they set off, and went to Hofheim, (do you -know the white chapel, which is visible in the whole country round? Paul -will tell you about it,) and there they sang. Towards evening, as I was -driving quietly with the ladies and all the children on the high-road -through Hofheim, we saw heads innumerable peeping out of the windows of -the inn,--all, I suspect, more or less tipsy,--shouting out loud -_vivats_ to me. The ladies wished to stop there to have some coffee, but -I opposed this strongly, so we ate pound-cake in the carriage. - -But I must now tell you of my works; there is little enough to say about -them as yet. With the exception of five great organ pieces, and three -little songs, nothing is finished; the symphony makes but slow progress; -I have resumed a Psalm. If I could only continue to live during half a -year as I have done here for a fortnight past, what might I not -accomplish? But the regulation and direction of so many concerts, and -attending others, is no joke, and nothing is gained by it. I feel always -at home among cows and pigs, and like best to be with my equals,--the -one is the result of the other, you will say; but to let bad jokes -alone, I am not a little pleased with your new songs. Would that I could -hear them forthwith! But it will certainly be September before we see -each other again, as Madame Bunsen has written that she has been charged -to inform me the King does not expect me back in Berlin till the end of -September. We have had for some days past such abominable weather, that -this is the first day I have been able to cross the threshold since I -left Eppstein. My letter, therefore, is not so cheerful as you could -desire; but I cannot help it, for the Altkönig looks too stern and -gloomy. I must describe to you my journey back from Zweibrücken. My -landlord drove me the first stage in his carriage; there the Landrath -von Pirmaseus received us with a breakfast, and very fine wine, (this -was at eight o’clock in the morning,) and drove us a stage further in -his carriage, to a grand old castle in the Vosges, where we dined, and -ascended a hill in the afternoon. Cannons were fired there to show the -echo, and champagne drunk, and at every fresh toast the cannons were -discharged. He then drove us another stage, where the proprietor of St. -Johann took us under his charge, and gave us quarters for the night, and -good wine; and next morning came another Zweibrückner with his carriage, -and after drinking a little more good wine, we drove on to Deidesheim, -where Herr Buhl was waiting to receive us in his vaults; but who and -what Herr Buhl and his vaults are, it is quite impossible for me to -describe to you,--you must come and taste for yourself, I mean the -Forster of 1842, which he fabricates. The cellars were lighted up, and -there lay all the valuable hogsheads; and the rooms above these cellars -were as elegant as possible, adorned with paintings by Spasimo, and the -great Roberts, and Winterhalter’s ‘Decameron;’ and a fine new grand -pianoforte, by Streicher; and a pretty woman, who in autumn selects the -particular grapes in the bunches to be used in making the wine, -which--but excuse the rest. Still, those who have not paid a visit to -Herr Buhl (or to his brother-in-law, Herr Jordan), do not know what -Forster is here below. They insisted on our dining with them, though we -ought not to have done so, being expected to dinner at Dürkheim; still, -we dined all the same (Richard Boeckh will fully confirm all this, for -he was with us the whole time), and when dinner was over, Herr Buhl -drove us in his phaeton to Durkheim (three-quarters of a German mile) in -twenty minutes, so that we might not arrive too late for dinner; and in -Dürkheim we found half the musical festival again assembled, and -wreaths, and inscriptions, and ripe grapes; only we could drink no more -wine after that of Herr Buhl! - -[Illustration: musical notation] - -This is the national song of the Palatinate, called “Der Jäger aus -Kurpfalz.” It is sung the whole live-long day, blown on horns by -postilions, played as a serenade by regimental bands, and used as a -march; and, if a native of the Palatinate comes to see you, and you wish -to give him pleasure, you must play it to him; but with _abandon_, and -with great expression,--that is, jovially. - -Such was my journey back from the Palatinate; and if you find this -description somewhat inebriated, I have certainly hit on the right key, -for, from nine o’clock in the morning, we were never really quite -steady, though I can assure you that until the evening, I invariably -displayed great dignity and propriety. (I refer you to Richard Boeckh.) -After the performance of “St. Paul,” he suddenly and unexpectedly -emerged from among the public, and you may imagine with what joy I -recognized my _Boccia_ comrade from the Leipziger Strasse, No. 3,[78] -among all the strange faces; and, to use an expression of the -Palatinate, I held him fast. As to the performances themselves,--now, I -must of course resume my usual sober style, for the other forms too -great a contrast to my _métier_,--but no! I think I must continue my -tipsy tone, and tell you that amid a great many deficiencies, we had the -best St. Paul and Druid Priest there whom I have yet met with in -Germany, namely, a Herr Oberhofer, a singer from Carlsruhe, who was -formerly in the capital. I do not know what he may be on the stage, but -it is impossible for any one to sing, or to deliver the music which I -heard better, with more intelligence, or more impressively, than he did. -He made the third in our merry return journey. How the Landrath -Pirmaseus was thrown into a brook, how Herr Sternfeld used a sausage to -conduct the orchestra, and how, in the first part of the oratorio, the -player of the kettle-drum beat it in two, and his remark on the subject, -when sitting in the street with the others, at half-past two o’clock in -the morning, drinking punch,--all this you must hear from my own lips. -Keep the whole of this letter strictly private from Sebastian; but thank -him repeatedly from me for his nice letter. Tell him that I care very -little about his No. 1, and that he ought not to be in any hurry to come -to _Untersecunda_. When all number _ones_, and classes, and -examinations, come to an end, and when no man living either asks for or -gives testimonials, then learning will first begin in good earnest, and -all our energies will be called forth, and yet we shall obtain no red -certificates; and that would indeed be delightful, and that would indeed -be life itself. And thus it is that I care so little about No. 1 of -_Untertertia_, or for No. 1 of the Order of the Red Eagle, or for all -the other numbers in the world. Or, if this be too philosophical for -you, or too unphilosophical, then keep it from him also; but it forms a -part of my creed. May we have a pleasant, happy, speedy meeting!--Your - -FELIX. - - - - -TO PROFESSOR VERHULST, THE HAGUE. - - -Berlin, November 17th, 1844. - -Sir, - -Pray accept my thanks for your kind letter, and the accompanying parcel, -with its rich and valuable contents. - -If you are like me, you can hear nothing more welcome about your works, -than when you are told that you have made progress in them; and in those -you have now sent me, this is very manifest throughout them all. They -are almost in every respect masterly and defined, and devoid of all that -is false or incongruous, in individual passages; and when taken as a -whole, if one piece appears more finished or more sympathetic than -another, what is so fine in Art is precisely, that it gives no mastery -so entire as to _rise superior_ to this; and one of the secrets of -honest assiduous work is, that what is less successful does not give -rise to despair, and what is more successful does not give rise to -arrogance; and thus others may get a just insight into the workshop of -the soul of an artist. Such a survey of your present production you have -enabled me to make, by the valuable packet you have sent me. A -succession of many works, displays decidedly what one solitary work -cannot do, that you have won for yourself a higher and loftier position -by the cultivation of your talents, which rejoices me much, and for -which I owe you my sincere and heartfelt thanks. - -May your praiseworthy endeavours to diffuse the knowledge of songs in -your mother-tongue prove successful, and meet with that grateful -acknowledgment which they so well deserve! I know of no more noble aim -that any one could propose to himself, than to give music to his own -language and to his own country, as you have done, and still design to -do. These works are a fine commencement for such a purpose; but, that -their tones may not die away unheard by your fellow-countrymen, many, -many more must yet follow, and with ever-increasing progress. Vocation -and endowments are your own. So, may Heaven grant you also health and -steady perseverance, and a happy life! - -This is the wish of your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -_From Minister Eichhorn,[79] to Felix Mendelssohn Bartholdy, at -Frankfurt-am-Main._ - - -Berlin, March 2nd, 1845. - -Sir, - -You may remember that I made a report to his Majesty, some years since, -on proposals which had been suggested for the establishment of a -Conservatorium here; his Majesty, however, was pleased to declare that -the establishment of such a Conservatorium was not at present in -accordance with his Majesty’s views. The affair has consequently -remained since that time in abeyance. The absolute necessity of a reform -in the Royal Academy of Arts seems daily to be more urgent, it therefore -becomes a duty to obtain as clear a view as possible of the measures to -be pursued, and to settle the preliminary arrangements for the best mode -of fulfilling this design. The musical section of the Academy, which -cannot be continued under its present regulations, must form one of the -most essential points in this reform. As, however, in accordance with -the good pleasure of his Majesty, the eventual enlargement of this -section to a real Conservatorium is not at present to take place, it -seems most advisable not to lose sight of the principle which forms the -basis of the present section, and to direct every effort to secure its -most perfect development. This principle assumes that the chief object -of the musical section should be especially to form a school for -_musical composition_. For this purpose, it is, in my opinion, above all -expedient that a master should stand at the head of such a section who, -by his own energetic, creative powers, may become a guiding star for -others, and thus be enabled to exercise a genuine and stimulating -influence; possessing also the ability to examine critically the -productions of the scholars, and by his zealous co-operation to guide -them on the right path, in the very same way that in the plastic arts, -the master of the _atelier_ stands in relation to his scholars. -Instruction in the theory and history of music might be shared by other -teachers. Steps should besides be taken, by a closer connection with -other institutes, or by any other suitable means, to endeavour to form a -limited choir and orchestra, which might furnish an opportunity for the -performance of classical _chefs-d’œuvre_, as well as of the works of -the scholars, and likewise for practice in conducting,--an arrangement -which, in the event of an urgent and manifest necessity for such a -thing, might perhaps at some future day lead to a real Conservatorium. - -You will, Sir, earn my best thanks by being so good as to transmit to me -your sentiments on these suggestions, and more especially if, in case -you agree to these proposals in their general outline, you could also -assure me that you are eventually disposed yourself to undertake the -direction and the situation of teacher of composition, in the said -musical section. Should this latter proposal, however, not be in -conformity with your plans in life, may I request you to name the person -among our composers here or elsewhere who, according to your competent -judgment, is best suited to superintend with success the situation in -question, as it seems to me very desirable to discuss any further -measures that may be necessary with the director selected for that -section.--Accept, Sir, etc., - -EICHHORN. - - - - -TO MINISTER EICHHORN, BERLIN. - - -Frankfurt-am-M., March 6th, 1845. - -I must first of all thank your Excellency for the flattering proof of -confidence contained in the letter I have received from your Excellency, -and also for your wish to hear my opinion in so important a matter. That -the reform of the Academy of Arts and its musical section, which your -Excellency refers to in your letter, will be of the greatest value to -the whole musical condition of Berlin, does not admit of the smallest -doubt. Your Excellency informs me that it is your intention to effect -this by placing a composer at the head of the musical section to be a -guiding star to the pupils by his own energetic creative powers, like -the master of the _atelier_ in the plastic arts, and you do me honour to -mention my name on this occasion, or in the event of my being prevented -accepting this offer, you commission me to point out one of my -colleagues in art whom I consider best suited for such a situation. But -in order to form a decided opinion on the matter, I must beg for an -explanation of various points which, in this and every other affair of -the same kind, appear to me the most important, and before which all -personal questions must retire into the background. - -Is the reform which you have in view in the musical section, to consist -solely in the appointment of such a composer, and the musical section -to continue in the same shape as formerly? If this be the case, what -relation will such a director assume to the former members of the senate -or section, and to the director of the whole Academy? Is the -distribution of the different branches of instruction to remain the -same, or is a reform proposed in this respect also? In what does the -actual practical efficacy of such a teacher consist? It is not possible -to show the act of composition, as the master in an _atelier_ does the -design of a picture or the form of a model, and according to your -Excellency’s words, an intellectual influence is what is chiefly -required. Such an influence, according to my conviction, is only to be -obtained in the School of Art, when the whole course of instruction has -already laid a sound foundation, when all the teachers in their positive -departments strive towards the same point, when no actual deficiency is -anywhere overlooked in the organization, and finally, when, as a -key-stone, the corresponding impulses of this organization are combined -and placed before the scholars in their practical application, and thus -more strongly impressed on their minds. In this sense I could well -imagine such a new active situation fruitful for good and for influence; -but it seems to me that for this purpose it is not merely the situation -itself which is to effect it, but in reality a reform of the whole -_inner_ constitution of the Academy; and I do not know whether this -enters into your Excellency’s views, or indeed be within the range of -possibility. Without this, the position, though undoubtedly highly -honourable, would be devoid of all real, practical utility; a merely -universal excitement, however great, can at best only call forth an -unfruitful enthusiasm in the minds of the scholars, if indeed it calls -forth anything whatsoever. The teachers of positive science alone would, -in such a case, acquire a decided influence on the development of young -artists; the professor at the head, influencing only by example, would, -on the other hand, be like a mere airy phantom, and the connection -between the head and the limbs fail, without which neither the head nor -the limbs can live or thrive. - -If your Excellency will be so good as to give me some more precise -information on this matter, I shall then be in a position to form a -clearer view of the affair itself, as well as of the personal questions -connected with it; and I shall esteem it my duty on this as on every -other subject, to state my opinion candidly to your -Excellency.[80]--Your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -_To Felix Mendelssohn Bartholdy, from the Geheim Cabinetsrath -Müller._[81] - - -Berlin, March 5th, 1855. - -It is proposed to set to music the choruses of the trilogy of -“Agamemnon,” the “Choëphorœ,” and the “Eumenides,” to be combined and -curtailed for performance. According to Tieck’s information, you -declined the composition in this form. The King can scarcely believe -this, as his Majesty distinctly remembers that you, esteemed Sir, -personally assured him that you were prepared to undertake this -composition. I am therefore commissioned by the King to ask, whether the -affair may not be considered settled by your verbal assent, and whether, -in pursuance of this, you feel disposed to be so kind as to declare your -readiness to undertake the composition, which will be a source of much -pleasure to the King, and in accordance with your promise, gladly to -comply with any wishes of his Majesty.--I am, Sir, your obedient, - -MÜLLER. - - - - -TO GEHEIM CABINETSRATH MÜLLER, BERLIN. - - -Frankfort, March 12th, 1845. - -His Majesty the King never spoke to me on the subject of the choruses -in the combined and curtailed trilogy of “Agamemnon,” the -“Choëphorœ,” and the “Eumenides.” His Majesty certainly was pleased -to appoint me the task last winter of composing music for the choruses -in Æschylus’s “Eumenides.” I could not promise to supply this music, -because I at once saw that the undertaking was beyond my capabilities; -still I promised his Majesty to make the attempt, not concealing at the -same time the almost insuperable difficulties which caused me to doubt -the success of the attempt.[82] - -Since then, I have occupied myself for a considerable time, in the most -earnest manner, with the tragedy. I have endeavoured by every means in -my power to extract a musical sense from these choruses, in order to -render them suitable for composition, but I have not succeeded, and have -only been enabled to fulfil the task in the case of one of them, in such -a manner as is demanded by the loftiness of the subject, and the refined -artistic perceptions of the King. Of course the question was not that of -writing tolerably suitable music for the choruses, such as any composer -conversant with the forms of art could write for almost every word, but -the injunction was to create for the Æschylus choruses music in the good -and scientific style of the present day, which should express their -meaning, with life and reality. I have endeavoured to do this in my -music to “Antigone,” with the Sophocles choruses; with regard, however, -to the Æschylus choruses, in spite of all my strenuous efforts, I have -not hitherto succeeded even in any one attempt. - -The contraction of these pieces into one, exceedingly augments the -difficulty, and I venture to assert that no living musician is in a -position to solve this giant task conscientiously,--far less then can I -pretend to do so. - -In requesting your Excellency to communicate this to his Majesty, I also -beg you at the same time to mention the three compositions of mine, -which, by his Majesty’s commands, are now ready for performance, namely, -the “Œdipus Coloneus,” the “Athalie” of Racine, and the “Œdipus -Rex” of Sophocles. The entire full scores of the two former are -completed, first and last, so that nothing further is required for their -representation, except the distribution of the parts to the actors and -singers. The sketch of the “Œdipus Rex,” is also completed. I mention -these, in the hope that they may furnish a proof that I always consider -the fulfilment of his Majesty’s commands as a duty and a pleasure, so -long as I can entertain any hope of performing the task worthily; and to -show that when I allow even one to remain unfulfilled, it arises solely -from want of ability, and never from want of intention. - - - - -_Answer from Müller._ - - -Berlin, March 19th, 1845. - -Immediately on receipt of your esteemed letter of the 12th instant, I -took an opportunity to inform his Majesty of its contents. The King -laments being obliged to resign the great pleasure it would have caused -his Majesty to see the Æschylus choruses composed by you, but rejoices -in the completion of the Sophocles trilogy, and also in that of -“Athalie.” The King hopes for your presence here in the approaching -summer, as his Majesty wishes to become acquainted with these new -compositions under your direction alone. - - - - -TO I. MOSCHELES, LONDON. - - -Frankfort, March 7th, 1845. - -My dear Friend, - -It is so good and kind of you to write me a gossiping letter again, as -in the good old times. I leave everything undone and untouched till I -have answered you, and thanked you for all your continued friendship and -kindness towards me. What you say of the English musical doings -certainly does not sound very satisfactory, but where are they really -satisfactory? Only within a man’s own heart; and there we find no such -doings, but something far better. So little benefit is derived even by -the public itself from all this directing and these musical -performances,--a little better, a little worse, what does it matter? how -quickly is it forgotten! and what really influences all this and -advances and promotes it, are after all the quiet calm moments of the -inner man, taking in tow all these public fallacies and dragging them to -and fro as they well deserve. Probably you will say this is the way in -which a domestic animal, or a snail, or an old-fashioned grumbler would -speak; and yet there is some truth in it; and one book of your studies -has had more influence on the public and on Art, than I do not know how -many morning and evening concerts during how many years. Do you see what -I am aiming at? I should like so very much to get the sonata as a duett, -or the “Études” as duetts or solos, or in short something. - -I much regret the affair with the _Handel Society_,[83] but it is -impossible for me to alter my views on the subject. Though quite ready -to yield in non-essential points, such as the mode of marking -accidentals,--though, in this even, owing to the long bars, I prefer the -old fashion--yet on no account whatever would I interpolate marks of -expression, _tempi_, etc., or anything else, in a score of Handel’s, if -there is to be any doubt whether they are mine or his; and as he has -marked his _pianos_ and _fortes_, and figured bass wherever he thought -them essential, I must either leave these out altogether, or place the -public under the impossibility of discovering which are his marks, and -which are mine. To extract these signs from the pianoforte edition, and -transfer them to the score, _if mine are to be inserted_, would cause -very little trouble to any one who wishes to have the score thus marked; -while, on the other hand, the injury is very great, if the edition does -not distinguish between the opinion of the editor and the opinion of -Handel. I confess that the whole interest I take in the Society is -connected with this point, for the edition of the Anthems which I -formerly saw, was of a kind, precisely owing to the new marking, that I -could never adopt for performance. Above all, I must know exactly and -beyond all doubt, what is Handel’s and what is not. The Council -supported me in this opinion when I was present, now they seem to have -adopted a contrary one; if this is to be followed out, I, and I fear -_many_ others, would much prefer the old edition with its false notes, -to the new, with its different readings and signs in the text. I have -already written all this to Macfarren. I am sure you are not angry with -me for stating my opinion so candidly? it is too closely connected with -all that I have considered right, during the whole course of my life, -for me now to give it up. - -André has just sent me the original score, to look over, of Mozart’s -symphony in C major, “Jupiter;” I will copy for you something out of it -that will amuse you. The eleven bars at the close of the adagio were -formerly written thus:-- - -[Illustration: musical notation] - -and so on to the end. - -He has written the whole repetition of the _thema_ on a separate leaf, -and struck out this passage, bringing it in again only three bars before -the end. Is not this a happy alteration? The repetition of the seven -bars is to me one of the most delightful passages in the whole symphony! - -Give my kind remembrances to your family, and retain a kindly regard for -your - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO REBECCA DIRICHLET, FLORENCE. - - -Frankfort, March 25th, 1845. - -Dear Sister, - -I continue faithful to the new custom I have adopted, and answer your -welcome letter on the spot; it is just come, and brings spring with it. -For the first time to-day we have, out of doors, that kind of atmosphere -in which ice and winter cold melt away, and all becomes mild, and warm, -and enjoyable. If, however, you have no driving ice in Florence, you -ought to _envy us_, instead of the reverse, for it is a splendid -spectacle to see the water bubbling under the bridge here, and springing -and rushing along, and flinging about the great blocks and masses of -ice, and saying, “Away with you! we have done with you for the present!” -it also is celebrating its spring day, and showing that under its icy -covering, it has preserved both strength and youth, and runs along twice -as rapidly, and leaps twice as high, as in the sober days of other -seasons. You should really see it for once! The whole bridge and the -whole quay are black with people, all enjoying the fine sight gratis, -with the sun shining on them gratis too. It is very pitiable in me, that -instead of speaking of the poetry of spring, I only talk of the economy -she brings in wood, light, and overshoes, and how much sweeter -everything smells, and how many more good things there are to eat, and -that the ladies have resumed their bright gay-coloured dresses, and -that the steamboats are going down the Rhine, instead of diligences, -etc. etc. From the above you will perceive, and Fanny also (for you must -send _her_ all my letters to Rome), that, God be praised, there is -nothing new with us, which means that we are all well and happy, and -thinking of you. I came with S---- last night at one o’clock from a -punch party, where I first played Beethoven’s sonata 106, in B flat, and -then drank 212 glasses of punch _fortissimo_; we sang the duett from -“Faust” in the Mainz Street, because there was such wonderful moonlight, -and to-day I have rather a headache. Pray cut off this part before you -send the letter to Rome; a younger sister may be entrusted with such a -confidence, but an elder one, and in such a Papal atmosphere,--not for -your life! - -I have only seen X---- three times this winter; he is, unfortunately, -very unsociable; I cannot get on with him even with the best will on my -side, and I believe he is going on worse now than for many years past. -Any one who at all enters into the religious squabbles of the moment, -and does not steadily refuse to listen to them, one and all, will get so -deeply involved, as to be ere long severed unawares from both friends -and happiness, and instances of this begin to be manifest in Germany in -all circles. In my inmost heart I feel uncertain as to which extreme is -the most repugnant to me, and yet I cannot clearly decide between them. - -In Düsseldorf they announced on the second day of the Musical Festival, -Mozart’s “Requiem,” my “Walpurgis Nacht,” and finally Beethoven’s choral -symphony. “O tempora! O mores!” If you ask what this letter contains, -the answer is, that we are all well, and hope you are the same, and -rejoice at the thoughts of our meeting again.--Your (in spring weather) -very pleased - -FELIX. - - - - -TO EMIL NAUMANN, - -(NOW MUSIC DIRECTOR AT BERLIN.) - - -Leipzig, March, 1845. - -Dear Herr Naumann, - -I have observed with much pleasure very important progress in the -compositions which you have sent me, and essential improvement in your -whole musical nature and efficiency. I consider these works in every -particular preferable to your earlier ones, and consequently they cause -me most extreme gratification. There is much in them to be unreservedly -commended; almost all, when compared with your productions of past -years, awaken in me a fresh hope that you will one day be able to -produce something really vigorous and good, and that it only rests with -yourself to fulfil this hope. - -I have nothing special to say to you with regard to the works, and -indeed, owing to the mass of affairs and occupations which crowd on me -here, I can now less than ever find time to write. But it is not -necessary, for throughout I see traces of the good advice of your -present instructor,[84] and feel increased respect for him in -consequence of your progress. You are certainly, with him, in the best -hands possible; attend assiduously therefore to his advice, and take -advantage of his instructions, and of the time in which you can and must -learn. - -I should like to hear you play the capriccio in C, for if you can play -it with steadiness and clearness, and keep correct time, you must have -improved very much. I like this capriccio better than the one in E -minor, and it seems to me more original. On the other hand, there is a -great deal that pleases me in the sonata; particularly the beginning and -end of the first movement, and the _tempo di marcia_, etc. etc. As I -said before, you must _continue_ to work; I must also beg you to place -the same reliance henceforth on me, that you so kindly express in your -letter. And as you apply Goethe’s words to me, and call me a _master_, I -can only reply once more in Goethe’s words:-- - - “Learn soon to know wherein he fails; - True Art, and not its type, revere.” - -The advice in the first line is not difficult to follow, and the latter -is not to be feared with you. Towards Whitsunday, when I am to be at -Aix, I intend to pass through Frankfort, and hope then to see and hear -something new of yours.--Always yours sincerely, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO SENATOR BERNUS, FRANKFORT. - -Leipzig, October 10th, 1845. - -... I cannot tell you how often, indeed almost daily, I think of the -last winter and spring which I passed so pleasantly with you in -Frankfort. I could scarcely myself have believed that my stay there -would have caused such a lasting and happy impression on my mind! So -strong is it, that I have often pictured to myself, in all earnest, -giving you a commission (according to your promise) to buy or to build -for me a house with a garden, when I would return permanently to that -glorious country with its gay easy life. But such happiness cannot be -mine; some years must first elapse, and the work I have begun here must -have produced solid results, and be a good deal further advanced (at -least I must have tried to effect it), before I can think of such a -thing. - -But I have the same feeling as formerly, that I shall only remain in -this place so long as I feel pleasure and interest in the outward -occupations which _here_ seem the most agreeable to me. As soon, -however, as I have won the right to live solely for my inward work and -composing, only occasionally conducting and playing in public just as it -may suit me, then I shall assuredly return to the Rhine, and probably, -according to my present idea, settle at Frankfort. The sooner I can do -so, the more I shall be pleased. I never undertook external musical -pursuits, such as conducting, etc., from inclination, but only from a -sense of duty; so I hope, before many years are over, to apply myself to -building a house. - -Before then, probably, either a true and solid nucleus will have been -formed among the German Catholics in favour of enlightenment and other -new German ideas, and free ground and soil won for these, or the whole -movement will have vanished and been superseded by other catastrophes. -If neither the one nor the other occurs, I fear we run the risk of -losing our finest national features, solidity, constancy, and honourable -perseverance, without gaining any compensation for them. A collection of -French phrases and French levity would be too dearly bought at such a -price. It is to be hoped that something better will ensue! - - - - -TO PASTOR BAUER, BESZIG. - - -Leipzig, May 23rd, 1846. - -Your kind letter and the book caused me great pleasure. I received the -parcel some weeks since, but as I have very little time left for -reading, and as a work like yours cannot be quickly perused by a layman, -you will be able to understand the delay in expressing my thanks. I have -learnt much from your book, for it is in fact the first summary of -Church history that I ever read; but from this very circumstance you are -mistaken in my position if you think I could attempt either verbally or -in writing to maintain my own opinions on such a matter, when opposed to -yours, and that I might see it in a different light as a musician, etc. -The only point of view from which I can consider such questions is that -of a learner, and I confess to you that the older I become, the more do -I perceive the importance of _first_ learning and _then_ forming an -opinion; not the latter previous to the former, and not both -simultaneously. In this I certainly differ much from very many of our -leading men of the present day, both in music and theology. They declare -that he alone can form a right judgment who has learned nothing, and -indeed requires to learn nothing; and my rejoinder is, that there is no -man living who does not require to learn. I think, therefore, that it is -more than ever the duty of every one to be very industrious in his -sphere, and to concentrate all his powers to accomplish the very best of -which he is capable; and thus the recent Church movements are more -unknown to me than you probably believe (perhaps more than you would -approve), and I rejoice that the very reverse is the case with you. I -cannot, in fact, understand a theologian who at this moment does not -come forward, or who feels no sympathy in these matters; but just as -little, many of those _non_-theologians whom I often see, and who talk -of reformation and of improvement, but who are equally incompetent to -know or to comprehend either the present or the past, and who, in short, -wish to introduce _dilettanteism_ into the highest questions. - -I believe it is this very _dilettanteism_ which plays us many a trick, -because it is of a twofold nature,--necessary, useful, and beneficial, -when coupled with sincere interest and modest reserve, for then it -furthers and promotes all things,--but culpable and contemptible when -fed on vanity, and when obtrusive, arrogant, and self-sufficient. For -instance, there are few artists for whom I feel so much respect, as for -a genuine _dilettante_ of the first class, and for no single artist have -I so little respect as for a _dilettante_ of the second class. But where -am I wandering to?... - - - - -TO PASTOR JULIUS SCHUBRING, DESSAU. - - -Leipzig, May 23rd, 1846. - -Dear Schubring, - -Once more I must trouble you about “Elijah;” I hope it is for the last -time, and I also hope that you will at some future day derive enjoyment -from it; and how glad I should be were this to be the case! I have now -quite finished the first part, and six or eight numbers of the second -are already written down. In various places, however, of the second part -I require a choice of really fine Scriptural passages, and I do beg of -you to send them to me! I set off to-night for the Rhine, so there is no -hurry about them; but in three weeks I return here, and then I purpose -forthwith to take up the work and complete it. So I earnestly beseech of -you to send me by that time a rich harvest of fine Bible texts. You -cannot believe how much you have helped me in the first part; this I -will tell you more fully when we meet. On this very account I entreat -you to assist me in improving the second part also. I have now been able -to dispense with all historical recitative in the form, and introduced -individual persons. Instead of the Lord, always an angel or a chorus of -angels, and the first part and the largest half of the second are finely -rounded off. The second part begins with the words of the queen, “So let -the gods do to me, and more also,” etc. (1 Kings xix. 2); and the next -words about which I feel secure are those in the scene in the wilderness -(same chapter, fourth and following verses); but between these I want, -_first_, something more particularly characteristic of the persecution -of the prophet; for example, I should like to have a couple of choruses -_against_ him, to describe the people in their fickleness and their -rising in opposition to him; _secondly_, a representation of the third -verse of the same passage; for instance, a duett with the boy, who -might use the words of Ruth, “Where thou goest, I will go,” etc. But -what is Elijah to say before and after this? and what could the chorus -say? Can you furnish me with, first, a duett, and then a chorus in this -sense? Then, till verse 15, all is in order; but there a passage is -wanted for Elijah, something to this effect:--“Lord, as Thou willest, be -it with me:” (this is not in the Bible, I believe?) I also wish that -_after_ the manifestation of the Lord he should announce his entire -submission, and after all this persecution declare himself to be -entirely resigned, and eager to do his duty. I am in want too of some -words for him to say at, or before, or even after his ascension, and -also some for the chorus. The chorus sings the ascension historically -with the words from 2 Kings ii. 11, but then there ought to be a couple -of very solemn choruses. “God is gone up” will not do, for it was not -the Lord, but Elijah who went up; however, something of _that_ sort. I -should like also to hear Elijah’s voice once more at the close. - -(May Elisha sing soprano? or is this inadmissible, as in the same -chapter he is described as a “bald head”? Joking apart, must he appear -at the ascension as a prophet, or as a youth?) - -Lastly, the passages which you have sent for the close of the whole -(especially the trio between Peter, John, and James) are too historical -and too far removed from the grouping of the (Old Testament) story; -still I could manage with the former, if, instead of the trio, I could -make a chorus out of the words; it would be very quickly done, and this -will probably be the case. I return you the pages that you may have -every necessary information, but pray send them back to me. You will see -that the bearing of the whole is quite decided; it is only the lyric -passages (from which arias, duetts, etc., could be composed) which fail -towards the end. So I beg you will get your large Concordance, open it, -and bestow this time on me, and when I return three weeks hence at -latest, let me find your answer. Continue your regard for your - -FELIX. - - - - -TO I. MOSCHELES, LONDON. - - -Leipzig, June 26th, 1846. - -My dear Friend, - -The cause of this letter is a line in a recent communication from Mr. -Moore, who writes, “Nearly the whole of the Philharmonic band are -engaged;[85] a few only are left out who made themselves unpleasant when -you were there.”[86] This is anything but pleasing to me, and as I think -that you have the principal regulation of such things, I address my -remonstrance to you, and beg you to mention them to Mr. Moore. - -Nothing is more hateful to me than the revival of old worn-out -squabbles; it is quite bad enough that they should ever be in the world -at all. Those of the Philharmonic I had quite forgotten, and they _must -on no account_ have any influence on the engagements for the Birmingham -Festival. If people are left out because they are incapable, that is no -affair of mine, and I have nothing to say against it; but if _any one_ -is to be left out because “he made himself unpleasant” to me, I should -consider it a piece of injustice, and beg that this may not be the case. -There is certainly no cause to fear that those gentlemen will again be -troublesome; at least, I feel none, and do not believe that any one can -do so. So I beg you earnestly to let the affair proceed exactly as it -would have done if I had no thoughts of coming to England; and if it be -really desired to show me _consideration_, the greatest favour that can -be conferred on me would be _not_ to take notice of any such personal -considerations. - -I know you will be so good as to bring this subject under the notice of -Mr. Moore, and I hope I shall hear nothing further of these obsolete -stories; that is, if my wishes are complied with, and _no kind of -vindictiveness_ exercised. Otherwise I shall protest against it ten -times at least by letter.--Ever your - -FELIX. - - - - -TO HERR VELTEN, CARLSRUHE. - - -Leipzig, July 11th, 1846. - -Sir, - -When I received your letter of May the 10th, I felt most anxious to -convey to you a word of consolation, and the assurance of my heartfelt -sympathy; but I could find no words for such a loss as yours, or -adequately express what I wished to say. - -Far more could I appreciate the extent of this loss when I had become -acquainted with the musical compositions which you so kindly sent me, in -the name of your deceased son. Every one who is in earnest with regard -to Art, must indeed mourn with you, for in him a true genius has passed -away, a genius that only required life and health to be developed, and -to be a source of joy and pride to his family, and a benefit to Art. How -very superior many of these works are to those we every day see, even by -better musicians, and how there shines forth, in every part, a striving -after progress, and the promise of a genuine vocation, along with the -most perfect development! And all this was not to be! and everything in -Art and in life remains so inscrutable? And thus _we_ lament him, who -only know a few compositions of this young artist; so how could suitable -words of comfort be found for you, his father? - -But I must _thank_ you for having made me acquainted with those works, -and for having written me those few lines; and I will waft my thanks -after your son also, for having destined these works for me. May Heaven -grant you consolation, and alleviate your grief, and one day permit you -to rejoin your son, where it is to be hoped there is still music, but no -more sorrow or partings.--Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Birmingham, August 26th, 1846. - -My dear Brother, - -From the very first you took so kind an interest in my “Elijah,” and -thus inspired me with so much energy and courage for its completion, -that I must write to tell you of its first performance yesterday. No -work of mine ever went so admirably the first time of execution, or was -received with such enthusiasm, by both the musicians and the audience, -as this oratorio. It was quite evident at the first rehearsal in London, -that they liked it, and liked to sing and to play it; but I own I was -far from anticipating that it would acquire such fresh vigour and -impetus at the performance. Had you only been there! During the whole -two hours and a half that it lasted, the large hall, with its two -thousand people, and the large orchestra, were all so fully intent on -the one object in question, that not the slightest sound was to be heard -among the whole audience, so that I could sway at pleasure the enormous -orchestra and choir, and also the organ accompaniments. How often I -thought of you during the time! More especially, however, when the -“sound of abundance of rain” came, and when they sang and played the -final chorus with _furore_, and when, after the close of the first part, -we were obliged to repeat the whole movement. Not less than four -choruses and four airs were encored, and not one single mistake occurred -in the whole of the first part; there were some afterwards in the second -part, but even these were but trifling. A young English tenor sang the -last air with such wonderful sweetness, that I was obliged to collect -all my energies not be affected, and to continue beating time steadily. -As I said before, had you only been there! But to-morrow I set off on my -journey home. We can no longer say, as Goethe did, that the horses’ -heads are turned homewards, but I always have the same feeling on the -first day of my journey home. I hope to see you in Berlin in October, -when I shall bring my score with me, either to have it performed, or at -all events to play it over to you, and Fanny, and Rebecca, but I think -probably the former (or rather both). Farewell, my dear Brother; if this -letter be dull, pray forgive it. I have been repeatedly interrupted, and -in fact it should only contain that I thank you for having taken such -part in my “Elijah,” and having assisted me with it.--Your - -FELIX. - - After the first performance of the “Elijah” in London, Prince - Albert wrote the following in the book of words which he used on - that occasion, and sent it to Mendelssohn as a token of - remembrance:--“To the noble artist who, though encompassed by the - Baal-worship of false art, by his genius and study has succeeded, - like another Elijah, in faithfully preserving the worship of true - art; once more habituating the ear, amid the giddy whirl of empty, - frivolous sound, to the pure tones of sympathetic feeling and - legitimate harmony;--to the great master who, by the tranquil - current of his thoughts, reveals to us the gentle whisperings, as - well as the mighty strife of the elements,--to him is this written - in grateful remembrance, by - - “_Buckingham Palace._ - -“ALBERT.” - - - - - - -TO FRAU DOCTORIN FREGE, LEIPZIG. - - -London, August 31st, 1846. - -Dear Lady, - -You have always shown such kind sympathy in my “Elijah,” that I may well -consider it incumbent on me to write to you after its performance, and -to give you a report on the subject. If this should weary you, you have -only yourself to blame; for why did you allow me to come to you with the -score under my arm, and play to you those parts that were half -completed, and why did you sing so much of it for me at sight? Indeed, -on this account you in turn should have considered it incumbent on you -to go with me to Birmingham; for it is not fair to make people’s mouths -water, and to disgust them with their condition, when you cannot remedy -it for them; and really the state in which I found the soprano solo -parts here was most truly miserable and forlorn. - -There was, however, so much that was good to make up for this, that I -shall bring back with me a very delightful impression of the whole; and -I often thought what pleasure it would have caused you. - -The rich, full sounds of the orchestra and the huge organ, combined with -the powerful choruses who sang with honest enthusiasm, the wonderful -resonance in the grand giant hall, an admirable English tenor singer; -Staudigl, too, who took all possible pains, and whose talents and powers -you already well know, and in addition a couple of excellent second -soprano and contralto solo singers; all executing the music with -peculiar spirit, and the utmost fire and sympathy, doing justice not -only to the loudest passages, but also to the softest _pianos_, in a -manner which I never before heard from such masses, and in addition, an -impressionable, kindly, hushed and enthusiastic audience,--all this is -indeed sufficient good fortune for a first performance. In fact, I never -in my life heard a better, or I may say so good a one, and I almost -doubt whether I shall ever again hear one equal to it, because there -were so many favourable combinations on this occasion. Along, however, -with so much light, as I before said, there were also shadows, and the -worst was the soprano part. It was all so neat, so pretty, so elegant, -so slovenly, so devoid both of soul and head, that the music acquired a -kind of amiable expression, which even now almost drives me mad when I -think of it. The voice of the contralto, too, was not powerful enough to -fill the hall, or to make itself heard beside such masses, and such solo -singers; but she sang exceedingly well and musically, and in that case -the want of voice can be tolerated. At least to _me_, _nothing_ is so -repugnant in music as a certain cold, soulless coquetry, which is in -itself so unmusical, and yet so often adopted as the basis of singing, -and playing, and music of all kinds. It is singular that I find this to -be the case much less even with Italians than with us Germans. It seems -to me that our countrymen must either love music in all sincerity, or -they display an odious, stupid, and affected coldness, while an Italian -throat sings just as it comes, in a straightforward way, though perhaps -for the sake of money,--but still not for the sake of money, _and_ -æsthetics, _and_ criticism, _and_ self-esteem, _and_ the right school, -and twenty-seven thousand other reasons, none of which really harmonize -with their real nature. This struck me very forcibly at the Musical -Festival. Moscheles was ill on the Monday, so I conducted the rehearsals -for him.[87] Towards ten o’clock at night, when I was tired enough, the -Italians lounged quietly in, with their usual cool _nonchalance_. But, -from the very first moment that Grisi, Mario, and Lablache began to -sing, I inwardly thanked God. They themselves know exactly what they -intend, sing with purity and in time, and there is no mistaking where -the first crotchet should come in. That I feel so little sympathy for -their music is no fault of theirs. But this digression is out of place -here. I wished to tell you about the Birmingham Musical Festival, and -the Town Hall, and here I am abusing the musical execution of our -countrymen. You will say, I have often enough, and too often, been -obliged to listen to you on that subject already. So I prefer reserving -all further description of the festival till I can relate it to you in -your own room. - -May I soon meet you in health and happiness, and find you unchanged in -kindly feelings towards myself.--Your devoted - -FELIX MENDELSSOHN BARTHOLDY. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, October 31st, 1846. - -My dear Brother, - -From my only being able to-day to wish you joy of yesterday, that is, in -writing and by words, you will at once see that I have even more than my -full share of affairs at this moment. What I wish most to do, I cannot -accomplish all day long, and what I most particularly dislike often -occupies my whole day,--but no more _Jérémiades_, and now for true -heartfelt good wishes. A thousand good wishes, which may all be summed -up in one,--health for you and yours, and all those you love; in this -wish lies the continuance of your happiness, in this lies your enjoyment -of it, in this lies all that is good, all that I can possibly desire for -you, and no human being could possibly wish or desire anything better -for any man? Were you very happy on the day? were all your family well? -(this however is included in my previous question;) had you a cake -decorated with lights? This is certainly an entirely novel question, but -not absolutely indispensable to the happiness of life (like the last). -Did you drink chocolate? were my sisters with you, or you with them at -dinner or supper? did you think of us? May God bless you, my dear -Brother, on that day, and on every day of your life! - -It is shameful in me, not to have thanked you yet for the beautiful copy -of Dahlmann, but it is still more shameful, that such ordinary--not -extraordinary--but honest, able, true words, are so seldom to be met -with in our Fatherland; and the cause of this is, that mediocrity, or -what is still worse, vapid superficiality, is so prevalent in Germany, -parading itself till we would fain drive out of sight; and this is also -why I have been hitherto prevented from even thanking you. I never yet -encountered such an accumulation of strangers, of inquiries and -proposals, and almost all entirely worthless; many so modest--and many -so immodest! Singers, players, a fine heap of compositions, and scarcely -one that can be called even tolerably good, but at the same time -overflowing with the longest words, full of patriotic ardour, full -of--anything but striving after high aims, though laying claim to the -highest of all; and then the impossibility of fulfilling even _one_ of -these demands with a good conscience, or recommending them to others. -But why should I tell you all this? you, no doubt, know it by experience -in your own department, for it pervades every department. All this -however confirms me in my resolution, not to continue in this public -official situation more than a few years; and just as it formerly was my -duty to fill such an office to the best of my ability, it is now equally -my duty to give it up. Everything here is gradually assuming a pleasant -aspect. Moscheles has set to work very vigorously with the -Conservatorium; the concerts also pursue their steady course now as -ever; when all this is secure and certain, I daily meditate on the -possibility of being able to pass the summer in some pretty country -(somewhere near the Rhine), and the winter in Berlin, and this I hope to -be able to do, without any public duties to perform in Berlin, and -without all that has now irrevocably passed away there; I intend to live -entirely with you in all happiness, and to write music. _Ainsi soit-il._ - -I should have been glad to bring the “Elijah” with me, but I am still at -work on two passages, which I am striving to remodel, and they cause me -great tribulation. In the meantime, I have been obliged to compose -afresh the whole Liturgy for the King. He has desired that I should be -repeatedly written to on the subject, and now at last it is finished. I -am often too in no happy mood, for poor Johann[88] is very seriously -ill, and causes us really very great anxiety. “May I be so bold as to -ask who is to play the part of the servant?” says Goethe, and lately -these words often recurred to me. May God soon restore the poor faithful -fellow! Love me as ever, and may you be happy in the approaching -year.--Your - -FELIX. - - - - -TO PROFESSOR EDWARD BENDEMANN. - - -Leipzig, November 8th, 1846. - -... Have I already thanked you for your excellent contributions, and -advice about “Elijah”? All your notes on the margin are most acceptable, -and are a fresh proof that you have not only a different, but a much -deeper insight than almost any one else into a subject of this kind. You -recommend that the “Sanctus” should be followed by the command of God to -Elijah to resume his mission; such was indeed my original intention, and -I think of replacing it, but I cannot dispense with an answer from -Elijah; and I think _both_ can and ought to be there. I shall not -however be able to bring in King Ahab again. The greatest difficulty in -the whole undertaking, was after the manifestation of the Lord in the -“still small voice,” to discover a conclusion for the whole, with -sufficient breadth (and yet not long); and if Elijah were to be -_afterwards_ introduced again in person as a zealous and avenging -prophet (in a dramatic aspect) it would in my opinion be difficult to -represent, without great circumlocution, his significance for the new -dispensation (which however must necessarily be alluded to), while I -think it most important, that from the moment of the appearance of the -Lord, all should go on in grand narrative to the close. But when you say -that one of these passages should relate how he came down, and again -came down in vain, you are quite right, and I will try to accomplish it, -as I am at this moment revising the whole, and re-writing several -passages before sending it to the engraver. It is singular that the -passage which caused me the greatest trouble, is the very one that you -would like to see omitted,--that of the widow. To me it seems, that by -introducing some phrases (either by the chorus or otherwise), the part -might become more significant and comprehensive, whereas you prefer its -being a simple narrative. After all, you are possibly right, which would -be unfortunate, for I believe that in the distribution of the whole, the -passage in its present expansion could not possibly be spared. This is a -point therefore which I shall weigh well. - - - - -TO CARL KLINGEMANN, LONDON. - - -Leipzig, December 6th, 1846. - -... Montaigne says, and so does Vult, that a man can have but _one_ -friend; you will find this too in the ‘Flegeljahre.’ I also said this -from my heart when I received your letter, my _one_ friend! - -How gladly would I have burst forth into joy and gratitude, at the news -it contained, and have replied in a gay and happy spirit; but this was -impossible, as at the time your letter arrived, we were in great anxiety -about our servant Johann, who had been confined to bed for the last two -mouths, with a species of dropsy, becoming daily worse, and when, about -a fortnight since, the improvement took place that we had been so -anxiously longing for during three weeks, his vital powers suddenly -sank, and to our great sorrow he died. You know that I valued him very -highly, and can well understand, that during the whole time when I saw -him suffer so much, and become worse and worse, and then the momentary -hope that ensued, followed by his sudden and inevitable death, must -cause me to be in a very grave mood for long, long to come. His mother -and sister did not arrive here till the day after his funeral. It -distressed us also very much, not to be able to say one consolatory word -to them! Among his things, which were all in the most exemplary order, -we found a letter to me containing his last will; I must show you this -the next time we meet,--no man, no poet indeed, could have written -anything more heartfelt, earnest and touching; then there was a great -deal to do and to regulate, until all the trunks, with his clothes, -etc., were sent off to his mother, and his brothers and sisters: and -this was why I have been unable to write to you during the last few -weeks. I relate all this to you in detail, because you are my _one_ -friend, and because you sympathize in all that really affects and -concerns me. Happily, I was able to work the whole time (though, indeed, -not to compose). I got the parts of Bach’s B minor Mass from Dresden. -(Do you remember it on Zelter’s Fridays?) It is chiefly in his own -writing, and dedicated to the Elector of that day. (“To his Royal -Highness the most noble the Elector of Saxony, the accompanying Mass is -dedicated, with the most respectful devotion of the author, J. S. Bach.” -This is inscribed on the title-page.) From it I have gradually corrected -all the mistakes in my score, which were innumerable, and which I had -frequently remarked, but never had a proper opportunity to rectify. This -occupation, mechanical, though now and then interesting enough, was most -welcome to me. For the last few days, however, I have again begun to -work with all my might at my “Elijah,” and hope to amend the greatest -part of what I thought deficient in the first performance. I have quite -completed one of the most difficult parts (the widow), and you will -certainly be pleased with the alterations,--I may well say, with the -improvements. “Elijah” is become far more impressive and mysterious in -this part, the want of which was what annoyed me. Unluckily I never find -out this kind of thing till _post festum_, and till I have improved it. -I hope, too, to hit on the true sense of other passages that we have -discussed together, and shall seriously revise all that I did not deem -satisfactory; so that I hope to see the whole completely finished within -a few weeks, and then be able to begin something new. The parts that I -have hitherto remodelled prove to me that I am right, not to rest till -such a work is as good as I can make it, although in these matters very -few people either remark or wish to hear about them, and yet they cost a -very, very great deal of time; but, on the other hand, such passages -make a very different impression when they are really made better, both -in themselves, and with regard to all other portions,--you see I am -still so very much pleased with the part of the widow, that I completed -to-day,--so I think it will not do to rest satisfied with them just as -they are. Conscience, too, has a word to say on this matter. - - - - -TO HIS BROTHER-IN-LAW, PROFESSOR DIRICHLET, BERLIN, - - -Leipzig, January 4th, 1847. - -Dear Dirichlet, - -I write you these lines to say that I wish for my sake, I might say for -your sake also, that you should remain at Berlin.[89] Jesting apart, I -would gladly repeat in writing, and at this new year’s time, all that I -said to you about it personally. The more I reflect on this plan _here_ -(not in Berlin), the more I feel convinced that its execution would -grieve me, first, for your own sake, and secondly, for mine (which comes -to one and the same thing); for when I look repeatedly around here, and -thus try to discover what kind of weather there is in Germany (and you -know that it is often long, long before this can be perceived in -Berlin), I everywhere see the current setting in towards large cities, -but receding from the smaller ones. It might be said, then, a residence -in small towns will now become really agreeable; but they, too, will not -be content to remain in their state of quiet comfort, but strive to -become great cities: and this is why I could not see any one, far less -yourself, leave a large city at this moment to settle in a small one, -without the most extreme concern. There are a thousand wants, both -material and spiritual, which these smaller places are at this moment -seeking to supply (thus making these wants only more perceptible), a -thousand pleasant things in life and knowledge,--all linked for many -long years with yourself and with Rebecca’s early days,--which you value -less than they deserve, because you have always been accustomed to have -things in one fashion and in no other, and because you are uneasy about -the present, and dissatisfied with what is going on. But, in truth, you -will find the same uneasiness, and the same dissatisfaction, prevailing -everywhere through all Germany; at present, indeed, only in those whom -you meet, and not in yourself, the new-comer; but, alas! alas! in these -days such contamination spreads hourly in our Fatherland, where these -evils daily strike deeper root, and you will and must experience them -also, wherever you go, and not in any respect improve your condition in -this chief point. By your change of residence, you cannot effect any -cure in the prevailing malady, and I as little with my subscription -concerts; it can only be done by very different means, or by a very -sharp crisis; and, in any event, it would then be best not to be placed -in new, but in old familiar circumstances. A third thing may happen, -and, alas! not the most improbable; all may remain in its old form. In -that case also, however, it is best not to begin a new life, which holds -out no prospect of any improvement in itself. I do wish, then, that you -would remain in Berlin. - -That you, by any kind of promise, however well meant, or positive, are -now in the hands of the people of Heidelberg, and _must_ say Yes, if -_they_ say Yes also, I _cannot_ believe. Such a connection as yours with -Berlin is not to be dissolved by a letter and a few words; and if these -people believe that by your answer they have acquired any right over -you, it is not to be denied that the others have at least an equal -right. Simply from an overweening sense of justice, and from too much -delicacy, a person often chooses that which costs him the greatest -sacrifice, and thus, I believe, you would at last rather choose -Heidelberg; but they will not be sensible of this: they only wish to -conclude a bargain, and you must do the same, and no more. In the -meanwhile they have the _præ_, because they wish to acquire something -new for themselves, and the people of Berlin only to keep what they -have, and the former is always more tempting and pleasant; but, as I -said before, it is a mere matter of business,--do not forget that; and -you know quite as well as I do that all the _Berliners_ are anxious to -keep you. Forgive my strange lecture, but remain. - -I ask it for my sake also; for I have now, I may say, decided soon to go -for the winter to Berlin. Don’t let us play at the game of “change -sides.” I preferred a residence in a smaller town, under very favourable -circumstances; I always liked it, and am accustomed to no other, and yet -I feel compelled to leave it, to rejoin those with whom I enjoyed my -childhood and youth, and whose memories and friendships and experiences -are the same as my own. My plan is, that we should _form all together_ -one pleasant united household, such as we have not seen for long, and -live happily together (independent of political life or _non-life_, -which has swallowed up _all_ else). For some time past everything seems -to contribute to this, and, as I said, _I_ shall not be found wanting, -for I consider it the greatest possible good fortune that could ever -befall me; so do not frustrate all this by one blow, but remain in -Berlin, and let us be together there. These are my reasons, badly -expressed, but better intended than expressed; and don’t take this -amiss.--Your - -FELIX. - - - - -TO FRAU GEHEIMERÄTHIN STEFFENS, GEB. REICHARDT, BERLIN. - - -Leipzig, February, 1847. - -Dear Madam, - -When I meet any one who knew my Father, and who loved and esteemed him -as he deserved, I immediately look on such a one as a friend, and not as -a stranger, and a meeting of this kind always makes me glad and happy. -As you no doubt feel the same, I trust you will excuse the liberty I -take in addressing you. I wish to relate to you how touched and -delighted the friends of music in Leipzig were yesterday by the -composition of your father; we felt as if his spirit were still living -and working among us, and indeed it is so. In the concert of yesterday -(which, like the previous and both the ensuing ones, was dedicated to a -kind of historical succession of the great masters) there was an -opportunity of bringing before the public some of your father’s songs. A -symphony of Haydn’s was followed by the Reichardt song, “Dem Schnee, dem -Regen,” and his duett, “Ein Veilchen auf der Wiese stand;” and then the -same poem set to music by Mozart. You will perceive that your father’s -music was by no means in a very easy proximity, but I wish you could -have heard how he maintained his honourable position. The very first -song sounded charming and effective; but when the little duett was given -by two very fresh pure voices, in great simplicity and perfection, many -a lover of music could not suppress his tears, so charming and genial -was _that_ music, so genuine and touching. Such applause as we seldom -hear, and a _da capo_ of all three verses, followed as a matter of -course. This was not for a moment doubtful after the three first bars -had been sung, and I felt as if I could not only listen to the song -twice, but during the whole evening, and to nothing else. It was the -true genuine German song, such as no other nation has, but even ours -nothing better; perhaps grander, certainly more complicated, more -elaborate, and more artificial, but not on that account more -artistic--thus, not better. This must happily be the case for all time, -and it must cause you much joy, thus once more to meet your father’s -spirit in its still living influence; for many a young musician who -heard his music yesterday (if, indeed, he can feel such things at all) -will now know better what a song should be, than from all the books of -instruction, all the lectures, and all the examples of the present day; -“and thus is life won,” as Goethe says. Forgive me for writing nothing -in this letter, except that the Reichardt songs were so lovely, and the -Leipzig public so enchanted. The first you have long known, though the -second in itself may be a matter of indifference; but as I was seated at -the piano accompanying yesterday and feeling such delight, I said to -myself that I must write to you about it. - -Begging you to recall me to the remembrance of your daughter, I am your - -FELIX MENDELSSOHN BARTHOLDY.[90] - - - - -TO HIS NEPHEW, SEBASTIAN HENSEL. - - -Leipzig, February 22nd, 1847. - -Dear Sebastian, - -I thank you very much for the drawing, which, as your own composition, -pleases me extremely, especially the technical part, in which you have -made great progress. If, however, you intend to adopt painting as a -profession, you cannot too soon accustom yourself to study the _meaning_ -of a work of art with more earnestness and zeal than its mere -_form_,--that is, in other words (as a painter is so fortunate as to be -able to select visible nature herself for his substance), to contemplate -and to study nature most lovingly, most closely, most innately and -inwardly, all your life long. Study very thoroughly how the outer form -and the inward formation of a tree, or a mountain, or a house always -_must_ look, and how it _can_ be made to look, if it is to be beautiful, -and then produce it with sepia or oils, or on a smoked plate; it will -always be of use, if only as a testimony of your love of substance. You -will not take amiss this little sermon from such a screech-owl as I -often am, and above all, do not forget the substance,--as for the form -(my lecture), the devil may fly away with it, it is of very little -value. - -Tell your mother that I quite agree with her about the scherzo. Perhaps -she may one day compose a _scherzo serioso_; there may be such a -thing.--Your Uncle, - -FELIX M. B. - - - - -TO GENERAL VON WEBERN, BERLIN.[91] - - -Frankfort, May 24th, 1847. - -Your letter did me good, even in the depths of my sorrow, when I -received it; above all, your handwriting, and your sympathy, and every -single word of yours. I thank you for it all, my dear, kind, faithful -friend. It is indeed true that no one who ever knew my sister can ever -forget her through life; but what have not we, her brothers and sister, -lost! and I more especially, to whom she was every moment present in her -goodness and love; her sympathy being my first thought in every joy; -whom she ever so spoiled, and made so proud, by all the riches of her -sisterly love, which made me feel all was sure to go well, for she was -ever ready to take a full and loving share in all that concerned me. All -this, I believe we cannot yet estimate, just as I still instinctively -believe that the mournful intelligence will be suddenly recalled; and -then again I feel that it is true,--but never, never can I inure myself -to it! It is consolatory to think of such a beautiful, harmonious -nature, and that she has been spared all the infirmities of advanced age -and declining life; but it is hard for us to bear such a blow with -proper submission and fortitude. - -Forgive me for not being able to say or write much, but I wished to -thank you. - -My family are all well; the happy, unconcerned, cheerful faces of my -children alone have done me good in these days of sorrow. I have not as -yet been able to think of music; when I try to do so, all seems empty -and desolate within me. But when the children come in I feel less sad, -and I can look at them and listen to them for hours. - -Thanks for your letter; may Heaven grant health to you, and preserve all -those you love.--Your - -FELIX M. B. - - - - -TO HIS NEPHEW, SEBASTIAN HENSEL. - - -Baden-Baden, June 13th, 1847. - -Dear Sebastian, - -I must send you my good wishes on your birthday, the most mournful one -you have yet known. The retrospect of its celebration last year will -deeply grieve you, for then your mother was still by your side; may, -however, the anticipation of the future birthdays which you may yet be -spared to see, comfort and strengthen you! for your mother will stand by -your side in these also, as well as in everything that you do or fulfil. -May all you do be estimable and upright, and may your daily steps be -directed towards that path to which your mother’s eyes were turned for -you, and in which her example and her being went with you, and always -will go with you so long as you remain true to her,--in other words, I -trust, all your life long. Whatever branch of life, or knowledge, or -work you may devote yourself to, it is indispensable to _will_ (not to -wish, but to _will_) something good and solid; but this is sufficient. -In all employments and in all spheres there is now and always will be a -want of able honest workmen, and therefore it is not true when people -declare it now more difficult than formerly to achieve anything. On the -contrary, in a certain sense, it is and always will be _easy_, or -altogether _impossible_; a genuine, faithful heart, true love, and a -brave, determined will, are alone required for this, and you will not -assuredly fail in these, with such a bright and beloved example steadily -shining before you. And even if you follow this, and do all, all in your -power, still nothing is done, nothing is attained, without the -fulfilment of one fervent wish,--may God be with you! - -This prayer comprises consolation and strength, and also cheerfulness in -days to come. I often long to be able to pass those days with you and -your aunt Rebecca. We expect your father ten or twelve days hence; I -wish you could come with him, and we might sketch from nature together. -I lately _composed_ a sketch of an old mountain castle in a forest, with -a distant view of a plain; another of a terrace, with an old lime-tree, -and an image of the Virgin under it; and a third, of a solitary mountain -lake between high hills, with reeds in the foreground. I mean to wash -them in with Indian ink. Are you inclined to try the same three -subjects, that we may compare our compositions? Do so, I beg, dear -Sebastian, and show them to me when we meet again,--soon, very soon, I -hope. May God bless you.--Ever your - -FELIX M. B. - - - - -TO REBECCA DIRICHLET, BERLIN. - - -Thun, July 7th, 1847. - -Dear Sister, - -In your letter of yesterday to Paul,[92] you said you wished I would -write to you again; I therefore do so to-day, but what to write I cannot -tell. You have often laughed at me and rallied me because my letters -assumed the tone around me or within me, and such is the case now, for -it is as impossible for me to write a consistent letter as to recover a -consistent frame of mind. I hope that as the days pass on they will -bring with them more fortitude, and so I let them pursue their course, -and in the society of Paul, and in this lovely country, they glide on -monotonously and rapidly. We are all well in health, and sometimes even -cheerful. But if I return within myself, which I am always inclined to -do, or when we are talking together, the ground-tint is no longer -there--not even a black one, far less one of a brighter hue. - -A great chapter is now ended, and neither the title nor even the first -word of the next is yet written. But God will make it all right one day; -this suits the beginning and the end of all chapters. - -We intend going to Interlachen in a few days, and towards the end of the -month Paul will have begun his journey thence towards home. He enjoys -with me the _old_ familiar mountain-summits, which look as hoary as five -or twenty-five years ago, and on which Time makes little impression! We -shall probably stay in Interlachen for another month, and establish -ourselves there; I will, and must, soon attempt once more to begin some -regular work, and should like to have made some progress in a -composition before my journey home. I hope to find you and yours in good -health in September. May we soon meet again, my dear, good Sister! and -do not forget your - -FELIX M. B. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Interlachen, July 19th, 1847. - -My dear Brother, - -Scarcely were you gone, when a storm arose, and the thunder and rain -were tremendous. Then we dined, and found an unfilled place at table. -Then I reflected for two hours on Schiller’s chorus in the ‘Bride of -Messina,’ “Say what are we now to do?” and then the children brought the -two enclosed letters for you, and said, “I wonder where our Uncle is -now!” - -But it is no longer any use telling you such commonplace, indifferent -things, and yet life is made up chiefly of these. So adieu, till we meet -again on the plains or on the mountains. We shall be as happy there as -we were here. - -It is still thundering, and this is the most dreary day we have had here -for many weeks--in every sense!--Your - -FELIX. - - - - -TO REBECCA DIRICHLET. - - -Interlachen, July 20th, 1847. - -Dear Sister, - -When your dear letter arrived, I was writing music; I force myself now -to be very busy, in the hope that hereafter I may become so from -inclination, and that I shall take pleasure in it. This is “weather -expressly calculated for writing, but not for gipsying.” Since Paul left -us, the sky has been so dismal and rainy that I have only been able to -take one walk. Since the day before yesterday, it has been quite cold -besides, so we have a fire in-doors, and, out-of-doors, streaming rain. -But I cannot deny that I sometimes rather like such downright, pouring -wet days, which confine you effectually to the house. This time they -give me an opportunity of passing the whole day with my three elder -children; they write, and learn arithmetic and Latin with me,--paint -landscapes during their play-hours, or play draughts, and ask a thousand -wise questions, which no fool can answer (people generally say the -reverse of this, still it is so). The standing reply is, and always will -be, “You do not yet understand such things,” which still vibrates in my -ears from my own mother, and which I shall soon hear in turn from my -children, when they give their children the same answer; and thus it -goes on. - -As for Sebastian’s profession, I think he is now at the age, and period, -when he is not likely to feel conviction or enthusiasm for anything that -cannot be laid hold of by the hand, or counted by numbers, or expressed -by words, and he must be kept from everything--as a life aim--which -might forestal such convictions. He knows that as well as I do, and I -have entire confidence in his not choosing any profession from which he -will hereafter turn aside, or which might eventually become indifferent -or wearisome to him. As soon, therefore, as I feel secure _on this -point_, it is quite the same to me, what he may choose in this wide -world, or how high or how humble his path may then be, if he only -pursues it cheerfully! And as all agree in allowing him to make his own -choice, and as he can now or never understand the serious aspect of -life, and as this earnest feeling is the affair of his own heart, in -which no one can assist him, or advise him, although it does affect each -of us deeply, I believe he will not be found wanting in this respect, -and will do well, what he settles to do; _that_ would be my suggestion -to him, but, otherwise, not to offer him the slightest approach to -advice. It is the old story of Hercules, choosing his path, which for -several thousand years has always been acted once, at least, in the life -of every man; and whether the young maidens be called Virtue or Vice, -and the young men Hercules or not, the sense remains the same. - -In September, God willing, I intend to come to Berlin, and Paul has -probably told you how seriously I am occupied with the thought of -spending my life with you, my dear Sister and Brother, and residing with -you, renouncing all other considerations. I wish to live with you, and -never did I feel this more vividly than when the steamboat set off to -Thun with Paul and his family, and Hensel; and, strangely enough (either -for this reason, or in spite of it), it is almost impossible for me at -this time to be with strangers. There is no lack of visitors here, both -musical and others; scarcely a single day lately has passed without one, -or several; but they all seem to me so empty and indifferent, that I, no -doubt, must appear in the same light to them, so I heartily wish that we -may soon part, and remain apart; and in the midst of all the phrases, -and inquiries, and speechifying, one thought is always present with -me--the shortness of life; and, in fact, I hope we shall soon be -together, and long remain together. Farewell, dear Sister, till we -meet! - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Interlachen, August 3rd, 1847. - -Dear Brother, - -We are all well, and continue to live the same quiet life that you -enjoyed with us here. It was, indeed, most solitary the first days after -you left us, when each of us went about with dismal faces, as if we had -forgotten something, or were looking for something,--and it was so, -indeed! Since then, I have begun to write music very busily; the three -elder children work with me in the forenoon; in the afternoon, when the -weather permits, we all take a walk together; and I have also finished a -few rabid sketches in Indian ink. Herr Kohl came here yesterday, the -Irish and Russian traveller, and spent the evening with us; also, Mr. -Grote,[93] whom I always am very glad to see and to listen to; but I now -feel so tranquil in this quiet retirement, and so little tranquil with a -number of people, that I do all I can to avoid what is called society, -and as yet I have succeeded in this. Why were you not with me in -Boningen? you would indeed have been pleased! and in Wilderschwyl, and -Unspunnen besides? This alone would be a sufficient reason for your -returning here as soon as you can. We have not, however, _once_ had fine -weather since the day of your departure, and often very bad; there has -been no further question, since then, of sitting under the walnut-trees, -and many days we were unable to leave the house. Still we always took -advantage of the hours that were fair for all kinds of expeditions; and -wherever you turn your steps here, it is always splendid. If the weather -becomes more settled, I mean to go over the Susten, and to the summit of -the Sidelhorn, which can be done from here in a few days. But to carry -this resolution into effect seems by no means easy; it is so lovely -here, and we so much enjoy our regular, quiet life. It has enabled me -once more to become often quite cheerful; but when people come, and talk -at random about commonplace matters, and of God and the world, my mood -becomes again so unutterably mournful, that I do not know how to endure -it. You are obliged to surmount such feelings, to the utmost extent; and -I think of this every day. It must be hard on you, and I shrink from the -idea of it myself. But it must be so, and it is right, so with the help -of God, it can be done. All send heartfelt greetings; and ever continue -to love your - -FELIX. - - - - -TO GENERAL VON WEBERN, BERLIN. - - -Interlachen, August 15, 1847. - -My dear, kind Friend, - -I send you a thousand thanks for your letter of the 14th of July, which -had been much delayed, as I only received it here a short time ago. You -have, no doubt, seen my Brother since then, and he has probably told -you more minutely of my intention to visit Berlin this autumn. But I -cannot delay sending you an immediate answer to your kind and friendly -proposal about the three concerts, but, indeed, I would rather not at -present agree to announce the three concerts (of which two were to be -“Elijah”). “Elijah” has not yet been heard in Berlin, and it would not -only appear presumptuous, but would really be so, if I proposed to the -public to perform it twice in succession. In addition to this, my -present mood makes me so decidedly disinclined for all publicity, that I -have with difficulty, and chiefly through Paul’s sensible exhortations, -resolved not to give up those performances to which I had already -agreed. I intend, also, to fulfil my promise to Herr von Arnim about the -Friedrich Stift,[94] and the 14th of October seems to me a very suitable -day. If the sympathy in the work is so great that a repetition of it is -expected and desired within a short period, you may imagine that this -can only be a source of pleasure to me, and then I would gladly see the -receipts of the second performance applied entirely according to your -wish. If, in spite of this very unsatisfactory and undecided answer, you -will be so kind as to assist in promoting the first performance in -October, and inspiring those who have to do with it, as soon as -possible, with some activity, you will do me a great service, and I -shall again owe you many thanks. For I know, as you say, the -difficulties consequent on the state of things there, which is very -similar to the sand, and must be desperately ploughed up, before it -brings forth any fruit. - -Your letter to Cécile does not sound so cheerful as usual. We hope that -this may have only been caused by some passing cloud, and that the sun -of your gayer mood again shines as brightly as we are accustomed to see -it with you. There are, to be sure, just now, very dense misty fogs, if -not thunder-clouds in our Fatherland, and many a day that might be -bright and clear becomes thus sultry and grey, and all objects dim and -dull; yet no one can strive against this, or maintain that they see the -bright colours and forms which genuine sunshine brings; and, indeed, -vivid lightning and loud thunder out of the black cloud, are sometimes -preferable to vague mists and foggy abysses. Every one suffers from -them, but these mists do not yet absorb the light, and cannot fail to be -dispersed at last. That no personal reason, no illness of your family or -yourself, or any other serious cause may exist for your depression, is -what we wish! - -My wife and children are well, God be praised! We walk a great deal, the -children do their lessons, Cécile paints Alpine roses, and I write -music, so the days pass monotonously and quickly. Preserve your regard -for me as I ever shall for you, for ever and ever.--Your friend, - -FELIX M. B. - - - - -TO PAUL MENDELSSOHN BARTHOLDY. - - -Leipzig, October, 25th 1847. - -Dearest Brother, - -I thank you a thousand times for your letter to-day, and for the hint -you give about coming here, which I seize with the utmost eagerness of -heart. I really did not know till to-day what to say about my plans. God -be praised, I am now daily getting better, and my strength returning -more and more; but to travel this day week to Vienna (and that is the -latest period which will admit of my arriving in time for a rehearsal of -their Musical Festival) is an idea which cannot possibly be thought -of.[95] It is certainly very unlucky that they should have made so many -preparations, and that my going there should be a second time put off. -There is no doubt, however, that my improvement in health is day by day -greater and more sure, so I have written to ask if I may delay coming -for a week; but, as I said, I place little faith in the practicability -of the whole thing, and it seems to me I must remain here. In no case -can I attempt to travel before eight days from this time; and as to the -state of my expedition to Berlin, has not Herr von Arnim reported it to -you in regular detail? If I cannot go to Vienna, the same reasons which -prevent my going there, must cause me to stay here for a fortnight or -three weeks, and to put off the performance in Berlin till the end of -November at the latest; and even if I do go to Vienna, this must of -course still be the case. - -After, however, these interrupted performances, which must now be -carried through, that I positively undertake no new ones is quite -settled. If it were not necessary to keep one’s promise! but this must -be done, and now the only question is whether I shall see you again on -Saturday? Say Yes to this; I believe you would do me more good than all -my bitter medicine. Write me a couple of lines soon again, and be sure -you agree to come. My love to you all! and continue your love for your - -FELIX. - - * * * * * - -On the 30th of October his brother was summoned to Leipzig, in -consequence of Mendelssohn being seized by another attack of illness. He -died on the 4th of November. - - * * * * * - - -CATALOGUE -OF -ALL THE MUSICAL COMPOSITIONS -OF -FELIX MENDELSSOHN BARTHOLDY. - - -I. THE PUBLISHED WORKS, IN CHRONOLOGICAL ORDER. - -II. THE UNPUBLISHED WORKS, CLASSIFIED UNDER DIFFERENT HEADS. - -COLLECTED PRINCIPALLY FROM THE AUTHOR’S ORIGINAL MANUSCRIPTS, - -AND ACCOMPANIED BY A PREFACE, - -BY -JULIUS RIETZ. - - - - -PREFACE. - - -In the first section of this Catalogue a few compositions are omitted, -because the autograph notes, by which Mendelssohn was in the habit of -recording the date and place of composition of his pieces, are wanting; -the precise date at which these works were composed cannot therefore be -given. They are as follows:-- - - Op. 6. Sonata for Pianoforte. - 7. Seven characteristic pieces for Pianoforte. - 8. Twelve Songs. - 9. Twelve Songs (with the exception of No. 3). - 10. Symphony No. 1. - 14. Rondo Capriccioso for Pianoforte. - -These may all be placed between 1824 and 1828; the symphony, probably -the earliest of all, about 1824; it was not published, however, till -much later, and was then marked as Opus 11, that number happening to be -vacant. In marking his works with Opus figures, both at that time and -especially later, Mendelssohn invariably referred to the date, not of -their composition, but of their publication; years not unfrequently -intervening between the two. This fact is strikingly exemplified in the -“Walpurgis Nacht,” which, though composed in 1830, was not published -till 1843, when indeed it was much over-elaborated. In his books of -songs and other minor works, he was in the habit of selecting those -which answered his purpose, out of a large number composed in _different -years_. Thus, for example, the six songs in the first book of songs for -men’s voices (op. 50), were composed between 1837 and 1840. Dates are -also wanting for - - Op. 15. Fantasia for Pianoforte. - 19. Six Songs, (with the exception of No. 6) undoubtedly written - between 1830 and 1834. - 44. String Quartett, No. 1. - 66. Trio No. 2, for Pianoforte, Violin, and Violoncello. - 72. Six Juvenile pieces. - 13. Variations for Pianoforte. - -All belonging to the last period, subsequent to 1840. - -Besides these, the originals of many single songs, with and without -words, are so dispersed, that with the most anxious desire to render the -Catalogue complete, and notwithstanding all the efforts of the Editor, -they have not yet been discovered. Still, even in its incomplete and -imperfect condition, the Catalogue will be interesting to the friends -and admirers of this immortal composer. It cannot fail also to be of -great value to Mendelssohn’s future biographer, for the striking picture -it furnishes of his development, of which the Thematic Catalogue of -Breitkopf and Härtel can give no idea, since in its compilation it was -not possible to observe the chronological succession of the works. - -This is the proper place to mention a widely-spread report, to the -effect that Mendelssohn’s sister, Fanny Hensel (who died on the 14th of -May, 1847), had a share in the composition of many of his works. Thus, -among others, she has been often named as the composer of the entire -first book of “Songs without Words” (op. 19). This has been much -exaggerated. We are now enabled to reduce it to its proper -proportions,[96] and to state positively that Mendelssohn included six -only of his sister’s songs with words in his first four books of songs, -_and beyond these not one of any kind whatsoever_. These songs are:-- - - “Heimweh,” No. 2 } - “Italien,” No. 3 } in Opus 8. - “Suleika and Hatem,” Duett, No. 12} - - “Sehnsucht,” No. 7 } - “Verlust,” No. 10 } in Opus 9. - “Die Nonne,” No. 12} - -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 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 catalogue of -Mendelssohn’s published works, the following have since appeared in -Germany. - -1. Two Pianoforte Pieces: (_a_) Andante cantabile, in B flat; (_b_) -Presto agitato, in G minor (Senff, Leipzig). - -2. Two Songs for four Men’s Voices: (_a_) “Schlummernd an des Vaters -Brust;” (_b_) “Auf, Freunde, lasst das Jahr uns singen,” in the -“Repertorium für Männergesang” (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 F----; 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 Mendelssohn has accomplished in the -most various styles of composition (besides the published works); it is -not arranged chronologically, but under different heads,--Church Music, -Dramatic, etc. etc. The immense number 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 -representatives, 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 _fêtes_, 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 mentioned, 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. - - * * * * * - - -I. - -PUBLISHED WORKS, - -IN CHRONOLOGICAL ORDER. - - -1822. - -Quartett for Pianoforte, Violin, Tenor, and Violoncello, in C minor, op. -1. Berlin.[97] - - -1823. - -Quartett for Pianoforte, Violin, Tenor, and Violoncello, in F minor, op. -2. Berlin. - -Sonata for Pianoforte and Violin, in F 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. First Act. -Berlin. - -Overture for a Military Band, in C major, op. 24. Dobberan. - -Originally composed for the Band of the Dobberan Baths, and subsequently -arranged for a full Military Band. - - -1825. - -“Die Hochzeit des Camacho,” Overture and Second Act. - -This Opera was given once in the Berlin theatre, on the 29th April, -1827. - -Capriccio for Pianoforte, in F sharp minor, op. 5. Berlin. - -Octett for four Violins, two Tenors, and two Violoncellos, in E flat, -op. 20. Berlin. - - -1826. - -Quintett for two Violins, two Tenors, and Violoncello, in A, op. 18. -Berlin. - -The Intermezzo, Andante sostenuto, 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 F sharp, 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. - -Fugue 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.” - -Overture, “Meeresstille und glückliche Fahrt,” in D, op. 27. Berlin. - -Variations for Pianoforte and Violoncello, in D, op. 17. Berlin. - - -1829. - -Song for Voice and Pianoforte, “Wartend,” op. 9, no. 3. Berlin. - -Song for Voice and Pianoforte, “Der Blumenkranz.” London. - -This appeared at a much later period, in an Album of Spehr’s, Brunswick. - -Three Fantasias or Caprices for the Pianoforte, op. 16. Coed Du, in -Wales. - -“Heimkehr aus der Fremde,” Operetta in One Act, op. 89. London and -Berlin. - -Composed for the celebration of the silver wedding-day of his parents. -Performed in public for the first time on the 20th April, 1851, in -Leipzig. - - -1830. - -Overture, “Die Hebriden,” in B minor, op. 26. Rome. - -Psalm CXV., “Nicht unserm Namen, Herr,” for Chorus, Solo, and Orchestra, -op. 31. Rome. - -Song for Voice and Pianoforte, “Reiselied,” op. 19, no. 6. Venice. - -Song without words, “Gondellied,” 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. -Rome. - -Three Motetts for Female Voices with Organ, op. 39. Rome. - -Composed for the Nuns in Trinità de’ Monti, in Rome; but not published -till 1838, when it was partly re-written. - - -1831. - -“Die erste Walpurgis Nacht,” Ballad, for Chorus, Solo, and Orchestra, -op. 60. Milan and Paris. - -Re-written in Leipzig in 1842, and published in 1843. - -“Verleih’ uns Frieden,” Prayer, for Chorus and Orchestra. No opus -number. Rome. - -Song for Voice and Pianoforte, “Da lieg’ ich unter den Bäumen,” op. 84, -no. 1. Düsseldorf. - -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. - -Repeatedly mentioned in Mendelssohn’s Letters from Italy, as the Italian -Symphony. - -Overture, “Zum Mährchen von der schönen Melusine,” in F, op. 32. Berlin. - -Fantasia for Pianoforte, in F sharp minor, op. 28. Berlin. - -Entitled on the autograph, “Sonate Écossaise.” - -Capriccio for Pianoforte, in F sharp minor, op. 33, no. 3. London. - -“Lied ohne Worte,” in D, op. 30, no. 5. Düsseldorf.Vocal Chorus, “Lord, - have mercy,” in A minor. No opus number. Berlin. - -Published in an Album, by Bösenberg, Leipzig. - - -1834. - -Rondo Brillant for Pianoforte, in E flat, op. 29. - -Capriccio for Pianoforte, in A minor, op. 33, no. 1. - -“Lieder ohne “Worte:”-- - - Op. 30, Nos. 1 and 4. - Op. 85, No. 2. - -Songs for Voice and Pianoforte:-- - - “Minnelied,” op. 34, no. 1. - “Auf Flügeln des Gesanges,” op. 34, no. 2. - “Sonntagslied,” op. 34, no. 5. - “Jagdlied,” op. 84, no. 3. - -Romance for Voice and Pianoforte, “Schlafloser Augen.” No opus number. - -Published in an Album. Breitkopf and Härtel, 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 Immermann’s -works. Schaub, Düsseldorf. - -N.B.--All the works of this year were composed at Düsseldorf. - - -1835. - -Oratorio of “St. Paul,” op. 36. Düsseldorf and Leipzig. - -Performed for the first time at the Musical Festival of the Lower Rhine, -at Düsseldorf, on the 22nd of May, 1836. - -Capriccio for Pianoforte, in E major, op. 33, no. 2. Düsseldorf. - -Fugue for Pianoforte, in A flat, op. 35, no. 4. Düsseldorf. - -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. - -Étude 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. Bingen and -Horchheim on the Rhine. - -Quartett for Two Violins, Tenor, and Violoncello, in E minor, op. 44, -no. 2. Frankfort on the Main. - -Psalm XLII., “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. } - “Reiselied,” op. 34, no. 6.} Leipzig. - “Suleika,” op. 57, no. 3. } - -Songs for Four Male Voices:-- - - “Sommerlied,” op. 50, no. 3. } - “Wasserfahrt,” op. 50, no. 4. } - “So lang man nüchtern ist,” op. 75, no. 3.} Leipzig. - “Geben wir Rath,” op. 76, no. 1. } - -Song for Soprano, Alto, Tenor, and Bass, “Im Grünen,” op. 59, no. 1. -Leipzig. - -“Song without Words,” in A minor, op. 38, no. 5. Speyer. - - -1838. - -Serenade and Allegro Giojoso for Pianoforte, with Orchestra, 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. Breitkopf and Härtel, Leipzig. - -Song for Four Male Voices, “Türkisches 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. -Frankfort, Berlin, and Leipzig. - -Sonata for the Organ, in C minor, op. 65, no. 2. Frankfort. - -Overture to Victor Hugo’s drama, “Ruy Blas,” in C minor, op. 95. -Leipzig. - -Chorus for Two Female Voices, with Quartett accompaniment, from “Ruy -Blas,” in A, op. 77, no. 3. - -The foregoing two pieces were written for a performance of “Ruy Blas” -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. Frankfort and -Leipzig. - -Besides these:-- - - “Hirtenlied,” op. 88, no. 3.} Frankfort. - “Im Wald,” op. 100, no. 4. } - -Songs for Four Male Voices:-- - -“Liebe und Wein,” op. 50, no. 5.} “Abendständchen,” op. 75, no. 2.} -Leipzig. “Ersatz für Unbestand.” No opus number.} - -Songs for One Voice with Pianoforte:-- - - “Frühlingslied,” op. 47, no. 3.} - “Volkslied,” op. 47, no. 4. } Leipzig. - “Wiegenlied,” op. 47, no. 6. } - - “Altdeutsches Lied,” op. 57, no. 1. Horchheim. - - “Hirtenlied,” op. 57, no. 2. } - “Herbstlied,” op. 84, no. 2. } Leipzig. - “Song without Words,” in F sharp minor, op. 67,} - no. 2. } - - - -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, “Begeht mit heil’gem -Lobgesang.” No opus number. - -For the opening of the same Festival in honour of Printing. - -Songs for Four Male Voices:-- - - “Der Jäger Abschied,” op. 50, no. 2. - “Wanderlied,” op. 50, no. 6. - -Song for Soprano, Alto, Tenor, and Bass, “Der wandernde 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 Berlin on the 13th of April, -1842. - -Variations Sérieuses, for the Pianoforte, in D minor, op. 54. Leipzig. - -Variations for the Pianoforte, in E flat, op. 82. Leipzig. - -Allegro Brillant for the Pianoforte, arranged as a Duett, in A, op. 92. -Leipzig. - -Prelude for the Pianoforte, in E minor, for “Notre Temps.” Refer to -1827. Leipzig. - -Songs for Voice, with Pianoforte accompaniment:-- - - “Frische Fahrt,” 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 hör’ ein Vöglein locken.” No opus -number. - -Appeared first as a contribution to a Collection of Poetry by Adolph -Böttger. - -“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. } - - -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 schön,” 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 October, -1843. - -Sonata for Pianoforte and Violoncello, in D, op. 58. Leipzig. - -Choruses for Racine’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 Royal 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 XCI., “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. - -Psalm II., “Warum toben die Heiden?” for an eight-part Chorus, op. 78, -no. 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 Simrock, of Bonn, -without any opus-number, entitled “Three Sacred Songs for an Alto Voice, -Chorus, and Organ.” - -Song for Voice with Pianoforte, “Es weiss und räth es doch Keiner,” op. -99, no. 6. - -Songs for Soprano, Alto, Tenor, and Bass:-- - - “Frühzeitiger Frühling,”} - “Abschied vom Walde,” } - “Die Nachtigall,” } op. 59, nos. 2 to 6. Leipzig. - “Ruhethal,” } - “Jagdlied,” } - - “Ich hab’ ein Liebchen,” op. 88, no. 2.} - “Die Waldvöglein,” op. 88, no. 4. } Leipzig. - “Lob des Frühlings,” op. 100, no. 2. } - -“Songs without Words:”-- - - B, op. 62, no. 2. } - E minor, op. 62, no. 3.} Leipzig. - G, op. 62, no. 4. } - C, op. 67, no. 4. } - - -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 F, op. -74. London. - -Hymn, “Hör’ mein Bitten,” for a Soprano, Chorus, and Organ. No number. -Berlin.Sonatas for the Organ, op. 65:-- - - F minor, no. 1.} - C minor, no, 2.} - A major, no. 3.} Frankfort. - D minor, no. 6.} - -Psalms for a Choir of Eight Voices, op. 78. - - Psalm XLIII., “Richte mich Gott,” No. 2. } - Psalm XLII., “Mein Gott, warum hast Du,” no. 3.} Berlin. - -Songs for Four Male Voices:-- - - “Wem Gott will,” op. 75, no, 1.} - “So rückt denn,” op. 75, no. 4.} Berlin. - “Rheinweinlied,” op. 76, no. 2.} - -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. 63, no. 2. } - “Herbstlied,” op. 63, no. 3.} Leipzig. - - “Maiglöckchen und die Blümelein,” op. 63, no. 6. Berlin. - - - - -1845. - -Music for “Oedipus von Kolonos,” op. 93. Leipzig and Frankfort. - -Performed for the first time on the 1st November, 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.“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:-- - - B flat, op. 65, no. 4. } Frankfort. - D minor, op. 65, no. 6.} - -Songs for One Voice with Pianoforte:-- - - “Tröstung,” op. 71, no. 1. Leipzig. - “Frühlingslied,” op. 71, no. 2. Frankfort. - “Wenn sich zwei Herzen scheiden,” op. 99, no. 5. Leipzig. - -“Songs without Words:”-- - - B flat, op. 67, no. 3. Leipzig. - - D, op. 84, no. 4.} Frankfort. - A, op. 84, no. 5.} - -Anthems for an Eight-part Chorus:-- - - “Frohlocket, ihr Völker,” 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 German-Flemish Vocal Festival at Cologne. - -“Lauda Sion,” for Chorus, Solo, and Orchestra, op. 73. - -For the church of St. Martin, in Lüttich. - -“Elijah,” Oratorio, op. 70. - -Performed for the first time at Birmingham, August 25, 1846. - -Song for Four Male Voices, “Was uns eint als deutsche Brüder,” op. 76, -no. 3. - -For the Germans in Lyons. - -Anthems 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. - -Recitative 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 beginning of three -other pieces of music. - -Quartett for Two Violins, Tenor, and Violoncello, in F minor, op. 80. -Interlachen. - -Andante and Scherzo for Two Violins, Tenor, and Violoncello, in op. 81. - -Songs for One Voice with Pianoforte:-- - - “An die Entfernte,” op. 71, no. 3. Leipzig. - “Auf der Wanderschaft,” op. 71, no. 5. Interlachen. - “Nachtlied,” op. 71, no. 6. Leipzig. - -Song for Four Male Voices, “Comitat,” op. 76, no. 4. Frankfort. - -Song for Two Voices with Pianoforte, “Das Aehrenfeld,” op. 77, no. 2. -Leipzig. - -Song for Voice with Pianoforte, “Altdeutsches Frühlingslied,” op. 86, -no. 6. - -Mendelssohn’s last composition, written on the 7th October, 1847, in -Leipzig. - - - - - -II. - -WORKS NOT PUBLISHED. - - -SACRED MUSIC. - -“Magnificat” for Chorus and Orchestra, in D. 1822. - -“Juba Domine” for Chorus and Soli, without Orchestra. 1822. - -“Gloria” for a four-part Chorus and Orchestra, in E flat. - -“Kyrie” for two Choruses and Soli, in C minor. - -“Jesus meine Zuversicht,” Chorale, four and five Voices. 1824. - -“Ich bin durch der Hoffnung Band,” Chorale and Fugue, for four and five -Voices. - -“Kyrie” for a five-part Chorus and Orchestra. 1825. - -“Und ob du mich züchtigest, Herr,” Canon for five Voices. - -“O 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. - -“Christe, du Lamm Gottes,” Cantata for four Voices and stringed -instruments. - -“Ach Gott vom Himmel sieh darein,” Cantata for four Voices and -Orchestra. - -“Vom Himmel hoch, da komm’ ich her,” Christmas hymn for four voices and -Orchestra. Rome. 1831. - -“Hora est de somno surgere,” for four Four-part Choirs. - -“Ad vesperas Dom. XXI. post Trinitatis. Responsorium 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 Recitatives, a Soprano Aria, and a Duett -for Tenor and Bass. - -“Herr Gott, dich loben wir,” Chorale for double Chorus, Organ, four -Trombones, and stringed instruments, for the celebration of the German -Tausendjährige 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 capella_, the “Te Deum,” the “Hora -est,” etc., were written from 1826 to 1828 for the Berlin 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. - - -SECULAR CANTATAS. - -Grand Festival Music for the Dürer 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--Solos, Grand fugued Choruses, etc. - -Festival Music, for a festival given in the Hall of the Royal Theatre at -Berlin, by Alexander von Humboldt. The words by L. Rellstab. For Male -Voices, with accompaniment of Clarionets, Horns, Trumpets, Kettle-drums, -Violoncello, and Double Bass. Seven numbers, Solos and Choruses. 1827. - -Festal Song at the uncovering of the statue of Friedrich August the -Just, at Dresden, on the 9th June, 1842, for two Male Choirs and Brass -Band. - - -DRAMATIC. - -“Die beiden Pädagogen,” Comic Operetta, in one Act, adapted from the -French. Overture and ten numbers. - -“Soldatenliebschaft,” Comic Operetta, in one Act. Overture and fourteen -numbers. - -“Die wandernden Komödianten,” 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 fourteen 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 Düsseldorf. - - -FOR VOICE, WITH ORCHESTRAL ACCOMPANIMENT OR STRINGED INSTRUMENTS. - -Recitative and Aria, “Che vuoi mio cor,” for a Contralto, accompanied by -Stringed Instruments. 1824. Scena and Aria, for a Soprano, with -Orchestra. 1834. - -Much of this was afterwards made use of in the Aria, op. 94, the only -instance in which Mendelssohn’s artistic energy permitted him so to do. - -Air for Barytone and Orchestra, with English Words, written for -Philipps, the singer, of London. 1846. - - -SONGS FOR VOICE, WITH PIANOFORTE ACCOMPANIMENT. - -Songs, finished ballads, several in Italian, chiefly from Mendelssohn’s -earlier period to the year 1834. The words are, with few exceptions, by -unknown poets, and the enumeration of the individual pieces can be of -little interest. Their number is from twenty to thirty. - - -FOR FOUR MALE VOICES. - -“A frischer Bua bin ich,” for Immermann’s “Andreas Hofer.” 1833. - -“Der weise Diogenes war der erste der griechischen Sieben,” Canon for -twice Two Voices. 1833. - -“Musikanten Prügelei.” 1833. - -“Im Nebelgeriesel, im tiefen Schnee,” Gipsy Song by Goethe, for two -Two-part Choirs. - -“Worauf kommt es überall an,” by Goethe. 1837. - -“Auf ihr Herrn und Damen schön,” Hunting Song. 1837. - -Morning Song of the Thuringian Vocal Association, “Seid gegrüsset, -traute Brüder.” For the Festival in Eisenach. 1847. - - -FOR FULL ORCHESTRA. - -Symphony, in D. 1822. - -Grand Overture, in C. 1825. - -Performed at the Musical Festival in Düsseldorf, at Whitsuntide, 1833. - -Symphony for the celebration of the Reformation Festival, in D minor. -1830. - -Performed in London and Berlin. - -Marches for smaller Military Bands, composed for the use in Church -Processions at Düsseldorf. 1833.March for a full Orchestra, in D, in - celebration of the visit of -Cornelius the painter to Dresden. - - -FOR STRINGS. - -Ten Four-, Five-, 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 Five-part pieces, Fugues, etc. - - -FOR PIANOFORTE, 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 Instruments, 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 Fräulein Lisa -Christiani. - - -FOR PIANOFORTE SOLO. - -Grand Fantasia. 1823. - -Fantasia, four hands, 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 without Words, Studies, Preludes, Fugues, -Juvenile Pieces, etc., of all dates. - - -FOR CLARIONET AND CORNO DI BASSETTO, WITH PIANOFORTE ACCOMPANIMENT. - -Two Concertos for the Royal Bavarian Kammer-Musiker, Herren Bärmann, -father and son, composed in Munich, in 1832. - - - - -INDEX. - -N.B.--A * is prefixed to Mendelssohn’s own Compositions. - - -Alexander’s Feast, Handel’s, 15, 62. - -André, of Offenbach, 119. - -Andria of Terence, 442. - -*Antigone, 274, 276, 282. - -Athalie, 384, 385; - overture 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 fantasia, 216; - Mass in B minor, 413. - -Bauer, Pastor, letters to, 1, 3, 68, 96, 394. - -Becker’s Rheinlied, 247. - -Beethoven, 23; - concerto in G, 316, 364; - sonata op. 106, 390. - -Bennett, Sterndale, 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; - Mendelssohn’s appointment, 336, 417. - -Bernus, letter to, 393. - -Bendemann, letter to, 410. - -Birmingham, 133, 210, 402, 404. - -Birmingham Festival (1837), 133-5, 142; - (1846), 400-407. - -Blümner, his legacy, 203, 206. - -‘Bonifacius,’ Schubring’s, 164. - -Bunsen, 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, F., letters to, 153, 266, 274. - -Dehn, letter to, 276. - -Deidesheim, wine-cellars at, 371. - -Dilettanti and Artists, 396. - -Dirichlet, Professor, letter to, 414. - -Dirichlet, Rebecca, letters to, 8, 57, 65, 121, 122, 148, 389, 425, 427. - -‘Don Juan’ at Düsseldorf, 16-19. - -Duprez, 283. - -Düsseldorf, 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. - -Eichhorn, Herr, letters from and to, 376, 379. - -Elijah, oratorio of, 159, 164, 318, 396, 402, 410, 413, 432. - -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. Cecilia Association, 109, 111, 116, 123, 170; - night fête at, 175; - entertainment to Mendelssohn, 178; - his delight in the place, 362, 366, 389, 393. - -Frege, Madame, letters to, 404. - -French painters, 164. - -Fürst, letters to, 41, 195. - - -Gade, symphony in C minor, 325; - letters to, 326, 330. - -Gluck, 152. - -Goethe, 19, 79, 115, 121. - -Grote, Mr., 430. - -Grimsel, the, 292. - -Guhr, 168-169. - -Günther, 29. - -Gusikow, 109. - - -Hähnel, Mademoiselle, 35. - -Handel, 77, 105, 146, 151; - his judicious scoring, 26; - works presented 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; - her death, 422. - -Hensel, Fanny, letters to, 34, 55, 101, - 123, 163, 181, 192, 208, 215, 244, 325, 366, 368. - -Hiller, F., 37, 38, 81, 98, 111, 117, 122, 124, 140, 193, 199; - his overture in D minor, 98; - letter to, 152. - -Hixte, letter to, 87. - -*Hymn of Praise (Lobgesang), 213, 219, 222, 242. - - -Immermann, 16, 20, 58; - his ‘Münchhausen,’ 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. - -Klingemann, 441; - letters to, 64, 171, 219, 263, 304, 327, 362, 412. - -Köstlin, letters to, 277, 323. - -Kücken, 292. - - -Lang, Josephine, 277. - -Leipzig, 71, 85. - -Leipzig Conservatorium, 203, 213, 311, 316, 409; - the town-orchestra 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. - - -Mass in the Catholic Church, 70. - -Massow, Von, letters to, 300. - -Measles, Mendelssohn’s recovery from, 161. - -Meeresstille, overture, 52, 91. - -Meiringen, 309. - -*Melusina, overture, 15, 34, 47, 73, 105. - -Merk, 110. - -Messiah, the, 69. - -*Midsummer Night’s Dream Music, 338. - -Moscheles, 90, 92, 406, 409; - letters 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; - Zaïde, 148; - Zauberflöte, 333. - -Müller, Herr, letters from and to, 382, 385. - -Music as a part of worship, 69. - -Music, the meaning of, 298. - -*Musikanten-prügelei, 48. - - -Naumann, letter to, 186, 391. - -Nausikaa, 148. - -Neukomm, 26, 124, 134, 143. - - -Oberhofer, singer, of Carlsruhe, 373. - -*Œdipus, 309, 384. - -*Organ fugues (op. 37), 123. - -Organ playing, 45. - -Otten, G., letter to, 335. - - -Painters characterized, 182. - -Palatinate, 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. - -Philharmonic Society of London, 25, 364. - -Planché, 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, No. 2), 139. - -*Quartett, pianoforte, in C minor (op. 1), 140. - - -*Reformation Symphony, 252. - -Reichardt, 19, 82, 419. - -“Revolution” in music, 56, 65. - -Rietz, Julius, letter to, 251; - his overture to ‘Hero and Leander,’ 251. - -Rome, 184, 194. - -*Rondo brillant in E flat (op. 29), 24, 25, 46. - -Rosen, Dr. F., letter to, 106. - -Rossini, 117, 118. - -Ruhr, bathing in the, 45. - -*Ruy Blas, overture to, 167. - - -Saarn, excursion to, 44. - -Sacred Harmonic Society, 135. - -“Saint,” Mendelssohn’s definition of, 162. - -Samson, Handel’s, 116. - -Saxony, King of, 213. - -Schadow, the painter, 129. - -Schelble, 110, 115. - -Schirmer, letter to, 162. - -Schleinitz, letters to, 70, 85, 113, 156. - -Schröder-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. - -Seydelmann, 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, Frau, 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 performance of, 113; - at Birmingham, 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. - -Tieck, 354, 356. - -Titian, his pictures at Venice, 181; - at Rome, 194. - -*Trio in D minor, 171, 174. - - -*Variations in B flat (op. 83), 266; - in D minor (op. 54), 265; - in E flat, 266. - -Velten, letter to, 401. - -Verhulst, letter to, 375. - -Verkenius, letters to, 267, 270. - -Victoria, Queen, 281. - -‘Vier Fragen,’ pamphlet of Jacobi, 249. - -*Violin concerto, 155. - - -*Walpurgis Nacht, 219, 312, 315, 328, 364, 440. - -‘Wasserträger,’ Cherubini’s, 28. - -Webern, von, letters to, 421, 431. - -Werden, visit to, 45. - - -Zauberflöte, score of, 333. - - JOHN EDWARD TAYLOR, PRINTER, - LITTLE QUEEN STREET LINCOLN’S INN FIELDS. - - * * * * * - - 39, PATERNOSTER ROW: - LONDON: _December, 1863_. - - BOOKS - SUITABLE FOR PRESENTATION. - - -A CHRONICLE of ENGLAND from B.C. 55 to A.D. 1485. 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LAURIE, - -Editor of the _Graduated Series of Reading-Lesson Books_, _&c._ - -The First Three Volumes are now ready, viz. - - =ROBINSON CRUSOE.= - =GULLIVER’S TRAVELS.= - =CHRISTMAS TALES.= - - * * * * * - -The object of the ENTERTAINING LIBRARY is to provide the young and, -generally speaking, the less educated portion of the community with -books which they will find _readable_. Many similar projects have been -started, and have failed. 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The aim of the Editor of the -ENTERTAINING LIBRARY is to provide an ample and varied repast for the -gratification of this instinct. The concentration of his efforts upon -this single point will give the present series of books its distinctive -character. - -A glance at the sources upon which he has already drawn will, it is -believed, convince those who are acquainted with English literature, -that such volumes as the ENTERTAINING LIBRARY promises to contain will -necessarily tend to enlarge the intellectual views, and to direct and -strengthen the moral sentiments of every reader. But the prime end kept -in view will be to afford, in a wide and liberal sense, pleasure and -amusement; and to this end whatever bears more directly upon the -practical utilities of life will invariably be held subordinate. - -It is proper to state that the Editor assumes the right of adapting the -original text so as to suit his purpose. Grammatical constructions which -are too involved and difficult will be simplified; modern words and -idioms will be substituted for such as have become obsolete or nearly -obsolete; and in all cases passages which are unsuitable to the young -will be expunged. - -Care will be taken to adorn each of the volumes with a number of -striking illustrations. 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 binding of the volumes. They will -be prepared 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 [_On March 31._ - The PILGRIM’S PROGRESS - EVENINGS AT HOME - HISTORY of the PLAGUE - The VICAR of WAKEFIELD - CITIZEN of the WORLD - SWISS FAMILY ROBINSON - - _AND OTHER WORKS._ - - - - -INDEX. - - -_Acton’s_ Cookery-Book, 23 - -Afternoon of Life, 16 - -_Agassiz_ on Classification, 12 - -_Alcock’s_ Japan, 1 - -_Arago’s_ Scientific Biographies, 4 - -_Arago’s_ Meteorological Essays, 4 - -_Arago’s_ Popular Astronomy, 4 - -_Arago’s_ Treatise on Comets, 4 - -_Arbuthnot’s_ Herzegovina, 9 - -_Arnold’s_ Manual of English Literature, 7 - -_Arnold’s_ Poems, 21 - -_Arnold’s_ Merope, 21 - -_Arnold_ on Translating Homer, 8 - -_Arnott_ on Progress, 21 - -Autobiography of Charles V, 1 - -_Ayre’s_ Treasury of Bible Knowledge, 20 - - -Bacon’s Life, by _Spedding_, 3 - -_Bacon’s_ Works, 3 - -_Bayldon’s_ Rents and Tillages, 25 - -_Beard’s_ Port-Royal, 6 - -_Berlepsch’s_ Alps, 8 - -_Black_ on Brewing, 23 - -_Blaine’s_ Encyclopædia of Rural Sports, 14 - -_Blight’s_ Land’s End, 10 - -_Boner’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 - -Brande’s Dictionary of Science, 12 - -_Bréhaut_ on Cordon-Training, 27 - -_Brodie’s_ Psychological Inquiries, 10 - -_Brinton_ on Food, 23 - -_Bristow’s_ Glossary of Mineralogy, 12 - -_Bromfield’s_ Brittany and the Bible, 10 - -_Brunel’s_ Life, by _Beamish_, 3 - -_Bull’s_ Hints to Mothers, 24 - -_Bull_ on Management of Children, 24 - -_Bunsen’s_ Hippolytus, 6 - -_Bunsen’s_ Outlines of Universal History, 6 - -_Bunsen’s_ Analecta Ante-Nicæna, 6 - -_Bunsen’s_ Ancient Egypt, 6 - -_Bunyan’s_ Pilgrim’s Progress illustrated, 19 - -_Burke’s_ Vicissitudes of Families, 4 - -_Burn’s_ Agricultural Tour in Belgium, 10 - -_Burton’s_ Lake 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 - -_Calvert’s_ Wife’s Manual, 20 - -_Cats’_ and _Farlie’s_ Emblems, 19 - -Chorale-Book (The) for England, 19 - -_Clark’s_ Comparative Grammar, 7 - -_Clough’s_ Lives from Plutarch, 4 - -_Colenso_ on the Pentateuch, 1 - -_Coltyns_ on Stag-Hunting, 15 - -_Comyn’s_ Ellice, a Tale, 16 - -_Conington’s_ Chemical Analysis, 12 - -_Contanseau’s_ French Dictionary, 7 - -_Conybeare_ and _Howson’s_ St. Paul, 6 - -_Copland’s_ Dictionary of Medicine, 11 - -_Cotton’s_ Instructions in Christianity, 20 - -_Cox’s_ Tales from Greek Mythology, 5 - -_Cox’s_ Tale of the Great Persian War, 5 - -_Cox’s_ Tales of the Gods and Heroes, 5 - -_Cresy’s_ Encyclopædia of Civil Engineering, 22 - -Cricket Field (The), 16 - -Cricket Tutor (The), 16 - -_Crowe’s_ History of France, 2 - - -_D’Aubigne’s_ Calvin, 1 - -Dead Shot (The), 14 - -_De la Rive’s_ Reminiscences of Cavour, 1 - -_De la Rive’s_ Electricity, 12 - -_De Tocqueville_ on Democracy, 1 - -_De Witt’s_ Jefferson, 1 - -_Döllinger’s_ Gentile and Jew, 6 - -_Dove’s_ Law of Storms, 13 - - -_Eastlake_ on Oil Painting, 3 - -Eclipse of Faith (The), 17 - -Defence of ditto, 17 - -Essays _and_ Reviews, 18 - - -_Fairbairn’s_ Information for Engineers, 23 - -_Fairbairn’s_ Treatise on Millwork, 23 - -_FitzRoy’s_ Weather Book, 13 - -_Folkard’s_ Sailing Boat, 15 - -_Forster’s_ Life of Eliot, 1 - -_Fowler’s_ Collieries, 24 - -_Freshfield’s_ Alpine Byways, 8 - -_Freshfield’s_ Tour in the Grisons, 8 - - -_Garratt’s_ Marvels of Instinct, 14 - -_Goldsmith’s_ Poems, illustrated, 20 - -_Goodeve’s_ Elements of Mechanism, 23 - -_Green’s_ English Princesses, 3 - -_Greene’s_ Manual of Cœlenterata, 13 - -_Greene’s_ Manual of Protozoa, 13 - -_Greyson’s_ Correspondence, 17 - -_Grove_ on Physical Forces, 12 - -_Gwilt’s_ Encyclopædia of Architecture, 23 - - -_Hartwig’s_ Sea, 13 - -_Hartwig’s_ Tropical World, 13 -_Hassall’s_ Freshwater Algæ, 26 - -_Hassall’s_ Adulterations Detected, 26 - -Havelock’s Life, by _Marshman_, 4 - -_Hawker_ on Guns and Shooting, 14 - -_Herschel’s_ Outlines of Astronomy, 13 - -_Herschel’s_ Essays, 13 - -_Hind’s_ American Exploring Expeditions, 9 - -_Hind’s_ Labrador, 9 - -Hints on Etiquette, 15 - -_Hole’s_ Gardeners’ Annual, 27 - -_Holland’s_ Essays, 10 - -_Holland’s_ Medical Notes, 10 - -_Holland_ on Mental Physiology, 10 - -_Hooker’s_ British Flora, 26 - -_Hopkins’s_ Hawaii, 9 - -_Horne’s_ Introduction to the Scriptures, 20 - -_Horne’s_ Compendium of ditto, 20 - -_Hoskyns_’ Talpa, 15 - -_Howard’s_ Athletic Exercises, 15 - -_Howitt’s_ History of the Supernatural, 18 - -_Howitt’s_ Remarkable Places, 10 - -_Howitt’s_ Rural Life of England, 10 - -_Howson’s_ Deaconesses, 16 - -_Hudson’s_ Directions for Making Wills, 26 - -_Hudson’s_ Executor’s Guide, 26 - -_Hughes’s_ Geography of History, 22 - -_Hughes’s_ Manual of Geography, 22 - - -_Jameson’s_ Saints and Martyrs, 19 - -_Jameson’s_ Monastic Orders, 19 - -_Jameson’s_ Legends of the Madonna, 19 - -_Jameson’s_ Legends of the Saviour, 19 - -_Johnson’s_ Dictionary by Latham, 7 - -_Johnson’s_ Patentee’s Manual, 24 - -_Johnson’s_ Book of Industrial Designs, 24 - -_Johnston’s_ Geographical Dictionary, 22 - - -_Kennedy’s_ Hymnologia, 20 - -_Kirby_ and _Spence’s_ Entomology, 14 - - -_L. E. L’s._ Poetical Works, 21 - -Lady’s Tour round Monte Rosa, 8 - -_Latham’s_ Comparative Philology, 7 - -_Latham’s_ English Language, 7 - -_Latham’s_ Handbook of ditto, 7 - -_Laurie’s_ Entertaining Library, 29 - -_Laurie’s_ Graduated Reading Books, 28 - -_Lempriere’s_ Notes on Mexico, 9 - -_Liddell_ and Scott’s Greek Lexicons, 6 - -_Lindley’s_ Horticulture, 27 - -_Lindley’s_ Introduction to Botany, 27 - -_Lindley’s_ Treasury of Botany, 27 - -_Lister’s_ Physico-Prophetical Essays, 18 - -_Lewin’s_ Jerusalem, 8 - -_Loudon’s_ Encyclopædia of Cottage Architecture, 23 - -_Loudon’s_ Encyclopædia of Agriculture, 26 - -_Loudon’s_ Encyclopædia of Gardening, 26 - -_Loudon’s_ Encyclopædia of Trees and Shrubs, 26 - -_Loudon’s_ Encyclopædia of Plants, 26 - -_Lowndes’s_ Engineer’s Handbook, 22 - -Lyra Domestica, 20 - -Lyra Germanica, 19 - -Lyra Sacra, 20 - - -_Macaulay’s_ England, 2 - -_Macaulay’s_ Essays, 17 - -_Macaulay’s_ Miscellaneous Writings, 17 - -_Macaulay’s_ Laws of Ancient Rome, 21 - -_Macaulay’s_ Speeches, 5 - -_MacBrair’s_ Africans, 10 - -_MacDougall’s_ Theory of War, 24 - -_M’Culloch’s_ Commercial Dictionary, 22 - -_M’Culloch’s_ Geographical Dictionary, 22 - -_Marcet’s_ Land and Water, 25 - -_Marcet’s_ Political Economy, 25 - -_Marcet’s_ Conversations on Natural Philosophy, 25 - -_Marcet’s_ Conversations on Chemistry, 25 - -_Maunder’s_ Biographical Treasury, 27 - -_Maunder’s_ Geographical Treasury, 27 - -_Maunder’s_ Historical Treasury, 27 - -_Maunder’s_ Natural History, 27 - -_Maunder’s_ Scientific and Literary Treasury, 27 - -_Maunder’s_ Treasury of Knowledge, 27 - -_May’s_ England, 2 - -Memoir of Sydney Smith, 5 - -Memoirs, &c. of Thomas Moore, 5 - -_Mendelssohn’s_ Letters, 8 - -_Merivale’s_ Romans under the Empire, 2 - -_Merivale’s_ Fall of the Roman Republic, 2 - -_Merivale’s_ (H.) Lectures on Colonisation, 21 - -_Meryon’s_ History of Medicine, 3 - -_Miles_ on Horse’s Foot, 15 - -_Miles_ on Shoeing Horses, 15 - -_Moore’s_ Lalla Rookh, 21 - -_Moore’s_ Irish Melodies, 21 - -_Moore’s_ Poetical Works, 21 - -_Morell’s_ Mental Philosophy, 11 - -_Morell’s_ Elements of Psychology, 11 - -Morning Clouds, 16 - -_Morton’s_ Royal Farms, 2 - -_Morton’s_ Dairy Husbandry, 25 - -_Morton’s_ Farm Labour, 25 - -_Mosheim’s_ Ecclesiastical History, 18 - -_Müller’s_ Lectures on Language, 7 - -_Munk’s_ College of Physicians, 3 - -_Mure’s_ Language and Literature of Greece, 2 - -My Life, and What shall I do with it?, 16 - - -_Neale’s_ Sunsets and Sunshine, 16 - -_Odling’s_ Chemistry, 11 - -_Owen’s_ Anatomy, 11 - - -_Packe’s_ Guide to the Pyrenees, 9 - -Parry’s Memoirs, 4 - -Peaks, Passes, and Glaciers, 8 - -_Pereira’s_ Materia Medica, 12 - -_Peschel’s_ Elements of Physics, 12 - -_Phillips’s_ Guide to Geology, 13 - -_Phillips’s_ Introduction to Mineralogy, 12 - -_Piesse’s_ Art of Perfumery, 15 - -_Piesse’s_ Chemical Wonders, 15 - -_Piesse’s_ Chemical and Natural Magic, 15 - -_Pictrowski’s_ Siberian Exile, 1 - -Porson’s Life by _Watson_, 4 - -Practical Mechanic’s Journal, 24 - -Problems in Human Nature, 16 - -_Pycroft’s_ English Reading, 19 - - -_Ranken’s_ Canada and the Crimea, 9 - -Record of International Exhibition, 24 - -_Rhind’s_ Thebes, 8 - -_Rich’s_ Roman and Greek Antiquities, 5 - -_Rivers’s_ Rose Amateur’s Guide, 27 - -_Rogers’s_ Essays, 17 - -_Roget’s_ English Thesaurus, 7 - -Romance of a Dull Life, 16 - -_Ronald’s_ Fly-Fisher, 15 - -_Rowton’s_ Debater, 7 - - -_Sandford’s_ Bampton Lectures, 18 - -_Savile_ on Revelation and Science, 18 - -_Saxby_ on Projection of Sphere, 25 - -_Saxby_ on Study of Steam, 25 - -_Scoffern_ on Projectiles, 24 - -_Scott’s_ Lectures on the Fine Arts, 4 - -_Scott’s_ Volumetrical Analysis, 12 - -_Scrope_ on Volcanos, 11 - -_Senior’s_ Biographical Sketches, 3 - -_Sewell’s_ Ancient History, 5 - -_Sewell’s_ Early Church, 5 - -_Sewell’s_ Passing Thoughts on Religion, 18 - -_Sewell’s_ Self-Examination for Confirmation, 18 - -_Sewell’s_ Readings for Confirmation, 18 - -_Sewell’s_ Readings for Lent, 18 - -_Sewell’s_ Impressions of Rome, &c., 10 - -_Sewell’s_ Stories and Tales, 16 - -_Sharp’s_ British Gazetteer, 22 - -Short Whist, 15 - -Sidney’s (Sir P.) Life, by _Lloyd_, 3 - -_Smith’s_ (J.) St. Paul’s Shipwreck, 5 - -_Smith’s_ (G.) Wesleyan Methodism, 1 - -Social Life in Australia, 10 - -_Southey’s_ Poetical Works, 21 - -_Southey’s_ Doctor, 21 - -_Stephen’s_ Essays, 17 - -_Stephen’s_ Lectures on the History of France, 17 - -Stephenson’s Life, by _Jeaffreson_ and _Pole_, 3 - -‘Stonehenge’ on the Dog, 14 - -‘Stonehenge’ on the Greyhound, 14 - -_Strickland’s_ Queens of England, 3 - -_Sydney Smith’s_ Works, 17 - -_Sydney Smith’s_ Moral Philosophy, 17 - - -_Tate_ on Strength of Materials, 13 - -_Taylor’s_ (Jeremy) Works, 18 - -_Tennent’s_ Ceylon, 14 - -_Tennent’s_ Natural History of Ceylon, 14 - -_Theologia_ Germanica, 19 - -_Thirlwall’s_ Greece, 2 - -_Thomson’s_ Interest Tables, 22 - -_Thomson’s_ Laws of Thought, 11 - -_Thrupp’s_ Anglo-Saxon Home, 3 - -_Todd’s_ Cyclopædia of Anatomy and Physiology, 11 - -_Trollope’s_ Warden, 16 - -_Trollope’s_ Barchester Towers, 16 - -_Twiss’s_ Law of Nations, 2 - -_Tyndall_ on Heat, 11 - -_Tyndall’s_ Mountaineering, 8 - - -_Ure’s_ Dictionary of Arts, Manufactures, and Mines, 23 - - -_Van Der Hoeven’s_ Handbook of Zoology, 11 - -_Villari’s_ History of Savonarola, 4 - - -Warburton’s Life, by _Watson_, 4 - -_Warter’s_ Last of the Old Squires, 16 - -_Watts’s_ Dictionary of Chemistry, 12 - -_Webb’s_ Celestial Objects, 13 - -_Webster_ and _Parkes’s_ Domestic Economy, 23 - -Wellington’s Life, by _Gleig_, 4 - -Wesley’s Life, by _Southey_, 5 - -_West_ on Children’s Diseases, 24 - -_White_ and _Riddle’s_ Latin Dictionary, 6 - -_Wilson’s_ Bryologia Britannica, 26 - -_Willich’s_ Popular Tables, 22 - -Wit and Wisdom of Sydney Smith, 17 - -_Woodward’s_ Chronological and Historical Encyclopædia, 2 - -_Worms_ on the Earth’s Motion, 11 - -_Wyndham’s_ Norway, 9 - - -_Yonge’s_ English-Greek Lexicon, 7 - -_Youatt’s_ work on the Horse, 14 - -_Youatt’s_ work on the Dog, 14 - -[_January 1863._ - - -SPOTTISWOODE AND CO., PRINTERS, NEW-STREET SQUARE, LONDON - - -FOOTNOTES: - - [1] At the period to which Mendelssohn here refers, owing to the - advice of his friends, he had applied for the situation of Director of - the Singing Academy, but was not chosen. - - [2] “St. Paul.” - - [3] From “Alexander’s Feast.” - - [4] Mendelssohn’s sister had learned Greek along with him. - - [5] The subject 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. - - [6] Immermann and Mendelssohn had agreed to give a certain number of - performances in the theatre, which they termed “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 - performance the tumult ensued that Mendelssohn here describes. - - [7] He never had recourse to it. Mendelssohn wrote invariably - everything, without exception, himself. - - [8] Music Director in Stockholm. - - [9] This fantasia and the E flat rondo (with orchestra), Op. 29, are - both dedicated to Moscheles. - - [10] E flat (with orchestra), Op. 29. - - [11] Well known as the most crowded street in London. - - [12] “Ali Baba.” - - [13] For the text of “St. Paul.” - - [14] _Cantor_ (leader of a choir), a term Mendelssohn often applied to - his sister Fanny. - - [15] A number of birthdays occurred at this particular period in the - family. - - [16] Mendelssohn had made an expedition through part of Germany for - the benefit of the theatre, in order to engage singers. - - [17] Professor Heyse, Mendelssohn’s teacher. - - [18] The mode, however, in which Mendelssohn treated this affair - of the theatre was by no means approved of by his father; on the - contrary, some time afterwards he wrote to him as follows:-- - - “I must once more resume the subject of the dramatic career, as I - feel very anxious about it on your account. You have not, according - to my judgment, either in a productive or administrative point of - view, had sufficient experience to decide with certainty that your - disinclination towards it proceeds from anything innate in your - talents or character. I know no dramatic composer, except Beethoven, - who has not written a number of operas, now totally forgotten, before - attaining the right object at the right moment, and gaining a place - for himself. You have only made one public effort, which was partly - frustrated by the text, and, in fact, was neither very successful nor - the reverse. Subsequently you were too fastidious about the words, - and did not succeed in finding the right man, and perhaps did not - seek him in a right manner; I cannot but think that, by more diligent - inquiries and more moderate pretensions, you would at length attain - your object. With regard to the administrative career, however, it - gives rise to another series of reflections which I wish to impress - on you. Those who have the opportunity and the inclination, to become - more closely and intimately acquainted with you, as well as all - those to whom you have the opportunity and the inclination to reveal - yourself more fully, cannot fail to love and respect you. But this - is really far from being sufficient to enable a man to enter on life - with active efficacy; on the contrary, when you advance in years, - and opportunity and inclination fail, both in others and yourself, - it is much more likely to lead to isolation and misanthropy. Even - what we consider faults will be respected, or at least treated with - forbearance, when once firmly and thoroughly established in the - world, while the individual himself disappears. He has least of all - arrived at the ideal of virtue, who exacts it most inexorably from - others. The most stern moral principle is a citadel, with outworks, - in defence of which we are unwilling to expend our strength, in order - to maintain ourselves with greater certainty in our stronghold, - which indeed ought only to be surrendered with life itself. Hitherto - it is undeniable that you have never been able to divest yourself - of a tendency to austerity and irascibility, to suddenly grasping - an object, and as suddenly relinquishing it, and thus creating for - yourself many obstacles in a practical point of view. For example, - I must confess, that though I approved of your withdrawing from any - active participation in the management of details in the Düsseldorf - theatre, I by no means did so of the manner in which you accomplished - your object, as you undertook it voluntarily, and, to speak candidly, - rather heedlessly. From the beginning you, most wisely, declined - any positive compact, but only agreed to undertake the studying - and conducting of particular operas, and, in accordance with this - resolution, very properly insisted on another music director being - appointed. When you came here some time ago with the commission to - engage Krethi and Plethi, I did not at all like the idea; I thought, - however, that as you were coming here at all events, you could - not through politeness decline this service. But on your return - to Düsseldorf, after wisely refusing to undertake another journey - for the purpose of making engagements for the theatre, instead of - persevering in your duties in this sense, and getting rid of all - _odiosa_, you allowed yourself to be overwhelmed by them; and as they - naturally became most obnoxious to you, instead of quietly striving to - remedy them, and thus gradually to get rid of them, you at one leap - extricated yourself, and by so doing you undeniably subjected yourself - to the imputation of fickleness and unsteadiness, and made a decided - enemy of a man whom at all events policy should have taught you not - to displease; and most probably offended and lost the friendliness of - many members of the _Comité_ also, among whom there are, no doubt, - most respectable people. If I view this matter incorrectly, then teach - me a better mode of judging.” - - This letter will show what an impartial and incorruptible judge - Mendelssohn possessed in his father. - - [19] The following letter from Mendelssohn’s Father will certainly - not be read without interest, as it throws so clear a light on the - intellectual relations between father and son; a place may therefore - be appropriately found for it here. It has been selected from a large - collection of letters of a similar tendency. - - [20] By Reichardt. Compare the passage in reference to Reichardt in - the letter of December 28th, 1833. - - [21] “St. Paul.” - - [22] Compare the passage on this subject in the letter of April 3rd, - 1835. - - [23] “Hommage à Handel.” - - [24] The death of his Father. - - [25] This refers to the circumstance of Mendelssohn’s father having - advised him to “hang up on a nail” the elfin and spirit life with - which, for a certain period, Mendelssohn had chiefly occupied himself - in his compositions, and to proceed to graver works. - - [26] He alludes to the Musical Festival, where “St. Paul” was - performed for the first time. - - [27] Verkenius. - - [28] This Letter was written a short time before his betrothal. - - [29] This project was never fulfilled, but the letter is inserted, as - it proves the deep earnestness with which Mendelssohn treated such - subjects. - - [30] Mendelssohn’s marriage. - - [31] “St. Paul” was performed for the first time in England at this - Festival. - - [32] A provincial mode of pronouncing ‘Birmingham.’ - - [33] See Letter of October 6th, 1835. - - [34] It appeared afterwards under the title of “Serenade and Allegro - Giojoso,” Op. 43. - - [35] Hanover. - - [36] A habit of Mendelssohn’s. - - [37] Just before his Sister’s journey to Italy. - - [38] ‘Earthly and Heavenly Love.’ - - [39] “Hommage à Handel.” - - [40] This has been done. The monument is on the promenade, under the - windows of Sebastian Bach’s rooms, in the Thomas School. - - [41] It is characteristic of both, that Mendelssohn’s sister set the - following poem of Goethe’s to music:-- - - “Here are we then, my friend, at home once more! - And tranquilly reclines the artist’s eye - On scenes of peace and love from door to door, - Where life to life in kindliness draws nigh. - - “Back with our household gods, here are we then! - For though through distant regions we may roam, - From all these ravishments we turn again - Back to the magic sphere we call our home.” - - - [42] See the letter to Herr von Falkenstein, April 8th, 1840. - - [43] By Sebastian Bach. - - [44] His brother had gone to Leipzig, at the instigation of the - Wirklich Geheimrath Herr von Massow, to negotiate with Mendelssohn - the subject of a situation in Berlin. It was proposed to divide the - Academy of Arts into four classes,--namely, painting, sculpture, - architecture, 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. The music class, for which - Mendelssohn had been selected as Director, was to consist essentially - of a large Conservatorium, in the expectation that in connection - with the resources of the Royal Theatre, public concerts, partly of - a sacred and partly of a secular nature, should be given. However - promising Mendelssohn considered this project, he at once expressed - considerable doubts, not so much that the plan _could_ not be carried - out, but that it _would_ not be so; and the result proved how correct - his judgment was on the point. - - [45] The performance of “Athalie,” with Schulz’s music, had caused - considerable excitement in the Berlin Theatre. - - [46] The ‘Vier Fragen’ of Jacobi, a pamphlet of the day, the purport - and contents of which, would certainly no longer cause the smallest - annoyance to either party. - - [47] At the time of the appearance of the ‘Vier Fragen,’ Minister - Schön was unquestionably supposed by the public to be the author. - - [48] An unpublished composition of Mendelssohn’s. - - [49] In this Report, the result of the negotiations with Mendelssohn, - which finally caused him to go to Berlin, are fully detailed,--so it - was considered necessary to give it a place here. - - [50] Massow’s proposals were finally accepted by Mendelssohn, who came - to Berlin; there were many conferences held as to the remodelling - of the musical class in the Academy, and the organization of the - future Conservatorium; but as Mendelssohn very justly foresaw, all - this evaporated, though from no fault of his, which the beginning of - Minister Eichhorn’s letter of the 2nd March, 1815, fully proves. - - [51] The death of President Verkenius ended the correspondence by this - Letter. - - [52] In answer to the Professor’s offer to write, or to cause to be - written, something in his musical paper with regard to ‘Antigone.’ - - [53] Compare also his letter to Julius Stern of the 27th of May, 1814. - - [54] Mendelssohn and his wife. - - [55] The party consisted of Mendelssohn and his Brother, and their - wives. - - [56] See Mendelssohn’s Letters in 1831. - - [57] Herr Souchay had asked Mendelssohn the meanings of some of his - “Songs without Words.” - - [58] Goethe also says, in the fourth part of ‘Dichtung und Wahrheit,’ - “I have already but too plainly seen, that no one person understands - another; that no one receives the same impression as another from the - very same words.” - - [59] The following Letter contains the result of the audience - requested. - - [60] See Letter to his Mother of the 3rd of September, 1842. - - [61] See Letter to the King of the 28th of October, 1842. - - [62] See Letter of 10th August, 1840. - - [63] The birthday of Mendelssohn’s Father. - - [64] After the death of his Mother. - - [65] From his own Psalm, op. 42. - - [66] Gade dedicated his C minor symphony to Mendelssohn. - - [67] This conference was held in order to hasten the performance of - the plans of the King. See the letters of 28th October, 1842, and 5th - December, 1842. - - [68] Neither of these works, however, had yet been performed. - - [69] The execution of this project also, nevertheless was not - completed and Mendelssohn, after some time had elapsed, requested the - King to relieve him from all public duties, and to be permitted to - remain only in an artistic and personal relation to his Majesty, to - which the King was graciously pleased to accede. - - [70] Mendelssohn’s request was graciously granted by the King. - - [71] The letter of Herr von Bunsen to Mendelssohn is inserted here, in - order to render the following reply intelligible. - - [72] Herr Stern had accomplished the production of “Antigone,” in the - Odéon Theatre, in Paris. - - [73] See also the Letter to Dehn, of the 28th of October, 1841. - - [74] Mendelssohn’s servant. - - [75] Mendelssohn was desired by the Berlin Theatre Intendancy to - compose this overture as quickly as possible (which he consequently - did in a few days), because “Athalia” was to be performed immediately. - The performance, however, did not take place till the 1st of December, - 1845. - - [76] To direct the musical festival there. - - [77] The son of his sister Fanny. - - [78] Mendelssohn’s paternal home, in which the Boeckh family also - resided. - - [79] Inserted in order to make Mendelssohn’s reply more clear. - - [80] This communication also led to no results. - - [81] Here also this letter to Mendelssohn seems necessary to render - his reply intelligible. - - [82] See the Letter to Bunsen of May 1st, 1844. - - [83] Referring to his edition of “Israel in Egypt,” for this Society. - - [84] Franz Messer, at Frankfort-on-the-Main. - - [85] For the Musical Festival in Birmingham, where “Elijah” was - performed for the first time. - - [86] In relation to a couple of members of the orchestra, who took the - liberty to make some saucy remarks on Mendelssohn coming in rather - late one morning to direct a rehearsal at the Philharmonic. - - [87] Moscheles recovered sufficiently to direct the rest of the - performances at the festival, except “Elijah.” - - [88] Mendelssohn’s servant. - - [89] Dirichlet was engaged in a negotiation about a situation at - Heidelberg. - - [90] See letter about Reichardt, of December 28, 1833. - - [91] After Fanny Hensel’s death. - - [92] Mendelssohn and his brother, with their families, went together - to Switzerland after Fanny Hensel’s death. - - [93] The author of the ‘History of Greece.’ - - [94] To allow the “Elijah” to be performed for the benefit of that - institution. - - [95] Mendelssohn was to direct the “Elijah” in Vienna. - - [96] In the tenth edition of Brockhaus’s ‘Conversations-Lexicon,’ vol. - 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.” - - [97] The name of the place invariably indicates where the Work was - composed, or at all events finished. - - - - - - - - -End of the Project Gutenberg EBook of Letters of Felix Mendelssohn-Bartholdy -from 1833 to 1847, by Felix Mendelssohn-Bartholdy - -*** END OF THIS PROJECT GUTENBERG EBOOK LETTERS OF FELIX MENDELSSOHN-BARTHOLDY *** - -***** This file should be named 50473-0.txt or 50473-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/4/7/50473/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Letters of Felix Mendelssohn-Bartholdy from 1833 to 1847 - -Author: Felix Mendelssohn-Bartholdy - -Editor: Paul Mendessohn-Bartholdy - Carl Mendessohn-Bartholdy - -Translator: Lady (Grace Jane) Wallace - -Release Date: November 17, 2015 [EBook #50473] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK LETTERS OF FELIX MENDELSSOHN-BARTHOLDY *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<img src="images/cover.jpg" width="320" height="500" alt="cover" title="" /> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td><p class="c"><a href="#INDEX">Index</a>: -<a href="#A">A</a>, -<a href="#B">B</a>, -<a href="#C">C</a>, -<a href="#D">D</a>, -<a href="#E">E</a>, -<a href="#F">F</a>, -<a href="#G">G</a>, -<a href="#H">H</a>, -<a href="#I-i">I</a>, -<a href="#J">J</a>, -<a href="#K">K</a>, -<a href="#L">L</a>, -<a href="#M">M</a>, -<a href="#N">N</a>, -<a href="#O">O</a>, -<a href="#P">P</a>, -<a href="#R">R</a>, -<a href="#S">S</a>, -<a href="#T">T</a>, -<a href="#V-i">V</a>, -<a href="#W">W</a>, -<a href="#Z">Z</a><br /> -(etext transcriber's note)</p></td></tr> -</table> - -<p class="cb">MENDELSSOHN’S LETTERS,<br /> -FROM 1833 TO 1847.</p> - -<div class="figcenter"> -<img src="images/mendel-1.jpg" width="392" height="500" alt="Mendelssohn" title="" /> -</div> - -<div class="poetry"> -<div class="poem"><div class="stanza2"> -<span class="i0">“AND AFTER THE FIRE THERE CAME A STILL SMALL VOICE<br /></span> -<span class="i1">AND IN THAT STILL SMALL VOICE ONWARDS CAME THE LORD.”<br /></span> -<span class="i15">ELIJAH<br /></span> -</div></div> -</div> - -<div class="figcenter"> -<img src="images/mendel-2.png" width="392" height="111" alt="Felix Mendelssohn Bartholdy signature" title="" /> -</div> - -<h1>LETTERS<br /> -<br /> -<small>OF</small><br /> -<br /> -FELIX MENDELSSOHN BARTHOLDY,<br /> -<br /> -<small>FROM 1833 TO 1847.</small></h1> - -<p class="c">EDITED BY<br /> -PAUL MENDELSSOHN BARTHOLDY,<br /> -<small>OF BERLIN;</small><br /> -<small>AND</small><br /> -DR. CARL MENDELSSOHN BARTHOLDY,<br /> -<small>OF HEIDELBERG:</small><br /> -<br /> -<small>WITH</small><br /> - -A CATALOGUE OF ALL HIS MUSICAL COMPOSITIONS<br /> -<br /> -<small>COMPILED BY</small><br /> - -DR. JULIUS RIETZ.<br /> -<br /> -<span class="eng">Translated</span><br /> -<br /> -BY -<br /> -L A D Y W A L L A C E.<br /><br /> -<br /> -LONDON:<br /> -LONGMAN, GREEN, LONGMAN, ROBERTS, & GREEN.<br /> -1863.<br /><br /><small> -PRINTED BY<br /> -JOHN EDWARD TAYLOR, LITTLE QUEEN STREET,<br /> -LINCOLN’S INN FIELDS.</small></p> - -<h2>PREFACE.</h2> - -<p class="nind"><span class="smcap">The</span> Letters of Felix Mendelssohn Bartholdy from Italy and Switzerland, -have amply fulfilled the purpose of their publication, by making him -<i>personally known</i> to the world, and, above all, to his countrymen.</p> - -<p>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 exhibit in a complete form that picture of -his life and character which was commenced in the former volume.</p> - -<p>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 -subject of his appointment at Berlin take up a large space; but this is -inevitable, so characteristic are they of the manner in which he -conceived and conducted such matters, while they reveal to us much that -lies outside his own personal character, and thus possess a more than -merely biographical value.</p> - -<p>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.</p> - -<p>A Catalogue of all Mendelssohn’s compositions, compiled by Herr -Kapellmeister Dr. Julius Rietz, is added as a supplement, which, by its -classification and arrangement, will no doubt prove an object of -interest both to musicians and amateurs of music.</p> - -<p class="hang"> -<i>Berlin and Heidelberg,<br /> -June, 1863.</i><br /> -</p> - -<p><span class="pagenum"><a name="page_1" id="page_1"></a>{1}</span></p> - -<h2><a name="LETTERS" id="LETTERS"></a>LETTERS.</h2> - -<h2><span class="smcap">To Pastor Bauer, Beszig.</span></h2> - -<p class="r"> -Berlin, March 4th, 1833.<br /> -</p> - -<p class="nind"><span class="smcap">Since</span> 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.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> I am now however entirely -cured; so, when you think of me, do so as of a joyous musician, who is -doing many things, who is <i>resolved</i> to do many more, and who would -<i>fain</i> accomplish all that can be done.</p> - -<p>For the life of me I cannot rightly understand the<span class="pagenum"><a name="page_2" id="page_2"></a>{2}</span> meaning of your -recent question and discussion, or what answer I am to give you. -Universality, and everything bordering on æsthetics, 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 sensibility and genuine -feeling, and say that a plant may bloom itself to death.</p> - -<p>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 sickly blossom no more resembles a healthy one, than sickly -sentimentality resembles true feeling.</p> - -<p>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<span class="pagenum"><a name="page_3" id="page_3"></a>{3}</span> 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 -<i>advance</i> on the straight road; and who will lead others onwards, or -back to the ancient and right path, which ought, in fact, to be termed -the onward path; but they will write no books on the subject.</p> - -<h2><span class="smcap">To Pastor Bauer, Beszig.</span></h2> - -<p class="r"> -Berlin, April 6th, 1833.<br /> -</p> - -<p>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 believe 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.<span class="pagenum"><a name="page_4" id="page_4"></a>{4}</span></p> - -<p>Strange that this should be the case at a time, in other respects so -imbued with deep fervour and earnestness, 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.</p> - -<p>The longer I stay in Berlin, the more do I miss Rietz, and the more -deeply do I deplore his death. X—— declares that the fault lies very -much with myself, because 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 rejoice in the present, if only for bringing -with it in its course a spring or an Easter festival.<span class="pagenum"><a name="page_5" id="page_5"></a>{5}</span></p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Coblenz, September 6th, 1833.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>Just as I was beginning to arrange the sheets of my oratorio,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> and -meditating on the music that I intend 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—1st. As -to the form of the whole, especially the narrative part, and whether you -think that the <i>general</i> 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 natural, 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 opinion 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<span class="pagenum"><a name="page_6" id="page_6"></a>{6}</span> be marked. 4th. -Whether you approve of my employing chorales? From this I have been -strongly dissuaded by various people, and yet I cannot decide on giving -it up entirely, for I think it must be in character with any oratorio -founded on the New Testament. 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.</p> - -<p>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 Düsseldorf, 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 composition. The country and the people -suit me admirably, and in winter “St. Paul” is to be given. I brought<span class="pagenum"><a name="page_7" id="page_7"></a>{7}</span> -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.</p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Berlin, 1833.<br /> -</p> - -<p>... 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<span class="pagenum"><a name="page_8" id="page_8"></a>{8}</span> 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 applaud with all my -might; then follows the farce of “Ein Stündchen 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 censure. I stayed at home because I -like best to be in my own room, or with my own family, or in my own -garden, which is wonderfully beautiful this year. If you will not -believe me, come and judge for yourself. I cannot resist always -reverting to this.</p> - -<h2><span class="smcap">To Rebecca Dirichlet, Berlin.</span></h2> - -<p class="r"> -Düsseldorf, October 26th, 1833.<br /> -</p> - -<p class="indd">My dear Sister,<br /> -</p> - -<p>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<span class="pagenum"><a name="page_9" id="page_9"></a>{9}</span> tremendously, up -and down. Haydn’s Mass was scandalously 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 encountered them later in the day, they had played the march -so often over that it went famously; and I consider it a high honour, -that these itinerant musicians have bespoken a new march from me for the -next fair.</p> - -<p>Previous to that Sunday, however, there was rather a touching scene. I -must tell you that really no appropriate 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 required, 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 reluctant<span class="pagenum"><a name="page_10" id="page_10"></a>{10}</span> to take the affair -out of his hands, though there could be no doubt that others would do -infinitely better; 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.</p> - -<p>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; so, after the Choral Association on Wednesday, 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 Feast,” 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 found -some splendid things, and took away with me six Masses of Palestrina, -one of Lotti and one of Pergolesi, 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<span class="pagenum"><a name="page_11" id="page_11"></a>{11}</span>” of Lotti. One of these, “Populus meus” we are to sing in -church next Friday.</p> - -<p>The following day was Sunday, so the steamboat did not come, and knowing -that my presence was necessary in Düsseldorf, I hired a carriage and -drove here. People were crowding along the <i>chaussée</i> 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 Crown -Prince,” again and again. He arrived safely at the Jägerhof 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, Hübner, 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 infinitely more -precious when I am a little way from home.</p> - -<p>I must now describe to you the fête that was given in his honour, and -for which I suggested the employment of some old transparencies, to be -connected by<span class="pagenum"><a name="page_12" id="page_12"></a>{12}</span> appropriate verses for “Israel in Egypt,” with <i>tableaux -vivants</i>. They took place in the great Hall of the Academy, where a -stage was erected. In front was the double chorus (about ninety voices -altogether), standing in two semicircles round my English piano; and in -the room seats for four hundred spectators. R——, in mediæval costume, -interpreted the whole affair, and contrived very cleverly, in iambics, -to combine the different objects, in spite of their disparity.</p> - -<p>He exhibited three transparencies:—first, “Melancholy,” after Dürer, 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, -“Hör’ 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 <i>alti</i> 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 the first tableau, -“The Children of Israel in bondage,” designed and arranged by Bendemann. -In the foreground 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<span class="pagenum"><a name="page_13" id="page_13"></a>{13}</span> makes an effort to relieve him from it; -in the background some beautiful figures with uplifted arms, a few -weeping children in the foreground,—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.</p> - -<p>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 staff, 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 trombones, pointing in -different directions. The soprano solo was sung behind the scene, as if -proceeding from<span class="pagenum"><a name="page_14" id="page_14"></a>{14}</span> the picture; and when the chorus came in <i>forte</i>, real -trombones, and trumpets, and kettledrums, were brought on the stage, and -burst in like a thunder-clap. Handel evidently intended this effect, for -after the commencement he makes them pause, till they come in again in C -major, when the other instruments recommence. And thus we concluded the -second part.</p> - -<p>This last tableau was by Hübner, and pleased me 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 fête. The next that followed was a -<i>tableau vivant</i>, designed and arranged by Schadow, “Lorenzo de’ Medici, -surrounded by the Geniuses of Poetry, Sculpture, and Painting, leading -to him Dante, Raphael, Michael Angelo, and Bramante,” with a -complimentary allusion to the Crown Prince, and a final chorus. The -second division consisted of the comic scenes from the “Midsummer -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.</p> - -<p>How would you translate in the same measure the following line:—</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“So Love was crowned, but Music won the cause”?<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a><br /></span> -</div></div> -</div> - -<p>Ramler, with the genuine dignity of a translator, says,<span class="pagenum"><a name="page_15" id="page_15"></a>{15}</span> “Heil, Liebe, -dir! 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 -“<i>won</i>.” 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.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> I feel very much disposed to do -so, but fear it will not go on very swimmingly. Could I understand -Æschylus? tell me this honestly. Further, do you attend to my advice -about pianoforte playing and singing? If you want any songs, as -Christmas 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.</p> - -<p class="r"> -<span class="smcap">Felix.</span><br /> -</p> - -<p><span class="pagenum"><a name="page_16" id="page_16"></a>{16}</span></p> - -<h2><span class="smcap">To his Father.</span></h2> - -<p class="r"> -Bonn, December 28th, 1833.<br /> -</p> - -<p class="indd">Dear Father,<br /> -</p> - -<p>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.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> -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.</p> - -<p>The people in Düsseldorf are an excitable race! The “Don Juan” affair -amused me, although riotous enough, and Immermann had a sharp attack of -fever from sheer vexation.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> As you, dear Mother, like to read -newspapers, you shall receive in my next letter all the printed articles -on the subject, which engrossed the attention of the whole town for -three long days. After the <i>grand scandale</i> had fairly begun, and the -curtain three times dropped and drawn up again,—after the<span class="pagenum"><a name="page_17" id="page_17"></a>{17}</span> 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 <i>bâton</i>, 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 Immermann -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 already disposed of all the tickets for the next performance. -Immermann snubbed everybody all round, and in this graceful manner we -retreated from the field.</p> - -<p>Next day in every corner appeared, “Owing to obstacles 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 with<span class="pagenum"><a name="page_18" id="page_18"></a>{18}</span> articles -on the subject; the instigator of the riot justified 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 director, 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 disturbance. 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 universally 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 with -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 received 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<span class="pagenum"><a name="page_19" id="page_19"></a>{19}</span> applause; in short, the public were now as polite -as they formerly were unruly. I wish you had seen the performance: -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 performances, 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.</p> - -<p>And now to return to the much talked of correspondence 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 unluckily rest for this winter, the Musical -Association is not yet sufficiently 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-Chapelle,<span class="pagenum"><a name="page_20" id="page_20"></a>{20}</span> 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 <i>must</i> conduct all the operas? Heaven forbid there should be -any <i>must</i> 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; we are therefore quite independent of the rest, -who consequently feel increased respect for us.</p> - -<p>When the great Theatrical Association is fairly established, and the -theatre becomes a settled and civic institution, Immermann is resolved -to give up his situation 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 <i>he</i> -should undertake the<span class="pagenum"><a name="page_21" id="page_21"></a>{21}</span> plays, and <i>I</i> the operas; how this may be, lies -close hidden as yet in the womb of time, but in any event I will not -entirely withdraw from the affair. I have composed 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 -dictation; 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.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> Thank you very much for the letter -you sent me from Lindblad.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> 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<span class="pagenum"><a name="page_22" id="page_22"></a>{22}</span> 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.</p> - -<p>I thank you also, dear Father, 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 -uneasiness, 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.</p> - -<p class="r"> -<span class="smcap">Felix.</span><br /> -</p> - -<h2><span class="smcap">To His Family.</span></h2> - -<p class="r"> -Düsseldorf, January 16th, 1834.<br /> -</p> - -<p>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 <i>musici</i>, 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, -“Glücklich allein ist die Seele die liebt,” I fairly<span class="pagenum"><a name="page_23" id="page_23"></a>{23}</span> 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 me, and only two pieces, the -march in C major, and the movement in 6-8 time, where Klärchen 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 morning 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 forenoon, -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 introduced music -from “Oberon” in the second part, feeling myself in a vein for -extemporizing, I instantly took up their last <i>ritournelle</i>, 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.<span class="pagenum"><a name="page_24" id="page_24"></a>{24}</span> 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 receiving people is from -eight to nine. The Barmer fantasia was well designed; I must describe it -for Fanny.</p> - -<p>A poem had been sent me anonymously, at the end of which I was advised -to marry (of course this was said in good poetry, interwoven with laurel -leaves and <i>immortelles</i>); and, wishing to respond to this compliment, 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 successful. I was anxious, however, -before closing, to introduce 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,<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> is about to be published. I have introduced a fine -massive passage in octaves into my new E flat rondo; I am now<span class="pagenum"><a name="page_25" id="page_25"></a>{25}</span> going to -work at my <i>scena</i> for the Philharmonic, to edit the three overtures, to -compose another trio or a symphony, and then comes “St. Paul.” Addio.</p> - -<p class="r"> -<span class="smcap">Felix.</span><br /> -</p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Düsseldorf, February 7th, 1834.<br /> -</p> - -<p>My own poverty in novel passages for the piano struck me very much in -the <i>rondo brillant</i><a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> which I wish to dedicate to you; these are what -cause me to demur, and to torment myself, and I fear you will remark -this. In other respects there is a good deal in it that I like, and some -passages please me exceedingly; but how I am to set about composing a -methodical <i>tranquil</i> piece (and I well remember you advised me strongly -to do this last spring) I really cannot tell. All that I now have in my -head for the piano, is about as <i>tranquil</i> as Cheapside,<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> and even -when I control myself, and begin to extemporize very soberly, I -gradually break loose again. On the other hand, the <i>scena</i> which I am -now writing for the Philharmonic is, I 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<span class="pagenum"><a name="page_26" id="page_26"></a>{26}</span> quite indifferent -towards the public and towards critics, I must in turn ask, Am I not, in -my profession, an <i>anti-public-caring</i> musician, and an <i>anti-critical</i> -one into the bargain? What is Hecuba to me, or critics either? (I mean -the press, or rather pressure;) and if an overture to Lord Eldon were to -suggest itself to me, in the form of a reversed canon, or a double fugue -with a <i>cantus firmus</i>, I should persist in writing it, though it would -certainly not be popular,—far more, therefore, a “lovely Melusina,” who -is, however, a very different 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.</p> - -<p>Your observations on Neukomm’s music find a complete 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 -refined music; for, without referring to the ideas or the basis of his -works, they appear to me most carelessly composed, and even commonplace. -He also employs brass instruments recklessly, which ought, through -discretion 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<span class="pagenum"><a name="page_27" id="page_27"></a>{27}</span> -would not be struck by it, and it seems to me far better to <i>imitate</i> -this, than to over-excite and stimulate the audience, who before the -close have become quite accustomed to all this Cayenne pepper. I have -just looked through Cherubini’s new opera,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> 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 trombones, as if it were the audience who had skins of -parchment 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 brightness 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 <i>rococo</i>, <i>perruque</i>, etc. etc.<span class="pagenum"><a name="page_28" id="page_28"></a>{28}</span></p> - -<h2><span class="smcap">To his Father.</span></h2> - -<p class="r"> -Düsseldorf, March 28th, 1834.<br /> -</p> - -<p class="indd">Dear Father,<br /> -</p> - -<p>A thousand thanks for your kind letter on my Mother’s birthday. I -received it in the midst of a general rehearsal of the “Wasserträger,” -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 would counsel me to give way to indolence, 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.</p> - -<p>My having composed <i>beforehand</i> 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<span class="pagenum"><a name="page_29" id="page_29"></a>{29}</span> I said before, -they really are not mere amusements, but positive work, and pleasant -work often too. A good performance in the Düsseldorf theatre does not -find its way into the world at large,—indeed, scarcely perhaps beyond -the <i>Düssels</i> 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!</p> - -<p>The week before the “Wasserträger” was given was most fatiguing; every -day two great rehearsals, often from nine to ten hours each on an -average, besides the preparations 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 “Wasserträger” for the last fifteen or twenty years, -were under the impression that it was some old forgotten opera, which -the committee 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 Düsseldorf opposition kindled into -enthusiasm, and applauded and shouted and wept by turns. A better -Wasserträger than Günther I never saw; he was most touching and natural, -and yet with a shade of homeliness,<span class="pagenum"><a name="page_30" id="page_30"></a>{30}</span> too, so that the <i>noblesse</i> might -not appear too factitious. He was immensely applauded, and twice called -forward; this rather spoiled him for the second performance, when he -overacted his part, and was too confident; 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 fellows who, in -spite of all my threats and warnings, could not be prevailed on to take -their eyes off the stage during the performance, and to look at their -notes. On Sunday 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 crowded, and the effect 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 Cherubini’s Mass in C major.</p> - -<p>The Government order prohibiting the celebration of<span class="pagenum"><a name="page_31" id="page_31"></a>{31}</span> 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 Theatrical 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 effect; it also estranges me too much from my -own chief purpose in Düsseldorf, which is to work for myself. I am the -chief superintendent of the musical performances, the arrangements of -the orchestra, and the engagement of the singers, and about every month -I have an opera to conduct (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 Carnival 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<span class="pagenum"><a name="page_32" id="page_32"></a>{32}</span> my -advice,—in fact, to give her 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-purchased 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 contained enough of the finest black cloth to make an entire -suit. This savours of the middle ages; the painters are mad with envy at -my good luck.</p> - -<p>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 may be. I saw him first in the “Essighändler” 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, tiresome, and full of theatrical -phrases, so that even Seydelmann 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<span class="pagenum"><a name="page_33" id="page_33"></a>{33}</span> 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 unruffled; the words of the discreet 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.</p> - -<p>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 <i>genteel</i> -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</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_34" id="page_34"></a>{34}</span></p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Düsseldorf, April 7th, 1834.<br /> -</p> - -<p class="indd">Dear Fanny,<br /> -</p> - -<p>You are no doubt very angry with such a lazy <i>non-writing</i> 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 Düsseldorf, 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 -<i>Hofrath</i>, we should have a solid fellow;—but listen! I must fly into a -passion. Oh! Fanny, you ask me <i>what</i> 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 instrumental music without any title, -when my own sister<span class="pagenum"><a name="page_35" id="page_35"></a>{35}</span> (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 <i>April</i>, to grumble at your -letter of <i>February</i>, 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 Königstadt Theatre. The overture (I mean Kreuzer’s) was -encored, and I disliked it exceedingly, and the whole opera quite as -much; but not Mlle. Hähnel, who was very fascinating, 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 might not -<i>encore</i>, 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.</p> - -<p>You intend, no doubt, to take me to task also on account 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 <i>Volks -Lieder</i> ought to be written; because every pianoforte accompaniment -instantly recalls a room and a music desk, and also because four voices -can give a song of this kind in greater simplicity without an -instrument; and if <i>that</i> reason be too æsthetic, then accept <i>this</i> -one, that I was anxious to write something of the kind for Woringen, who -sings these things enchantingly. Seriously, however, I find that the<span class="pagenum"><a name="page_36" id="page_36"></a>{36}</span> -four-part songs do “suit the text (as a <i>Volks Lied</i>) and also my -conception,” and so you see we differ very widely.</p> - -<p>By the bye, I quite forgot to say that I wished to introduce a -wood-demon into the “Passion.” It is a good idea. Don’t whisper it to -any one, or to a certainty they will really attempt it next year; and -Pölchau declares the Romans were familiar with them, under the name of -<i>diabolus nemoris</i>. Only fancy, they have sent me my Academy patent in a -formidable red case (carriage 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 return 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!</p> - -<p>One of my Düsseldorf 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 Rossini’s airs in -such a desperately slow, phlegmatic <i>tempo</i>, 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<span class="pagenum"><a name="page_37" id="page_37"></a>{37}</span> mother, (I can’t tell which,) strike -the right note distinctly seventeen times in succession; and when she is -playing at sight, and gradually out of the darkness developes some old -barrel-organ tune, which could be recognized 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</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Düsseldorf, May 23rd, 1834.<br /> -</p> - -<p>... 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 celebration of Whitsunday, and expressed in such a -manner 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 downright cross when we arrived. We went -straight to the rehearsal, and, seated in the pit, I heard a movement or -two from “Deborah;” on which I said to Woringen, “I positively will -write to Hiller from here, for the first time for two years, because he -has performed his office so well.” For really his work was unpretending -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.<span class="pagenum"><a name="page_38" id="page_38"></a>{38}</span> In the first tier was seated a man with 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 execution, 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. Hiller, too, is an admirable player—vigorous, and -yet playful. Both, however, rather toil in the Parisian spasmodic 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 <i>mirliflors</i> or -<i>incroyables</i>. After the festival we travelled together to Düsseldorf, -and passed a most agreeable day there, playing and discussing music; -then I accompanied them yesterday to Cologne. Early this morning they -went off to Coblenz<span class="pagenum"><a name="page_39" id="page_39"></a>{39}</span> <i>per</i> steam,—I in the other direction,—and the -pleasant episode was over.</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Düsseldorf, July 15th, 1834.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>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 -cannot myself understand. Last autumn, when I first established 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 -occurred 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?<span class="pagenum"><a name="page_40" id="page_40"></a>{40}</span> 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.</p> - -<p>Your contributions for “St. Paul” were admirable, and I made use of them -all without exception; 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 brimstone -itself, and the whole spring, with its leaves and<span class="pagenum"><a name="page_41" id="page_41"></a>{41}</span> 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.</p> - -<p>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 month we are to give Handel’s “Te Deum” (Dettingen).</p> - -<p>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</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To I. Fürst, Berlin.</span></h2> - -<p class="r"> -Düsseldorf, July 20th, 1834.<br /> -</p> - -<p class="indd">Dear Fürst,<br /> -</p> - -<p>I know only too well, that I have neither written<span class="pagenum"><a name="page_42" id="page_42"></a>{42}</span> to you, nor thanked -you, since I received your passages for “St. Paul,”<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> but I assure you -that every day, when I return to my work, I do feel sincerely grateful -to you. I certainly, however, ought to have written, for if the work, -which since the spring entirely absorbs 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 succeed better than -formerly.</p> - -<p>This is, indeed, a pleasant, concentrated life, but still not so much so -as you may perhaps imagine, for, unluckily, 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<span class="pagenum"><a name="page_43" id="page_43"></a>{43}</span> -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 Immermann in 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 associate is really enjoyable. The -painters are entirely devoid of the slightest arrogance or envy, and -live together 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 between them the [Greek: daimonios]—the tall, quiet -Lessing. All this is cheering, and if you could only hear in our church -music the bass of the choir, it would do your heart good to see one -capital fellow of a painter standing next another, and all shouting like -demons. This very morning we had some very good music in the church, in -which all took part; and when Immermann gives a new piece, they paint -the decorations for it gratis, and when they have a feast, he composes a -poem for them, which I set to music,—and all this is pleasant, and in -good-fellowship.</p> - -<p>But there is a fair to-day, which means that the whole of Düsseldorf are -drinking wine,—not as if this were not the case every day, but they -walk about besides; not as if they did not do this also every day, but -they<span class="pagenum"><a name="page_44" id="page_44"></a>{44}</span> dance besides (in this frightful heat), and shout, and get tipsy; -and wild beasts are exhibited, and puppet-shows, and cakes baked in the -public streets. So now you know what a fair means. As a curious -spectator, I must go there late in the evening, but, first, I intend to -plunge into the Rhine with a lot of painters. Farewell, till we meet in -Berlin, in September.—Ever yours,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To his Parents.</span></h2> - -<p class="r"> -Düsseldorf, August 4th, 1834.<br /> -</p> - -<p class="indd">My dear Parents,<br /> -</p> - -<p>For a week past, during which we have had heavy storms and a very sultry -atmosphere, I felt so jaded that I was unable to do anything all day -long; more especially I cannot compose, which vexes me exceedingly. I -seem to care for nothing beyond eating and sleeping, and perhaps bathing -and riding. My horse is a favourite with all my acquaintances, and -deserves their respect from his good temper, but he is very shy; and -when I was riding him lately during a storm, every flash made him start -so violently, that I felt quite sorry for him. Lately we made an -excursion on horseback to Saarn, for Madame T——’s birthday, which was -celebrated by wreaths of flowers, fireworks, shooting, a large society, -a ball, etc. etc. The route was as charming<span class="pagenum"><a name="page_45" id="page_45"></a>{45}</span> as ever, though different -from what it was in spring; the apple-tree in the bowling-green, which -was then in blossom, was now loaded with unripe green apples; and -sometimes I was able to ride across the stubble fields, and to get into -the thick shady wood by a side path. We met several <i>diligences</i> at the -very same places, and even the very same flocks of sheep, and there was -the same noisy, merry life going on in the blacksmith’s forge; and a -burgher in Rathingen was shaving himself just the same, thus reviving my -old philosophy, which you, dear Father, always ignore.</p> - -<p>The next day I rode on to Werden, a charming retired spot, where I -wished to inquire about an organ; the whole party drove with me there; -cherry tarts were handed to me on horseback out of the carriages. We -dined in the open air at Werden; I played fantasias and Sebastian Bachs -on the organ to my heart’s content; then I bathed in the Ruhr, so cool -in the evening breeze that it was quite a luxury, and rode quietly back -to Saarn. The bathing in the Ruhr was peculiarly agreeable; first of -all, a spot close to the water with high grass, in which large hewn -stones were lying, as if placed there by some Sultan to shade him and -his clothes; then close to the shore the water comes up to your chin, -and the green hills opposite were brightly lighted up by the evening -sun; and the little stream flowing very quietly along, and so cool and -shady. I felt myself in Germany indeed when, as I<span class="pagenum"><a name="page_46" id="page_46"></a>{46}</span> was swimming across, -a man on the opposite bank suddenly stood still, and began a regular -conversation with me while I lay in the water puffing,—whether I could -touch the ground where I was? and if swimming was very difficult? Then, -too, I felt myself, alas! quite in Germany when the wife of the -organist, to whom I paid a visit, offered me a glass of <i>schnapps</i>, and -regretted so much that her husband was absent just at this time, for he -had so many enemies, who all maintained that he could not play the -organ, and he might have played to me, and then by my judgment (like -Solomon) I could have put to shame all these talkers. Wrangling and -discord are to be found everywhere. A handsome new organ has just been -put up at considerable expense in a large roomy choir, and there is no -way to reach it but by narrow dark steps, without windows, like those in -a poultry-yard, and where you may break your neck in seventeen different -places; and on my asking why this was, the clergyman said it had been -left so purposely, in order to prevent any one who chose, running up -from the church to see the organ. Yet, with all their cunning, they -forget both locks and keys: such traits are always painful to me.</p> - -<p>The evening before this Saarn excursion (a week since) I had a very -great pleasure. I had received the proof-sheets of my rondo in E flat, -from Leipzig, and as I was unwilling to have it published without at -least trying it over once with the orchestra, I invited all<span class="pagenum"><a name="page_47" id="page_47"></a>{47}</span> our -musicians here to come to the music hall, and played it over with them. -As I could not offer them any payment for this, which they would have -taken highly amiss, I gave them a <i>souper</i> of roast veal and -bread-and-butter, and let them get as tipsy as they could desire. This -was not, however, the great pleasure I alluded to, but my overture to -“Melusina,” which was played there for the first time, and pleased me -extremely. In many pieces I know from the very beginning that they will -sound well, and be characteristic, and so it was with this one as soon -as the clarionet started off into the first bar. It was badly played, -and yet I derived more pleasure from it than from many a finished -performance, and came home at night with a gladness of heart that I have -not known for a long time. We played it over three times, and the third -time, immediately after the last soft chord, the trumpets broke in with -a flourish in my honour, which had a most laughable effect. It was very -pleasant too when we were all seated at dinner, and one of the company -commenced a long oration, with an introduction and all sorts of things, -but, beginning to flounder, he wound up by giving my health, on which -the trumpet and trombone players jumped up like maniacs, and ran off for -their instruments to give me another grand flourish; then I made a -vigorous speech, worthy of Sir Robert Peel, in which I strongly enforced -unity, and Christian love, and steady time, and with a toast to the -progress of music at Düsseldorf<span class="pagenum"><a name="page_48" id="page_48"></a>{48}</span> I closed my oration. Then they sang -four-part songs, and, among others, one that I gave to Woringen last -year at the Musical Festival, called “Musikanten-prügelei,” the -transcriber (one of the players and singers present) having copied it -for his own benefit at the time, and coolly produced it on this -occasion, which, indeed, I could not myself help laughing at. Then they -all vowed that this was the most delightful evening of their whole -lives; then they began to wrangle again a little, as a proof of the -strong effect my Peel speech had made on them; then the sober ones of -the party, <i>videlicet</i>, fat Schirmer and I, pacified them once more, and -towards midnight we separated; they having enjoyed the wine, and I still -more “the lovely Melusina,” and next morning at six o’clock I was on -horseback on my way to Saarn. A couple of charming days they were!</p> - -<p>Dear Mother, I saw the Queen of Bavaria, but not in state. I was seated -in a boat, and just going to jump into the Rhine with two friends, when -her Majesty arrived in her steamboat. As none of us possessed any -swimming attire, so were not in a very fit state to appear at Court, we -sprang just <i>a tempo</i> into the water as she came nearer, and thence saw -all the ceremonies, and how Graf S—— presented the clergy and the -Generals, and how the <i>senatus populusque Düsseldorfiensis</i> stood on -shore and made music. I had no opportunity of seeing the Queen again; -but now I must really conclude<span class="pagenum"><a name="page_49" id="page_49"></a>{49}</span> having gossiped at a great rate. -Farewell, my dear parents!</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To Pastor Schubring, Dessau.</span></h2> - -<p class="r"> -Düsseldorf, August 6th, 1834.<br /> -</p> - -<p>How could you for one moment imagine that I was annoyed by your showing -the text to Schneider? Why should I take umbrage at that? I hope you do -not consider me one of those who, when once they have an idea in their -heads, guard it as jealously as a miser does his gold, and allow no man -to approach till they produce it themselves. There is certainly nothing -actually wrong in this, and yet such jealous solicitude is most odious -in my eyes; and even if it were to occur, that some one should -plagiarize my design, still I should feel the same; for one of the two -must be best, which is all fair, or neither are good, and then it is of -no consequence. Moreover, I feel very melancholy to-day, and indeed for -some days past have been lying here, completely knocked up and unable to -write a line, whether from feverishness or the sultriness of the -weather, or from what I know not. The first part of “St. Paul” is now -nearly completed, and I stand before it ruminating like a cow who is -afraid to go through a new door, and I never seem to finish it; indeed, -the overture is still wanting, and a heavy bit of work it will be. -Immediately<span class="pagenum"><a name="page_50" id="page_50"></a>{50}</span> after the Lord’s words to St. Paul on his conversion I have -introduced a great chorus, “Arise and go into the city” (Acts of the -Apostles, ix. 6), and this I, as yet, consider the best moment of the -first part.</p> - -<p>I don’t know what to say as to your opinion of X——. I think you are -rather hard on him, and yet there is a good deal of truth in what you -assert too, and quite in accordance with what I find in his -compositions. But my belief is, that you do him great injustice in -pronouncing him to be a flatterer, as he never <i>intends</i> to flatter, but -always fully believes in the truth and propriety of what he is saying; -but when such an excitable temperament is not mitigated by some -definite, energetic, and creative powers, or when it can bring forth -nothing but a momentary assimilation to some foreign element, then it is -indeed unfortunate; and I almost begin to fear that this is his case, -for his compositions I exceedingly disapprove of. For a long time past I -have reluctantly come to this conclusion, and it pained me as much to -admit the truth of it to myself, as to you now.</p> - -<p>I grieve also to hear what you write to me of the —— family, for I -know no feeling more distressing than that of having enemies, and yet it -seems impossible to be avoided; at all events, I can say, to my great -joy, that even now, when I am brought into contact (and disagreeable -contact too) with so many different people, no one can say that there is -one single person with whom I am<span class="pagenum"><a name="page_51" id="page_51"></a>{51}</span> not on friendly terms, if they will at -all permit me to be so; and I don’t doubt that it is the same in your -case.</p> - -<p>Your remarks about the theatre are quite as unlucky as Breitschneider’s -criticisms; for though I am not myself director, I am what is still -worse, a kind of Honorary Intendant (or whatever you choose to call it) -of the new theatre here <i>in spe</i>, and therefore my official zeal prompts -me take up the cause of the stage. But to speak seriously, I am by no -means of your opinion that the theatre is pernicious to three-fourths of -mankind, and I believe that those who are injured by it would find the -same detriment, or perhaps worse, elsewhere, without any theatre. For -there at least we do not find the vapid reality that exists in the -world; and, as a general rule, I do not consider anything wrong in -itself, because it <i>may</i> possibly lead to bad results, but only when it -<i>must</i> inevitably produce them; in a theatrical public, such as you -describe, there are only depraved people, and no healthy ones who visit -the theatre to see a piece as a work of art. I know that to myself it -always was either tiresome or elevating (more commonly the former, I -own), but <i>pernicious</i> it never appeared to me; and to prohibit it on -that account ... but this would involve a wide sphere and a very serious -subject, and politics, tiresome as they are, must have their say in the -matter; and all this cannot be thoroughly discussed in so small a sheet -of paper as this: perhaps in conversation,—but scarcely even then.<span class="pagenum"><a name="page_52" id="page_52"></a>{52}</span></p> - -<p>I intended to have sent you some of my works, but prefer doing so from -Berlin; the “Meeresstille” I have entirely remodelled this winter, and -think it is now some thirty times better. I have also some new songs and -pieces for the piano. You say that the newspapers extol me; this is -always very gratifying, though I seldom read them, either the musical -ones or any others; only occasionally English papers, in which there are -some good articles; but my paper is becoming by degrees shorter and -shorter, so my letter is done. Farewell.—Your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Düsseldorf, November 4th, 1834.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>At last I have leisure to thank you for your kind letters; you know the -great delight your writing always causes me, and I would fain hope that -it does not fatigue you, for you write in as distinct and classical -characters at the end of the letter as at the beginning of the first -line, as you always do; therefore I do entreat you frequently to bestow -this pleasure on me; that I am truly grateful for it you will readily -believe.</p> - -<p>You always take me at once back to my own home, and while I am reading -your letters I am there once more; I am in the garden rejoicing in the -summer; I visit the Exhibition, and dispute with you about Bendemann<span class="pagenum"><a name="page_53" id="page_53"></a>{53}</span>’s -small picture; I rally Gans on his satisfaction at being invited by -Metternich, and almost think I am again paying court to the pretty -Russians. To be thus transported home is most pleasant to me just at -this time, when, during the last few weeks, I have been fuming and -fretting in a rare fashion at Düsseldorf and its art doings, and Rhenish -<i>soaring impulses</i>, and new efforts! I had fallen into a terrible state -of confusion and excitement, and felt worse than during my busiest time -in London. When I sat down to my work in the morning, at every bar there -was a ringing at the bell; then came grumbling choristers to be snubbed, -stupid singers to be taught, seedy musicians to be engaged; and when -this had gone on the whole day, and I felt that all these things were -for the sole benefit and advantage of the Düsseldorf theatre, I was -provoked; at last, two days ago, I made a <i>salto mortale</i>, and beat a -retreat out of the whole affair, and once more feel myself a man. This -resignation was a very unpleasant piece of intelligence for our -theatrical autocrat, <i>alias</i> stage mufti; he compressed his lips -viciously, as if he would fain eat me up; however, I made a short and -very eloquent speech to the Director, in which I spoke of my own -avocations as being of more consequence to me than the Düsseldorf -theatre, much as I, etc.: in short, they let me off, on condition that I -would occasionally conduct; this I promised, and this I will certainly -perform. I began a letter to Rebecca long ago,<span class="pagenum"><a name="page_54" id="page_54"></a>{54}</span> containing the details -of three weeks in the life of a Düsseldorf Intendant, which I have not -yet finished, and I upbraid myself for it.</p> - -<p>I have just arrived at that point with “St. Paul” when I should be so -glad to play it over to some one, but I can find no eligible person. My -friends here are very enthusiastic with regard to it, but this does not -prove much in its favour. The <i>cantor</i><a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> is wanting, with her thick -eyebrows and her criticism. I have the second part now nearly all in my -head, up to the passage where they take Paul for Jupiter, and wish to -offer sacrifices to him, for which some five choruses must be found, but -as yet I have not the faintest conception what ... it is difficult. You -ask me, dear Mother, whether I have made any arrangements with -publishers in Leipzig; Breitkopf and Härtel lately informed me that they -would purchase every work I chose to publish, and also a future edition -of my collected works, (does not that sound very grand?) and mention -that they have been very much annoyed by an announcement of another -publisher. So you see possibly I may oblige these people! Besides this, -I have had six applications for my music from other publishers in -various places. This savours rather of <i>renommage</i>, but I know you like -to read of such things, and will forgive me for it.<span class="pagenum"><a name="page_55" id="page_55"></a>{55}</span></p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Düsseldorf, November 14th, 1834.<br /> -</p> - -<p class="indd">My dear Fanny,<br /> -</p> - -<p>May every happiness attend you on this day, and in the year about to -commence, and may you love me as well as ever. I should like this year -also to have sent you some piece or other, underneath which I could have -written November 14th, but the “weeks of the life of an Intendant” have -swallowed up everything, and I am only slowly becoming myself again. A -few days ago I sketched the overture of “St. Paul,” and thought I should -at least contrive to get it finished, but it is still a long way behind. -If we could only be together now, in the evening, at all events; for -when candles are lighted I feel a much greater longing to be at home -than in the morning; and now here are candles, and the days from -November 11th and December 11th, up to Christmas and the New Year,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> -are certainly not the best to be far from home, even if the evenings -were not so long. But we must be very busy, and next summer set off on -our travels again, and visit each other. My wish at this moment is, that -the time were come!</p> - -<p>I wonder what you are doing this evening? Music and society? or the -Government newspaper read aloud? (in which, I am told, Hensel’s school -is much extolled, and considered in many respects preferable to ours -here!)<span class="pagenum"><a name="page_56" id="page_56"></a>{56}</span></p> - -<p>But, my birthday child! we are not likely to agree on this occasion in -our opinions about pictures; for one of the most repugnant to my -feelings that I ever saw was that of S——. When a work of art aspires -to represent factitious misery, like the famine in the wilderness, I -take no interest in it, if ever so well painted—which this is not. The -whole thing seems to me nothing but a variation on Lessing’s “Royal -Pair,” only this time with dead horses. The tone of art in it is very -commonplace, and even if decked out twenty times over with bright -colours, that does not make it better! I don’t at all approve, either, -of your taking the opportunity of hearing Lafont to speak of the -<i>revolution</i> in the violin since Paganini, for I don’t admit that any -such thing exists in art, but only in people themselves; and I think -that very same style would have displeased you in Lafont, if you had -heard him <i>before</i> Paganini’s appearance, so you must not, on the other -hand, do less justice to his good qualities <i>after</i> hearing the other. I -was lately shown a couple of new French musical papers, where they -allude incessantly to a <i>révolution du goût</i> and a musical transition, -which has been taking place for some years past, in which I am supposed -to play a fine part; this is the sort of thing I do detest. Then I think -that I must be industrious, and work hard, “above all, hate no man and -leave the future to God,”—finish the oratorio completely by March, -compose a new A minor symphony and a pianoforte concerto, and then set -off again<span class="pagenum"><a name="page_57" id="page_57"></a>{57}</span> on my travels and visit No. 3, Leipziger Strasse. My second -concert took place yesterday, and afterwards a fashionable <i>soirée</i>, -with no end of Excellencies and fine titles. The day after to-morrow I -am again to conduct “Oberon,” and shall drive on the orchestra full cry, -like an evil spirit. I have fallen into a very splenetic tone, by no -means in keeping with a birthday tone, but I now resume the latter, and -wish you all possible good fortune; and may 1835 prove a happy year to -you, and may you, and all at home, thoroughly enjoy the day.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Rebecca Dirichlet, Berlin.</span></h2> - -<p class="r"> -<span class="smcap">Düsseldorf, November 23rd, 1834.</span><br /> -</p> - -<p class="indd">My dear, dear Rebecca,<br /> -</p> - -<p>Can I still expect you to read anything that I write? I have been -remiss, very remiss, in fact behaved shamefully, and I heartily wish it -were not so; but I can’t help it now! Would that I had an opportunity to -make up for it; but unluckily this is not the case; I can therefore only -say that I hope I am still in your good graces, and that I was very -foolish. I ought indeed to have said this to you long since, but I could -not, for I was resolved to write you a long confidential letter the -first day I could find leisure, and this is the very first leisure day. -Now that it is getting dark, and the<span class="pagenum"><a name="page_58" id="page_58"></a>{58}</span> shutters closed, and lights -brought in at five o’clock, I thought that I must write to you, and, as -it were, pull your door bell and ask if you are at home. Do look kindly -on me.</p> - -<p>How things have been going on with me for some time past it would not be -easy to say, all has been so detestable. But you really must listen to a -little grumbling from me, that you may never take it into your head to -become director of a theatre, nor to permit any one belonging to you to -accept the office of an intendant. Immediately on my return here<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> the -Intendant breezes were wafted towards me. In the statute it is set -forth:—The <i>intendancy</i> is to consist of an intendant and a music -director. The Intendant proposed that I should be the musical intendant, -and he the theatrical intendant. Then the question arose, which was to -take precedence of the other; so here was forthwith a fine piece of -work. I wished to do nothing but conduct and direct the musical studies, -but this was not enough for Immermann. We exchanged desperately uncivil -letters, in which I was obliged to be very circumspect in my style, in -order to leave no point unanswered, and to maintain my independent -ground and basis; but I think I did credit to Herr Heyse.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> We came to -an agreement after this, but quarrelled again immediately,<span class="pagenum"><a name="page_59" id="page_59"></a>{59}</span> for he -required me to go to Aix, to hear and to engage a singer there, and this -I did not choose to do. Then I was desired to engage an orchestra,—that -is, prepare two contracts for each member, and previously fight to the -death about a dollar more or less of their monthly salary; then they -went away, then they came back and signed all the same, then they all -objected to sit at the second music desk, then came the aunt of a very -wretched performer, whom I could not engage, and the wife and two little -children of another miserable musician, to intercede with the Director; -then I allowed three fellows to play on trial, and they played so -utterly beneath contempt that I really could not agree to take any of -them; then they looked very humble, and went quietly away, very -miserable, having lost their daily bread; then came the wife again, and -wept. Out of thirty persons there was only one who said at once, “I am -satisfied,” and signed his contract; all the others bargained and -haggled for an hour at least, before I could make them understand that I -had a <i>prix fixe</i>. The whole day I was reminded of my father’s proverb, -“Asking and bidding make the sale;” but they were four of the most -disagreeable days I ever passed. On the fourth, Klingemann arrived in -the morning, saw the state of things, and was horrified. In the meantime -Rietz studied the “Templar,” morning and evening; the choruses got -drunk, and I was forced to speak with authority; then they rebelled -against the manager, and I<span class="pagenum"><a name="page_60" id="page_60"></a>{60}</span> was obliged to shout at them like the Boots -at an inn; then Madame Beutler became hoarse, and I was very anxious on -her account (a new sort of anxiety for me, and a most odious one); then -I conducted Cherubini’s “Requiem” in the church, and this was followed -by the first concert. In short, I made up my mind to abdicate my -Intendant throne three weeks after the reopening of the theatre. The -affair goes on quite as well as we could expect in Düsseldorf: Rietz’s -playing is admirable,—he is studious, accurate, and artistic, so that -he is praised and liked by every one. The operas we have hitherto given -are, the “Templar” twice, “Oberon” twice, which I conducted, “Fra -Diavolo,” and yesterday the “Freischütz.” We are about to perform the -“Entführung,” the “Flauto Magico,” the “Ochsenmenuett,” the “Dorf -Barbier,” and the “Wasserträger.” The operas are well attended, but not -the plays, so that the shareholders are sometimes rather uneasy; five of -the company up to this time have actually run away, two of them being -members of the orchestra.</p> - -<p>The Committee gave a supper to the company, which was very dull, and -cost each member of the Council (including myself) eleven dollars; but -pray refrain from all tokens of sympathy, in case of causing my tears to -flow afresh. But since I have withdrawn from this sphere, I feel as if I -were a fish thrown back into the water; my forenoons are once more at my -own disposal, and in the evenings I can sit at home and read. The<span class="pagenum"><a name="page_61" id="page_61"></a>{61}</span> -oratorio daily causes me more satisfaction, and I have also composed -some new songs; the Vocal Association gets on well, and we intend -shortly to give the “Seasons,” with a full orchestra. I mean soon to -publish six preludes and fugues, two of which you have already seen; -this is the sort of life I like to lead, but not that of an intendant. -How vexatious it is, that at the close of such well-spent days we cannot -all assemble together to enjoy each other’s society!<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p> - -<p><span class="pagenum"><a name="page_62" id="page_62"></a>{62}</span></p> - -<p>I enclose my translation of “Alexander’s Feast;” you must read it aloud -to the family in the evening, and in various passages where the rhymes -are rugged or deficient, if you will let me have your amendments I shall -be grateful. One stipulation, however, I must make,<span class="pagenum"><a name="page_63" id="page_63"></a>{63}</span> that Ramler, or -rather, I should say, the English text, should not be sacrificed. -<i>Apropos</i>, since then I have once more mounted Pegasus, and translated -Lord Byron’s poem, the first strophe of which, by Theremin, is -incomprehensible, and the second false. I find, however, that my lines -halt a little; perhaps, some evening, you may discover something better.</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">Schlafloser Augensonne, heller Stern!<br /></span> -<span class="i0">Der du mit thränenvollem Schein, unendlich fern,<br /></span> -<span class="i0">Das Dunkel nicht erhellst, nur besser zeigst,<br /></span> -<span class="i0">O wie du ganz des Glücks Erinn’rung gleichst!<br /></span> -<span class="i0">So funkelt längst vergangner Freuden Licht,<br /></span> -<span class="i0">Es scheint, doch wärmt sein matter Schimmer nicht,<br /></span> -<span class="i0">Der wache Gram erspäht die Nachtgestalt,<br /></span> -<span class="i0">Hell, aber fern, klar—aber ach! wie kalt!<br /></span> -</div></div> -</div> - -<p>The poem is very sentimental, and I think I should have set it to music -repeatedly in G sharp minor or B major, (but, at all events, with no end -of sharps,) had it not occurred to me that the music of Löwe<span class="pagenum"><a name="page_64" id="page_64"></a>{64}</span> pleases -you and Fanny; so this prevents my doing so, and there is an end of it, -and of my letter also. Adieu, love me as ever.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Düsseldorf, December 16th, 1834.<br /> -</p> - -<p>... So now in these lines you have read my whole life and occupations -since I came here; for that I am well and happy, and often think of you, -is included in them, and that I am also diligent and working hard at -many things, is the natural result. I really believe that Jean Paul, -whom I am at this moment reading with intense delight, has also some -influence in the matter, for he invariably infects me for at least half -a year with his strange peculiarities. I have been reading ‘Fixlein’ -again; but my greatest pleasure in doing so, is the remembrance of the -time when I first became acquainted with it, by your reading it aloud to -me beside my sick-bed, when it did me so much good. I also began -‘Siebenkäs’ again, for the first time for some years, and have read from -the close of the prologue to the end of the first part, and am quite -enchanted with this noble work. The prologue itself is a masterpiece -such as no one else could write, and so it is with the whole book, the -friends, and the school-inspector, and Lenette. It revives my love for -my country, and makes me feel proud of being a<span class="pagenum"><a name="page_65" id="page_65"></a>{65}</span> German, although in -these days they all abuse each other. Yet such people do sometimes rise -to the surface, and I do believe that no country can boast of such a -sterling fellow as this.</p> - -<h2><span class="smcap">To Rebecca Dirichlet, Berlin.</span></h2> - -<p class="r"> -Düsseldorf, December 23rd, 1834.<br /> -</p> - -<p class="indd">Dear Rebecca,<br /> -</p> - -<p>Why should we not, like established correspondents, exchange repeated -letters on any particular subject about which we differ? I on my part -will represent a methodical correspondent, and must absolutely resume -the question of <i>révolution</i>. This is chiefly for Fanny’s benefit, but -are not you identical? Can you not therefore discuss the subject -together, and answer me together, if you choose? And have I not pondered -and brooded much over this theme since I got your letter, which now -prompts me to write? You must, however, answer me in due form, till not -one jot or tittle more remains to be said in favour of <i>révolution</i>. -Observe, I think that there is a vast distinction between reformation or -reforming, and revolution, etc. Reformation is that which I desire to -see in all things, in life and in art, in politics and in street -pavement, and Heaven knows in what else besides. Reformation is entirely -negative against abuses, and only removes what obstructs the path; but a -revolution,<span class="pagenum"><a name="page_66" id="page_66"></a>{66}</span> by means of which all that was formerly good (and really -good) is no longer to continue, is to me the most intolerable of all -things, and is, in fact, only a fashion. Therefore, I would not for a -moment listen to Fanny, when she said that Lafont’s playing could -inspire no further interest since the <i>revolution</i> effected by Paganini; -for if his playing ever had the power to interest me, it would still do -so, even if in the meantime I had heard the Angel Gabriel on the violin. -It is just this, however, that those Frenchmen I alluded to can form no -conception of; that what is good, however old, remains always new, even -although the present must differ from the past, because it emanates from -other and dissimilar men. <i>Inwardly</i> they are only ordinary men like the -former, and have only <i>outwardly</i> learned that something new must come, -so they strive to accomplish this, and if they are even moderately -applauded or flattered, they instantly declare that they have effected a -<i>révolution du goût</i>. This is why I behave so badly when they do me the -honour (as you call it) to rank me among the leaders of this movement, -when I well know that, for thorough self-cultivation, the whole of a -man’s life is required (and often does not suffice); and also because no -Frenchman, and no newspaper, knows or ever can know what the future is -to give or to bring; and, in order to guide the movements of others, we -must first be in motion ourselves, while such reflections cause us to -look back on the past, not forward. Progress is<span class="pagenum"><a name="page_67" id="page_67"></a>{67}</span> made by work alone, and -not by talking, which those people do not believe.</p> - -<p>But, for Heaven’s sake, don’t suppose that I wish to disown either -reformation or progress, for I <i>hope</i> one day myself to effect a reform -in music; and this, as you may see, is because I am simply a musician, -and I wish to be nothing more. Now answer me, I beg, and preach to me -again.</p> - -<p>To-day I have completed and transcribed an entire chorus for “St. Paul.” -I may as well at once reply here to a letter I received this morning, -dictated by my father to Fanny, and to which my mother added a -postscript. First of all, I thank you for writing, and then, dear -Father, I would entreat of you not to withhold from me your advice, as -you say, for it is always clear gain to me; and if I cannot rectify the -old faults, I can at least avoid committing new ones. The non-appearance -of St. Paul at the stoning of Stephen is certainly a blemish, and I -could easily alter the passage in itself; but I could find absolutely no -mode of introducing him at that time, and no words for him to utter in -accordance with the Scriptural narrative; therefore it seemed to me more -expedient to follow the Bible account, and to make Stephen appear alone. -I think, however, that your other censure is obviated by the music; for -the recitative of Stephen, though the words are long, will not occupy -more than two or three minutes, or—<i>including</i> all the choruses—till -his death, about a quarter of an hour;<span class="pagenum"><a name="page_68" id="page_68"></a>{68}</span> whereas subsequently, at and -after the conversion, the music becomes more and more diffuse, though -the words are fewer.</p> - -<h2><span class="smcap">To Pastor Bauer, Beszig.</span></h2> - -<p class="r"> -Düsseldorf, January 12th, 1835.<br /> -</p> - -<p class="c"> -[<i>About a proposal as to some words for sacred music.</i>]<br /> -</p> - -<p>... What I do not understand is the purport—musical, dramatic, or -oratorical, or whatever you choose to call it—that you have in view. -What you mention on the subject—the time before John, and then John -himself, till the appearance of Christ—is to my mind equally conveyed -in the word ‘Advent,’ or the birth of Christ. You are aware, however, -that the music must represent one particular moment, or a succession of -moments; and how you intend this to be done you do not say. Actual -church music,—that is, music during the Evangelical Church service, -which could be introduced properly while the service was being -celebrated,—seems to me impossible; and this, not merely because I -cannot at all see into <i>which</i> part of the public worship this music can -be introduced, but because I cannot discover that <i>any</i> such part -exists. Perhaps you have something to say which may enlighten me on the -subject.... But even without any reference to the Prussian Liturgy, -which at once cuts off everything of<span class="pagenum"><a name="page_69" id="page_69"></a>{69}</span> the kind, and will neither remain -as it is nor go further, I do not see how it is to be managed that music -in our Church should form an integral part of public worship, and not -become a mere concert, conducive more or less to piety. This was the -case with Bach’s “Passion;” it was sung in church as an independent -piece of music, for edification. As for actual church music, or, if you -like to call it so, music for public worship, I know none but the old -Italian compositions for the Papal Chapel, where, however, the music is -a mere accompaniment, subordinate to the sacred functions, co-operating -with the wax candles and the incense, etc. If it be this style of church -music that you really mean, then, as I said, I cannot discover the -connecting link which would render it possible to employ it. For an -oratorio, one principal subject must be adopted, or the progressive -history of particular persons, otherwise the object would not be -sufficiently defined; for if all is to be only contemplative with -reference to the coming of Christ, then this theme has already been more -grandly and beautifully treated in Handel’s “Messiah,” where he begins -with Isaiah, and, taking the Birth as a central point, closes with the -Resurrection.</p> - -<p>When you however say “our poor Church,” I must tell you what is very -strange; I have found, to my astonishment, that the Catholics, who have -had music in their churches for several centuries, and sing a musical -Mass every Sunday if possible, in their principal churches,<span class="pagenum"><a name="page_70" id="page_70"></a>{70}</span> do not to -this day possess one which can be considered even tolerably good, or in -fact which is not actually distasteful and operatic. This is the case -from Pergolese and Durante, who introduce the most laughable little -trills into their “Gloria,” down to the opera finales of the present -day. Were I a Catholic, I would set to work at a Mass this very evening; -and whatever it might turn out, it would at all events be the only Mass -written with a constant remembrance of its sacred purpose. But for the -present I don’t mean to do this; perhaps at some future day, when I am -older.</p> - -<h2><span class="smcap">To Herr Conrad Schleinitz, Leipzig.</span></h2> - -<p class="r"> -Düsseldorf, January 26th, 1835.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>Pray receive my thanks for your kind letter, and the friendly -disposition which it evinces towards myself. You may well imagine that -it would be a source of infinite pleasure to me, to find in your city -the extensive sphere of action you describe, as my sole wish is to -advance the cause of music on that path which I consider the right one; -I would therefore gladly comply with a summons which furnished me with -the means of doing so. I should not like, however, by such acceptance to -injure any one, and I do not wish, by assuming this office, to be the -cause of supplanting my predecessor. In the first place, I consider this -to be wrong;<span class="pagenum"><a name="page_71" id="page_71"></a>{71}</span> and, moreover, great harm ensues to music from such -contentions. Before, then, giving a decided answer to your proposal, I -must beg you to solve some doubts,—namely, at whose disposal is the -appointment you describe? with whom should I be in connection—with a -society, or individuals, or a Board? and should I by my acceptance -injure any other musician? I hope you will answer this last question -with perfect candour, imagining yourself in my place; for, as I -previously said, I have no wish to deprive any one either directly or -indirectly of his situation.</p> - -<p>Further, it is not quite clear to me from your letter, how the direction -of an academy for singing can be combined with my six months’ summer -vacation; for you must be well aware how indispensable continual -supervision is to such an institution, and that anything which can be -accomplished in one half-year, may be easily forgotten in the next; or -is there another director for the purpose of undertaking the duties -instead of me? Finally, I must also confess that in a pecuniary point of -view, I do not wish to accept any position that would be less profitable -than my present one; but as you mention a benefit concert, no doubt this -is a matter that might be satisfactorily arranged, and we should have no -difficulty in coming to an agreement on this point.</p> - -<p>I have been quite candid with you, and hope, in any event, you will not -take it amiss; be so good as to oblige me by sending an answer as soon -as possible,<span class="pagenum"><a name="page_72" id="page_72"></a>{72}</span> and to believe that I shall ever be grateful to you for -your kind letter, as well as for the honour you have done me.</p> - -<h2><span class="smcap">To Capellmeister Spohr, Cassel.</span></h2> - -<p class="r"> -Düsseldorf, March 8th, 1835.<br /> -</p> - -<p class="indd">Respected Capellmeister,<br /> -</p> - -<p>I thank you much for your friendly communication. The intelligence from -Vienna was most interesting to me; I had heard nothing of it. It -strongly revived my feeling as to the utter impossibility of my ever -composing anything with a view to competing for a prize. I should never -be able to make even a beginning; and if I were obliged to undergo an -examination as a musician, I am convinced that I should be at once sent -back, for I should not have done half as well as I could. The thoughts -of a prize, or an award, would distract my thoughts; and yet I cannot -rise so superior to this feeling as entirely to forget it. But if you -find that you are in a mood for such a thing, you should not fail to -compose a symphony by that time, and to send it, for I know no man -living who could dispute the prize with you (this is the second reason), -and then we should get another symphony of yours (first reason). With -regard to the members of the Judicial Committee in Vienna, I have my -own<span class="pagenum"><a name="page_73" id="page_73"></a>{73}</span> thoughts, which, however, are not very legitimate, but, on the -contrary, somewhat rebellious. Were I one of the judges, not a single -member of the <i>Comité</i> should obtain a prize, if they competed for one.</p> - -<p>You wish me to write to you on the subject of my works, and I cordially -thank you for asking about them. I began an oratorio about a year ago, -which I expect to finish next month, the subject of which is St. Paul. -Some friends have compiled the words for me from the Bible, and I think -that both the subject and the compilation are well adapted to music, and -very solemn,—if the music only prove as good as I wish; at all events I -have enjoyed the most intense delight, while engaged in writing it. I -also composed, some time since, a new overture to the “Lovely Melusina,” -and have another in my head at this moment. How gladly would I write an -opera; but far and near I can find no libretto and no poet. Those who -have the genius of poetry cannot bear music, or know nothing of the -theatre; others are neither acquainted with poetry nor with mankind, -only with the boards, and lamps, and side scenes, and canvas. So I never -succeed in finding the opera which I have so eagerly, yet vainly striven -to procure. Each day I regret this more, but I hope at last to meet with -the man I wish for this purpose. I have also written a good deal of -instrumental music of late, chiefly for the piano, but others besides; -perhaps you will permit me to send you some of these as<span class="pagenum"><a name="page_74" id="page_74"></a>{74}</span> soon as I have -an opportunity to do so. I am, with the highest esteem and -consideration, your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Felix Mendelssohn Bartholdy, from his Father.</span><a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></h2> - -<p class="r"> -Berlin, March 10th, 1835.<br /> -</p> - -<p>This is the third letter I have written to you this week, and if this -goes on, reading my letters will become a standing article in the -distribution of the budget of your time; but you must blame yourself for -this, as you spoil me by your praise. I at once pass to the musical -portion of your last letter.</p> - -<p>Your aphorism, that every room in which Sebastian Bach is sung is -transformed into a church, I consider peculiarly appropriate; and when I -once heard the last movement of the piece in question, it made a similar -impression on myself; but I own I cannot overcome my dislike to figured -chorales in general, because I cannot understand the fundamental idea on -which they are based, especially where the contending parts are -maintained in an equal balance of power. For example, in<span class="pagenum"><a name="page_75" id="page_75"></a>{75}</span> the first -chorus of the “Passion,”—where the chorale forms only a more important -and consistent part of the basis; or where, as in the above-mentioned -movement of the cantata (if I remember it rightly, having only heard it -once), the chorale represents the principal building, and the individual -parts only the decorations,—I can better comprehend the purpose and the -conception; but not so certainly where the figure, in a certain manner, -carries out variations on the theme. No liberties ought ever assuredly -to be taken with a chorale. Its highest purpose is, that the -congregation should sing it in all its purity to the accompaniment of -the organ; all else seems to me idle and inappropriate for a church.</p> - -<p>At Fanny’s last morning’s music the motett of Bach, “Gottes Zeit ist die -allerbeste Zeit,” and your “Ave Maria,” were sung by select voices. A -long passage in the middle of the latter, as well as the end also, -appeared to me too learned and intricate to accord with the simple -piety, and certainly genuine catholic spirit, which pervades the rest of -the music. Rebecca remarked that there was some confusion in the -execution of those very passages which I considered too intricate; but -this only proves that I am an ignoramus, but not that the conclusion is -not too abstrusely modulated. With regard to Bach, the composition in -question seems to me worthy of the highest admiration. It is long since -I have been so struck, or surprised by anything, as by the Introduction, -which Fanny played most beautifully;<span class="pagenum"><a name="page_76" id="page_76"></a>{76}</span> and I could not help thinking of -Bach’s solitary position, of his isolated condition with regard to his -associates and his contemporaries, of his pure, mild, and vast power, -and the transparency of its depths. The particular pieces which at the -time were for ever engraved on my memory, were “Bestelle dein Haus,” and -“Es ist der alte Bund.” I cared less for the bass air, or the alt solos. -What first, through his “Passion,” seemed quite clear to me—that Bach -is the musical type of Protestantism—becomes either negatively or -positively more apparent to me every time that I hear a new piece of -his; and thus it was recently with a Mass that I heard in the Academy, -and which I consider most decidedly anti-Catholic; and, consequently, -even all its great beauties seemed as unable to reconcile the inward -contradiction, as if I were to hear a Protestant clergyman performing -Mass in a Protestant Church. Moreover, I felt more strongly than ever -what a great merit it was on Zelter’s part to restore Bach to the -Germans; for, between Forkel’s day and his, very little was ever said -about Bach, and even then principally with regard to his “wohltemperirte -Clavier.” He was the first person on whom the light of Bach clearly -dawned, through the acquisition of his other works, with which, as a -collector of music, he became acquainted, and, as a genuine artist, -imparted this knowledge to others. His musical performances on Fridays -were indeed a proof that no work begun in earnest, and followed up with<span class="pagenum"><a name="page_77" id="page_77"></a>{77}</span> -quiet perseverance, can fail ultimately to command success. At all -events, it is an undoubted fact, that without Zelter, your own musical -tendencies would have been of a totally different nature.</p> - -<p>Your intention to restore Handel in his original form, has led me to -some reflections on his later style of instrumentation. A question is -not unfrequently raised as to whether Handel, if he wrote in our day, -would make use of all the existing musical facilities in composing his -oratorios,—which, in fact, only means whether the wonted artistic form -to which we give the name of Handel, would assume the same shape now -that it did a hundred years ago; and the answer to this presents itself -at once. The question, however, ought to be put in a different -form,—not whether Handel would compose his oratorios now as he did a -century since, but rather, whether he would compose any oratorios -whatever; hardly—if they must be written in the style of those of the -present day.</p> - -<p>From my saying this to you, you may gather with what eager anticipations -and confidence I look forward to your oratorio, which will, I trust, -solve the problem of combining ancient conceptions with modern -appliances; otherwise the result would be as great a failure as that of -the painters of the nineteenth century, who only make themselves -ridiculous by attempting to revive the religious elements of the -fifteenth, with its long arms and legs, and topsy-turvy perspective. -These<span class="pagenum"><a name="page_78" id="page_78"></a>{78}</span> new resources seem to me, like everything else in the world, to -have been developed just at the right time, in order to animate the -inner impulses which were daily becoming more feeble. On the heights of -religious feeling, on which Bach, Handel, and their contemporaries -stood, they required no numerous orchestras for their oratorios; and I -can remember perfectly in my earliest years, the “Messiah,” “Judas,” and -“Alexander’s Feast” being given exactly as Handel wrote them, without -even an organ, and yet to the delight and edification of every one.</p> - -<p>But how is this to be managed nowadays, when vacuity of thought and -noise in music are gradually being developed in inverse relation to each -other? The orchestra, however, is now established, and is likely long to -maintain its present form without any essential modification. Riches are -only a fault when we do not know how to spend them. How, then, is the -wealth of the orchestra to be applied? What guidance can the poet give -for this, and to what regions? or is music to be entirely severed from -poetry, and work its own independent way? I do not believe it can -accomplish the latter, at least, only to a very limited extent, and not -available for the world at large; to effect the former, an object must -be found for music as well as for painting, which, by its fervour, its -universal sufficiency and perspicuity, may supply the place of the pious -emotions of former days. It seems to me that both the<span class="pagenum"><a name="page_79" id="page_79"></a>{79}</span> oratorios of -Haydn were, in their sphere, also very remarkable phenomena. The poems -of both are weak, regarded as poetry; but they have replaced the old -positive and almost metaphysical religious impulses, by those which -nature, as a visible emanation from the Godhead, in her universality, -and her thousandfold individualities, instils into every susceptible -heart. Hence the profound depth, but also the cheerful efficiency, and -certainly genuine religious influence, of these two works, which -hitherto stand alone; hence the combined effect of the playful and -detached passages, with the most noble and sincere feelings of gratitude -produced by the whole; hence is it also, that I individually could as -little endure to lose in the “Creation” and in the “Seasons” the crowing -of the cock, the singing of the lark, the lowing of the cattle, and the -rustic glee of the peasants, as I could in nature herself; in other -words, the “Creation” and the “Seasons” are founded on nature and the -visible service of God,—and are no new materials for music to be found -there?</p> - -<p>The publication of Goethe’s “Correspondence with a Child” I consider a -most provoking and pernicious abuse of the press, through which, more -and more rapidly, all illusions will be destroyed, without which life is -only death. You, I trust, will never lose your illusions, and ever -preserve your filial attachment to your father.<span class="pagenum"><a name="page_80" id="page_80"></a>{80}</span></p> - -<h2><span class="smcap">To his Father.</span></h2> - -<p class="r"> -Düsseldorf, March 23rd, 1835.<br /> -</p> - -<p class="indd">Dear Father,<br /> -</p> - -<p>I have still to thank you for your last letter and my “Ave.” I often -cannot understand how it is possible to have so acute a judgment with -regard to music, without being yourself technically musical; and if I -could <i>express</i>, what I assuredly feel, with as much clearness and -intuitive perception as you do, as soon as you enter on the subject, I -never would make another obscure speech all my life long. I thank you a -thousand times for this, and also for your opinion of Bach. I ought to -feel rather provoked that after only one very imperfect hearing of my -composition, you at once discovered what after long familiarity on my -part, I have only just found out; but then again it pleases me to see -your definite sense of music, for the deficiencies in the middle -movement and at the end consist of such minute faults, which might have -been remedied by a very few notes (I mean struck out), that neither I, -nor any other musician would have been aware of them, without repeatedly -hearing the piece, because we in fact seek the cause much deeper. They -injure the simplicity of the harmony, which at the beginning pleases me; -and though it is my opinion that these faults would be less perceptible -if properly executed, that is, with a numerous choir, still some traces -of them will<span class="pagenum"><a name="page_81" id="page_81"></a>{81}</span> always remain. Another time I shall endeavour to do -better. I should like you, however, to hear the Bach again, because -there is a part of it which you care less for, but which pleases me best -of all. I allude to the alto and bass airs; only the chorale must be -given by a number of alto voices, and the bass very well sung. However -fine the airs “Bestelle dein Haus” and “Es ist der alte Bund” may be, -still there is something very sublime and profound in the plan of the -ensuing movements, in the mode in which the alto begins, the bass then -interposing with freshness and spirit, and continuing the same words, -while the chorale comes in as a third, the bass closing exultantly, but -the chorale not till long afterwards, dying away softly and solemnly. -There is one peculiarity of this music,—its date must be placed either -very early or very late, for it entirely differs from his usual style of -writing in middle age; the first choral movements and the final chorus -being of a kind that I should never have attributed to Sebastian Bach, -but to some other composer of his day; while no other man in the world -could have written a single bar of the middle movements.</p> - -<p>My Mother does not judge Hiller rightly, for, in spite of his pleasures -and honours in Paris, and the neglect he met with in Frankfort, he -writes to me that he envies me my position here on the Rhine, even with -all its drawbacks; and as, no doubt, a similar one may still be met with -in Germany, I do not give up<span class="pagenum"><a name="page_82" id="page_82"></a>{82}</span> the hope of prevailing on him to forsake -the Parisian atmosphere of pleasures and honours, and return to his -studio. Now farewell, dear Father. I beg you soon let me hear from you -again.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To his Father.</span></h2> - -<p class="r"> -Düsseldorf, April 3rd, 1835.<br /> -</p> - -<p class="indd">Dear Father,<br /> -</p> - -<p>I am delighted to hear that you are satisfied with the programme of the -Cologne Musical Festival. I shall not be able to play the organ for -“Solomon,” as it must stand in the background of the orchestra and -accompany almost every piece, the choruses and other performers here -being accustomed to constant beating of time. I must therefore -transcribe the whole of the organ part in the manner in which I think it -ought to be played, and the cathedral organist there, Weber, will play -it; I am told he is a sound musician and first-rate player. This is all -so far well, and only gives me the great labour of transcribing, as I -wish to have the performance as perfect as possible. I have had a good -deal of trouble too with the “Morgengesang,”<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> as there is much in it -that requires alteration, owing to the impossibility of executing it as -written, with the<span class="pagenum"><a name="page_83" id="page_83"></a>{83}</span> means we have here. In doing so, however, it again -caused me extreme pleasure, especially the stars, the moon, the -elements, and the whole of the admirable finale. At the words “und -schlich in dieser Nacht,” etc., it becomes so romantic and poetical, -that each time I hear it I feel more touched and charmed; it therefore -gratifies me to be of any use to so noble a man. The <i>Comité</i> were very -much surprised when I maintained that it was a fine composition, and -scarcely would consent to have it, but at that moment they were in a -mood to be persuaded to anything. I would also have insisted on their -giving an overture of Bach’s, if I had not dreaded too strong a -counter-revolution. There is to be nothing of mine; therefore (from -gratitude, I presume) they persist that my “admirable likeness” shall -appear and be published by Whitsunday, a project from which I gallantly -defend myself, refusing either to sit or stand for the purpose, having a -particular objection to such pretensions.</p> - -<p>You must be well aware that your presence at the festival would not only -be no <i>gêne</i> to me, but on the contrary, would cause me first to feel -true joy and delight in my success. Allow me to take this opportunity to -say to you, that the approbation and enjoyment of the public, to which I -am certainly very sensible, only causes me real satisfaction when I can -write to tell you of it, because I know it rejoices you, and one word of -praise from you is more truly precious to me, and makes<span class="pagenum"><a name="page_84" id="page_84"></a>{84}</span> me happier, -than all the publics in the world applauding me in concert; and thus to -see you among the audience, would be the dearest of all rewards to me -for my labours.</p> - -<p>My oratorio<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> is to be performed in Frankfort in November, so Schelble -writes to me; and much as I should like you to hear it soon, still I -should prefer your hearing it first next year, at the Musical Festival. -Before decidedly accepting the proposal, I have stipulated to wait till -after the performance at Frankfort, that I may judge whether it be -suitable for the festival; but should this prove to be the case, as I -hope and wish it may, it will have a much finer effect there, and -besides it is the festival that you like, and Whitsunday instead of -November; and above all, I shall then know whether it pleases you or -not, on which point I feel by no means sure.</p> - -<p>I cannot close this letter without speaking of the heavenly weather that -delights us here. Light balmy air and sunshine, and a profusion of -green, and larks! To-day I rode through the forest, and stopped for at -least a quarter of an hour to listen to the birds, who in the deep -solitude were fluttering about incessantly and warbling.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_85" id="page_85"></a>{85}</span></p> - -<h2><span class="smcap">To Herr Conrad Schleinitz, Leipzig.</span></h2> - -<p class="r"> -Düsseldorf, April 16th, 1835.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>I thank you cordially for your last letter, and for the friendly -interest which you take in me, and in my coming to Leipzig. As I -perceive by the Herr Stadtrath Porsche’s letter, as well as by that of -the Superintendent of the concerts, that my going there does not -interfere with any other person, one great difficulty is thus obviated. -But another has now arisen, as the letter of the Superintendent contains -different views with regard to the situation from yours. The direction -of twenty concerts and extra concerts is named as among the duties, but -a benefit concert (about which you wrote to me) is not mentioned. I have -consequently said in my reply what I formerly wrote to you, that in -order to induce me to consent to the exchange, I wish to see the same -pecuniary advantages secured to me that I enjoy here. If a benefit -concert, as you say, would bring from 200 to 300 dollars, this sum would -certainly be a considerable increase to my salary; but I must say that I -never made such a proposal, and indeed would not have accepted it, had -it been made to me. It would be a different thing if the association -chose to give an additional concert, and to devote a share of the -profits towards the increase of my established salary. During my musical -career, I have always resolved never to give a concert for<span class="pagenum"><a name="page_86" id="page_86"></a>{86}</span> myself (for -my own benefit). You probably are aware that, personally, pecuniary -considerations would be of less importance to me, were it not that my -parents (and I think rightly) exact from me that I should follow my art -as a profession, and gain my livelihood by means of it. I, however, -reserved the power of declining certain things which, in reference to my -favoured position in this respect, I will never do; for example, giving -concerts or lessons. But I quite acknowledge the propriety of what my -parents insist on so strongly, that in all other relations I shall -gladly consider myself as a musician who lives by his profession. Thus, -before giving up my present situation, I must ascertain that one equally -advantageous is secured to me. I do not consider that what I require is -at all presumptuous, as it has been offered to me here, and on this -account I trust that a similar course may be pursued in Leipzig. An -association was at that time formed here, who entrusted to me the duty -of conducting the Vocal Association, concerts, etc., and made up my -salary partly in common with the Vocal Association, and partly by the -profits of the concerts. Whether anything of this kind be possible with -you, or whether it could be equalized by an additional concert, or -whether the execution of particular duties is to be imposed on me, I -cannot of course pretend to decide. I only wish that, in one way or -another, a definite position should be assured to me, like the one I -enjoy here; and if your idea about the benefit concert could<span class="pagenum"><a name="page_87" id="page_87"></a>{87}</span> be -modified and carried out, there would then be a good hope for me that -the affair might turn out according to my wish.</p> - -<p>If you can induce the directors to fulfil the wishes I have expressed, -you will exceedingly oblige me, for you know how welcome a residence and -active employment in your city would be to me. In any event, continue -your friendly feelings towards me, and accept my thanks for them.</p> - -<h2><span class="smcap">To the Herr Regierungs-Secretair Hixte, Cologne.</span></h2> - -<p class="r"> -Düsseldorf, May 18th, 1835.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>I thank you much for the kind letter you have gratified me by addressing -to me. The idea which you communicate in it is very flattering for me, -and yet I confess that I feel a certain degree of dislike to do what you -propose, and for a long time past I have entertained this feeling. It is -now so very much the fashion for obscure or commonplace people to have -their likeness given to the public, in order to become more known, and -for young beginners to do so at first starting in life, that I have -always had a dread of doing so too soon. I do not wish that my likeness -should be taken, until I have accomplished something to render me more -worthy, according to my idea, of such an honour. This,<span class="pagenum"><a name="page_88" id="page_88"></a>{88}</span> however, not -being yet the case, I beg to defer such a compliment till I am more -deserving of it; but receive my best thanks for the friendly good-nature -with which you made me this offer.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a>—I am, etc.,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To his Family.</span></h2> - -<p class="r"> -Leipzig, October 6th, 1835.<br /> -</p> - -<p>For a week past I have been seeking for a leisure hour to answer, and to -thank you for the charming letters I have received from you; but the -London days, with their distractions, were not worse than the time has -been since Fanny left this till now. At length, after the successful -result of the first concert, I have at last a certain degree of rest.</p> - -<p>The day after I accompanied the Hensels to Delitsch, Chopin came; he -intended only to remain one day, so we spent this entirely together in -music. I cannot deny, dear Fanny, that I have lately found that you by -no means do him justice in your judgment of his talents; perhaps he was -not in a humour for playing when you heard him, which may not -unfrequently be the case with him. But his playing has enchanted me -afresh, and I am persuaded that if you, and my Father also, had heard -some of his better pieces, as he played them to me, you<span class="pagenum"><a name="page_89" id="page_89"></a>{89}</span> would say the -same. There is something thoroughly original in his pianoforte playing, -and at the same time so masterly, that he may be called a most perfect -virtuoso; and as every style of perfection is welcome and acceptable, -that day was most agreeable to me, although so entirely different from -the previous ones with you,—the Hensels.</p> - -<p>It was so pleasant for me to be once more with a thorough musician, and -not with those half virtuosos and half classics, who would gladly -combine <i>les honneurs de la vertu et les plaisirs du vice</i>, but with one -who has his perfect and well-defined phase; and however far asunder we -may be in our different spheres, still I can get on famously with such a -person; but not with those half-and-half people. Sunday evening was -really very remarkable when Chopin made me play over my oratorio to him, -while curious Leipzigers stole into the room to see him, and when -between the first and second part he dashed into his new Études and a -new concerto, to the amazement of the Leipzigers, and then I resumed my -“St. Paul;” it was just as if a Cherokee and a Kaffir had met to -converse. He has also such a lovely new <i>notturno</i>, a considerable part -of which I learnt by ear for the purpose of playing it for Paul’s -amusement. So we got on most pleasantly together; and he promised -faithfully to return in the course of the winter, when I intend to -compose a new symphony, and to perform it in honour of him. We vowed -these things in the presence<span class="pagenum"><a name="page_90" id="page_90"></a>{90}</span> of three witnesses, and we shall see -whether we both adhere to our word. My collection of Handel’s works -arrived before Chopin’s departure, and were a source of quite childish -delight to him; they really are so beautiful that I am charmed with -them; thirty-two great folios, bound in thick green leather, in the -regular nice English fashion, and on the back, in big gold letters, the -title and contents of each volume; and in the first volume, besides, -there are the following words, “To Director F. M. B., from the Committee -of the Cologne Musical Festival, 1835.” The books were accompanied by a -very civil letter, with the signatures of all the Committee, and on -taking up one of the volumes at random it happened to be “Samson,” and -just at the very beginning I found a grand aria for Samson which is -quite unknown, because Herr von Mosel struck it out, and which yields in -beauty to none of Handel’s; so you see what pleasure is in store for me -in all the thirty-two volumes. You may imagine my delight. Before -setting off on his journey Moscheles came to see me, and during the -first half-hour he played over my second book of “songs without words” -to my extreme pleasure. He is not the least changed, only somewhat older -in appearance, but otherwise as fresh and in as good spirits as ever, -and playing quite splendidly; another kind of perfect virtuoso and -master combined. The rehearsals of the first subscription gradually drew -near, and the day before yesterday my Leipzig <span class="pagenum"><a name="page_91" id="page_91"></a>{91}</span>music-directorship -commenced. I cannot tell you how much I am satisfied with this -beginning, and with the whole aspect of my position here. It is a quiet, -regular, official business. That the Institute has been established for -fifty-six years is very perceptible, and moreover, the people seem most -friendly and well-disposed towards me and my music. The orchestra is -very good, and thoroughly musical; and I think that six months hence it -will be much improved, for the sympathy and attention with which these -people receive my suggestions, and instantly adopt them, were really -touching in both the rehearsals we have hitherto had; there was as great -a difference as if another orchestra had been playing. There are still -some deficiencies in the orchestra, but these will be supplied by -degrees; and I look forward to a succession of pleasant evenings and -good performances. I wish you had heard the introduction to my -“Meeresstille” (for the concert began with that); there was such -profound silence in the hall and in the orchestra, that the most -delicate notes could be distinctly heard, and they played the adagio -from first to last in the most masterly manner; the allegro not quite so -well; for being accustomed to a slower <i>tempo</i>, they rather dragged; but -at the end, where the slow time 4/4 <i>ff</i> begins, they went capitally; -the violins attacking it with a degree of vehemence that quite startled -me and delighted the <i>publicus</i>. The following pieces, an air in E major -of Weber, a violin concerto by Spohr, and the introduction<span class="pagenum"><a name="page_92" id="page_92"></a>{92}</span> to “Ali -Baba” did not go so well; the one rehearsal was not sufficient, and they -were often unsteady; but, on the other hand, Beethoven’s B flat -symphony, which formed the second part, was splendidly given, so that -the Leipzigers shouted with delight at the close of each movement. I -never in any orchestra saw such zeal and excitement; they listened -like—popinjays, Zelter would say.</p> - -<p>After the concert I received, and offered in turn, a mass of -congratulations: first the orchestra, then the Thomas School collegians -(who are capital fellows, and go to college, and are dismissed so -punctually that I have promised them an order); then came Moscheles, -with a Court suite of <i>dilettanti</i>, then two editors of musical papers, -and so on. Moscheles’ concert is on Friday, and I am to play his piece -for two pianos<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> with him, and he is to play my new -pianoforte-concerto. My “Hebrides” have also contrived to creep into the -concert. This afternoon Moscheles, Clara Wieck, and I, play Sebastian -Bach’s triple concerto in D minor. How amiable Moscheles is towards -myself, how cordially he is interested in my situation here, how it -delights me that he is so satisfied with it, how he plays my rondo in E -flat to my great admiration, and far better than I originally conceived -it, and how we dine together every forenoon in his hotel, and every -evening drink tea and have music in mine,—all this you can imagine for -yourself,<span class="pagenum"><a name="page_93" id="page_93"></a>{93}</span> for you know him,—especially you, dear Father. These are -pleasant days; and if I have not much leisure to work, I mean to make up -for it hereafter, and shall derive as much benefit from it then as now.</p> - -<p>My first concert caused me no perturbation, dear Mother, but to my shame -I confess, that I never felt so embarrassed at the moment of appearing -as on that occasion; I believe it arose from our long correspondence and -treaty on the subject, and I had never before seen a concert of the -kind. The locality and the lights confused me. Now farewell all. May you -be well and happy, and pray write to me very often.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Leipzig, December 6th, 1835.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>You have no doubt heard of the heavy stroke that has fallen on my happy -life and those dear to me.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> It is the greatest misfortune that could -have befallen me, and a trial that I must either strive to bear up -against, or must utterly sink under. I say this to myself after the -lapse of three weeks, without the acute anguish of the first days, but I -now feel it even more deeply; a new life must now begin for me, or all -must be at an<span class="pagenum"><a name="page_94" id="page_94"></a>{94}</span> end,—the old life is now severed. For our consolation -and example, our Mother bears her loss with the most wonderful composure -and firmness; she comforts herself with her children and grandchildren, -and thus strives to hide the chasm that never can be filled up. My -Brother and Sisters do what they can to fulfil their duties better than -ever, the more difficult they have become. I was ten days in Berlin, -that by my presence my Mother should at least be surrounded by her whole -family; but I need scarcely tell you what these days were; you know it -well, and no doubt you thought of me in that dark hour. God granted to -my Father the prayer that he had often uttered; his end was as peaceful -and quiet, and as sudden and unexpected as he desired. On Wednesday, the -18th, he was surrounded by all his family, went to bed late the same -evening, complained a little early on Thursday, and at half-past eleven -his life was ended. The physicians can give his malady no name. It seems -that my grandfather Moses died in a similar manner,—so my uncle told -us,—at the same age, without sickness, and in a calm and cheerful frame -of mind. I do not know whether you are aware that more especially for -some years past, my Father was so good to me, so thoroughly my friend, -that I was devoted to him with my whole soul, and during my long absence -I scarcely ever passed an hour without thinking of him; but as you knew -him in his own home with us, in all his kindliness, you can well realize -my state of mind. The only<span class="pagenum"><a name="page_95" id="page_95"></a>{95}</span> thing that now remains is to do one’s duty, -and this I strive to accomplish with all my strength, for he would wish -it to be so if he were still present, and I shall never cease to -endeavour to gain his approval as I formerly did, though I can no longer -enjoy it. When I delayed answering your letter, I little thought that I -should have to answer it thus; let me thank you for it now, and for all -your kindness. One passage for “St. Paul” was excellent, “der Du der -rechte Vater bist.” I have a chorus in my head for it which I intend -shortly to write down. I shall now work with double zeal at the -completion of “St. Paul” for my Father urged me to it in the very last -letter he wrote to me, and he looked forward very impatiently to the -completion of my work. I feel as if I must exert all my energies to -finish it, and make it as good as possible, and then think that he takes -an interest in it. If any good passages occur to you, pray send them to -me, for you know the intention of the whole. To-day, for the first time, -I have begun once more to work at it, and intend now to do so daily. -When it is concluded, what is to come next, God will direct. Farewell, -dear Schubring, bear me in your thoughts.—Your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_96" id="page_96"></a>{96}</span></p> - -<h2><span class="smcap">To Pastor Bauer, Beszig.</span></h2> - -<p class="r"> -Leipzig, December 9th, 1835.<br /> -</p> - -<p>I received your kind letter here, on the very day when the christening -in your family was to take place, on my return from Berlin, where I had -gone in the hope of alleviating my Mother’s grief, immediately after the -loss of my Father. So I received the intelligence of your happiness, on -again crossing the threshold of my empty room, when I felt for the first -time in my inmost being, what it is to suffer the most painful and -bitter anguish. Indeed the wish which of all others every night recurred -to my mind, was that I might not survive my loss, because I so entirely -clung to my Father, or rather still cling to him, that I do not know how -I can now pass my life, for not only have I to deplore the loss of a -father (a sorrow which of all others from my childhood I always thought -the most acute), but also that of my best and most perfect friend during -the last few years, and my instructor in art and in life.</p> - -<p>It seemed to me so strange, reading your letter, which breathed only joy -and satisfaction, calling on me to rejoice with you on your future -prospects, at the moment when I felt that my past was lost and gone for -ever; but I thank you for wishing me, though so distant, to become your -guest at the christening; and though my name may make a graver -impression now than you probably thought, I trust that impression will -only be a grave, and<span class="pagenum"><a name="page_97" id="page_97"></a>{97}</span> not a painful one, to you and your wife; and when, -in later years, you tell your child of those whom you invited to his -baptism, do not omit my name from your guests, but say to him that one -of them on that day recommenced his life afresh,—though in another -sense, with new purposes and wishes, and with new prayers to God.</p> - -<p>My Mother is well, and bears her sorrow with such composure and dignity -that we can all only wonder and admire, and ascribe it to her love for -her children, and her wish for their happiness. As for myself, when I -tell you that I strive to do my duty and thus to win my Father’s -approval now as I always formerly did, and devote to the completion of -“St. Paul,” in which he took such pleasure, all the energies of my mind, -to make it as good as I possibly can; when I say that I force myself to -the performance of my duties here, not to pass quite unprofitably these -first days of sorrow, when to be perfectly idle is most consonant to -one’s feelings; that, lastly, the people here are most kind and -sympathizing, and endeavour to make life as little painful to me as they -can,—you know the aspect of my inner and outer life at this moment. -Farewell.<span class="pagenum"><a name="page_98" id="page_98"></a>{98}</span></p> - -<h2><span class="smcap">To Ferdinand Hiller.</span></h2> - -<p class="r"> -Leipzig, January 24th, 1836.<br /> -</p> - -<p class="indd">My dear Ferdinand,<br /> -</p> - -<p>I now send you my promised report of the performance of your D minor -overture, which took place last Thursday evening. It was well executed -by the orchestra; we had studied it repeatedly and carefully, and a -great many of the passages sounded so well as to exceed my expectations. -The most beautiful of all was the first passage in A minor, <i>piano</i>, -given by wind instruments, followed by the melody,—which had an -admirable effect; and also at the beginning of the free fantasia, the -<i>forte</i> in G minor, and then the <i>piano</i>, (your favourite passage,) -likewise the trombones and wind instruments, <i>piano</i>, at the end in D -major. The Finale, too, exceeded my expectations in the orchestra. But, -trusting to our good understanding, I could not resist striking out, -after the first rehearsal, the <i>staccato</i> double-basses in the melody in -A major, and each time the passage recurred in F and D major, replacing -them by sustained notes; you can’t think how confused the effect was, -and therefore I hope you will not take this liberty amiss. I am -convinced you would have done the same; it did not sound as you would -have liked.</p> - -<p>I have something else, too, on my conscience that I must tell you. The -Overture neither excited myself nor the musicians during its performance -as I could have<span class="pagenum"><a name="page_99" id="page_99"></a>{99}</span> wished; it left us rather cold. This would have been of -little consequence, but it was remarkable that all the musicians to whom -I spoke said the same. The first theme and all the beginning, the -melodies in A minor and A major, particularly delighted them; and up to -that point they had all felt enthusiastic, but then their sympathy -gradually subsided; till, when the close came, they had quite forgotten -the striking impression of the theme, and no longer felt any interest in -the music. This seems to me important, for I think it is connected with -the difference which we have so repeatedly discussed together, and the -want of interest with which you at all times regard your art, being now -at length become perceptible to others. I would not say this to you, -were it not that I am perfectly convinced of this being a point which -must be left to each <i>individual</i>, as neither nature nor talents, even -of the highest order, can remedy it; a man’s own will alone can do so. -Nothing is more repugnant to me than casting blame on the nature or -genius of any one; it only renders him irritable and bewildered, and -does no good. No man can add one inch to his stature: in such a case all -striving and toiling is vain, therefore it is best to be silent. -Providence is answerable for this defect in his nature. But if it be the -case, as it is with this work of yours, that precisely those very -themes, and all that requires talent or genius (call it as you will), is -excellent and beautiful and touching, but the development not so<span class="pagenum"><a name="page_100" id="page_100"></a>{100}</span> -good,—then, I think, silence should not be observed; then, I think, -blame can never be unwise, for this is the point where great progress -can be made by the composer himself in his works; and as I believe that -a man with fine capabilities has the absolute duty imposed on him of -becoming something really superior, so I think that blame must be -attributed to him, if he does not develope himself according to the -means with which he is endowed. And I maintain that it is the same with -a musical composition. Do not tell me that it is so, and therefore it -must remain so. I know well that no musician can alter the thoughts and -talents which Heaven has bestowed on him; but I also know that when -Providence grants him superior ones, he <i>must</i> also <i>develope</i> them -properly. Do not declare, either, that we were all mistaken, and that -the execution was as much in fault as the composition. I do not believe -it. I do believe that your talents are such that you are inferior to -<i>no</i> musician, but I scarcely know one piece of yours that is -systematically carried out. The two overtures are certainly your best -pieces, but the more distinctly you express your thoughts, the more -perceptible are the defects, and in my opinion you must rectify them.</p> - -<p>Do not ask me how, for that you know best yourself. After all, it is -only the affair of a walk, or a moment,—in short, of a thought. If you -laugh at me for this long lecture, perhaps you may be quite right; but -certainly not so if you are displeased, or bear me a grudge for it;<span class="pagenum"><a name="page_101" id="page_101"></a>{101}</span> -though indeed it is very stupid in me even to suggest such a -possibility. But how many musicians are there who would permit another -to address them thus? And though you must see in every expression of -mine how much I love and revere your genius, still I have told you that -you are not absolute perfection, and this musicians usually take highly -amiss. But you will not: you know my sincere interest in you too well.</p> - -<h2><span class="smcap">To Fanny Hensel</span>, <span class="smcap">Berlin</span>.</h2> - -<p class="r"> -Leipzig, January 30th, 1836.<br /> -</p> - -<p class="indd">Dear Fanny,<br /> -</p> - -<p>To-day at length I can reply to your charming letters, and lecture you -severely for saying in your first letter that it was long since you had -been able to please me by your music, and asking me how this was. I -totally deny this to be the fact, and assure you that all you compose -pleases me. If two or three things in succession did not satisfy me as -entirely as others of yours, I think the ground lay no deeper than this, -that you have written less than in former days, when one or two songs -that did not exactly suit my taste were so rapidly composed, and -replaced so quickly by others, that neither of us considered much why it -was that they were less attractive; we only laughed together about them, -and there was an end of it.<span class="pagenum"><a name="page_102" id="page_102"></a>{102}</span></p> - -<p>I may quote here “Die Schönheit nicht, O Mädchen,” and many others in -the “<i>prima maniera</i> of our master” which we heartily abused. Then came -beautiful songs in their turn, and so it is at present, only they cannot -follow each other in such quick succession, because you must often now -have other things to occupy your thoughts besides composing pretty -songs, and that is a great blessing. But if you suppose that your more -recent compositions seem to me inferior to your earlier ones, you are -most entirely and totally mistaken, for I know no song of yours better -than the English one in G minor, or the close of the “Liederkreis,” and -many others of later date; besides, you are aware that formerly there -were entire <i>books</i> of your composition that were less acceptable to me -than others, because my nature always was to be a screech-owl, and to -belong to the savage tribe of brothers. But you know well how much I -love <i>all</i> your productions, and some are especially dear to my heart; -so I trust that you will write to me forthwith that you have done me -injustice, by considering me a man devoid of taste, and that you will -never again do so.</p> - -<p>And then, neither in this letter nor in your former one do you say one -word about “St. Paul” or “Melusina,” as one colleague should write to -another,—that is, remarks on fifths, rhythm, and motion of the parts, -on conceptions, counterpoint, <i>et cætera animalia</i>. You ought to have -done so, however, and should do so still, for you know the value I -attach to this; and as “St.<span class="pagenum"><a name="page_103" id="page_103"></a>{103}</span> Paul” is shortly to be sent to the -publisher, a few strictures from you would come just at the right -moment. I write to you to-day solely in the hope of soon receiving an -answer from you, for I am very weary and exhausted from yesterday’s -concert, where, in addition to conducting three times, I was obliged to -play Mozart’s D minor concerto. In the first movement I made a -<i>cadenza</i>, which succeeded famously, and caused a tremendous sensation -among the Leipzigers. I must write down the end of it for you. You -remember the theme, of course? Towards the close of the cadence, -arpeggios come in <i>pianissimo</i> in D minor, thus—</p> - -<div class="figcenter"> -<img src="images/ill_pg-103a.png" width="350" height="85" alt="Musical notation" title="" /> -</div> - -<p>Then again G minor arpeggios; then</p> - -<div class="figcenter"> -<img src="images/ill_pg-103b.png" width="350" height="94" alt="Musical notation" title="" /> -</div> - -<p>Then -<img src="images/ill_pg-103c.png" class="linemusic" width="100" height="81" alt="Musical notation" title="" /> - arpeggios, and</p> - -<div class="figcenter"> -<img src="images/ill_pg-103d.png" width="450" height="111" alt="Musical notation" title="" /> -</div> - -<p><span class="pagenum"><a name="page_104" id="page_104"></a>{104}</span></p> - -<div class="figcenter"> -<img src="images/ill_pg-104.png" width="351" height="450" alt="Musical notation" title="" /> -</div> - -<p class="nind">etc., to the close in D minor. Our second violin player, an old -musician, said to me afterwards, when he met me in the passage, that he -had heard it played in the same Hall by Mozart himself, but since that -day he had heard no one introduce such good <i>cadenzas</i> as I did -yesterday, which gave me very great pleasure.<span class="pagenum"><a name="page_105" id="page_105"></a>{105}</span></p> - -<p>Do you know Handel’s “Coronation Anthem”? It is most singular. The -beginning is one of the finest which not only Handel, but any man, ever -composed; and all the remainder, after the first short movement, -horridly dry and commonplace. The performers could not master it, but -are certainly far too busy to grieve much about that.</p> - -<p>Many persons here consider “Melusina” to be my best overture; at all -events, it is the most deeply felt; but as to the fabulous nonsense of -the musical papers, about red coral and green sea monsters, and magic -palaces, and deep seas, this is stupid stuff, and fills me with -amazement. But now I take my leave of water for some time to come, and -must see how things are going on elsewhere.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> I received to-day a -letter from Düsseldorf, with the news of the musical doings there, and a -request to send “St. Paul” soon for the Musical Festival. I cannot deny -that when I read the description of their concerts, and some concert -bills which were enclosed, and realized the state of the musical world -there, I had a most agreeable sensation at my change of position. They -cannot well be compared; for while there they are engaged in perpetual -quarrelling and strife and petty criticisms, here, on the contrary, -during<span class="pagenum"><a name="page_106" id="page_106"></a>{106}</span> the course of this whole winter, my situation has not caused me -to pass one disagreeable day, or to hear hardly one annoying expression, -while I have enjoyed much pleasure and gratification. The whole -orchestra, and there are some able men among them, strive to guess my -wishes at a glance; they have made the most extraordinary progress in -finish and refinement, and are so devoted to me, that I often feel quite -affected by it.</p> - -<p>Would that I were less sad and sorrowful; for sometimes I do not know -what to do, and can only hope that the approaching spring and the warm -weather may cheer me.</p> - -<p>I trust you and yours may all continue well and happy, and sometimes -think of me.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Dr. Frederick Rosen</span>, <span class="smcap">London</span>,<br /><br /> -<small>(PROFESSOR OF ORIENTAL LANGUAGES.)</small></h2> - -<p class="r"> -Leipzig, February 6th, 1836.<br /> -</p> - -<p class="indd">My dear Friend,<br /> -</p> - -<p>I had intended writing to you long ago, but have always delayed it till -now, when I am compelled to do so by Klingemann’s announcement that your -‘Vedas’ is finished. I wish therefore to send you my congratulations at -once; and though I understand very little of<span class="pagenum"><a name="page_107" id="page_107"></a>{107}</span> it, and consequently can -appreciate its merits as little, still I wish you joy of being able to -give to the world a work so long cherished, and so interesting to you, -and which cannot fail to bring you new fame and new delight. And when I -feel how little I, who never learnt the language, can do justice to the -vast circumference of such a work, I may indeed congratulate you on the -fact, that no spurious connoisseurs or <i>dilettanti</i> can grope their way -into your most favourite thoughts, while you must feel the more secure -and tranquil in your own vocation, because arrogant ignorance cannot -presume to attack you behind your bulwarks of quaint letters and -hieroglyphics. They must at least first be able to decipher them -tolerably, before they can attempt to criticize; so you are better off -in this respect than we are, against whom they always appeal to their -own paltry conceptions.</p> - -<p>I feel like a person waking drowsily. I cannot succeed in realizing the -present, and there is a constant alternation of my old habitual -cheerfulness and the most heartfelt deep grief, so that I cannot attain -to anything like steady composure of mind. In the meantime, however, I -occupy myself as much as possible, and that is the only thing that does -me good. My position here is of the most agreeable nature,—cordial -people, a good orchestra, the most susceptible and grateful musical -public; only just as much work to do as I like, and an opportunity of -hearing my new compositions<span class="pagenum"><a name="page_108" id="page_108"></a>{108}</span> at once. I have plenty of pleasant society -besides, so that this would indeed seem to be all that was required to -constitute happiness, were it not deeper seated!</p> - -<p>Farewell, dear friend, and do not forget your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, February 18th, 1836.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>I cannot write home without enclosing a few lines for you, and thanking -you a thousand times for your dear letter, and begging you to write to -me as often as you wish to make me very happy. I have scarcely thanked -you, and Fanny, and Rebecca, for the beautiful presents you sent to me -on the 3rd, and which made the day so pleasant to me. The leader of the -orchestra, when I went to rehearsal on the morning of that day, -addressed me in a complimentary speech, which was very gratifying, and -when we sat down to dinner at S——’s, I found a silver cup, which four -of my friends here had ordered for me, with an inscription and their -names, under my napkin. All this was welcome and cheering. In the -evening, when I had carefully put away your store of linen, and placed -Rebecca’s travelling-case beside my map of Germany and the keys of my -trunk, and had<span class="pagenum"><a name="page_109" id="page_109"></a>{109}</span> read “Fiesko” in Fanny’s book, which I was formerly so -pleased with, (but now less so,) then I felt considerably older, and -thought of Aunt Lette, who wrote me a note on my twentieth birthday, -which began, “My poor Felix! actually ten years hence no longer a boy!”</p> - -<p>I am curious to learn whether Gusikow pleased you as much as he did me. -He is quite a phenomenon; a famous fellow, inferior to no virtuoso in -the world, both in execution and facility; he therefore delights me more -with his instrument of wood and straw, than many with their pianofortes, -just because it is such a thankless kind of instrument. A capital scene -took place at his concert here. I went out to join him in the room where -he was, in order to speak to him and compliment him. Schleinitz and -David wished to come with me; a whole group of Polish Jews followed in -our wake, anxious to hear our eulogiums; but when we came to the side -room, they pressed forward so quickly, that David and Schleinitz were -left in the rear, and the door shut right in their faces; then the Jews -all stood quite still, waiting to hear the compliments Gusikow was about -to receive. At first I could not speak for laughing, seeing the small -room crammed full of these bearded fellows, and my two friends shut out. -It is long since I so much enjoyed any concert as this, for the man is a -true genius.</p> - -<p>The direction of the St. Cecilia Association at Frankfort-on-the-Maine -has been confidentially offered to me.<span class="pagenum"><a name="page_110" id="page_110"></a>{110}</span> I can with truth say that it -caused me more pain than pleasure, because it is evident from this that -Schelble’s return is considered out of the question. If it really be so, -(which I shall take care to ascertain), I will on no account accept the -offer. But if there were a possibility of improvement, and I could in -any degree be of service to Schelble, by giving an impetus to his -Institute next summer (for I hear that all the winter it has been almost -dead), and if he could resume the duties himself next winter, I should -feel real pleasure in doing this for him, even if all my travelling -projects were to be overthrown. For once it would be doing a real -service, both to a friend, and to the cause itself.</p> - -<p>And now I must dress, for I am going to direct a concert. Merk is here; -he gives a concert next Sunday, where I am to play with him again: it is -the seventh time this winter, but I could not possibly refuse; for when -I see my old companion again, the whole autumn of 1830 is brought before -my eyes, and our music at Eskele’s, our playing billiards at the -Kärnthner Thor, and driving to Baden in a <i>fiacre</i>, etc. Besides, he is -beyond all question the very first of all living violoncello players. -Farewell, dear Mother.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_111" id="page_111"></a>{111}</span></p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Düsseldorf, June 1st, 1836.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>I hope you have forgiven my long silence. There was so much to do, both -before and during my journey here, that I was scarcely able to attend -even to the duties of the passing hour; and what has gone on here since -my arrival<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> you know better than if I had myself written, for I trust -Paul and Fanny are now happily returned, and of course described -everything verbally to you.</p> - -<p>On Saturday, the 4th, I am to go to Frankfort, a week hence to direct, -for the first time, the St. Cecilia Association. To be sure, my charming -Swiss projects, and the sea-baths in Genoa have thus melted into air; -but still, my being able to do a real service to Schelble and his -undertaking, is of no small value in my eyes. There seemed to be an idea -that the St. Cecilia Association would be dispersed, and Schelble -appeared very much to dread the lukewarmness of the members during his -absence. As they all hoped and believed that I could prevent this by my -presence, I did not for a moment hesitate, though the Frankfort -musicians will be desperately astonished, and will now see what can be -done within eight weeks. Hiller, whom I like so much, is by<span class="pagenum"><a name="page_112" id="page_112"></a>{112}</span> chance to -be in Frankfort the whole time, which will be a great advantage for me.</p> - -<p>It gives me peculiar pleasure to be able to write to you that I am now -fairly established in Germany, and shall not require to make a -pilgrimage into foreign countries to secure my existence. This, indeed, -has only been evident during the last year, and since my being placed at -Leipzig; but now I have no longer any doubts on the subject, and think -there is no want of modesty in rejoicing at the fact, and mentioning it -to you.</p> - -<p>The manner in which I was received on my journey, in Frankfort, and -afterwards here, was all that a musician could desire; and although this -may mean in reality little or nothing, still it is a token of friendship -which is always gratifying; and I value all such tokens, because I am -well aware that I have taken no steps to call them forth. I therefore -almost rejoice when you call me “the reverse of a charlatan,” and when -many things fall to my share unasked for, about which others give -themselves a great deal of trouble; for I may then venture to believe -that I deserve them. I wish only I could have written these words to my -father, for he would have read them with satisfaction. But his dearest -wish was progress; he always directed me to press forwards, and so I -think I am doing his will when I continue to labour in this sense, and -endeavour to make progress without any ulterior views beyond my own -improvement. Farewell, dear Mother.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_113" id="page_113"></a>{113}</span></p> - -<h2><span class="smcap">To Herr Advocat Conrad Schleinitz</span>, <i>Leipzig</i>.</h2> - -<p class="r"> -Cologne, July 5th, 1836.<br /> -</p> - -<p class="indd">Dear Schleinitz,<br /> -</p> - -<p>I have in vain sought a moment of leisure, after the Musical Festival, -to send you my first greeting and letter since my journey. In Düsseldorf -the bustle was great, and no end to all kinds of music, <i>fêtes</i>, and -recreations, which never left me a quiet moment. I have been staying a -day here to revive and to rest, with my old President,<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> and as -evening is now approaching, about the time when you often used to peep -into my room, I feel an impulse, if only for a moment, to shake hands -and say good-evening.</p> - -<p>You would certainly have been for some time well amused and delighted -with the Musical Festival; and from your taking so friendly an interest -in me and my “St. Paul,” I thought a hundred times at least during the -rehearsals, what a pity it was that you were not there. You would -assuredly have been delighted by the love and goodwill with which the -whole affair was carried on, and the marvellous fire with which the -chorus and orchestra burst forth, though there were individual passages, -especially in the solos, which might have annoyed you. I think I see -your face, could you have heard the St. Paul’s aria sung in an -indifferent, mechanical manner, and I think I hear you breaking loose -on<span class="pagenum"><a name="page_114" id="page_114"></a>{114}</span> the Apostle of the Gentiles in a dressing-gown; but then I know also -how charmed you would have been with the “Mache dich auf,” which went -really splendidly. My feelings were singular; during the whole of the -rehearsals and the performance I thought little enough about directing, -but listened eagerly to the general effect, and whether it went right -according to my idea, without thinking of anything else. When the people -gave me a flourish of trumpets or applauded, it was very welcome for the -moment, but then my Father came back to my mind, and I strove once more -to recall my thoughts to my work. Thus, during the entire performance I -was almost in the position of a listener, and tried to retain an -impression of the whole. Many parts caused me much pleasure, others not -so; but I learnt a lesson from it all, and hope to succeed better the -next time I write an oratorio.</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy.</span><br /> -</p> - -<p class="r"> -Frankfort, July 14th, 1836.<br /> -</p> - -<p class="indd">Dear Mother and dear Rebecca,<br /> -</p> - -<p>I have just received your affectionate letters, and must answer them -instantly, for indeed I had been eagerly expecting them for several days -past, during which I have done nothing but lie on the sofa and read -Eckermann’s ‘Conversations with Goethe,’ and long for letters from<span class="pagenum"><a name="page_115" id="page_115"></a>{115}</span> home -which I could answer. I am as much delighted with Eckermann as you are, -my dear Mother and Sister. I feel just as if I heard the old gentleman -speaking again, for there are many things introduced into the work which -are the very same words I have heard him use, and I know his tone and -gestures by heart. I must say that Eckermann is not sufficiently -independent. He is always rejoicing over “this important phrase, which -pray mark well.” But it must be admitted that it was a difficult -position for the old man, and we ought to be grateful to him for his -faithful notices, and also for his delicacy,—a contrast to Riemer.</p> - -<p>Here I am, seated in the well-known corner room with the beautiful view, -in Schelble’s house, he and his wife being gone to visit his property in -Swabia, and they do not return to Frankfort so long as I am here; but -the accounts his wife has sent here are very consolatory, and inspire us -all with much hope. There is no one living in this house but Schelble’s -mother-in-law, and a maid-servant, on one side,—and myself, with two -travelling-bags and a hat-box, on the other. At first I was unwilling to -come here, owing to many remembrances, but now I am glad that I came. A -very kind reception, an excellent grand pianoforte, plenty of music, -entire rest, and undisturbed tranquillity, are all things which are -nowhere to be found in an inn; and I might well be envied the view from -my corner window. In this splendid summer weather I see all down the -Maine,<span class="pagenum"><a name="page_116" id="page_116"></a>{116}</span> with its numerous boats, rafts, and ships, the gay shore -opposite, and above all, my old favourite, the Wartthurm, facing the -south, and on the other side the blue hills. I came here with plans for -great industry, but for nearly a week I have done little else every -forenoon, but admire the prospect and sun myself. I must go on in the -same way for a couple of days still,—idleness is so pleasant, and -agrees with me so well. My last days in Düsseldorf, and my first here, -were crammed so full that I could only recover my balance by degrees. -The very day of my arrival here, I had to direct the St. Cecilia -Association; then came my numerous acquaintances, old and new, and the -arrangements for the next few weeks. I was obliged to take a rest after -all this, or at least I said so to myself, to palliate, and furnish a -pretext for my love of idleness. The St. Cecilia Association went on -well, and they were very friendly; I however made a speech that deserved -to have been written down. We sang some things from “Samson,” and some -from the B minor Mass of Bach. There was much worth remembering in the -former. The Bach went almost faultlessly, though it is fully twice as -difficult; and so I had a fresh opportunity of admiring how Schelble, by -dint of his admirable tenacity, has succeeded in making his will obeyed. -I shall not be able to do much for the association. Six weeks are not -sufficient, and even under the most favourable circumstances, Schelble’s -physician wishes him to rest the whole of<span class="pagenum"><a name="page_117" id="page_117"></a>{117}</span> the ensuing winter. How the -matter will proceed then we know not. All the musicians here think too -much about themselves, and too little about their work; but we shall see -how this may be, and what we have now to do is to provide for the -intervening time; and I rejoice to be able in this respect to oblige -Schelble. I must say my life assumes a most agreeable form here. Never -could I have thought, that through my overtures and songs, I could have -become such a lion with the musical world. The “Melusina” and the -“Hebrides” are as familiar to them as to us at home (I mean No. 3, -Leipziger Strasse), and the <i>dilettanti</i> dispute warmly about my -intentions.</p> - -<p>Then Hiller is here, at all times a delightful sight to me, and we have -always much that is interesting to discuss together. To my mind, he is -not sufficiently—what shall I call it?—one-sided. By nature he loves -Bach and Beethoven beyond all others, and would therefore prefer -adopting wholly the graver style of music; but then he is much delighted -also with Rossini, Auber, Bellini, etc., and with this variety of tastes -no man makes real progress. So this forms the subject of all our -conversations as soon as we see each other, and it is most agreeable to -me to be with him for some time, and, if possible, to lead him to my -mode of thinking.... Early yesterday I went to see him, and whom should -I find sitting there but Rossini, as large as life, in his best and most -amiable mood. I really know few men who can be so<span class="pagenum"><a name="page_118" id="page_118"></a>{118}</span> amusing and witty as -he, when he chooses; he kept us laughing incessantly the whole time. I -promised that the St. Cecilia Association should sing for him the B -minor Mass, and some other things of Sebastian Bach’s. It will be quite -too charming to see Rossini obliged to admire Sebastian Bach; he thinks, -however, “different countries, different customs,” and is resolved to -howl with the wolves. He says he is enchanted with Germany, and when he -once gets the list of wines at the Rhine Hotel in the evening, the -waiter is obliged to show him his room, or he could never manage to find -it. He relates the most laughable and amusing things about Paris and all -the musicians there, as well as of himself and his compositions, and -entertains the most profound respect for all the men of the present -day,—so that you might really believe him, if you had no eyes to see -his sarcastic face. Intellect, and animation, and wit, sparkle in all -his features and in every word, and those who do not consider him a -genius, ought to hear him expatiating in this way, and they would change -their opinion.</p> - -<p>I was lately with S—— also, but it was miserable to hear him grumbling -and abusing everybody; at last he vowed that all men were nothing but a -tiresome pack; I answered that I considered this very modest on his -part, as I concluded he did not look upon himself as an angel or a -demigod, when, quite contrary to my expectations, we instantly became -the best of friends, and<span class="pagenum"><a name="page_119" id="page_119"></a>{119}</span> he ended by declaring, that after all, the -world pleased him very well. This is not surprising, as he was sitting -in his garden in the country, with a beautiful landscape and a lovely -view; and in a region like this, in such weather and under such a sky, -very little fault can be found with the world. The scenery round -Frankfort pleases me this time beyond everything,—such fruitfulness, -richness of verdure, gardens and fields, and the beautiful blue hills as -a background! and then a forest beyond; to ramble there in the evenings -under the splendid beech-trees, among the innumerable herbs and flowers -and blackberries and strawberries, makes the heart swell with gratitude.</p> - -<p>Yesterday afternoon I visited André at Offenbach; he sends you his kind -regards, and is the same fiery, eager person he ever was. His reception -of me was however more cordial and more gratifying than that of all the -other musicians; he really does somewhat resemble my father. Is it not -singular that several persons here have lately said to me, that I am -like what André was in his younger days, and you may remember that <i>he</i> -was formerly often mistaken for <i>my father</i>. He scanned me closely from -head to foot, and said I had now my third face since he had first known -me; the second he had not at all approved of, but now he liked me much -better. The conversation then turned on counterpoint and Vogler, and he -attacked him in spite of Zelter, and dragged forth a couple of folios -as<span class="pagenum"><a name="page_120" id="page_120"></a>{120}</span> proof on his side. I could not prevail on myself to go to the -Rothschilds, in spite of their very flattering invitation. I am not in -the vein or humour at present for balls or any other festivities, and -“Like should draw to like.” At the same time, these people really cause -me much pleasure, and their splendour and luxury, and the universal -respect with which the citizens here are forced to regard them all -(though they would gladly assault them if they dared) is a real source -of exultation, for it is all owing entirely to their own industry, good -fortune, and abilities. The 15th has actually dawned; this is a regular -chattering, gossiping letter.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Rebecca Dirichlet</span>, <span class="smcap">Berlin</span>.</h2> - -<p class="r"> -Frankfort, July 2nd, 1836.<br /> -</p> - -<p>... Such is my mood now the whole day; I can neither compose nor write -letters, nor play the piano; the utmost I can do is to sketch a -little,<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> but I must thank you for your kind expressions about “St. -Paul;” such words from you are the best and dearest that I can ever -hear, and what you and Fanny say on the subject the public say also ... -no other exists for me. I only wish you would write to me a few times -more about it, and very minutely as to my other music. The<span class="pagenum"><a name="page_121" id="page_121"></a>{121}</span> whole time -that I have been here I have worked at “St. Paul,” because I wish to -publish it in as complete a form as possible; and moreover, I am quite -convinced that the beginning of the first, and the end of the second -part, are now nearly three times as good as they were, and such was my -duty; for in many points, especially as to subordinate matters in so -large a work, I only succeed by degrees in realizing my thoughts and -expressing them clearly; in the principal movements and melodies I can -no longer indeed make any alteration, because they occur at once to my -mind just as they are; but I am not sufficiently advanced to say this of -<i>every</i> part. I have now, however, been working for rather more than two -years at one oratorio; this is certainly a very long time, and I rejoice -at the approach of the moment when I shall correct the proofs, and be -done with it, and begin something else.</p> - -<p>I must tell you of the real delight with which I have read here the -first books of Goethe’s ‘Wahrheit und Dichtung.’ I had never taken up -the book since my boyhood, because I did not like it then; but I cannot -express how much it now pleases me, and how much additional pleasure I -take in it, from knowing all the localities. One of its pages makes me -forget all the <i>misères</i> in literature and art of the present day.<span class="pagenum"><a name="page_122" id="page_122"></a>{122}</span></p> - -<h2><span class="smcap">To Rebecca Dirichlet, Berlin.</span></h2> - -<p class="r"> -Leipzig, January 8th, 1837.<br /> -</p> - -<p>... Last Wednesday there was a <i>fête</i> at the Keils’, where it rained -Christmas gifts and poems; among others I got one, celebrating my -betrothal in a romantic vein “at Frankfort-on-the-Zeil,” and which was -much admired. As they began to sing songs at table, and I was looking -rather dismal, Schleinitz suddenly called out to me that I ought to -compose music for my romance on the spot, that they might have something -new to sing, and the young ladies bringing me a pencil and music-paper, -the request amused me very much, and I composed the song under shelter -of my napkin; while the rest were eating cakes, I wrote out the four -parts, and before the pine-apples were finished, the singers got their A -note, and sang it to such perfection and so <i>con amore</i> that it caused -universal delight and animated the whole society.</p> - -<h2><span class="smcap">To Ferdinand Hiller.</span></h2> - -<p class="r"> -Leipzig, January 10th, 1837.<br /> -</p> - -<p>... You once extolled my position here because I had made friends of all -the German composers: quite the reverse; I am in bad odour with them all -this winter. Six new symphonies are lying before me; what<span class="pagenum"><a name="page_123" id="page_123"></a>{123}</span> they may be -God knows, (I would rather not know,)—not one of them pleases me, and -no one is to blame for this but myself, who allow no other composer to -come before the public,—I mean in the way of symphonies. Good heavens! -should not these “Capellmeisters” be ashamed of themselves and search -their own breasts? But that detestable artistic pedantry, which they all -possess, and that baneful spark divine of which they so often -read,—these ruin everything. I sent my six preludes and fugues to the -printer’s to-day; I fear they will not be much played, still I should -like you to look over them once in a way, and to say if any of them -pleased you, or the reverse. Next month three organ fugues are to be -published,—<i>me voilà perruque</i>! Heaven grant that some spirited -pianoforte piece may occur to me, to efface this unpleasant impression.</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Frankfort-a.-M., May 29th, 1837.<br /> -</p> - -<p>This is but a sorry time for musicians. Look at the St. Cecilia -Association,—experienced singers, good respectable people, obliging -chiefs,—nothing requisite but a little pianoforte playing, and a little -goodwill towards music, and a little knowledge; neither genius, nor -energy, nor politics, nor anything else very particular. I should have -thought that fifty people at least would have offered themselves, so -that we might have had a<span class="pagenum"><a name="page_124" id="page_124"></a>{124}</span> choice; but scarcely two have come forward -whom it is possible to appoint, and not one who is capable of carrying -on the association in the right, true, and noble spirit in which it was -commenced,—that is, in plain German, not one who can perceive that -Handel and Bach, and such people, are superior to what they themselves -can do or say. Neukomm, in whom I would have placed most confidence in -this respect, was in treaty for the situation, and had decidedly -accepted it, and now all of a sudden he as decidedly declines it. So -there will be no one to undertake the affair but Ries, who will probably -do so, but unfortunately he is deficient in that necessary respect for -the great works of art, which is, and always will be to me, the chief -consideration. It is grievous to think of all the trouble and hard work -which it cost Schelble to lay a good foundation, and now the end is that -it will be finally broken up. People here are highly satisfied with -Hiller’s mode of directing, although they were so troublesome to him at -first; but two months hence he goes to Italy, being resolved not to stay -here, and who knows that this may not be the very reason why they all -now regret him so much! This is an odious thing in the world.</p> - -<p>It has just occurred to me that if you wish to sing anything during the -next few months, send for “Theodora,” by Handel, and look it over; at -all events it will please you, as there are some splendid choruses and -airs in it, and perhaps you might manage to have it<span class="pagenum"><a name="page_125" id="page_125"></a>{125}</span> translated into -German (which, indeed, ought to be very much better done, for the text -is perfectly absurd), and perform it in your own house, with a small -choir. Unluckily, it is not adapted for a performance on a large scale, -but some parts of it, the final chorus for instance, are as fine as -anything you ever heard of Handel’s.</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Frankfort, June 2nd, 1837.<br /> -</p> - -<p>... You write to me about Fanny’s new compositions, and say that I ought -to persuade her to publish them. Your praise is, however, quite -unnecessary to make me heartily rejoice in them, or think them charming -and admirable; for I know by whom they are written. I hope, too, I need -not say that if she does resolve to publish anything, I will do all in -my power to obtain every facility for her, and to relieve her, so far as -I can, from all trouble which can possibly be spared her. But to -<i>persuade</i> her to publish anything I cannot, because this is contrary to -my views and to my convictions. We have often formerly discussed the -subject, and I still remain exactly of the same opinion. I consider the -publication of a work as a serious matter (at least it ought to be so), -for I maintain that no one should publish, unless they are resolved to -appear as an author for the rest of their life. For this purpose, -however, a<span class="pagenum"><a name="page_126" id="page_126"></a>{126}</span> <i>succession</i> of works is indispensable, one after another. -Nothing but annoyance is to be looked for from publishing, where one or -two works alone are in question; or it becomes what is called a -“manuscript for private circulation,” which I also dislike; and from my -knowledge of Fanny I should say she has neither inclination nor vocation -for authorship. She is too much all that a woman ought to be for this. -She regulates her house, and neither thinks of the public nor of the -musical world, nor even of music at all, until her first duties are -fulfilled. Publishing would only disturb her in these, and I cannot say -that I approve of it. I will not, therefore, persuade her to this -step,—forgive me for saying so. If she resolves to publish, either from -her own impulse or to please Hensel, I am, as I said before, quite ready -to assist her so far as I can; but to encourage her in what I do not -consider right, is what I cannot do.</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Bingen, July 13th, 1837.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>We have been here for the last eight days, having suddenly left -Frankfort; and as it is nearly decided that we are to reside here for -some weeks, I now write to thank you for your affectionate letters.</p> - -<p>I feel rather provoked, that Fanny should say the<span class="pagenum"><a name="page_127" id="page_127"></a>{127}</span> new pianoforte school -outgrows her,—this is far from being the case; she could cut down all -these petty fellows with ease. They can execute a few variations and -<i>tours de force</i> cleverly enough, but all this facility, and coquetting -with facility, no longer succeeds in dazzling even the public. There -must be soul, in order to carry others along with you; thus, though I -might perhaps prefer listening to D—— for an hour than to Fanny for an -hour, still at the end of a week I am so tired of him that I can no -longer listen to him, whereas then I first begin to enjoy hearing the -other style of playing, and that is the right style. All this is not -<i>more</i> than Kalkbrenner could do in his day, and it will pass away even -during our day, if there be nothing better than mere execution; but this -Fanny also has, so she has no cause to fear any one of them all.</p> - -<p>The view from these windows is of itself well worth a journey here, for -our hotel is situated close to the Rhine, opposite Niederwald,—the -Mäusethurm to the left, and to the right Johannisberg. To-day I have at -last succeeded in borrowing a piano and a Bible; both were very -difficult to hunt out, first because the people at Bingen are not -musical, and secondly because they are Catholics, and therefore ignore -both a piano and Luther’s translation; however, I have at length -procured both, and so I begin to feel very comfortable here. I must now -be very busy, for as yet I have not written out a single note of my -concerto, and yesterday I heard from<span class="pagenum"><a name="page_128" id="page_128"></a>{128}</span> Birmingham that the Musical -Festival is all arranged, and they are in hopes that Queen Victoria will -be present. That would be capital!</p> - -<p>Old Schadow and W. Schadow were here lately, along with their families, -and we stumbled upon each other quite unexpectedly in the entrance hall; -I wish you could have heard the description the old man gave of Fanny’s -accompaniment on the piano; he was full of <i>enthousiasme</i>, and most -excited on the subject; a sketch also of the <i>séances</i> of the musical -section of the Academy where he is obliged to preside, was not bad by -way of contrast; except Spontini, no one either speaks or shows any -signs of life in it, for which there are good reasons.</p> - -<p>It is indeed very sad to see the way in which the latter contrives to -irritate all Berlin against him, destroying and ruining everything, and -yet causing himself only vexation, and anxiety and worry: like an -ill-assorted marriage, where both parties are in the wrong when they -come to blows.</p> - -<p>Ask Fanny, dear Mother, what she says to my intention of playing Bach’s -organ prelude in E flat major in Birmingham—</p> - -<div class="figcenter"> -<img src="images/ill_pg-128.png" width="450" height="72" alt="musical notation" title="" /> -</div> - -<p class="nind">and the fugue at the end of the same book. I suspect it will puzzle me, -and yet I think I am right. I have an idea that <i>this</i> very prelude will -be peculiarly acceptable<span class="pagenum"><a name="page_129" id="page_129"></a>{129}</span> to the English, and you can play both prelude -and fugue <i>piano</i> and <i>pianissimo</i>, and also bring out the full power of -the organ. Faith! I can tell you it is no stupid composition.</p> - -<p>I have lately determined to have a new oratorio ready for the next -Düsseldorf Musical Festival; two years are yet to come before then, but -I must stick to my work. I will write about the text as soon as I have -decided on the subject. I hear nothing of Holtei and his opera libretto, -and so I must begin a second oratorio, much as I should have liked to -write an opera just at this moment. I sadly want a true thorough-going -man for many fine projects; whether he will appear, or whether I am -mistaken, I know not, but hitherto I have never been able to discover -him.</p> - -<p>I occupy myself continually here in drawing figures, but I don’t succeed -very well. From want of practice this winter, I have forgotten what I -knew much better last summer, when Schadow gave me every day a short -drawing lesson at Scheveling, and taught me to sketch peasants, -soldiers, old apple-women, and street boys. Yesterday, however, I made a -drawing of Bishop Hatto, at the moment of being eaten up by the mice,—a -splendid subject for all beginners. In this letter, music, the Rheingau, -and gossip go hand-in-hand. Forgive this, dear Mother. It is the same in -real life.<span class="pagenum"><a name="page_130" id="page_130"></a>{130}</span></p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Bingen-a.-R., July 14th, 1837.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>I wish to ask your advice in a matter which is of importance to me, and -I feel it will therefore not be indifferent to you either, having -received so many proofs to the contrary from you. It concerns the -selection of a subject of an oratorio, which I intend to begin next -winter. I am most anxious to have your counsels, as the best suggestions -and contributions for the text of my “St. Paul” came from you.</p> - -<p>Many very apparent reasons are in favour of choosing St. Peter as the -subject,—I mean its being intended for the Düsseldorf Musical Festival -at Whitsuntide, and the prominent position the feast of Whitsunday would -occupy in this subject. In addition to these grounds, I may add my wish -(in connection with a greater plan for a later oratorio) to bring the -two chief apostles and pillars of the Christian Church, side by side in -oratorios,—in short, that I should have a “St. Peter” as well as a “St. -Paul.” I need not tell you that there are sufficient internal grounds to -make me prize the subject, and far above all else stands the outpouring -of the Holy Ghost, which must form the central point, or chief object. -The question therefore is (and this you can decide far better than I -can, because you possess the knowledge in which I am deficient, to guide -you)<span class="pagenum"><a name="page_131" id="page_131"></a>{131}</span> whether the place that Peter assumes <i>in the Bible</i>, divested of -the dignity which he enjoys in the Catholic or Protestant Churches, as a -martyr, or the first Pope, etc. etc.,—whether <i>what is said of him in -the Bible</i> is alone and in itself sufficiently important to form the -basis of a <i>symbolical</i> oratorio. For, according to my feeling, the -subject must not be treated historically, however indispensable this was -in the case of “St. Paul.” In historic handling, Christ must appear in -the earlier part of St. Peter’s career, and, where He appears, St. Peter -could not lay claim to the chief interest. I think, therefore, it must -be symbolical; though all the historical points might probably be -introduced,—the betrayal and repentance, the keys of heaven given him -by Christ, his preaching at Pentecost,—not in an historical, but -prophetic light, if I may so express myself, in close connection.</p> - -<p>My question then is, whether you think this possible, or at least so far -possible, that it may become an important and personal object for every -member of the community?—also, whether it is your opinion, that even if -actually feasible, it should be carried out entirely by means of -Scriptural passages, and what particular parts of the Bible you would -especially recommend for the purpose? Lastly, if in this event you will -hereafter, as you previously did, make a selection of certain passages -out of the Bible, and send them to me?</p> - -<p>The chief thing, however, is the first point, for I am<span class="pagenum"><a name="page_132" id="page_132"></a>{132}</span> still in the -dark about it; in fact, about the possibility of the whole undertaking: -write to me as soon as you can on the subject. In thinking it over, my -first idea was that the subject must be divided into two parts: the -first, from the moment of forsaking the fishermen’s nets down to the “Tu -es Petrus,” with which it must close: the second to consist of the Feast -of Pentecost only; from the misery after the death of Christ and -repentance of Peter, to the outpouring of the Holy Ghost.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p> - -<p>Forgive me for assailing you so suddenly with all this. During the few -months since we have met, I cannot tell you what a great and happy -change has taken place in me.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> I hope you will come and stay with us -next winter, and pass some days here; then you will in a short time see -for yourself, what even at any length I really could not describe. I -intend to be in Leipzig again, the end of September, and till then, -shall remain principally here on the Rhine, or at Frankfort. Pray answer -me soon, if only by a few lines.—Your</p> - -<p class="r"> -F. M. B.<br /> -</p> - -<p><span class="pagenum"><a name="page_133" id="page_133"></a>{133}</span></p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, October 4th, 1837.<br /> -</p> - -<p class="indd">Dearest Mother,<br /> -</p> - -<p>It ought to have been my first occupation to write to you as soon after -the busy time of the last few weeks as I had some leisure, to thank you -for so many loving letters. I wished also to let you know of our safe -arrival here, and yet two days have elapsed without the possibility of -doing so. I seize the early morning for this purpose, or people will -again come, one succeeding another till the post hour is passed, which -happened yesterday and the day before. I cannot at this time attempt to -describe the Birmingham Musical Festival; it would require many sheets -to do so, and whole evenings when we are once more together even -cursorily to mention all the remarkable things crowded into those -days.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> One thing, however, I must tell you, because I know it will -give you pleasure, which is, that I never had such brilliant success, -and can never have any more unequivocal than at this festival. The -applause and shouts at the least glimpse of me were incessant, and -sometimes really made me laugh; for instance, they prevented my being -able for long to sit down to the instrument to play a pianoforte -concerto; and what is better than all this applause, and a sure proof of -my success, were the offers<span class="pagenum"><a name="page_134" id="page_134"></a>{134}</span> made to me on all sides, and of a very -different tenor this time from what they ever were before.</p> - -<p>I may well say that I now see, beyond doubt, that all this is only -bestowed on me because in the course of my work, I do not in the least -concern myself as to what people wish, and praise and pay for, but -solely as to what I consider good, so I shall now less than ever allow -myself to be turned aside from my own path. I therefore peculiarly -rejoice in my success, and I feel more confident than ever, that not the -smallest effort shall be made by me to ensure success, nor indeed ever -has been made. I had besides a very striking proof of the value of all -such things, in the manner in which Neukomm was on this occasion -received in Birmingham. You know how highly they honoured, and really -overvalued him formerly, and how much all his works were prized and -sought after here, so that the musicians used to call him the king of -<i>Brummagem</i>;<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> whereas on this occasion they neglected him shamefully, -giving only one short composition of his the first morning (the worst of -all), and the public receiving him without the slightest attention; this -is really disgraceful in those men who, three years ago, knew nothing -better or higher than Neukomm’s music. The only thing he can be -reproached with is, that three years since he wrote an oratorio for the -Musical Festival, where effect was chiefly studied. The huge organ, the -choruses, the solo<span class="pagenum"><a name="page_135" id="page_135"></a>{135}</span> instruments, all were introduced on purpose to -please the audience, and people soon find this out, and it never -answers; but that they should treat him with such ingratitude in return, -is a fresh proof of how little their favour is to be relied on, and what -the fruits of it are when sought after.</p> - -<p>I found him, as usual, most amiable and as kind as ever, and may well -take example from him in a hundred things. I never met with any one who -combined greater integrity, with calmness and refinement, and he is -indeed a steady, true friend.</p> - -<p>I send you a complete <i>programme</i> of the Musical Festival. Imagine such -a mass of music! and besides this prodigious pile, the various -acquaintances who came flocking thither at that time; a man must be as -cold-blooded as a fish to stand all this. Immediately after I had played -the last chord on the splendid organ, I hurried off to the Liverpool -mail, and travelled six days and five nights in succession, till I -arrived in Frankfort to rejoin my family. The mail goes to London in ten -hours and a half, exactly the same distance as between this and Berlin; -I calculated that on my journey, and envied the English on this account. -I arrived in London towards midnight, where I was received by -Klingemann, and we went together to the Committee of the Sacred Harmonic -Society, who formally presented to me a large solid silver box, with an -inscription. At half-past twelve o’clock I was again in the mail, and at -Dover next<span class="pagenum"><a name="page_136" id="page_136"></a>{136}</span> morning at nine, when there was no time even for breakfast, -as I was obliged to go off directly to the small boat which conveyed us -to the steamboat, for being low water it could not remain in the -harbour, so I was already sea-sick when I reached the ship, had a -miserable passage, and instead of arriving at Calais in three hours, we -were five hours before landing at Boulogne, and just so much further -from Frankfort. I went to the Hôtel Meurice, where I made myself as -comfortable as I could, and set off at nine at night in the diligence to -Lille. This is the moment (however furious Dirichlet may be) to impress -on you, that French and Belgian diligences, with their glass windows, on -a paved <i>chaussée</i>, with their three clumsy horses in front, whose tails -are tied up, and who do not go forwards but round and round, are the -most utterly detestable means of being expedited in the whole world, and -that a German <i>Schnellpost</i> is a hundred times pleasanter, quicker, and -better than these utterly detestable, etc., <i>vide supra</i>. The September -days were being celebrated all over Belgium, and trees of liberty -erected in the squares in front of the town-halls. I arrived at Cologne -at ten o’clock in the morning; a steamboat was to sail at eleven, and to -go on through the night, so I took my place in it, rejoicing to be able -to lie down full length on this the fifth night, and free from the -rattle of the pavement. I fell asleep about nine, and did not wake till -two in the morning, when I perceived that the steam-boat<span class="pagenum"><a name="page_137" id="page_137"></a>{137}</span> was not -moving, and in answer to my questions I was told, that the fog was so -thick (as on the previous day) that it would be impossible to set off -again at all events before six o’clock the same evening, and we should -not arrive in Mayence till six at night. The steamer was lying-to quite -close to Horchheim, so I hired two sailors to go with me to carry my -things; I showed them the old familiar footpath by the side of the -Rhine, got to Coblenz at three o’clock in the morning, took post-horses, -and was at Frankfort on Wednesday afternoon at half-past three o’clock. -I found them all well, and we have since made out our journey famously, -from Thursday afternoon till Sunday at two o’clock, when we arrived -here.</p> - -<p>The first subscription concert began at six o’clock the same evening. I -directed the “Jubilee” overture and the C minor symphony, but the -trombones and drums were so noisy, that, at the end of the concert, I -own I felt rather <i>caput</i>. These were fourteen of the most crowded days -any one could imagine; but as I lived so entirely for enjoyment and -pleasure the whole of last summer, I am glad, just before my return -here, to have had such a busy time, and one so important for my -vocation. It is quite too lovely here, and every hour of my new domestic -life is like a festival; whereas in England, notwithstanding all its -honours and pleasures, I had not one single moment of real heartfelt -enjoyment; but now every day brings only a succession of joy and -happiness, and<span class="pagenum"><a name="page_138" id="page_138"></a>{138}</span> I once more know what it is to prize life. Have I not -entered into as many minute details about myself, as if I were some -sickly potentate, dear Mother?—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, October 29th, 1837.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>First of all, my most cordial congratulations on the day when this -letter will reach you; may you pass it happily, and may it prove a good -harbinger of the coming year. You mention in your letter of yesterday, -that your quiet, settled and untroubled position sometimes makes you -almost anxious and uneasy; but I cannot think you right in this feeling; -as little as if you were to complain of the very opposite extreme. Why -should it not be sufficient for a man to know how to secure and to enjoy -his happiness? I cannot believe that it is at all indispensable first to -earn it by trials or misfortunes; in my opinion, heartfelt grateful -acknowledgment is the best Polycrates’ ring; and truly in these days it -is a difficult problem to acknowledge, and to enjoy good fortune, and -other blessings, in such a manner as to share them with others, thus -rendering them cheerful and glad also, and showing too that the -difference is equally great between this and idle arrogance. It is -singular that in my position, I might complain of the very reverse<span class="pagenum"><a name="page_139" id="page_139"></a>{139}</span> of -what troubles you; the more I find what are termed encouragement and -recognition in my vocation, the more restless and unsettled does it -become in my hands, and I cannot deny that I often long for that rest of -which you complain. So few traces remain of performances and musical -festivals, and all that is personal; the people indeed shout and -applaud, but that quickly passes away, without leaving a vestige behind, -and yet it absorbs as much of one’s life and strength as <i>better</i> -things, or perhaps even more; and the evil of this is, that it is -impracticable to come half out, when you are once in; you must either go -on the whole way, or not at all. I dare not even attempt to withdraw, or -the cause which I have undertaken will suffer, and yet I would gladly -see that it was not merely <i>my</i> cause, but considered a good and -universal one. But this is the very point where people are wanting to -pursue the same path—not an approving public (for that is a matter of -indifference), but fellow-workers (and they are indispensable). So in -<i>this</i> sense I long for a less busy life, in order to be able to devote -myself to my peculiar province—composition of music, and to leave the -execution of it to others. It seems, however, that this is not to be, -and I should be ungrateful were I dissatisfied with my life as it is.</p> - -<p>Fanny will probably give you to-morrow the parts of my new quartett from -me. Whether it will please you or not is uncertain; but think of me when -you play it<span class="pagenum"><a name="page_140" id="page_140"></a>{140}</span> and come to any passage which is peculiarly in my style. -How gladly would I have given you something better and prettier, in -honour of your birthday, but I did not know what to send.</p> - -<p>Yesterday evening my C minor quartett was played in public by David, and -had great success. They were made to play the scherzo twice, and the -adagio pleased the audience best of all, which caused me very great -astonishment. In a few days I mean to begin a new quartett, which may -please me better. I also intend soon to compose a sonata for violoncello -and piano for you,—by my beard, I will!</p> - -<p>And now farewell; till our happy, happy meeting in February.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Ferdinand Hiller, Milan.</span></h2> - -<p class="r"> -Leipzig, December 10th, 1837.<br /> -</p> - -<p class="indd">My dear Ferdinand,<br /> -</p> - -<p>You have written to me in spite of my want of punctuality last month, -for which I am heartily grateful, though I really could scarcely have -hoped it. The arrangement of a new house, taking possession of it, the -numerous concerts and affairs, in short, all the various hindrances of -whatever nature, that a steady-going civilian, like myself, can venture -to enumerate to a joyous, lively Italian like you,—my installation as -master and<span class="pagenum"><a name="page_141" id="page_141"></a>{141}</span> tenant of the mansion, music director of the subscription -concerts,—all these things prevented my being a punctual correspondent -last month. But for that very reason I wished to entreat of you, and now -do so right heartily, even amid the vast difference in our position, and -the objects that surround us, let us steadily adhere to our promise to -write monthly letters. I think it would be a source of great interest -and benefit to both, to hear from each other now, when we must mutually -appear so desperately outlandish—though for this very reason nearer -than ever. I at least, when I think of Milan, and Liszt, and Rossini, -have a singular feeling in knowing that you are in the midst of them -all, and probably you feel the same, when, in the plains of Lombardy, -you think of Leipzig and of me. But next time you must really write me a -long minute letter, full of details; you do not know how much they would -interest me,—you must tell me where you are living, and what you are -writing, and all about Liszt, and Pixis, and Rossini; about the white -Duomo and the Corso. I do dearly love that bright land, and when you -write to me from thence, I love it more than ever. You are not to halve -your sheet of paper. Above all, tell me if you amuse yourself there as -thoroughly and divinely as I did? Do so, I beg, and inhale the air with -the same delight, and idle away your days as deliberately as I did; but -why say all this? you are sure to do so at all events. But pray do write -to me about it at full length. Do you wish to know whether<span class="pagenum"><a name="page_142" id="page_142"></a>{142}</span> I like this -as much as ever? When I am living as a married man in a pretty, new, -comfortable house, with a fine view over gardens and fields, and the -towers of the city, and feel so comfortable and happy, so glad and so -peaceful, as I have never done since I quitted the parental roof; when, -in addition to this, I have good means, and goodwill on every side, I -ask you how I can be otherwise than happy? If I am to hold any -situation, this is the best; but there are many days when I think that -to have no fixed situation, would be best after all. Directing so -perpetually during two such months, takes more out of me than the two -years when I was composing all day long. I can scarcely ever compose -here in winter, and when I ask myself after the greatest excitement, -what has really occurred, it is in fact scarcely worth naming; at least -it does not interest me much whether the acknowledged good works are -given a degree oftener, or a degree better, or not. The only things that -interest me are new compositions, and of these there is a great lack; -often therefore I feel as if I should like to retire altogether, and not -conduct any longer, but only write; and yet such a regular musical life, -and the duty of directing it, has a certain charm too. What care you for -this in Milan? and still I must write it if you wish to know how I like -my position here. I felt just the same in Birmingham; I never made such -a decided effect with my music as there, and never saw the public so -much, or so exclusively occupied with myself individually,<span class="pagenum"><a name="page_143" id="page_143"></a>{143}</span> and yet -there is even in this, something—what shall I call it?—fleeting and -evanescent, which I find irksome and depressing, rather than cheering. -Would that there had not been an instance of the exact reverse of all -these enthusiastic praises, with regard to Neukomm, whom they on this -occasion criticized so disdainfully, and received with as much coldness -and neglect, in fact set aside as completely, as three years ago they -extolled him to the skies, when they placed him above all other -composers, and applauded him at every step. Of what value then is their -favour? You will, no doubt, say that Neukomm’s music is not worth -much,—there we quite agree; but those who were formerly enchanted with -it, and now give themselves such airs, don’t know this. The whole thing -made me feel most indignant, while Neukomm’s calm and perfectly -indifferent demeanour, appeared to me the more admirable and dignified, -when contrasted with the others, and I like him better than ever since -this manly conduct.</p> - -<h2><span class="smcap">To Edouard Franck, Breslau, (now director of the berne conservatorium.)</span></h2> - -<p class="r"> -Leipzig, January 8th, 1838.<br /> -</p> - -<p>I did not receive your letter of the 25th of October till two days ago, -and at the same time a splendid copy of your “Études.” I was afraid you -had given up the<span class="pagenum"><a name="page_144" id="page_144"></a>{144}</span> completion of the work, as it was so long since I had -heard anything of it; I was therefore the more agreeably surprised by -its arrival. You wish me to give you an opinion about the compositions -themselves; but you are well aware how superfluous I consider all such -criticisms, whether of my own or of others; to go on working I consider -the best and only thing to do, and when friends urge this after every -fresh work, their doing so in itself contains a kind of verdict. I -believe that no man ever yet succeeded in controlling and commanding the -minds of others by <i>one</i> work; a succession of works all aiming at one -point can alone do it. Such then is your function, and the duty which -God has imposed on you, by the talents he has given you. Fulfil it then; -I believe that the happiness of life lies entirely on this, and cannot -be attained without it, and the omission would be a very great sin.</p> - -<p>Thus the wish that you may go forward on your path, and pursue your -labours, is the sole criticism I have at present to send you of your -work.</p> - -<p>We have already discussed most of the details; there are no faults, and -you are master of your tools; but continue to use them more and more, as -I have already said.</p> - -<p>No doubt, you can almost imagine you hear me saying all this, and at -last I shall appear to you in the light of a <i>basso ostinato</i>, who is -perpetually growling, and ends by being tiresome beyond measure; for -instead of expressing<span class="pagenum"><a name="page_145" id="page_145"></a>{145}</span> my thanks, I begin the old song all over again, -but still I am not deficient in gratitude either, and I wish to tell you -so again and again in my very best manner. Write to me soon and at -length (or rather by music, which says all things); you know what -sincere pleasure every letter of yours causes me. Farewell, and once -more accept my thanks for the gratification you have bestowed on me, and -doubtless on many others by your first work.—I am, with esteem, yours,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To the Hon. Committee of this year’s Lower Rhine Musical Festival.</span></h2> - -<p class="r"> -Leipzig, January 18th, 1838.<br /> -</p> - -<p>I am deeply grateful for the invitation contained in your letter of the -8th of January. Your kind remembrance is not less prized by me than the -prospect of again attending such a pleasant festival, and deriving from -it as much enjoyment as that for which I have already to thank the -Rhenish Musical Festivals. I therefore accept your invitation with -sincere delight, if God grants health to me and mine, and if we can -mutually agree on the selection of the music to the full satisfaction of -both parties. The more successful the previous Cologne festival was with -regard to the arrangement of<span class="pagenum"><a name="page_146" id="page_146"></a>{146}</span> the pieces performed, especially in -Handel’s work with the organ, the more important it seems to me to have -at least <i>one</i> piece in the programme by which this year’s festival may -be distinguished from others, and by means of which progress may, as far -as possible, be manifested. For this purpose I consider it absolutely -necessary to have the name of Sebastian Bach in the programme, if only -for one short piece; for it is certainly high time that at these -festivals, on which the name of Handel has shed such lustre, another -immortal master, who is in no one point inferior to any master, and in -many points superior to all, should no longer be forgotten. The same -scruples which exist in opposition to this, must also have existed in -former years with regard to the works of Handel, and you are all -grateful to those who, disregarding these obstacles, revealed to you -such treasures of sublimity and elevation. Earn for yourself, then, -similar thanks from the Rhenish friends of music by making a beginning -which is indeed difficult (for this I do not deny), and must be -proceeded with cautiously, but which will certainly be attended with the -best results, and universally imitated by others. When anything of -Bach’s has been once performed, it will be easy to discover that it is -beautiful, and to perform it again; but the difficulty is the beginning. -The proposal that I wish to make to you on this subject is, to introduce -into this Musical Festival a short Psalm of Bach’s (about twenty minutes -or half an hour in length),<span class="pagenum"><a name="page_147" id="page_147"></a>{147}</span> and if you are afraid of doing this on the -second day, from the dread of scaring away the public, whom this learned -name might alarm, then do so on the first day, and give in addition a -rather shorter oratorio of Handel’s. It is pretty certain that no fewer -people will come to hear Handel, for those who do not fear the one will -be equally disposed to like the other, and there are still three or four -totally unknown and truly admirable oratorios of his, which would not -occupy more than an hour and a half, or scarcely two hours at most, and -would be a welcome novelty to all lovers of music. I became first -acquainted with these works by the splendid gift of the previous -committee,<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> and I shall be very glad if you can derive any benefit -from these volumes for this year’s festival. With regard to the second -day, I may first inquire whether you intend to apply to Cherubini for -his grand “Requiem;” it must be translated, and is entirely for men’s -voices, but as it will only last an hour, or even less, that would not -much matter, and according to the universal verdict it is a splendid -work. At present, however, the chief object seems to me to be the first -point in this letter, and I therefore beg you will arrange about it as -soon as possible.<span class="pagenum"><a name="page_148" id="page_148"></a>{148}</span></p> - -<h2><span class="smcap">To Rebecca Dirichlet.</span></h2> - -<p class="r"> -Leipzig, February, 1838.<br /> -</p> - -<p>... In our concerts we are playing a great deal of what is called -historical music, so in the last but one we had the whole of Bach’s -<i>suite</i> in D major, some of Handel and Gluck, etc. etc., and a violin -concerto of Viotti’s; in the last of all, Haydn, Righini, Naumann, etc.; -and in conclusion Haydn’s “Farewell Symphony,” in which, to the great -delight of the public, the musicians literally blew out their lights, -and went away in succession till the violinists at the first desk alone -remained, and finished in F sharp major. It is a curious, melancholy -little piece. We previously played Haydn’s trio in C major, when all the -people were filled with amazement that anything so beautiful should -exist, and yet it was very long ago published by Breitkopf and Härtel. -The next time we have Mozart, whose C minor concerto I am to play, and -we are also to have a quartett of his for the first time from his -unfinished opera, “Zaïde.” Then comes Beethoven, and two concerts remain -for every possible kind of modern composition, to make up the full -number of twenty.</p> - -<p>Yesterday evening we thought much of you. At a late hour, when I had -finished writing, I read aloud ‘Nausikaa’ to Cécile, in Voss’s -translation, repeating to her at the end of every ten verses the -profound philological remarks which you made when we used to read<span class="pagenum"><a name="page_149" id="page_149"></a>{149}</span> it -together during our Greek lesson, and which now recurred to me in -hundreds. Moreover, this poem is really irresistible when it becomes -sentimental. I always felt an inclination to set it to music, of course -not for the theatre, only as an epic, and this whole day I feel renewed -pleasure in the idea; but is anything at this moment to be done with -German poets? Last week four opera <i>libretti</i> were sent to me, each one -more ridiculous than the other; the only result is to make enemies for -myself. I therefore write instrumental music, and long for the unknown -poet, who perhaps lives close to me or at Timbuctoo,—who knows?...</p> - -<h2><span class="smcap">To his Family.</span></h2> - -<p class="r"> -Leipzig, April 2nd, 1838.<br /> -</p> - -<p>... This evening Madame Botgorscheck’s concert takes place,—an -excellent contralto singer, who persecuted me so much to play, that I -agreed to do so, and it did not occur to me till afterwards that I had -nothing either short or suitable to play, so I resolved to compose a -rondo, not one single note of which was written the day before -yesterday, but which I am to perform this evening with the whole -orchestra, and rehearsed this morning.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> It sounds very gay; but how I -shall play it the gods alone know,—indeed hardly they, for<span class="pagenum"><a name="page_150" id="page_150"></a>{150}</span> in one -passage I have marked a pause of fifteen bars in the accompaniment, and -have not as yet the most remote idea what I am to introduce during this -time. Any one, however, who plays thus <i>en gros</i> as I do, can get -through a good deal....</p> - -<h2><span class="smcap">To A. Simrock, Bonn.</span></h2> - -<p class="r"> -Berlin, July 10th, 1838.<br /> -</p> - -<p>In recommencing our correspondence, I must first of all thank you for -the great friendliness you showed towards me in Cologne. It is the first -time that any publisher ever assured me of his satisfaction at the -success of my compositions; this occurrence would in itself have been a -source of lively gratification to me, but it is much enhanced by the -kind and flattering manner in which you manifest your satisfaction, and -for which I shall ever feel indebted to you. From the time of your first -letter about “St. Paul,” in which you expressed a wish to have it for -your house, when I had not yet thought of publication at all, much less -of success,—also during the period of its being printed, with its -manifold alterations and interpolations, up to the present moment,—you -have been cordial and complaisant towards me to a degree which, as I -already said, I never before met with, and for which I cordially thank -you.</p> - -<p>Would it not be well worth while for any publisher in Germany to publish -just now some of Handel’s principal<span class="pagenum"><a name="page_151" id="page_151"></a>{151}</span> oratorios from the <i>original</i> -scores? This ought to be done by subscription, which would, I think, be -successful, as not one of these scores exists with us. I thought of -composing the organ parts for this purpose; they must, however, appear -in small notes in the score, or in notes of another colour, so that, -first, those who wished it could have Handel pure; second, my organ -parts in addition if required, and where there was an organ; and third, -in a <i>supplement</i>, the organ part arranged for clarionets, bassoons, and -other wind instruments of the modern orchestra, when no organ can be -had. Such a score would be useful to all institutes for oratorio music, -and we should at last have the true Handel in Germany, not one first -dipped in the waters of the Moselle and thoroughly diluted. I was -assured in England, that a very considerable number of subscribers to -such a score might be procured there. What do you think of this? You -have published the pianoforte editions of these oratorios,—perhaps a -selection might be made from some of them. Of course I am anxious to -have your really candid and sincere opinion of this proposal, which I -only mention to you, because it has often suggested itself to me, and -recurs to me at this moment.—I am, with sincere esteem, your obedient</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_152" id="page_152"></a>{152}</span></p> - -<h2><span class="smcap">To Ferdinand Hiller.</span></h2> - -<p class="r"> -Berlin, July 18th, 1838.<br /> -</p> - -<p>... The whole condition of music here is connected with the sand, with -the situation, and with official life, so that though you may have great -satisfaction in individuals, it is not easy to be on terms of intimacy -with any one. Gluck’s operas are indeed most charming. Is it not -remarkable that they always attract a full house, and that the public -applaud, and are amused, and shout? And that this should be the only -place in the world where such a thing seems possible? And that on the -next evening the “Postillon” should draw an equally crowded house? And -that in Bavaria it is forbidden to have music in any church, either -Catholic or Protestant, because it is supposed to desecrate them? And -that chorales seem to have become indispensable in the theatre? The -chief thing, however, is to have novelty, and plenty of good and fine -compositions in the world; thence it is that I am so eagerly expecting -your overture and your opera.</p> - -<p>You probably heard that I was at Cologne during the Musical Festival: -all went off well. The organ had a fine effect with Handel, and still -more so with Sebastian Bach (in a newly-discovered composition of his, -which you have not yet seen, with a stately double chorus); but even -there, to my mind at least, new and untried works were wanting to excite -interest; I should like<span class="pagenum"><a name="page_153" id="page_153"></a>{153}</span> so much to have something doubtful, to furnish -both the public and myself with an opportunity of giving an opinion. We -all know beforehand what we are to think of Beethoven, Bach, and Handel. -This ought to be so, but let us have other things besides. You are quite -right in saying that it is better in Italy, where the people insist -every year on having new music, and every year a fresh criticism—if -only the music and likewise the criticisms, were a shade better! I hear -you growl and say, what is better? Well then, more according to my -taste, if you will. To be sure, my taste is peculiar, such a possibility -sometimes suggests itself to me; but I must make use of it as it is, in -which case I can contrive to swallow as little, as the stork out of the -flat dish....</p> - -<h2><span class="smcap">To Concertmeister Ferdinand David, Leipzig.</span></h2> - -<p class="r"> -Berlin, July 30th, 1838.<br /> -</p> - -<p class="indd">Dear David,<br /> -</p> - -<p>Many thanks for your letter, which gave me great pleasure. Since I came -here I have been constantly thinking how really delightful it is that we -are to meet and live together, instead of your being in one place and I -in another, following our avocations without hearing much of each other, -which is, no doubt, the case with many good fellows in our dear yet -rather aggravating Fatherland; but on reflecting further, I discovered<span class="pagenum"><a name="page_154" id="page_154"></a>{154}</span> -that there are not many musicians who, like yourself, pursue steadily -the broad straight road in art, or in whose active course I could feel -the same intense delight that I do in yours. Such things are seldom said -in conversation, therefore let me write to-day, how much your rapid and -welcome development during the last few years has surprised and rejoiced -me; it is often grievous to me to see so many with the noblest -aspirations, but inferior talents, and others with great talents yet low -tendencies; so that to see true genius, combined with right good will, -is doubly cheering. People of the former class swarm here; almost all -the young musicians who visit me may, with few exceptions, be included -in that number. They praise and prize Gluck and Handel, and all that is -good, and talk about them perpetually, and yet what they do is an utter -failure, and so very tedious. Of the second class there are examples -everywhere. As I said, therefore, the very thought of your character -rejoices me, and may Heaven permit us to succeed more and more in -candidly expressing our wishes and our inmost thoughts, and in holding -fast all that is dear and sacred in art, so that it shall not perish!...</p> - -<p>No doubt, you are preparing many new things for next winter, and I -rejoice heartily in the idea of hearing them. I have just finished my -third quartett in D major, and like it much. May it only please you as -well!—I almost think it will, for it is more spirited, and<span class="pagenum"><a name="page_155" id="page_155"></a>{155}</span> seems to me -likely to be more grateful to the players than the others. I intend in a -few days to begin to write out my symphony, and to complete it in a -short time, probably while I am still here. I should also like to write -a violin concerto for you next winter. One in E minor runs in my head, -the beginning of which gives me no peace. My symphony shall certainly be -as good as I can make it, but whether it will be popular and played on -the barrel-organs, I cannot tell. I feel that in every fresh piece I -succeed better in learning to write exactly what is in my heart, and -after all, that is the only right rule I know. If I am not adapted for -popularity, I will not try to acquire it, nor seek after it; and if you -think this wrong, then I ought rather to say I <i>cannot</i> seek after it, -for really I <i>cannot</i>, but would not if I could. What proceeds from -within, makes me glad in its outward workings also, and therefore it -would be very gratifying to me were I able to fulfil the wish you and my -friends express; but I can do nothing towards it or about it. So much in -my path has fallen to my share without my having even once thought of -it, and without any effort on my part, that perhaps it may be the case -with this also; if not, I shall not grumble on the subject, but console -myself by knowing that I did what I could, according to my best powers -and my best judgment. I have <i>your</i> sympathy, and <i>your</i> delight in my -works, and also that of some valued friends. More could scarcely be -desired. A thousand thanks, then, for<span class="pagenum"><a name="page_156" id="page_156"></a>{156}</span> your kind expressions and for all -your friendship towards me.—Your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To Herr Advocat Conrad Schleinitz, Leipzig.</span></h2> - -<p class="r"> -Berlin, August 1st, 1838.<br /> -</p> - -<p class="indd">Dear Schleinitz,<br /> -</p> - -<p>... What you write me about your increased business rejoices me much. -You know how often we have talked over the subject, but I cannot share -your sentiment, that any one profession is preferable to another. I -always think that whatever an intelligent man gives his heart to, and -really understands, must become a noble vocation; and I only personally -dislike those in whom there is nothing personal, and in whom all -individuality disappears; as, for example, the military profession in -peace, of which we have instances here. But with regard to the others, -it is more or less untrue. When one profession is compared with another, -the one is usually taken in its naked reality, and the other in the most -beautiful ideality, and then the decision is quickly made. How easy it -is for an artist to feel such reality in his sphere, and yet esteem -<i>practical</i> men happy who have studied and known the different relations -of men towards each other, and who help others to live by their own life -and progress, and at once see the fruits<span class="pagenum"><a name="page_157" id="page_157"></a>{157}</span> of all that is tangible, -useful, and benevolent instituted by them. In one respect, too, an -upright man has the hardest stand to make, in knowing that the public -are more attracted by outward show than by truth. But individual -failures and strife must not be allowed to have their growth in the -heart; there must be something to occupy and to elevate it far above -these isolated external things. This speaks strongly in favour of my -opinion, for it is the best part of every calling, and common to all; to -yours, to mine, and to every other. Where is it that you find beauty -when I am working at a quartett or a symphony? Merely in that portion of -myself that I transfer to it, or can succeed in expressing; and you can -do this in as full a measure as any man, in your defence of a culprit, -or in a case of libel, or in any one thing that entirely engrosses you, -and that is the great point. If you can only give utterance to your -inmost thoughts, and if these inmost thoughts become more and more -worthy of being expressed, ... all the rest is indifferent. I thank you, -therefore, for the report you give me of your occupations, and hope you -will often send me equally good tidings.—Your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_158" id="page_158"></a>{158}</span></p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Leipzig, October 28th, 1838.<br /> -</p> - -<p class="indd">My dear Friend,<br /> -</p> - -<p>A thousand thanks for your continued friendship towards me, and also for -occasionally assuring me of it; a letter from you cheers me for a long -time to come, and what you write of yourself and others is always so -fertile, and as much yourself, as if I heard you speaking, and were -agreeing with you, and rejoicing in doing so. If I were a little more -mild, and a little more just, and a little more judicious, and a good -many other things a little more, perhaps I, too, might then have a -judgment equal to yours; but I am so soon irritated, and become -unreasonable, whereas you love what is good, and yet what is bad appears -to you worth amendment.</p> - -<p>On the occasion of Clara Novello’s concert, a vast amount of rivalry, -and bad artistic feeling, was brought to the light of day, which I -neither wish to exist by day, nor by night, nor indeed in the world at -all. In fact, when really <i>good</i> musicians condescend to depreciate each -other, and to be malicious, and to sting in secret, I would sooner -renounce music altogether, or rather, I should say, musicians; it is -such petty, tinkering work, and yet it seems to be the fashion! -formerly, I thought it was so only with bunglers, but I see it is the -same with all. A straightforward character alone is a protection against -such an example, and a straightforward<span class="pagenum"><a name="page_159" id="page_159"></a>{159}</span> fellow, who despises it. Yet -this serves to endear goodness to us still more, and we rejoice doubly -in the contrast, and in good art, and in good artists, and in letters -from you; and thus the world is by no means so bad after all.</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Leipzig, November 2nd, 1838.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>Many, many thanks for your letter, which I received the day before -yesterday, and for the parcel, which came to-day. You have again -rendered me an essential service, and I feel most grateful to you; how -can you ask whether I wish you to proceed in the same way? When all is -so well put together, I have almost nothing to do, but to write music -for the words. I ought to have previously told you, that the sheets you -took away with you are by no means to be regarded as containing a mature -design, but as a mere combination of the materials I had before me for -the purpose of eventually forming a plan. So the passage of the widow, -and also of the raven, being left out, is decidedly most advisable, and -also the whole commencement being abridged, in order that the main -points may be dwelt on to one’s heart’s content. I would urgently -entreat you to proceed with your work, so far as your time and leisure -will permit, and soon to<span class="pagenum"><a name="page_160" id="page_160"></a>{160}</span> send me the continuation of the first part, -from where you left off, and which must now be of considerable length. -Rest assured that, as I already told you, you will earn my most sincere -gratitude.</p> - -<p>You say that at first, you could not make anything of the subject, but -that a sudden light dawned on you. I figured to myself Elijah as a -grand, mighty prophet, such, as we might again require in our own day -energetic and zealous, but also stern, wrathful, and gloomy; a striking -contrast to the Court myrmidons and popular rabble,—in fact, in -opposition to the whole world, and yet borne on angels’ wings. Is this -the inference you drew from the subject, and this the sense in which you -conceived an affection for it? I am anxious to do justice to the -<i>dramatic</i> element, and, as you say, no epic narrative must be -introduced. I am glad to learn that you are searching out the real sense -of the Scriptural words, which cannot fail to touch every heart; but if -I might make one observation, it is that I would fain see the Dramatic -Element more prominent, as well as more exuberant and defined,—appeal -and rejoinder, question and answer, sudden interruptions, etc. etc. Not -that it disturbs me, for example, Elijah first speaking of the -assembling of the people, and then forthwith addressing them. All such -liberties are the natural privileges of such a representation in an -oratorio; but I should like the representation itself to be as spirited -as possible; for instance, it annoys me that Elijah does not reply<span class="pagenum"><a name="page_161" id="page_161"></a>{161}</span> to -Ahab’s words, No. 16 till No. 18; various other speeches and a chorus -intervening. I should like to have had an instant and eager rejoinder, -etc. etc.</p> - -<p>But we shall no doubt presently agree on such points, and I would only -entreat you, when you resume your work, to think of this wish of mine. -Above all, accept my thanks for your kindness, and write to me soon on -the same subject.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To his Family.</span></h2> - -<p class="r"> -Leipzig, November 5th, 1838.<br /> -</p> - -<p>I have felt unequal to resume the train of my musical compositions since -the measles. You cannot conceive the chaos that accumulates round me, -when I am obliged neither to write, nor to go out, for three weeks. At -last, here I am, correcting the parts of my three violin quartetts, -which are to appear this winter, but I never can contrive to complete -them, owing to so many letters, and affairs, and other <i>odiosa</i>. The -Shaws are here, who don’t know one word of German, and not many words of -French, and yet they live with thorough, downright Leipzigers, who only -speak their Leipzig vernacular; and Bennett, with two young English -musicians, and six new symphonies, and letters, and passing strangers, -and rehearsals, and Heaven knows<span class="pagenum"><a name="page_162" id="page_162"></a>{162}</span> what all the other things are, which -swallow up the day, leaving no more trace than if it had never existed. -Truly the most delightful of all things is to be enabled to store up -precious and enduring memorials of past days, to tell that these days -were; and the most hateful of all things is, when time passes on, and we -pass with it, and yet grasp nothing.</p> - -<p>I am reading Lessing just now frequently, with true enjoyment and -gratitude. At the end of the most fatiguing day, this famous fellow -makes me feel quite fresh again; though Germany fares rather badly when -you read his letters to his grandfather, or to Nicolai, Gleim, and -Eckert; and yet Lessing wrote in German, and in such German, too, that -it cannot be well translated!</p> - -<h2><span class="smcap">To Professor Schirmer, Düsseldorf,</span><br /><br /> -<small>(now director of the carlsruhe academy.)</small></h2> - -<p class="r"> -Berlin, November 21st, 1838.<br /> -</p> - -<p>So I am said to be a saint! If this is intended to convey what I -conceive to be the meaning of the word, and what your expressions lead -me to think you also understand by it, then I can only say that, alas! I -am not so, though every day of my life I strive with greater -earnestness, according to my ability, more and more to resemble this -character. I know indeed that I can never hope to be altogether a saint, -but if I ever<span class="pagenum"><a name="page_163" id="page_163"></a>{163}</span> approach to one, it will be well. If people, however, -understand by the word ‘saint’ a Pietist, one of those who lay their -hands on their laps, and expect that Providence will do their work for -them, and who, instead of striving in their vocation to press on towards -perfection, talk of a heavenly calling being incompatible with an -earthly one, and are incapable of loving with their whole hearts any -human being, or anything on earth,—then, God be praised! such a one I -am not, and hope never to become, so long as I live; and though I am -sincerely desirous to live piously, and really to be so, I hope this -does not necessarily entail the other character. It is singular that -people should select precisely <i>this</i> time to say such a thing, when I -am in the enjoyment of so much happiness, both through my inner and -outer life, and my new domestic ties, as well as busy work, that I -really never know how sufficiently to show my thankfulness. And, as you -wish me to follow the path which leads to rest and peace, believe me, I -never expected to live in the rest and peace which have now fallen to my -lot. I offer you a thousand thanks for your good wishes, and beg you not -to be uneasy on either of these points.</p> - -<p>It is pleasant to learn what you write to me of yourself and your works, -and that you also are persuaded that what people usually call honour and -fame are but doubtful advantages, while another species of honour, of a -more elevated and spiritual nature, is as essential as it is rare.<span class="pagenum"><a name="page_164" id="page_164"></a>{164}</span> The -truth of this is best seen in the case of those who possess all possible -worldly distinctions, without deriving from them one moment of real -pleasure, but only causing them the more greedily to crave after them; -and this fact was first made quite evident to me in Paris. I rejoice -that you are not one of those who speak in a contemptuous strain of -French painters, for I have always received great pleasure from the good -ones of the present day, and I cannot believe in the sincerity of those -persons who, at sight of one your pictures, fall into ecstasies, and yet -presume from the height of their throne to look down on one of Horace -Vernet’s. What I mean is, that if one beautiful object pleases the eye, -another cannot fail also to inspire sympathy; at least, so it is with -myself.</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Leipzig, December 6th, 1838.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>Along with this you will receive the organ pieces and “Bonifacius” which -I also enclose. Thank you much for the latter, and for the manuscripts -you have from time to time sent me for “Elijah;” they are of the -greatest possible use to me, and though I may here and there make some -alterations, still the whole affair, by your aid, is now placed on a -much firmer footing. With regard to the dramatic element, there<span class="pagenum"><a name="page_165" id="page_165"></a>{165}</span> still -seems to be a diversity of opinion between us. In such a character as -that of Elijah, like every one in the Old Testament, except perhaps -Moses, it appears to me that the dramatic should predominate,—the -personages should be introduced as acting and speaking with fervour; not -however, for Heaven’s sake, to become mere musical pictures, but -inhabitants of a positive, practical world, such as we see in every -chapter of the Old Testament; and the contemplative and pathetic element -which you desire, must be entirely conveyed to our apprehension by the -words and the mood of the acting personages.</p> - -<p>In your “Bonifacius,” for instance, this was a point to which I was by -no means reconciled; in my opinion he ought to have been treated -dramatically throughout, like a theatrical representation (in its best -sense) only without <i>visible</i> action. The Scriptural allusions too -should, according to my idea, be more sparingly introduced, and placed -in his mouth alone. The contrast between this style of language (which -pervades the whole) and that at the coronation, is not sufficiently -equalized. Pepin, and all the pagans, and pagan priests, flit before me -like shadows or misty forms, whereas, to satisfy me, they must be solid, -robust men. Do not be displeased that I send you a bit of criticism -along with my thanks, for such is my insufferable custom. Besides a cold -and cough make me unusually rabid to day. I am now about to set to work -on the “Elijah,” and to<span class="pagenum"><a name="page_166" id="page_166"></a>{166}</span> plough away at the soil as I best can; if I do -not get on with it, you must come to my aid; and I hope as kindly as -ever, and preserve the same regard for your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To A. Simrock, Bonn.</span></h2> - -<p class="r"> -Leipzig, March 4th, 1839.<br /> -</p> - -<p>The manuscripts which I ought to have sent you last year are not yet -finished; I wished to make them as perfect as I could; but for this both -leisure and good humour were requisite, and during the period of -constant concerts these too often failed. Now I hope shortly to complete -the pieces, and thus free myself from debt.</p> - -<p>But they are not “songs without words,” for I have no intention of -writing any more of that sort, let the Hamburgers say what they will! If -there were too many such <i>animalculæ</i> between heaven and earth, at last -no one would care about them; and there really is quite a mass of piano -music composed now in a similar style; another chord should be struck, I -say.—I am, with entire esteem, your obedient</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_167" id="page_167"></a>{167}</span></p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, March 18th, 1839.<br /> -</p> - -<p>You wish to know how the overture to “Ruy Blas” went off. Famously. Six -or eight weeks since an application was made to me in favour of a -representation to be given for the Theatrical Pension Fund (an excellent -benevolent institution here, for the benefit of which “Ruy Blas” was to -be given). I was requested to compose an overture for it, and the music -of the romance in the piece, for it was thought the receipts would be -better if my name appeared in the bills. I read the piece, which is -detestable, and more utterly beneath contempt than you could believe, -and said, that I had no leisure to write the overture, but I composed -the romance for them. The performance was to take place last Monday -week; on the previous Tuesday the people came to thank me politely for -the romance, and said it was such a pity I had not also written an -overture, but they were perfectly aware that time was indispensable for -such a work, and the ensuing year, if I would permit them, they would -give me longer previous notice. This put me on my mettle. I reflected on -the matter the same evening, and began my score. On Wednesday there was -a concert rehearsal, which occupied the whole forenoon. Thursday the -concert itself, yet the overture was in the hands of the copyist early -on Friday; played three times on Monday in the concert<span class="pagenum"><a name="page_168" id="page_168"></a>{168}</span> room, tried over -once in the theatre, and given in the evening as an introduction to the -odious play. Few of my works have caused me more amusing excitement. It -is to be repeated, by desire, at the next concert, but I mean to call -it, not the overture to “Ruy Blas,” but to the Theatrical Pension Fund.</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Frankfort, June 18th, 1839.<br /> -</p> - -<p class="indd">Dear Fanny,<br /> -</p> - -<p>Give me your best advice! The eccentric Capellmeister Guhr is become my -particular friend, and we are quite inseparable. Lately we were in a -pleasant cordial mood, and I was eagerly questioning him about his -extensive and rare collection of Bach’s works, among which are two -autographs, the choral preludes for the organ, and the “Passecaille,” -with a grand fugue at the end of it,—</p> - -<div class="figcenter"> -<img src="images/ill_pg-168.png" width="250" height="66" alt="musical notation" title="" /> -</div> - -<p class="nind">when he suddenly said, “I’ll tell you what, you shall have one of these -autographs; I will make you a present of it, for you take as great -delight in them as I do; choose which you prefer,—the preludes or the -‘Passecaille.’” This was really no trifling gift, for I know<span class="pagenum"><a name="page_169" id="page_169"></a>{169}</span> that he -has been offered a considerable sum of money for these pieces, but he -refused to part with them, and I would myself have paid a good price for -them had they been for sale, and now he freely gives me one; but the -question is, which shall I take? I have by far the strongest inclination -for the preludes, because they begin with the “Altes Jahr,” because they -include other great favourites of mine, and because the “Passecaille” -and the fugue are already published. But you must also have a voice in -the matter, for you will feel no common interest in it. So send me your -vote, <i>Cantor</i>!</p> - -<p>Is not Guhr a most singular being? and yet I can get on better with him -than with any other of the Frankfort musicians. He enjoys life, and -lives and lets live, but is sharp enough as a director, and beats common -time so distinctly that they cannot fail to play to it, as if they were -in arm-chairs; and my other colleagues here are so desperately -melancholy, and always talking of musical critiques, and recognition, -and flattering testimonials, and constantly thinking about themselves, -and constantly fishing for compliments (but these compliments must be -genuine; they even aspire to outpourings of the heart!). This is both -provoking and sad; and yet (behind people’s backs) they can play as mad -pranks as any one. Much as I like Frankfort for a summer visit, I do not -wish to be settled here as a musician, owing to all the above reasons, -and many others besides.<span class="pagenum"><a name="page_170" id="page_170"></a>{170}</span></p> - -<p>At the concert of the St. Cecilia Association, where I had an -opportunity of fairly estimating their musical organization, I felt -quite melancholy at the difference between our sense of music in Leipzig -and what was given here; for though it goes on very fairly, and -sometimes sounds well, still, as a rule, it seems as if they were -playing from sheer weariness, or from compulsion, and vastly little of -that zeal and love are apparent in the orchestra which so often prevail -among us. In fact, when I compare the whole elements of the orchestra -here with ours at Leipzig, I feel just as I did when I returned from -Düsseldorf, and thought myself in Paradise. The St. Cecilia Association, -too, has deteriorated, which is not the fault of one person or another, -but of all combined, for the soil here is far from being favourable to -music, though all the better for apples and cherries and wine, and other -good things. I wish you could see the Sachsenhäusen hill at this moment, -with all its ripe cherries and blooming vines! Moreover, there are many -delightful people here, and some among them genuinely musical. For -painting much is done, and it seems to be making real progress. This is -a very different life from what it was three or four years ago when I -was here, and found everything disorganized by discord and strife.</p> - -<p>A tolerably good, though not very extensive exhibition of paintings is -just closed, which contained some admirable, and many very pretty -things. This change of tune<span class="pagenum"><a name="page_171" id="page_171"></a>{171}</span> and subject brings us back to Hensel. When -does he go to England? when does he return? does he take any pictures -with him? and what may they be? are you going to Italy? do I know -anything of anything? I am writing a trio (the first part is finished), -a sonata for the violin (ditto), a symphony (not ditto), and a letter to -you (which is now quite finished). But when will you write to me?—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Hochheim, near Coblenz, August 1st, 1839.<br /> -</p> - -<p class="indd">My dearest Friend,<br /> -</p> - -<p>I earnestly hope that you may fulfil your intention of visiting us late -in the autumn. The time seems to me endless till you become acquainted -with my wife; besides, it is indeed very long since you and I have -conversed in the unreserved confidence of home. When I was in England, -two years ago, my wife kept a small diary, which she began after our -marriage, and every day during my stay in England she left a blank space -in its pages, that I might write the record of my days opposite to hers. -For some time past I have accustomed myself to do this, and entered -every detail minutely into the little green book (you ought to know it, -for you gave it to me in 1832),—the date of Rosen’s death, that of my -visit to Birmingham, etc. Now I have<span class="pagenum"><a name="page_172" id="page_172"></a>{172}</span> arrived exactly at the -anniversary, and my diary clearly shows me how much I was then out of -sorts, and very different from what I ought to have been. The constant -publicity, the grand scale of things on every side, in fact, everything -around me attracted me less than formerly, and made me feel bewildered -and irritable. May we therefore soon meet in Germany! You certainly -would not enjoy yourself less here after England, and I do delight in -this beautiful country. The summer months I recently passed in Frankfort -have thoroughly refreshed me; in the morning I worked, then bathed or -sketched; in the afternoon I played the organ or the piano, and -afterwards rambled in the forest, then into society, or home, where I -always found the most charming of all society: this was the mode in -which my life was agreeably spent, and you must add to all this the -glorious summer days which followed each other in uninterrupted -succession.</p> - -<p>We have now been here nearly a fortnight, and three or four days hence -we intend to go up the Rhine, back to Frankfort, and return to Leipzig -about the middle of the month. Your wish to have X—— in London (though -very natural, I admit), is one in which we do not at all agree, and yet -my reasons are by no means egotistical,—quite the reverse. I am -convinced that it would not be for his benefit, were he to assume a -position in the world which would oblige him to take an interest in so -many things, not only foreign to art, but actually<span class="pagenum"><a name="page_173" id="page_173"></a>{173}</span> adverse to it. A -certain number of guineas might accrue to him, but no real gain, either -for his happiness or his progress in art. Formerly I used positively to -hate all speculators in art, but now I feel chiefly compassion for them, -because I see so few who are at rest; it is a never-ending strife for -money and fame, and the most superior talents, as well as inferior ones, -join in it. Highly as I esteem X——, I am by no means sure that he -would not make shipwreck on this rock, and even if he did not lose the -brightest part of his genius, he would certainly have to deplore the -best part of his life and happiness; and after all, for what? The -reformation and improvement of individual cities, even were they as -important as London, is in fact either impossible or indifferent; but if -a man only strives thoroughly to perfect his own being, and to purify -himself by degrees from all dross, in acting thus he is working for all -cities alike; and if he does so even in a village, his labours are -certain to make their way into the world, and there to exercise their -due influence. I would rather, therefore, that X—— remained in Germany -wherever music is most appreciated; but you must not ask me where that -is,—whether at Frankfort or Vienna? but it lies in the air no doubt; -therefore I shall always advise his not leaving Germany.</p> - -<p>Planché’s work gets on very slowly, and possibly I may have a new -oratorio ready before his text is completed. The number of friends that -“St. Paul” has<span class="pagenum"><a name="page_174" id="page_174"></a>{174}</span> gained me is really quite remarkable. I could never have -anticipated it. It was performed twice at Vienna in the spring, and they -want to have a festival there in November, with one thousand performers -(“St. Paul” is to be given), which I shall probably go to conduct. This -has surprised me the more, because no other work of mine has ever made -its way into Vienna. I must be in Brunswick for the Musical Festival the -end of this month, in order to conduct “St. Paul;” and it is always a -source of twofold pleasure to me when I have no personal acquaintances -in a place, which will be the case there.</p> - -<p>My new pieces are a trio, completed for piano, violin, and violoncello, -in D minor; a book of four-part songs, to be sung in the open air; some -songs for one voice, organ fugues, half a Psalm, etc. I mean to continue -the four-part songs, and have thought a good deal about the capabilities -of this style; and it does seem the most natural of all music when four -people are rambling together in the woods, or sailing in a boat, and -have the melody all ready with them and within them. In quartetts for -male voices alone, both for musical and other reasons, there is -something prosaic in the four male voices, which has always been -perceptible; whereas in those I allude to, the combination of male and -female voices will sound more poetical, and this will, I hope, also be -perceptible.</p> - -<p>Do send me a song or two, to sing in autumn, or<span class="pagenum"><a name="page_175" id="page_175"></a>{175}</span> better still, in -summer, or in spring, or on the water, on the grass, or on a bridge, or -in the woods, or in the garden; to the stork, or to a kind Providence, -or to the people of the cities and plains, or for a dance, or a wedding, -or as a <i>souvenir</i>. It might be a popular romance!</p> - -<p>I should like much to hear your sentiments about the events in your -Fatherland;<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> they interest me more than you perhaps imagine. Be sure -you come to us the end of autumn! Cecilia says your room is ready, and -sends you her remembrances.—I am always yours.</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Frankfort, July 3rd, 1839.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>We are leading the most agreeable, happy life imaginable here. I am -therefore resolved not to go away till obliged to do so, and to give -myself up entirely for the present to a sense of comfort and pleasure. -The most delightful thing I ever saw in society was a <i>fête</i> in the -forest here: I really must tell you all about it, because it was unique -of its kind. Within a quarter of an hour’s drive from the road, deep in -the forest where lofty spreading beech-trees stand in solitary grandeur, -forming an impenetrable canopy above, and where all around nothing; was -to be seen but green<span class="pagenum"><a name="page_176" id="page_176"></a>{176}</span> foliage glistening through innumerable trunks of -trees,—this was the locality. We made our way through the thick -underwood, by a narrow footpath, to the spot, where on arriving, a -number of white figures were visible in the distance, under a group of -trees, encircled with massive garlands of flowers, which formed the -concert-room. How lovely the voices sounded, and how brilliantly the -soprano tones vibrated in the air; what charm and melting sweetness -pervaded every strain! All was so still and retired, and yet so bright! -I had formed no conception of such an effect. The choir consisted of -about twenty good voices; during the previous rehearsal in a room, there -had been some deficiencies, and want of steadiness. Towards evening, -however, when they stood under the trees, and uplifting their voices -gave my first song, “Ihr Vöglein in den Zweigen schwank,” it was so -enchanting in the silence of the woods, that it almost brought tears to -my eyes. It sounded like genuine poetry. The scene too was so beautiful; -all the pretty female figures in white, and Herr B—— standing in the -centre, beating time in his shirt sleeves, and the audience seated on -camp stools, or hampers, or lying on the moss. They sang through the -whole book, and then three new songs which I had composed for the -occasion. The third (“Lerchengesang”) was rather exultingly shouted than -sung, and repeated three times, while in the interim strawberries, -cherries, and oranges were served on the most delicate china, and -quantities of<span class="pagenum"><a name="page_177" id="page_177"></a>{177}</span> ice and wine and raspberry syrup carried round. People -were emerging in every direction out of the thicket, attracted from a -distance by the sound of the music, and they stretched themselves on the -ground and listened.</p> - -<p>As it grew dark, great lanterns and torches were set up in the middle of -the choir, and they sang songs by Schelble and Hiller, and Schnyder, and -Weber. Presently a large table, profusely decorated with flowers and -brilliantly lighted, was brought forward, on which was an excellent -supper with all sorts of good dishes and wines; and it was most quiet -withal, and lonely in the wood, the nearest house being at the distance -of at least an hour, and the gigantic trunks of the trees looking every -moment more dark and stern, and the people under their branches more -noisy and jovial. After supper they began again with the first song, and -sang through the whole six, and then the three new ones, and the -“Lerchengesang” once more three times over. At length it was time to go; -in the thicket we met the waggon in which all the china and plate was to -be taken back to the town; it could not stir from the spot, nor could we -either, but we contrived to get on at last, and arrived about midnight -at our homes in Frankfort. The donors of the <i>fête</i> were detained in the -forest till two o’clock, packing up everything, and lost their way along -with the large waggon, finding themselves unexpectedly at Isenburg; so -they did not get home till long afterwards. There were three families<span class="pagenum"><a name="page_178" id="page_178"></a>{178}</span> -who had the merit of this idea, and whom we have to thank for this -memorable <i>fête</i>. Two of these we were not at all acquainted with, and -the third only slightly. I know now how songs ought to sound in the open -air, and hope shortly to compose a gay book of them.</p> - -<p>It must be tiresome enough for you to read descriptions of <i>fêtes</i> long -past, and indeed such descriptions are of no great interest even to -those who were present, but far more trying to those who were not; and -yet I cannot resist telling you also of an entertainment given by Herr -E——, which took place last week, because I know you rejoice in any -marks of honour bestowed on me, and this was indeed a very great one. We -were invited, along with many whom we knew and some whom we did not -know, chiefly members of the St. Cecilia Association. First, we had some -music, and played and sang; then, the door of a dark room was thrown -open, and from an opposite direction resounded my overture to the -“Midsummer Night’s Dream.” While it was being played a curtain drew up, -and displayed a most charming tableau, Titania sleeping in a flower; -hovering over her was Cobweb spreading out the curtain, Peaseblossom -fanning her, Moth, and the others,—all represented by lovely young -girls; and a whole succession of tableaux followed, accompanied by my -music. The second was a German girl of the olden time in her chamber, -while her lover, in rain and snow, was singing under her<span class="pagenum"><a name="page_179" id="page_179"></a>{179}</span> window, -“Leucht’t heller als die Sonne,” which seemed to please her uncommonly. -This was succeeded by an “Ave” for eight voices, with the Angel, bearing -a lily in his hand, appearing to the kneeling Mary. Then came a -beautiful Zuleika, in a Persian apartment, who, without changing her -attitude, sang my song in E minor very sweetly and prettily. This was -followed by a masterpiece—Spanish peasants’ nuptials,—three handsome -couples of lovers dancing, admirably costumed and placed, and behind -them a pathetic Don Quixote, when the little chorus in C, “Nun zündet -an” was appropriately sung. Next came a youth with a small neckcloth and -a large shirt-collar, in a vineyard with a sketch-book, and he sang “Ist -es wahr?” and most charmingly he sang it. Seventhly (for I am now -falling into the catalogue style), a chapel, with a handsome Gothic -(mock) organ, at which was seated a nun, with two others standing by -her, who sang from the printed music “Beati omnes,” the choir responding -behind the scenes. Eighthly, two girls at a well, singing by heart, in -the most enchanting manner, my duett, “Ich wollt’, meine Liebe” having -contrived, under some pretext, to get the music transcribed. Ninthly, -St. Paul on the ground, his escort in alarm, and a chorus of women -singing behind the scenes. Tenth and last, before the curtain was drawn -up, “As the hart panteth after the water-brooks” was sung, while I was -wondering how they would manage to represent the panting of the hart, -and<span class="pagenum"><a name="page_180" id="page_180"></a>{180}</span> who was to attempt it. But now comes something more especially for -you, Mother. They had dressed S——, who is thought to resemble me, to -personate myself; and there he was, sitting in an inspired attitude, -writing music, and chewing away at his handkerchief,<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> and by his side -a lovely St. Cecilia with a wreath. Now, Mother, I hope you will no -longer call me the “reverse of a charlatan;” for my describing all this -myself, without the ink turning red for shame, is really a strong -measure!</p> - -<p>As I am in a boasting mood, I may as well tell you at once that I have -proposals from two musical festivals for 1840. And now enough of myself -and my braggadocio. I have however been very busy here, and have -completed a pianoforte trio, five four-part songs for the open air, and -three fugues for the organ, as well as commenced many others. I have -practised the organ so steadily, that on my return to Leipzig I purpose -giving an organ concert there, and I think that my pedal playing is now -very tolerable.</p> - -<p>Dear Fanny! I beg that among the six great organ preludes and fugues of -Bach, published by Riedl, you will look at the fugue No. 3, in C major. -Formerly I did not care much about them, they are in a very simple -style; but observe particularly the four last bars, natural and simple -as they are, I fell quite in love with them, and played them over at -least fifty times<span class="pagenum"><a name="page_181" id="page_181"></a>{181}</span> yesterday. How the left hand glides and turns, and -how gently it dies away towards the close! It pleased me beyond all -measure.</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span><a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></h2> - -<p class="r"> -Leipzig, September 14th, 1839.<br /> -</p> - -<p class="indd">Dear Fanny,<br /> -</p> - -<p>Wishing to note down a great many things for your benefit, I examined my -diaries, but found very little in them, and say to myself, “Hensel will -show her and tell all this a hundred times better than I can.”</p> - -<p>So only with a view to perform my promise:—</p> - -<p><i>Isola Bella.</i>—Place yourself on the very highest point, and look right -and left, before and behind you,—the whole of the island and the whole -of the lake are at your feet.</p> - -<p><i>Venice.</i>—Do not forget Casa Pisani, with its Paul Veronese, and the -Manfrini Gallery, with its marvellous ‘Cithern Player’ by Giorgione, and -a ditto, ‘Entombment,’ by Titian (Hensel laughs at me). Compose -something in honour of the ‘Cithern Player;’ I did so. When you see the -‘Assumption of the Virgin,’ think of me. Observe how dark the head of -Mary—and indeed her whole figure stands out against the bright sky; the -head looks quite brown, and there is an ineffable expression<span class="pagenum"><a name="page_182" id="page_182"></a>{182}</span> of -enthusiasm and overflowing felicity, that no one could believe without -having actually seen it. If you don’t think of me, too, at sight of the -golden glory of the sky behind Mary,—then there is an end of all -things! Likewise two certain cherubs’ heads, from which an ox might -learn what true beauty is; and if the ‘Presentation of Mary,’ and the -woman selling eggs underneath, do not please you,—then call me a -blockhead! Think of Goethe when you see the Lions in front of the -Arsenal: “Stehen zwei altgriechische Löwen,” etc. Sail in a gondola at -night, meeting other black gondolas hurrying along. If you don’t then -think of all sorts of love stories, and other things which might occur -within them while they glide by so quickly,—then am I a dolt!</p> - -<p><i>Florence.</i>—The following are among my notes on the portrait gallery -(see if you find them true, and write to me on the subject):—</p> - -<p>“Comparison between the head and its production, between the man’s work -and his exterior—the artist and his portrait. Titian, vigorous and -royal; Domenichino, precise, bright, very astute, and buoyant; Guido, -pale, dignified, masterly, keen; Lanfranco, a grotesque mask; Leonello -Spada, a good-natured <i>fanfaron</i> and a reveller; Annibale Carracci, -peeping and prying; the two Caraccis, like the members of a guild; -Caravaggio, rather commonplace and cat-like; Guercino, handsome and -affected, melancholy and dark; Bellini the <span class="pagenum"><a name="page_183" id="page_183"></a>{183}</span>red-haired, the stern, -old-fashioned teacher; Giorgione, chivalrous, fantastic, serene, and -clear; Leonardo da Vinci, the lion; in the middle, the fragile, heavenly -Raphael, and over him Michael Angelo, ugly, vigorous, malignant; Carlo -Dolce, a coxcomb; Gerard Dow, a mere appendage among his kitchen -utensils,” etc. etc.</p> - -<p>In the large gallery to the left of the tribune, look at a little -picture by Fra Bartolommeo, scarcely larger than this sheet of paper, -but with two doors, all so neatly and carefully painted and finished. -When you enter the gallery, salute first the busts of the Medici, for -they were its founders. In the tribune there are some good things. Do -not fail to see all the painted churches, which are quite beyond -belief,—Maria Novella, St. Annunziata (you must see Andrea del Sarto -there; remark also Fra Bartolommeo falling backwards downstairs from -terror, because the angel has already been painting on his canvas). -Examine also this said angel’s painting in the ‘Annunciation’ of Fra -Bartolommeo; it is very fine (Hensel laughs).</p> - -<p>To St. Marco, the Academy, etc. etc.</p> - -<p>If the site of Brunelli’s statue, near the Duomo, does not please you, I -can’t help you. The Duomo itself is not bad. Walk about a great deal.</p> - -<p><i>Milan.</i>—Don’t fail to go to the top of the cathedral, on account of -the millions of pinnacles, and the splendid view.</p> - -<p><i>Genoa.</i>—It is pleasant to be in the Villetta Negri at nightfall.<span class="pagenum"><a name="page_184" id="page_184"></a>{184}</span></p> - -<p><i>Betwixt Genoa and Florence</i>, see everything. Do not miss visiting the -church of St. Francesco in Assisi, on any account whatever. The same -with regard to all Perugia.</p> - -<p>Drink a flask of <i>aleatico</i> in Florence, and add another of <i>vino -santo</i>.</p> - -<p><i>Rome.</i>—Holy Week; be as weary as you please during the whole chanting -of the Psalms, it’s no matter, but listen carefully when they intone the -<i>last</i>, “Benedictus Dominus Israel,”—all four voices <i>unisono -fortissimo</i> in D minor,—it sounds very grand. Observe the strange -modulations produced by chance, when one unmusical priest after another -takes the book and sings; the one finishing in D major, and the other -commencing in B flat minor. Above all, see and hear everything in the -Sistine Chapel, and write some melodies, or something, from thence to -your F. M. B. Greet old Santini. Feast your eyes on the brilliant aspect -of the chapel on Palm Sunday, when all the Cardinals are robed and carry -palms, and when the procession with the singers arrives. The -“Improperia,” on Good Friday, in B flat major, are very fine. Notice -when the old Cardinal sings the “Credo,” the first day of Easter, and -all the bells ring out, and the ceremony becomes all alive once more, -with cannon shots, etc. etc. Drive to the <i>Grotta ferrata</i>, it is really -quite too lovely, and all painted by Domenichino. Don’t forget the echo -near Cecilia Metella. The tower stands to the left of the road. In the -same direction,<span class="pagenum"><a name="page_185" id="page_185"></a>{185}</span> about fifty yards further, among some old ruined walls -and stones, there is the most perfect echo I ever chanced to meet with -in my life; it seems as if it never would cease muttering and murmuring. -It begins in a slight degree, close behind the tower, but the further -you proceed, the more mystical it becomes. You must try to find the -right spot. Learn to distinguish between the different orders of monks.</p> - -<p><i>Naples.</i>—When there is a storm at Chiatamone, and the grey sea is -foaming, think of me. Don’t fail to live close to the sea. I lived at -Santi Combi, Santa Lucia (I think No. 13), it was most lovely there. Be -sure you go from Castellamare to Amalfi, <i>over</i> Mount St. Angelo. It is -the chief highway of all Italy. Proceed from Amalfi to Atrani, and see -the church there, and then view the whole glorious landscape from above. -Never get overheated. And never fly into a passion. And never be so -delighted as to agitate yourself. Be wonderfully haughty and arrogant; -all the beauty is there for you only.</p> - -<p>Eat as a salad, broccoli with ham, and write to me if it is not capital. -So far my good advice. Enough for to-day. Farewell, dearest Fanny, and -dear Hensel family all. We think of you daily and hourly, and rejoice in -your good fortune and in your enjoyment.</p> - -<p class="r"> -<span class="smcap">Felix.</span><br /> -</p> - -<p><span class="pagenum"><a name="page_186" id="page_186"></a>{186}</span></p> - -<h2><span class="smcap">To Professor Naumann, Bonn.</span></h2> - -<p class="r"> -Leipzig, September 19th, 1839.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>Pray accept my thanks for the great proof of confidence you show me, by -the purport of your esteemed letter of the 12th of this month. Believe -me, I thoroughly appreciate it, and can indeed feel how important to you -must be the development and future destiny of a child so beloved and so -talented. My sole wish is, like your own, that <i>those</i> steps should be -taken, best calculated to reward his assiduity and to cultivate his -talents. As an artist, I consider this to be my duty, but, in this case, -it would cause me peculiar pleasure from its recalling an early and -happy period of my life.</p> - -<p>But I should unworthily respond to your confidence, did I not -communicate frankly to you the many and great scruples which prevent my -<i>immediately</i> accepting your proposal. In the first place, I am -convinced, from repeated experience, that I am totally deficient in the -talent requisite for a practical teacher, and for giving regular -progressive instruction; whether it be that I take too little pleasure -in tuition, or have not sufficient patience for it, I cannot tell, but -in short, I do not succeed in it. Occasionally, indeed, young people -have stayed with me, but any improvement they have derived was solely -from our studying music together, from unreserved intercourse, or casual -conversation on various<span class="pagenum"><a name="page_187" id="page_187"></a>{187}</span> subjects, and also from discussions; and none -of these things are compatible with actual teaching. Now the question -is, whether in such early youth, a consecutive, unremitting, strict -course of discipline, be not of more value than all the rest? It also -appears to me that the estrangement of your son from the paternal roof -just at his age, forms a second, and not less important objection. Where -the rudiments of education are not wholly wanting (and the talents of -your wife alone are a security against this), then I consider that the -vicinity of his parents, and the prosecution of the usual elements of -study, the acquirement of languages, and the various branches of -scholarship and science, are of more value to the boy than a one-sided, -even though more perfect cultivation of his genius. In any event such -genius is sure to force its way to the light, and to shape its course -accordingly, and in riper years will submit to no other permanent -vocation, so that the early acquired treasures of interest, and the -hours enjoyed in early youth under the roof of a parent, become doubly -dear.</p> - -<p>I speak in this strain from my own experience, for I can well remember -that in my fifteenth year, there was a question as to my studying with -Cherubini in Paris, and I know how grateful I was to my father at the -time, and often since, that he at last gave up the idea, and kept me -with himself. It would of course be very different if there were no -means in Bonn, of obtaining good and solid instruction in thorough-bass -and the piano;<span class="pagenum"><a name="page_188" id="page_188"></a>{188}</span> but this I cannot believe, and whether that instruction -be rather better or more intellectual (provided indeed it be not -positively objectionable), is of less moment when compared with the -advantages of a longer stay in his own home. Further, my life hitherto -has been so unsettled, that no summer has passed without my taking -considerable journeys, and next year I shall probably be absent from -here for five or six months; this change of associations would only be -prejudicial to youthful talent. The young man therefore must either -remain here alone all summer or travel with me, and neither of these are -advisable for him.</p> - -<p>I state all these disadvantages, because I am myself so well aware of -them, and fully estimate the importance of the subject. If you do not -participate in my views on mature consideration, and are still of -opinion that <i>I</i> alone can assist your boy in the attainment of his -wish, then I repeat that in any case (irrespective of this) I should -esteem it my duty to be useful and serviceable, so far as my ability -goes, to a youthful genius, and to contribute to his development by the -exercise of my own powers; but even in this event, a personal interview -is indispensable, if only for a few hours, in order to arrange -everything clearly, and until then I cannot give an unqualified consent.</p> - -<p>Were you to bring the lad to me at Easter, I fear I should have already -set off on my summer excursion. Indeed, the only period when I am -certain to be in<span class="pagenum"><a name="page_189" id="page_189"></a>{189}</span> Leipzig, is from autumn till Easter. I quite agree -with Madame Naumann, that it is most essential to cultivate -pianoforte-playing at present as much as possible, and not to fail in -studying Cramer’s exercises assiduously and steadily; but along with -this daily training on the piano, two hours a week devoted to -thorough-bass might be useful, as such a variety would be a pleasant -change, rather than an interruption. The latter study indeed ought to be -pursued in an easy and almost playful manner, and chiefly the practical -part, that of deciphering and playing figured bass; these are the main -points, and can be entirely mastered in a short time; but the sooner it -is begun, the sooner is it got quit of, and this is always a relief with -such dry things. And now once more accept my thanks for the trust you -have reposed in me, which I thought I could only adequately respond to -by entire sincerity.—I am, your faithful</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Leipzig, November 30th, 1839.<br /> -</p> - -<p class="indd">My dear Friend,<br /> -</p> - -<p>Your letter from Paris delighted me exceedingly, although the -proceedings you describe are not very gratifying. The state of matters -there must be very curious.<span class="pagenum"><a name="page_190" id="page_190"></a>{190}</span> I own that I always felt a kind of -repugnance towards it, and this impression has not been diminished by -all we have recently heard from thence. Nowhere do variety and outward -consideration play so prominent a part as there, and what makes the case -still worse is, that they not only coquet with orders and decorations, -but with artistic inspiration and soul. The very great inward poverty -which this betrays, along with the outward glitter of grandeur and -worldly importance which such <i>misères</i> assume, is truly revolting to -me, even when I merely read of them in a letter. I infinitely prefer our -German homeliness and torpor and tobacco-pipes, though, indeed, I can’t -say much in their favour since the recent events in Hanover, in which I -am deeply interested, though I grieve to say they do not exhibit our -Fatherland in a pleasing aspect; so that neither here nor there is life -at present very enjoyable: therefore we ought the more heartily to thank -God, that within the domain of art there lies a world far removed from -all besides; solitary, yet replete with life, where refuge is to be -found, and where we can feel that it is well with us.</p> - -<p>Chorley seems to have taken great pleasure in our concerts. On what a -splendid scale we could have them if a very little money were only -forthcoming! but this hateful money is a hindrance and a stumbling-block -all over the world, and we do not get forward as we ought. On one side -we have the worthy civilians, who think that Leipzig is Paris, and that -everything is admirable,<span class="pagenum"><a name="page_191" id="page_191"></a>{191}</span> and that if the members of the orchestra were -not starving it would no longer be Leipzig; and on the other side we -have the musicians, or rather they leave us as soon as they possibly -can, and I give them letters to you in the hope that they may be thus -rescued from their misery.</p> - -<p>I have not assisted Pott’s undertaking by any musical contribution. If -you could only see the detestable proceedings in Germany at present with -regard to monuments, you would have given nothing either. They speculate -on great men, in order, through their reputation, to make a name for -themselves, and trumpet forth in the newspapers, while with their real -trumpets they make very bad music, “as deadening as a foggy breeze.” If -Halle for Handel, Salzburg for Mozart, and Bonn for Beethoven, etc., are -really desirous to form good orchestras, capable of playing and -comprehending thoroughly their works, then I shall be delighted to give -them my aid, but not for mere stones, when the orchestra are themselves -even more worthless stones, and not for their <i>conservatoriums</i>, where -there is nothing worth conservation. My present hobby is our poor -orchestra and its improvement. By dint of incessant running to and fro, -writing, and tormenting others, I have at last contrived to scrape -together about five hundred <i>thalers</i>, and before I leave this I expect -to get twice that sum for them. If the town does this, it can then -proceed to erect a monument to Sebastian Bach, in front of the Thomas<span class="pagenum"><a name="page_192" id="page_192"></a>{192}</span> -School. But first of all, the money. You see I am a rabid Leipziger. It -would touch your feelings, too, if you saw all this close at hand, and -could hear how the people strain every nerve to accomplish what is -really good.</p> - -<p>Has Onslow written anything new? and old Cherubini? That is a matchless -fellow! I have got his “Abencerrages,” and cannot sufficiently admire -the sparkling fire, the clever original phrases, the extraordinary -delicacy and refinement with which the whole is written, or feel -sufficiently grateful to the grand old man for it. Besides, it is all so -free and bold and spirited.</p> - -<h2><span class="smcap">To Fanny Hensel, Rome.</span></h2> - -<p class="r"> -Leipzig, January 4th, 1840.<br /> -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">This little page shall go to Rome from here,<br /></span> -<span class="i0">And wish you prettily a good new year.<br /></span> -</div></div> -</div> - -<p>You see my letter begins in the true ballad-monger style; if you chance -to be in the Coliseum at the moment you receive it, the contrast will be -rather grotesque. Whereabouts do you live in Rome? Have you eaten -broccoli and ham? or <i>zuppa Inglese</i>? Is the convent of San Giovanni and -Paolo still standing? and does the sun shine every morning on your -buttered<span class="pagenum"><a name="page_193" id="page_193"></a>{193}</span> roll? I have just played to Ferdinand Hiller your Caprices in -B flat major, G major, E major, and F major, which surprised us both; -and though we tried hard to detect the cloven foot in them, we could not -do so,—all was unmixed delight. Then I vowed at last to break through -my obstinate silence. Pray forgive it! It happened thus:—First came the -christening, and with it my mother and Paul. In the meantime the -subscription concerts had begun; then my mother left us; then Paul, a -fortnight later; then came Hiller to stay with us, intending to remain a -week, heard a couple of rehearsals, and decided to remain the whole -winter, for the purpose of completing his oratorio of “Jeremiah,” and -producing it here in March; then came an abominable cold and catarrh, -which for three weeks confined me to bed, or to my room, but always in -very bad humour; then came Breitkopf and Härtel, begging to have the -manuscript of my second set of four-part songs, which they have now got, -and the trio, which they have not yet got; then came the copyist, -petitioning for the score of the new Psalm, which was performed most -gloriously the day before yesterday, as a commencement to the new year’s -concert; then came 116 friends; then came Madame Pleyel, who counts for -216 more, and she played the piano right well; then came Christmas, to -which I was forced to contribute fourteen gifts, some musical, some -pictorial, some practical, and some juvenile; and now comes the benefit -concert of Madlle. Meerti,—so here<span class="pagenum"><a name="page_194" id="page_194"></a>{194}</span> you have an <i>abrégé</i> of my -<i>histoire universelle</i> since my last letter.</p> - -<p>But tell me, for Heaven’s sake, what are you doing at Rome? “The finest -part of the <i>old hole</i> is its situation,” said General Lepel once; but -he is mistaken. There are still greater charms within her walls. What do -you say, by the bye, to the drone of the <i>Pifferari</i>, whom the painters -paint so admirably, and which produce such indescribable sensations in -every nose, while sounding through it?—and to the church music in St. -Luigi dei Francesi and others? I should like to hear you on that -subject. Can you tell me the names of all the Cardinals from a mere -glimpse of their hoods or trains? I could do this. When you are with a -certain <i>Madame</i> by Titian in the Sciarra Palace, and with two other -certain <i>Mesdames</i> also by him (the one in a state of nature, the other -unfortunately not) in the Borghese Palace,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> or with the ‘Galatea’ or -any other Raphael, if you do not then think of me, and wish I were in -Rome, I shall assuredly in that case wish you were the Marchesa Muti -Papazurri, whose breadth is greater than her height, and that is five -feet six inches. I will now give you some advice. Go to Monte Testaccio, -and settle yourself comfortably in one of the little inns there; you -will feel precisely the same as if you were in Rome. If you have already -seen Guido’s ‘Aurora.’ be sure you go to see it again. Mark well the -horrible fifths of the<span class="pagenum"><a name="page_195" id="page_195"></a>{195}</span> Papal singers when they adorn each of their four -parts at the same moment with flourishes. On a fine Sunday, go on -walking the whole day, till the sun sets, and it becomes cool; then come -down from Monte Pincio, or wherever you may be, and have your dinner. -Compose a vast deal, for it gets on famously at Rome. Write me soon a -long letter. Look out of the windows of any convent near the Lateran, -towards the Albano mountains. Count the houses in Frascati in the -sunshine; it is far more beautiful there than in all Prussia and Poland -too.</p> - -<p>Forgive this harebrained letter, for I could not make it better. -Farewell, dearest Fanny. May God bless you, and your journey, and your -whole year; and continue to love your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To I. Fürst, Berlin.</span><br /><br /> -<small>[<i>On the subject of a Libretto that he was writing for an Opera.</i>]</small></h2> - -<p class="r"> -Leipzig, January 4th, 1840.<br /> -</p> - -<p class="indd">Dear Fürst,<br /> -</p> - -<p>You upbraid me extravagantly in the beginning of your welcome letter, -but at its close you draw so admirable a moral, that I have only to -thank you anew for the whole. You do me injustice in suggesting that my -sole reason for wishing to see the <i>scenarium</i> is that I may raise -difficulties from the starting-point, and bring the child into the world -forthwith in its sickly condition.<span class="pagenum"><a name="page_196" id="page_196"></a>{196}</span></p> - -<p>It is precisely on opposite grounds that I wish this, in order to -obviate subsequent difficulties and organic maladies. If these are, as -you declare, born with him, it is best to abstract them from the child, -while it is still possible, without injuring every part; if the injury -admits of a remedy at all, it can now be cured, without attacking the -whole organization.</p> - -<p>No longer to speak figuratively, what deters me, and has always hitherto -deterred me from the composition of a <i>libretto</i> is neither the verse, -nor the individual words, nor the mode of handling (or whatever you call -it), but the course of the action, the dramatic essence, the march of -events,—in short, the <i>scenarium</i>. If I do not consider this to be good -and solid in itself, then my firm conviction is that the music will not -be so either, nor the whole satisfy the pretensions that I must make in -executing such a work, though they may indeed entirely differ from those -which are usually made, and from those of the public. But I have long -since given up all idea of conforming to their tastes, simply for this -reason, that is impossible; so I must follow the dictates of my own -conscience, now as ever.</p> - -<p>Planché’s text can never, even with the best will on both sides, become -such a work as I want; I am almost disposed to give up my purpose as -utterly hopeless. I would rather never compose an opera at all, than one -which from the very commencement I considered only indifferent; moreover -I could not possibly compose for<span class="pagenum"><a name="page_197" id="page_197"></a>{197}</span> such a one, were you to give me the -whole kingdom of Prussia to do so. All this, and the many annoyances -certain to occur at the completion of a text, if I should not feel -disposed to undertake it, render it my duty to proceed step by step, and -rather to move too slowly than too hastily; on this account I have -resolved, unless we first agree about the <i>scenarium</i>, never to beguile -any poet into undertaking so laborious a work, which may after all prove -vain. This <i>scenarium</i> may be prolix or brief, detailed or merely -sketched,—on these points I do not presume to dictate, and quite as -little, whether the opera should be in three, four, or five acts; if it -be really good, just as it is written, then eight acts would not be too -many for me, nor one too few, and I say the same as to a ballet or no -ballet. The only criterion is, whether it harmonizes or not with the -musical and other existing feelings of my nature; and I believe that I -am able to discern this quite as well from the <i>scenarium</i> as from the -finished text, and that is moreover a point which no one can decide save -myself personally.</p> - -<p>I have thus placed the whole truth before you, and Heaven grant that all -these things may not deter you from writing an opera, that you may also -entrust it to me for composition, and that I may at length through you -see a long-cherished wish fulfilled. I need not tell you how eagerly I -shall await your decision.—Yours,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_198" id="page_198"></a>{198}</span></p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, February 7th, 1840.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>Every word, alas! that you write about Berlin and the course of things -there, corresponds but too well with my own views on the subject. The -proceedings there are far from gratifying, and what strikes me as the -most hopeless part is, that all its inhabitants are of one accord on the -subject, and yet, in spite of this universal feeling, no change to what -is good and healthy is ever effected. But where cannot the individual -man live and thrive? especially in Germany, where we are all compelled -to isolation, and must, from the very first, renounce all idea of -working together in unison. Still it has its bright side and its -original aspect. When are you coming here again to play billiards with -us? I have been living a stirring life all through this winter. Fancy my -being obliged to play in public four times last week, and two pieces on -each occasion. Last Saturday week, the first Quartett Soirée took place, -where pianoforte music was introduced; so I played Mozart’s sonata in A -major, with David, and the B flat major trio of Beethoven. On Sunday -evening Ernst played four quartetts at Hiller’s; one of them was the E -minor of Beethoven, and mine in E flat major. Early on Monday the -rehearsal took place, and in the evening the concert, where I -accompanied him in his “Elegie,” and in<span class="pagenum"><a name="page_199" id="page_199"></a>{199}</span> three songs besides; on the -following Thursday, Hiller and I played Mozart’s concerto, written for -two pianos, into which we introduced two grand <i>cadenzas</i>, and at the -close of the second part of the concert, we played Moscheles’ duett in G -major.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> The Saturday after, I again played with David at the Quartett -Soirée, a new rondo of Spohr’s, and wound up with my trio. In addition, -we are to have a musical soirée at D——’s, a meeting of the -Liedertafel, a ball, etc. etc.; and yet, with all this, every one -complains that I persist in living so retired. Latterly I have become -quite tired of music, and think I must take to painting once more; but -my Swiss sketches are coming to an end, and fain would I return thither -to make new ones, but I already see that there is no hope of such a -thing this summer. Hiller lately said that I was like those ancient -barbarians, who took such delight in the luscious fruits and the warm -sun of the South, that they were always longing for them once more; and -there really is some truth in this. Would that our orchestra had not so -many attractions. Yesterday they played the B flat major symphony of -Beethoven famously. In the course of a few days the choruses (now -completed) in Hiller’s oratorio are to be rehearsed. I feel as much -anxiety on the subject as if they were my own, or even greater.</p> - -<p>Last week I had an agreeable occupation, which was that of distributing -the five hundred dollars, granted to<span class="pagenum"><a name="page_200" id="page_200"></a>{200}</span> the orchestra, amongst its various -members; the sum is small and the aid trifling, still I felt great -satisfaction in having even accomplished this much. Next year I mean to -begin it all over again, and then I hope to do a real service to the -musicians; whether they thank me or not, is after all quite a matter of -indifference.</p> - -<p>Pray send for a little work, which contains the most beautiful and -interesting descriptions I have read for a long time. They are Eastern -translations by Rückert, and the title is ‘Erbauliches und Beschauliches -aus dem Morgenlande.’ If this book does not delight you beyond measure, -I will never recommend one to you again. Do look into it often, for it -is most extraordinary.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, March 30th, 1840.<br /> -</p> - -<p>The turmoil of the last few weeks was overpowering. Liszt was here for a -fortnight, and caused quite a paroxysm of excitement among us, both in a -good and evil sense. I consider him to be in reality an amiable -warm-hearted man, and an admirable artist. That he plays with more -execution than all the others, does not admit of a doubt; yet Thalberg, -with his composure, and within his more restricted sphere, is more -perfect, taken as a virtuoso; and this is the standard which must also -be applied to Liszt, for his compositions are inferior<span class="pagenum"><a name="page_201" id="page_201"></a>{201}</span> to his playing, -and, in fact, are only calculated for virtuosos. A fantasia by Thalberg -(especially that on the “Donna del Lago”) is an accumulation of the most -exquisite and delicate effects, and a continued succession of -difficulties and embellishments that excite our astonishment; all is so -well devised and so finished, carried out with such security and skill, -and pervaded by the most refined taste.</p> - -<p>On the other hand, Liszt possesses a degree of velocity and complete -independence of finger, and a thoroughly musical feeling, which can -scarcely be equalled. In a word, I have heard no performer whose musical -perceptions, like those of Liszt, extended to the very tips of his -fingers, emanating directly from them. With this power, and his enormous -technicality and practice, he must have far surpassed all others, if a -man’s own ideas were not after all the chief point, and these, hitherto -at least, seem denied to him; so that in this phase of art, most of the -great virtuosos equal, and indeed excel him. But that he, along with -Thalberg, <i>alone</i> represents the highest class of pianists of the -present day, is, I think, undeniable. Unhappily the manner in which -Liszt has acted towards the public here has not pleased them. The whole -misunderstanding is, in fact, as if you were listening to two persons -disputing, who are both in the wrong, and whom you would fain interrupt -at every word. As for the citizens in general, who are angry at the high -prices, and do not wish to see a clever fellow prosper<span class="pagenum"><a name="page_202" id="page_202"></a>{202}</span> too much, and -grumble accordingly, I don’t in the least care about them; and then the -newspaper discussions, explanations, and counter-explanations, -criticisms and complaints, and all kinds of things are poured down on -us, totally unconnected with music; so that his stay here has caused us -almost as much annoyance as pleasure, though the latter was indeed often -great beyond measure.</p> - -<p>It occurred to me that this unpleasant state of feeling might be most -effectually allayed, by people seeing and hearing him in private; so I -suddenly determined to give him a <i>soirée</i> in the Gewandhaus, of three -hundred and fifty persons, with orchestra, choir, mulled wine, cakes, my -“Meeresstille,” a Psalm, a triple concerto by Bach (Liszt, Hiller, and -I), choruses from “St. Paul,” fantasia on “Lucia di Lammermoor,” the -“Erl King,” the “Devil and his Grandmother,” and goodness knows what -else; and all the people were delighted, and played and sang with the -utmost enthusiasm, and vowed they had never passed a more capital -evening,—so my object was thus happily effected in a most agreeable -manner.</p> - -<p>I have to-day formed a resolution, in which I heartily rejoice, and that -is, never again to take any part as judge of the prizes at a musical -competition. Several proposals of this kind were made to me, and I did -not know why I should be so annoyed by these, till I clearly saw that it -was in fact a display of arrogance on my part, to which I would not -myself submit from others, and should therefore carefully avoid; thus -setting oneself up<span class="pagenum"><a name="page_203" id="page_203"></a>{203}</span> as a proficient, and my taste as incontrovertible, -and in an idle hour passing in review all the assembled competitors, and -criticizing them, and, God knows, possibly being guilty of the most -glaring injustice towards them. So I resolved once for all to renounce -the office, and feel quite relieved by having done so.</p> - -<h2><span class="smcap">To the Kreis-Director von Falkenstein, Dresden.</span></h2> - -<p class="r"> -Leipzig, April 8th, 1840.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>Emboldened by the assurance of your kind feelings in our recent -conversation, and by the conviction that you have sincerely at heart the -condition of art here, and its further cultivation (of which you have -already given so many proofs), permit me to lay before you a question -which seems to me of the highest importance to the interest of music.</p> - -<p>Would it not be possible to entreat his Majesty the King, to dispose of -the sum bequeathed by the late Herr Blümner for the purpose of -establishing an institution for art and science (the investment of which -is left to the discretion of his Majesty), in favour of the erection and -maintenance of a fundamental music academy in Leipzig?</p> - -<p>Permit me to make a few observations on the importance of such an -institution, and to state why I consider that Leipzig is peculiarly -entitled to aspire to such a one, and also what I consider to be the -fitting basis for its organization.<span class="pagenum"><a name="page_204" id="page_204"></a>{204}</span></p> - -<p>For a long period music has been indigenous in this country, and the -sense of what is true and genuine, the very phase which must be nearest -the heart of every ardent and thoughtful friend to art, has at all times -struck its roots deep into this soil. Such universal sympathy does not -certainly come by chance, nor is it without influential results on -general cultivation; music having thus become an important power, not as -a mere passing enjoyment, but as a more elevated and intellectual -requirement. Those who feel sincere solicitude about this art, must -eagerly wish that its future prospects in this land should rest on the -most solid foundation.</p> - -<p>The positive, technical, and material tendencies so prevalent at the -present day, render the preservation of a genuine sense of art, and its -further advancement, of twofold importance, but also of twofold -difficulty. A solid basis alone can accomplish this purpose; and as the -extension of sound instruction is the best mode of promoting every -species of moral improvement, so it is with music also. If we had a good -music academy,—embracing all the various branches of this art, and -teaching them from one sole point of view, as only the means to a higher -end,—then the practical and material tenets, which, alas! can number -even among our artists many influential adherents, might, no doubt, yet -be effectually checked.</p> - -<p>Mere private instruction, which once bore much good fruit for the world -at large, on many accounts now no<span class="pagenum"><a name="page_205" id="page_205"></a>{205}</span> longer suffices. Formerly, students -of various instruments were to be found in every class of society, -whereas now this amateurship is gradually passing away, or is chiefly -confined to one instrument—the piano.</p> - -<p>Scholars desirous of enjoying further instruction, almost invariably -consist of those who propose devoting themselves to this branch of art, -and who rarely possess the means of paying for private lessons. The most -admirable talent is indeed often to be found amongst this class; but, on -the other hand, teachers are seldom placed in such fortunate -circumstances as to be able to devote their time, without remuneration, -to the training of even the finest genius; thus both sides endure -privation; the former being unable to obtain the wished-for instruction, -and the latter losing the opportunity of implanting, and practically -enforcing, their own knowledge. A public institution would, at this -moment, be of the most vital importance to teachers as well as to -pupils; and the latter would thus acquire the means of improving -capabilities which otherwise must often remain undeveloped and wasted; -while, for the teachers of music, such a standard of combined action -from <i>one</i> point of view, and for the attainment of <i>one</i> purpose, would -also be advantageous, as the best remedy against lukewarmness and -isolation, the unfruitfulness of which, in these days, is but too apt to -exercise a ruinous influence on the mind.</p> - -<p>In Leipzig the need of a school for music, in which<span class="pagenum"><a name="page_206" id="page_206"></a>{206}</span> Art may be pursued -with conscientious study and an earnest mind, is deeply felt; and for -various reasons Leipzig seems peculiarly suited for it. The university, -already a central locality for intellectual aspiring young men, and the -school of knowledge, would, in many relations, connect itself with that -of music. In most of the other large towns of Germany public amusements -dissipate the mind, and exercise an injurious influence over the young; -here, however, most of these amusements are more or less connected with -music, or consist wholly of it; thus there are very few public -recreations except those allied to music; so this institution would -benefit both the cause and the individual; moreover, for that especial -branch of art which must always remain the chief basis of musical -studies—the more elevated class of instrumental and sacred -compositions—Leipzig, by its very numerous concerts and oratorios, -possesses the means of cultivating the taste of young artists to an -extent that few other German cities can offer.</p> - -<p>Through the lively sympathy with which the principal works of the great -masters for the last fifty years have been received and acknowledged -here (often for the first time in Germany), and by the careful attention -with which these works have been invariably executed, Leipzig has -assumed a high position among the musical cities of our Fatherland. -Lastly, in support of this petition I may add that Herr Hofkriegsrath -Blümner, who cherished so great a love for poetry and the poetical in<span class="pagenum"><a name="page_207" id="page_207"></a>{207}</span> -every art, always devoted special attention to the state of music here, -and indeed took an active charge in the direction of the concerts, in -which he was warmly interested; so that such an apportionment of his -bequest, would undoubtedly be quite in accordance with the artistic -feelings of the testator.</p> - -<p>While other establishments of public utility are constantly encouraged, -and some even richly endowed, the music here has never received the -smallest aid from any quarter. The musical institution in the capital -being supported by Government, is it not then peculiarly desirable that -this city should receive the sum bequeathed by one of its inhabitants, -where such a boon would be received with peculiar gratitude on every -side. On all these grounds, may his Majesty then be graciously disposed -not to refuse the fulfilment of a wish so warmly cherished, and thus -impart a new stimulus and a fresh impulse to art. It would give an -impetus to musical life here, the effects of which would speedily and -enduringly be disseminated, with the best influence.</p> - -<p>Allow me to enclose in this envelope some general outlines for the -arrangement of such a musical academy, and receive the assurance of the -distinguished esteem, with which I have the honour to remain, your -devoted servant,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_208" id="page_208"></a>{208}</span></p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, August 10th, 1840.<br /> -</p> - -<p>On Thursday I gave an organ concert here in the Thomas Church, from the -proceeds of which old Sebastian Bach is to have a monument erected to -his memory in front of the Thomas School. I gave it <i>solissimo</i>, and -played nine pieces, winding up with an extempore fantasia. This was the -whole programme. Although my expenses were considerable, I had a clear -gain of three hundred dollars. I mean to try this again in the autumn or -spring, and then a very handsome memorial may be put up.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> I practised -hard for eight days previously, till I could really scarcely stand -upright, and nothing was heard all day long in my street but organ -passages!</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Leipzig, October 24th, 1840.<br /> -</p> - -<p class="indd">Dear Fanny,<br /> -</p> - -<p>I make use of my first morning’s leisure since my return from England, -to thank you for your most admirable and charming letter, which welcomed -me on my return here. When I first saw it lying, and broke the<span class="pagenum"><a name="page_209" id="page_209"></a>{209}</span> seal, I -had somehow a kind of presentiment that it might contain some bad -news—(I mean, something momentous). I don’t know how this was, but the -very first lines made me see it in a very different light, and I read on -and on with the greatest delight. What a pleasure it is to receive such -a letter, with such a flavour of life and joy, and all that is good! The -only tone in a minor key, is that you do not expect to like Berlin much -after Rome; but this I consider a very transitory feeling; after a long -sojourn in Italy where could any one be contented? There, all is so -glowing! and our dear German home life, which I do so heartily love, has -this in common with all that is German and dear, that it is neither -splendid nor brilliant, but its stillness and repose only the more -surely fascinate the heart. After every absence I felt just the same -when the joy of the first days of reunion were past; I missed the -variety and the excitement of travelling so much, that home seemed sadly -monotonous, and I discovered all sorts of deficiencies, whereas during -my journey all was perfect, and all was good. The same feelings have -often recurred to me recently at the Leipzig Liedertafel, and at the -innumerable demands and intrusions, etc. etc.; but this did not last, -and was certainly only a fallacy. All that is good, and that we like in -our travels, is, in fact, our wonted property at home, only we there -exact a still larger portion. If we could only preserve through life the -fresh, contented, and lofty<span class="pagenum"><a name="page_210" id="page_210"></a>{210}</span> tone of feeling which, for the first few -days on returning from a journey, leads us to look at every object with -such satisfaction, and on the journey makes us rise superior to all -annoyances; if we could only remain inwardly in this buoyant travelling -spirit, while continuing to live in the quiet of home,—we should indeed -be vastly perfect! Instead of this, last night, at the twenty-fifth -anniversary of the Liedertafel, I was as angry as if I had been a young -boy. They sang so false, and talked even more falsely; and when it -became peculiarly tiresome, it was in the name of “our German -Fatherland,” or “in the good old German fashion.” Yet, when I came back -from England I had formed such a strong resolution never to discompose -myself about anything, and to remain entirely neutral!<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> I was eight -days in London, and the same in Birmingham, and to me the period passed -like a troubled dream; but nothing could be more gratifying than meeting -with so many friends quite unchanged. Although I could only see them for -so short a time, yet the glimpse<span class="pagenum"><a name="page_211" id="page_211"></a>{211}</span> into so friendly an existence, of -which we hear nothing for years, but which remains still linked with our -own, and will ever continue to be so, causes most pleasurable -sensations.</p> - -<p>Of course I was constantly with Klingemann and Moscheles, and with the -Alexanders also, where, in the most elegant <i>rococo</i> drawing-rooms, -among all the newest and most fashionable objects, I found my father’s -portrait, painted by Hensel, in its old favourite place, and standing on -its own little table; and I was with the Horsleys also, and in many -other houses where I felt happy and at home; when I recall my excessive -uneasiness at the prospect of the journey, and how we paced up and down -here together and discussed it, making each other, in fact, only -mutually more nervous, and yet all is now so happily over, and I so -happily returned to my family,—I ought scarcely to do anything all day -long but rejoice and be thankful,—instead of which I fly into a passion -with the Liedertafel, and you do the same with the Art Exhibition!</p> - -<p>You ask me whether we are to have peace or war? How have I got such a -fine reputation as a newsmonger? Not that I do not deserve it, for I -maintain through thick and thin that we shall have peace, but combined -with much warlike agitation; though when a <i>politicus</i> by profession -like Paul is in the family, he must be applied to. He may say what he -likes, but no war shall we have.<span class="pagenum"><a name="page_212" id="page_212"></a>{212}</span></p> - -<p>Though, when I think of yesterday’s Liedertafel, I almost wish we had!</p> - -<p>Pray write again soon, my very dear Sister, and a long letter.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, October 27th, 1840.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>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.</p> - -<p>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 subscription<span class="pagenum"><a name="page_213" id="page_213"></a>{213}</span> 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 pleasure 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 orchestra, and the -whole audience, made the very best bows and curtsies they could -accomplish. Then came a hubbub and confusion like Noah’s ark. Perhaps -the King will now bestow the 20,000 <i>thalers</i> which I long ago -petitioned might be given towards the music here. In that case, I could -with truth say that I had done good service to the music of -Leipzig.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p> - -<p><span class="pagenum"><a name="page_214" id="page_214"></a>{214}</span></p> - -<p>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 <i>you</i> 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 irresistible 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 <i>vice versâ</i>. A -thousand minutiæ are involved in the affair, which appear insignificant, -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.</p> - -<p>So far as I can gather the real meaning of it all, just so far does it -displease me, and that is perhaps the reason why I cannot approve of all -the other fine adjuncts, down to the “fiery rain” of the Government -paper. In the meanwhile, time pursues its steady jog-trot pace. Thiers -is no longer minister. A number of arrests have been made in Frankfort, -and Queen Christina is welcome to my little room. By Heavens! I would at -this moment far rather be a musician than a sovereign!</p> - -<p>I say nothing about the silver wedding-day of the Leipzig Liedertafel, -for I have not yet recovered from<span class="pagenum"><a name="page_215" id="page_215"></a>{215}</span> 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 Liedertafels, and indeed -against everything at all connected with Cousin Michael, and I feel -something similar stirring within me.</p> - -<p>Farewell, dearest Mother.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Leipzig, November 14th, 1840.<br /> -</p> - -<p class="indd">Dear Fanny,<br /> -</p> - -<p>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 occasion; now I must content myself with a mere scanty -letter, and yet the old custom pleases me very much better.</p> - -<p>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 Soirées, 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 celebration 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.<span class="pagenum"><a name="page_216" id="page_216"></a>{216}</span> Do you know, I -think your suggestion as to the “Nibelungen” most luminous! It has been -constantly in my head ever since, and I mean to employ my first leisure -day in reading over the poem, for I have forgotten the details, and can -only recall the general colouring and outlines, which seem to me -gloriously dramatic. Will you kindly communicate to me your more -specific ideas on this subject? The poem is evidently more present to -your memory than to mine. I scarcely remember what your allusion means, -as to the sinking into the Rhine. Can you point out to me the various -passages which struck you as particularly dramatic, when the idea first -occurred to you? and above all, say something more definite on the -subject, as the whole tone and colouring, and characteristics, take my -fancy strongly; therefore I beg of you to do so, and soon too; it will -be an essential service to me. Refer entirely to the poem itself, for -before your letter can arrive, I shall certainly have read it, though I -shall not the less eagerly expect your opinion. Accept my thanks for -this happy thought, as for all else.</p> - -<p>Yes! the arpeggios in the chromatic fantasia<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> are certainly the chief -effect. I take the liberty to play them with all possible <i>crescendos</i>, -and <i>pianos</i>, and <i>fortissimos</i>, pedal of course, and to double the -notes in the bass; further, to mark the small passing notes at the -beginning of the arpeggios (the crotchets in the middle<span class="pagenum"><a name="page_217" id="page_217"></a>{217}</span> parts), etc., -and likewise the principal notes of the melody just as they come: -rendered thus, the succession of glorious harmonies produces an -admirable effect on our rich-toned new pianos. For example, the -commencement, merely thus:—</p> - -<div class="blockquot"><p>N.B.—Each chord played in double arpeggios; afterwards only once, -as they come.</p></div> - -<div class="figcenter"> -<img src="images/ill_pg-217a.png" width="450" height="341" alt="musical notation" title="" /> -</div> - -<p>Then to the end thus:—</p> - -<div class="figcenter"> -<img src="images/ill_pg-217b.png" width="450" height="178" alt="musical notation" title="" /> -</div> - -<p><span class="pagenum"><a name="page_218" id="page_218"></a>{218}</span></p> - -<div class="figcenter"> -<img src="images/ill_pg-218.png" width="450" height="322" alt="musical notation" title="" /> -</div> - -<p>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. Zucalmaglio, thank him for his -packet and the letter I received from him; at the same time (though this -is quite between ourselves) I cannot compose 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<span class="pagenum"><a name="page_219" id="page_219"></a>{219}</span> of music, I were going across to -you. We could play at “Black Peter,” or some other merry game, and eat -cakes.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Leipzig, November 18th, 1840.<br /> -</p> - -<p class="indd">My dearest Friend,<br /> -</p> - -<p>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 -continuance, and pray that Heaven may grant it, while I daily rejoice -afresh in the peaceful monotony of my life. At the beginning of the -winter 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<span class="pagenum"><a name="page_220" id="page_220"></a>{220}</span> 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 <i>symphony cantata</i>, but I have serious thoughts of -resuming 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.</p> - -<p>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 <i>Colognaise</i>, as they significantly -call it. The thing is characteristic, for<span class="pagenum"><a name="page_221" id="page_221"></a>{221}</span> the first line begins, “Sie -sollen ihn nicht haben, 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 Leipzig 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 inspiration.</p> - -<p>So the people here lie like print, just as they do with you, and -everywhere else.</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, November 20th, 1840.<br /> -</p> - -<p class="indd">Dear Paul,<br /> -</p> - -<p>How much I wish that you would perform your promise, and come here for -the “Hymn of Praise;” I<span class="pagenum"><a name="page_222" id="page_222"></a>{222}</span> 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 <i>and</i> 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 have 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 -<i>refrain</i> 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<span class="pagenum"><a name="page_223" id="page_223"></a>{223}</span> had just appeared, and my name -was printed full length; yet I cannot give a direct contradiction to -this, for as regards the public I am dumb. At the same time Härtel sent -me a message that if I would compose for it, 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</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, December 7th, 1840.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>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,<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> your letter arrived, and I can only repeat the -same thing.<span class="pagenum"><a name="page_224" id="page_224"></a>{224}</span> 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 -attended with a happy result or not, I would not give up such a -conviction for anything in the world.</p> - -<p>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.</p> - -<p>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, however, 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.</p> - -<p>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 <i>stipulation</i>; on the other hand, I said to you, that <i>without</i> -a definite sphere of work (as an appointed composer, like Grimms, you -can say) I should hesitate much to accept the proposal. Either of these -situations<span class="pagenum"><a name="page_225" id="page_225"></a>{225}</span> 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 -so, 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 musical -classes, without any definite sphere of work, etc.; and then No. 4 -declares that I am to give sundry concerts 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 towards 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 every ordinary -director must be, which is only possible by the establishment of a -Musical Academy as a Royal Institution, 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 <i>every</i> point, or are confined -to my personal, and <i>not</i> to my official position; if the two are to be -blended, I cannot consent to undertake them.</p> - -<p>Finding (after you left us) on more mature deliberation that a situation -as a composer is impossible, and,<span class="pagenum"><a name="page_226" id="page_226"></a>{226}</span> in fact, is nowhere to be met with, -it occurred to me that the offer might be renewed of a public sphere of -activity, 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 outward 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</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, December 20th, 1840.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>You wish to have some tidings from me as to <i>our</i> 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, without 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<span class="pagenum"><a name="page_227" id="page_227"></a>{227}</span> -did in a former letter; he mentions the salary, the direction 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 offer, 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 <i>bonâ fide</i> 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, undertake 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 performance 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 performances, 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 instruction of the performers, etc.; that I would have -nothing to do with the orchestra, except on <i>this</i> condition,<span class="pagenum"><a name="page_228" id="page_228"></a>{228}</span> that I -was to be absolute director-in-chief of these concerts, etc.</p> - -<p>In short, I showed that I was well disposed to accept the situation, but -should require the most unqualified support throughout, otherwise I -could not efficiently 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.</p> - -<p>I considered it also my duty before writing to Massow, 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 I 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 offer (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<span class="pagenum"><a name="page_229" id="page_229"></a>{229}</span> given -any hint of such a transaction, 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 -probable 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, because such a step must be final.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, Jan. 2nd, 1841.<br /> -</p> - -<p class="indd">Dear Paul,<br /> -</p> - -<p>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 between Massow and me, to impair that delightful and -perfect 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 -unhesitatingly 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 dissatisfied with me, for not being prepared to -accept your opinion at once—<i>angry</i>, I do not think you will be, but<span class="pagenum"><a name="page_230" id="page_230"></a>{230}</span> -as I have already said, do not permit anything whatever to be changed -between you and me,—promise me this; you know how much 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 I 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, perhaps, than I ought to have -done. You also wish to persuade me to go now to Berlin, but you will -soon be convinced, that this winter, such a thing is impossible. I have -five subscription concerts, and three extra concerts to direct in -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 independent 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 affair 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.</p> - -<p>I told Massow in a letter to-day, that I should be happy to explain my -views with regard to reorganizing<span class="pagenum"><a name="page_231" id="page_231"></a>{231}</span> 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 are 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 will 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 <i>rota</i> 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<span class="pagenum"><a name="page_232" id="page_232"></a>{232}</span> expressed a wish to know my -duties, before I could explain 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 <i>drawing back</i> 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 because it is -right and desirable for the affair itself, and in order to enable <i>any</i> -good musician (not merely myself) 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 considerations.</p> - -<p>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<span class="pagenum"><a name="page_233" id="page_233"></a>{233}</span> are to be discovered even in this 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 communion, 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!</p> - -<p>Remember my first request in this new year, and love me as much as -ever.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, Jan. 9th, 1841.<br /> -</p> - -<p class="indd">Dear Paul,<br /> -</p> - -<p>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.<span class="pagenum"><a name="page_234" id="page_234"></a>{234}</span> I -however see from your letter that I was entirely and totally wrong, and -I thank you much for it, and subscribe to all you say on the subject. -But there is one idea you must dismiss from your thoughts as much as I -have done the other, and that is the dread of foreign influences, as you -call them, which you allude to in your letter. You must not suppose that -I ever act in any affair but from my own conscientious impulses, far -less in a matter in which I myself and my happiness are so very closely -involved. Believe me, that in general, I invariably strive to do and say -nothing but what I hold to be right in my conscience and instinct, and -it is a proof that we have, alas! lived much asunder, and only met in -days of enjoyment, and not of work, when you fear that I am easily -swayed, not only in conversation, but in action. No! all goes on very -slowly with me, but when at last I do a foolish thing, I have at least -<i>one</i> merit, which is, to have devised it entirely myself. With regard -to this <i>special</i> case, I probably gave you cause for suspicion, by -writing to you that I told my friends here, David and Schleinitz of the -offer, and in my last letter I did not allude to them again. I can -assure you, however, that both have long ago given me such proofs of -sincere friendship, that I could not possibly have been silent to them -on this occasion, and both urged my acceptance, and saw the thing in the -most favourable light.</p> - -<p>That not the smallest step I have taken in the whole<span class="pagenum"><a name="page_235" id="page_235"></a>{235}</span> affair may be -unknown to you, I must add, that I felt myself obliged to communicate -the circumstance candidly, 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 expressed 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 Falkenstein 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 preserve 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.</p> - -<p>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 -system into the whole class, and some good would be thus effected.</p> - -<p>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<span class="pagenum"><a name="page_236" id="page_236"></a>{236}</span> opinion, which is shown by sending anonymous and -libellous verses, and by hissing an old masterpiece.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> 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 <i>tracasseries</i> can pave the way to public opinion; -indeed, I believe that such things have always existed, and always will -exist, independent of the <i>vox populi</i>, which is the <i>vox Dei</i>. It would -be more important to me if you would tell me some particulars of the -<i>curiosa</i> which are related of Minister Schön; pray do this if you -possibly can. He seems to be a determined fellow!—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Herr X——.</span></h2> - -<p class="r"> -Leipzig, January 22nd, 1841.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>I beg to offer you my thanks for the confidence you have shown me by -your polite letter, and the accompanying music. I have looked over your -overture with much pleasure, and discovered many unmistakable 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<span class="pagenum"><a name="page_237" id="page_237"></a>{237}</span> more intimate and confidential manner. The greater part of the -instrumentation, and especially the melodious 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 degree. 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, besides the <i>meno allegro</i>, 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<span class="pagenum"><a name="page_238" id="page_238"></a>{238}</span> 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 acquainted, the connection will, no doubt, be closer, and my -critical remarks rendered unnecessary.—I am, with sincere esteem, -yours,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, January 25th, 1841.<br /> -</p> - -<p>... This is the thirty-fifth letter I have written since the day before -yesterday; it makes me quite uneasy to see how the flood swells, if a -few days elapse without my stemming it, and guarding against it. -Variations 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<span class="pagenum"><a name="page_239" id="page_239"></a>{239}</span> 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.</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, February 13th, 1841.<br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>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 winning -hazards, etc. etc. (<i>vide</i> 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 all, and probably it has been the same with you.</p> - -<p>The Berlin affair is much in my thoughts, and is a subject for serious -consideration. I doubt whether it will ever lead to <i>that</i> 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<span class="pagenum"><a name="page_240" id="page_240"></a>{240}</span> 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 <i>not</i> 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 -instituted, seven are positively useless, and indeed preposterous. What -do you think of the following, among others? No. 8. “The relation Music -bears to the other arts, especially to the <i>plastic</i> and to the stage;” -and also No. 11, “A guide to the spiritual and worldly Drama.” I -formerly read these things in the Government paper, and laughed at them; -but when a grave minister or official 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<span class="pagenum"><a name="page_241" id="page_241"></a>{241}</span> course, and where -the teachers of the different branches are named. I require these <i>data</i> -thoroughly to understand 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 do, 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 rejoice 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.</p> - -<p>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, us 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<span class="pagenum"><a name="page_242" id="page_242"></a>{242}</span> legacy -bequeathed two years ago, will now probably be entirely devoted to -musical 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.</p> - -<p>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 <i>pensum</i>, without being -fairly stranded, and no possibility of reading. I read Immermann’s -‘Münchhausen’ some time ago, but only the first volume; 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 with these exceptions<span class="pagenum"><a name="page_243" id="page_243"></a>{243}</span> bringing nothing of his own into the world, -advancing nothing and contributing nothing, I cannot help thinking that -it is the greatest blasphemy which can be committed against Providence, -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.</p> - -<p>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 contradistinction 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</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_244" id="page_244"></a>{244}</span></p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Leipzig, February 14th, 1841.<br /> -</p> - -<p class="indd">Salut et Fraternité!<br /> -</p> - -<p>Have you read the wrathful letter which the Emperor 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, or 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 another. 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, he is the most -good-natured, and by far the most inoffensive; and these are two -precious qualities.</p> - -<p>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<span class="pagenum"><a name="page_245" id="page_245"></a>{245}</span> truly brilliant subscription concerts. I tell you we glitter -brightly—in Bengal fire. The other day, in our last historical concert -(Beethoven), Herr Schmidt was suddenly taken ill, and could not sing to -his “Ferne Geliebte” in the “Liederkreis.” 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 -<i>publicum</i>, 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 audience 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 Lipinski,—and thus, according to Franck’s witticism, we descend -from Adam to Holtei.</p> - -<p>As to the <i>tempi</i> 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<span class="pagenum"><a name="page_246" id="page_246"></a>{246}</span> how to -take the other <i>tempi</i>, ask G—— about them. He understands that -capitally in my Psalms. With submission, 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</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Leipzig, February 27th, 1841.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>Thank you a thousand times for your friendly letter, which caused me -much pleasure, and was a most welcome birthday gift. Our correspondence -had certainly become rather threadbare, but pray don’t give up sending -me your little notes of introduction; large letters 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.</p> - -<p>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 <i>but</i> must of course be uttered by every -critic) the whole poem is quite unsuitable for composition,<span class="pagenum"><a name="page_247" id="page_247"></a>{247}</span> and -essentially unmusical. I am well aware that 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 nowadays, I may possibly be some day conveyed -across the frontiers as a Frenchman.) But, jesting apart, I can only -imagine music when I can realize the mood from which it emanates; mere -artistically correct tones to suit the rhythm of the poetry, becoming -<i>forte</i> when the words are vehement, and <i>piano</i> when they are meek, -sounding very pretty, but expressing nothing,—I never yet could -comprehend; and still such is the only music I can discover for this -poem. Neither forcible, nor effective, nor poetical, but only -supplementary, collateral, musical music. The latter, however, I do not -choose to write. In such cases, the fable of the two vases often recurs -to me, who set off together on a voyage, but in rolling to and fro one -smashed his companion, the one being made of clay and the other of iron. -Besides, I consider the poem to be neither bold nor cautious, neither -enthusiastic nor stoical, but only very positive, very practical, very -suitable indeed for many at the present day; however, I cannot even -momentarily interest myself in any object of which I can perceive the -momentary nature, and from which I can expect no durability. I am -becoming philosophical;<span class="pagenum"><a name="page_248" id="page_248"></a>{248}</span> pray forgive me, and forgive the whole -diatribe, which is uncivil besides, because you composed the song -yourself. But as you have an immense majority of musicians on your side, -you will not, I think, be offended by my dissentient protestation, but -probably rather disposed to laugh at it. I could not help coming out -with what I thought.</p> - -<p>You wish to know how I am. As well as possible. Yet if we see each other -in the course of a few weeks, you may perhaps hear the same complaints -from me that you did last year. I often thought of them since, and -laughed at them, because I was so well and so gay; but for a week past -such languor seems to creep over me, that, as I told you, I might sing -the very same old song of a year ago. I don’t know whether this arises -from the approach of spring, or the enormous quantity of music which I -was engaged in during the winter, and which has fairly exhausted me; for -several years past the two always come together. But I believe it is the -latter; I have conducted fifteen public performances since -January,—enough to knock up any man. Farewell, my dear friend.—Your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_249" id="page_249"></a>{249}</span></p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, March 3rd, 1841.<br /> -</p> - -<p class="indd">Dear Paul,<br /> -</p> - -<p>You gave me extreme pleasure by the <i>brochure</i><a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> you sent me -yesterday, and after having exulted not a little in its contents, I must -now thank you much for having forwarded it to me. I read of it in the -‘Allgemeine Zeitung,’ but had it not been for your kindness, this clever -publication would not have found its way to my room for many a day. I -have read it through twice with the deepest attention, and agree with -you that it is a most remarkable sign of the present time in Prussia, -that nothing more true, more candid, or more sober in form and style -could be desired, and that a year ago a similar pamphlet could not have -appeared. In the meanwhile, it is prohibited, and we shall soon see in -how far it is merely an individual lofty spirit expressing his views, or -a spirit that has really impressed and fired the whole community, for -the great misfortune with us has always been want of unanimity, of -<i>esprit de corps</i>. A sorrowful feeling oppresses me when I so surely -see, or think I see, that the path lies open, level and plain, on which -the whole of Germany might receive a development which it probably never -had, except in years<span class="pagenum"><a name="page_250" id="page_250"></a>{250}</span> of war, and not even then, because these years of -war were years of violence also: a path on which no one would lose, and -all would gain in life, power, movement, and activity; this path is -likewise that of truth, and honour, and fidelity to promises, and yet -time after time it is never trodden, while new reasons are perpetually -found for avoiding it. This is most melancholy! In the meantime it is -fortunate that there are people who know how to set forth, what by far -the greater number feel, but cannot express. I should have to quote the -whole of the pamphlet, to name all the particular passages written so -entirely in consonance with the feelings of my heart; but I started up -from joy at both the little paragraphs on the Dantzic letter and -Hanover, for they came in so naturally, and quite as a matter of course; -and then the glorious close! As I said before, the next fortnight will -prove, whether such a spirit has the right on his side in these days, -not merely in theory but in practice. God grant it may be so!</p> - -<p>If you hear anything further of your statesman<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> (I do not believe the -<i>brochure</i> is his, though quite in accordance with his creed), or any -more details that can be communicated to me, I beg you will not fail to -do so. I begin to interest myself very much in this man. What a glorious -contrast this work forms to<span class="pagenum"><a name="page_251" id="page_251"></a>{251}</span> all the French ones of last year that I -have seen. Here is indeed real substance, not merely subtleties; -vigorous truth and inborn dignity, not merely well-bred politeness or -evasion of the laws.</p> - -<p>But the work is prohibited! This is a humiliation, even amid all my -delight. Farewell; thank you again cordially for your kindness -always.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Julius Rietz, Music Director at Düsseldorf, (now capellmeister at -dresden.)</span></h2> - -<p class="r"> -Leipzig, April 23rd, 1841.<br /> -</p> - -<p> -Add<br /> -Dear Rietz,<br /> -</p> - -<p>Yesterday evening we performed your overture to “Hero and Leander” and -the “Battle Song,” amid loud and universal applause, and with the -unanimous approbation of the musicians and the public. Even during the -rehearsal of the overture, towards the end in D major, I perceived in -the orchestra those smiling faces and nodding heads, which at a new -piece of yours I am so glad to see among the players; it pleased them -all uncommonly, and the audience, who yesterday sat as still as mice and -never uttered a sound, broke out at the close into very warm applause, -and fully confirmed the judgment of the others. I have had great delight -in all these rehearsals, and in the performance also; there is -something<span class="pagenum"><a name="page_252" id="page_252"></a>{252}</span> so genuinely artistic and so genuinely musical in your -orchestral works, that I feel happy at the first bar, and they captivate -and interest me till the very end. But as you persist in wishing me to -place my critical spectacles on my nose, I must tell you that there was -one wish I formed in hearing both pieces: that you may now write many -works in succession. The chief reason for this I do not require to tell -you, for it lies on the surface. But I have yet another wish: I perceive -a certain spirit, especially in the overture, which I myself know only -too well, for in my opinion it caused my “Reformation Symphony”<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> to -fail, but which can be surely and infallibly banished by assiduous work -of different kinds. Just as the French, by conjuring tricks and -overwrought sentiment, endeavour to make their style harrowing and -exciting, so I believe it possible, through a natural repugnance to this -style, to fall into the other extreme, and so greatly to dread all that -is <i>piquant</i> or sensuous, that at last the musical idea does not remain -sufficiently bold or interesting; that instead of a tumour, there is a -wasting away: it is the contrast between the Jesuit churches, and their -thousand glittering objects, and the Calvinists, with their four white -walls; true piety may exist in both, but still the right path lies -between the two. I entreat you to pardon this preaching tone, but how is -it possible to make oneself understood on such subjects? The fundamental -thoughts in your overture<span class="pagenum"><a name="page_253" id="page_253"></a>{253}</span> and my “Reformation Symphony” (both having, -in my opinion, similar qualities), are more interesting from what they -indicate, than actually interesting in themselves; of course I do not -plead for the latter quality alone (as that would lead us to the -French), nor for the first alone either; both must be united and -blended. The most important point is to make a thema, or anything of the -kind which is in itself musical, really interesting: this you well -understand in your instrumentation, with every second oboe or trumpet, -and I should like to see you steer boldly in <i>that</i> direction in your -next works,—without, however, injuring by the greater finish and -sharpness of your musical thoughts, your excellent foundation, or your -masterly and admirably carried out details of instrumentation, etc. As -ideas cannot be either more highly finished or sharpened, but must be -taken and made use of as they come, and as a kind Providence sends -them—so work is the only thing which either I or others can possibly -desire for such an artist as yourself, and for works of art like yours, -where the only question is of any trifling deviation in their tendency.<span class="pagenum"><a name="page_254" id="page_254"></a>{254}</span></p> - -<h2><a name="Report_to_his_Majesty_the_King_of_Prussia49_from_the_Wirklich" id="Report_to_his_Majesty_the_King_of_Prussia49_from_the_Wirklich"></a><i>Report to his Majesty the King of Prussia,<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> from the Wirklich -Geheimrath Herr von Massow.</i></h2> - -<p class="r"> -Berlin, May 20th, 1841.<br /> -</p> - -<p>Your Majesty was pleased verbally to desire me to enter into -communication with Herr Felix Mendelssohn Bartholdy, in Leipzig, with a -view to summon him to Berlin, and to fix his residence there by -appointment. I therefore on the 11th of December last wrote to Herr -Mendelssohn, in accordance with your Majesty’s commands, and made the -following offer:—</p> - -<p>That he should be appointed Director of the musical class of the Academy -of Arts, with a salary of three thousand thalers.</p> - -<p>I also mentioned that it was your Majesty’s intention to reorganize the -musical class of the Academy, and to connect it with some existing -establishments for the development of musical cultivation, as well as -with others yet to be formed; that Herr Mendelssohn’s advice on the -subject was requested; that he was to be appointed the future head of -this institute. Further, that it was your Majesty’s pleasure a certain -number of concerts (to be hereafter fixed) were to be given every year -under his direction, with the aid of the Royal orchestra and the members -of the opera, in which oratorios<span class="pagenum"><a name="page_255" id="page_255"></a>{255}</span> especially, but also other works, such -as symphonies, etc., were to be performed. Herr Mendelssohn, in two -letters addressed to me, on the 15th December and the 2nd January, -expressed his gratitude to your Majesty for so honourable an offer, as -well as his entire satisfaction with regard to the title and the salary; -he however reserved his full acceptance of the proposal, until the -duties involved in the situation offered to him in Berlin, were more -minutely detailed. The conscientiousness thus shown by Herr Mendelssohn -cannot fail to be acknowledged and respected; at the same time, he -promised to come to Berlin this spring.</p> - -<p>The Academy of Arts being regulated by the <i>Ministerium</i> of the -departments of science, instruction, and medicine,—it was from this -source alone, that the wished-for copy of the rules could be obtained -for Herr Mendelssohn; as this, however, could not be immediately -effected, Minister Eichhorn resolved to discuss the whole affair himself -with Herr Mendelssohn regarding the reorganization of the musical class, -and your Majesty was pleased to permit the affair to rest for the time. -Herr Mendelssohn, according to his promise, recently came here, and he -adheres to his resolution not to accept any <i>fixed situation</i> in your -Majesty’s service, till he is previously informed what duties he is -expected to undertake.</p> - -<p>The proposed reforms in the musical section, which are probably to be -effected, in connection with many<span class="pagenum"><a name="page_256" id="page_256"></a>{256}</span> other changes in the Academy of Arts, -necessitate the dissolution of existing arrangements, and the formation -of entirely new relations. The Royal <i>Ministerium</i>, if a larger musical -institute were established, would put in their claim for the Royal -Theatre, which, by previous regulations of existing institutes, must be -included, along with most of the artists attached to it. The sum of -money requisite for this purpose must be fixed and granted. These are -all reasons which prevent the Royal Ministerium, within so short a -period, being able to arrange such a comprehensive affair sufficiently -to lay these proposals before your Majesty; and also render it -impossible to define the situation for Herr Mendelssohn, or to prescribe -the duties which, as Director of the musical class, he must undertake to -fulfil.</p> - -<p>Herr Mendelssohn, on the other hand, must declare, in the course of a -few weeks, whether it is his intention to give up his situation in -Leipzig or not; he therefore presses for a decision.</p> - -<p>Under these circumstances, with the express stipulation however of your -Majesty’s approbation, I have made the following proposal to Herr -Mendelssohn:—</p> - -<p>That for the present he should only for a certain period fix his -residence in Berlin,—say, a year,—<i>placing himself at your Majesty’s -disposal</i>, in return for which, your Majesty should confer on him the -title of <i>Capellmeister</i>; but without imposing on him the performance of -the duties of this office in the Royal Opera; likewise<span class="pagenum"><a name="page_257" id="page_257"></a>{257}</span> the -previously-named salary of three thousand <i>thalers pro anno</i> to be -bestowed on him; during this time, however, he is neither to hold <i>any</i> -office, nor to undertake any <i>definite duties</i>, unless in the course of -this period Herr Eichhorn should furnish him, with the long wished-for -details, and he should declare himself satisfied with them, in which -case the reserved consent as to a definitive nomination should ensue.</p> - -<p>Herr Mendelssohn has already assured me that he is prepared to accept -the proposal, and if your Majesty be pleased to give your consent, Herr -Eichhorn would gain time to consult with Herr Mendelssohn on this -affair, and to place distinct proposals before your Majesty. From the -well-known honourable character of Herr Mendelssohn, it may be -confidently anticipated, that in this kind of interim relation, he will -be the more anxious to devote all his powers to your Majesty, from the -very fact of his duties not being more closely defined. Such a relation, -however, can only be advisable for a certain time; one year has -therefore been agreed on. If, contrary to expectation, the -reorganization of the musical class of the Academy and the establishment -of a musical institute, be not so carried out as to cause Herr -Mendelssohn the conviction of finding a field of activity for his bent -and his vocation, or if the claims on him should prevent his acceptance, -or lastly, which I subjoin at the express desire of Herr Mendelssohn, -should the expectations now entertained<span class="pagenum"><a name="page_258" id="page_258"></a>{258}</span> by your Majesty with regard to -him not be fulfilled, then the relation now formed shall be dissolved at -the end of the appointed period on the above conditions, and therefore -in an honourable manner.</p> - -<p>Herr Eichhorn, whom I have informed of the proposal made through me to -Herr Mendelssohn, and also of his acceptance, has, on his side, stated -no objections.</p> - -<p>Your Majesty’s decision is respectfully solicited at your pleasure; and -awaiting your Majesty’s further commands, I am, with the deepest -reverence,</p> - -<p class="c"> -Your Majesty’s faithful servant,<br /> -</p> - -<p class="r"> -<span class="smcap">V. Massow</span>.<br /> -</p> - -<h2><a name="Memorandum_by_Mendelssohn_on_the_subject_of_a_Music_Academy_to_be" id="Memorandum_by_Mendelssohn_on_the_subject_of_a_Music_Academy_to_be"></a><i>Memorandum by Mendelssohn, on the subject of a Music Academy to be -established at Berlin.</i></h2> - -<p class="r"> -Berlin, May, 1841.<br /> -</p> - -<p>It is proposed to establish a German Music Academy in Berlin, to -concentrate in one common focus the now isolated efforts in the sphere -of instruction in art, in order to guide rising artists in a solid and -earnest direction, thus imparting to the musical sense of the nation a -new and more energetic impetus; for this purpose, on the one side, the -already existing institutes and their members must be concentrated, and -on the other, the aid of new ones must be called in.</p> - -<p>Among the former may be reckoned the various<span class="pagenum"><a name="page_259" id="page_259"></a>{259}</span> Royal academies for -musical instruction, which must be united with this Musical Academy, and -carried on as branches of the same, with greater or less modifications, -in <i>one</i> sense and in <i>one</i> direction. In these are included, for -example, the Institute for Élèves of the Royal Orchestra; the Organ -Institute; that of the Theatre (limited to the theatre alone) for -instruction in singing, declamation, etc. Further, the members of the -Royal <i>Capelle</i> must be required to give instruction on their various -instruments. A suitable locality can no doubt be found among the Royal -buildings, and also a library, with the requisite old and new musical -works, scores, and books.</p> - -<p>The new appointments to consist of—</p> - -<p>1. A head teacher of composition; the best that can be found in Germany, -to give regular instructions in theory, thorough-bass, counterpoint, and -fugues.</p> - -<p>2. A head teacher of solo singing; also the best to be had in Germany.</p> - -<p>3. A head teacher of choral singing, who should strive to acquire -personal influence over the scholars under his care, by good -pianoforte-playing and steady direction.</p> - -<p>4. A head teacher of pianoforte-playing, for which office a man of the -most unquestionable talent and reputation must alone be selected. The -other teachers for these departments could be found in Berlin itself; -nor would there be any difficulty in procuring teachers of Æsthetics, -the history of music, etc.<span class="pagenum"><a name="page_260" id="page_260"></a>{260}</span></p> - -<p>The complete course to last three years; the scholars, after previous -examination, to be instructed <i>gratis</i>; no prize works to be admitted -but at stated periods; all the works of the scholars, from the time of -their admission, to be collected and criticized in connection with each -other, and subsequently a prize (probably consisting of a sum sufficient -for a long journey through Germany, Italy, France, and England) to be -adjudged accordingly. Every winter a certain number of concerts to take -place, in which all the teachers (including the above-named members of -the Royal <i>Capelle</i>) must co-operate, and by which, through the -selection of the music, as well as by its execution, direct influence -may be gained over the majority of the public.</p> - -<p>The following principle must serve as a basis for the whole Institute: -that every sphere of art can only elevate itself above a mere -handicraft, by being devoted to the expression of lofty thought, along -with the utmost possible technical finish, and a pure and intellectual -aim; that also solidity, precision, and strict discipline in teaching -and learning, should be considered the first law, thus not falling short -in this respect of any handicraft; that in every department, all -teaching and learning should be exclusively devoted to the thoughts -intended to be expressed, and to that more elevated mood, to which -technical perfection in art must ever be subordinate.<span class="pagenum"><a name="page_261" id="page_261"></a>{261}</span></p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, July 9th, 1841.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>I send you with this, a copy of the Minister Eichhorn’s letter, which I -received this evening. It is evident from it, that the King only intends -to make me Capellmeister, if the plan, for the Academy is carried out; -not otherwise. If this be his irrevocable determination, I have only to -choose between two alternatives; to go to Berlin on the 1st of August -without the title, and without any further public appointment, and -merely receive the salary there—or at once to break off all further -negotiations on the matter, and never to renew them.</p> - -<p>Now I must confess, first, that I could not without unpleasant feelings -enter on an office, after having considerably abated my own demands; -secondly, that I still find all those reasons valid, now as heretofore, -which made such a title necessary, in Herr Massow’s opinion, as well as -in my own, in order to enable me to give the desired concerts and -performances in the course of the winter; and, thirdly, it appears to me -only just, that from the first I should receive a public proof of the -King’s confidence; for very possibly after the lapse of a year, no -renewal of the relation may be desired on the <i>other</i> side, in which -case I alone shall be the losing party, for <i>they</i> only risk conferring -a title for nothing, while <i>I</i> lose<span class="pagenum"><a name="page_262" id="page_262"></a>{262}</span> my present situation, and you know -that this costs me no small sacrifice. I beg you will communicate this -letter and Eichhorn’s to Von Massow. He will observe that his proposals, -and the results of my whole residence in Berlin, are again detailed, so -that I must go to Berlin under very different circumstances, which, as I -said, I am very unwilling to do. Hear what Massow says, and let me know. -Do not forget to place strongly before him, that I always thought it -probable, and now more likely than ever, that no definitive arrangement -about the Academy should take place in one year; not indeed from any -fault on my side, or from any want of complaisance in me, but from want -of decision on their part. I therefore wished at that time, and wish -now, that there should be something definite, <i>for which</i> I am called to -Berlin. I cannot say to any one that the mere direction of the Academy -is a sufficient purpose. If they choose to make me “Geheimsecretär,” -instead of Capellmeister, I am equally content, but I should like to -have some ostensible ground for going there, if I am to go at all; -probably the affair will be now more complicated by my having in the -meanwhile received the much-discussed title (deuce take it!) in Saxony; -they will say, what is the use of a second? and pronounce it to be -obstinacy on my part. I appeal however to the above reasons, and think, -on the contrary, that it proves I did not, or do not, insist on this -point from any love of a title.<span class="pagenum"><a name="page_263" id="page_263"></a>{263}</span></p> - -<p>Pray, pray forgive me, dear Brother, you have most cause to complain; -for in any case I shall reap some advantage, having at the worst gained -valuable experience, but you only much plague and lost time (even at the -best, by which I mean my remaining in Berlin). Forgive me.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a><br /> -</p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Leipzig, July 15th, 1841.<br /> -</p> - -<p class="indd">My dear Friend,<br /> -</p> - -<p>To-morrow I go with some pleasant friends to Dresden to hear Ungher and -Moriani sing, to see Raphael and Titian paint, and to breathe the air of -that lovely region. A few days after my return I am off for a year to -Berlin, one of the sourest apples a man can eat, and yet eaten it must -be. Strangely enough, there seems to be a misunderstanding between <i>us</i> -on this affair, and hitherto we have scarcely ever had one. You think I -want your advice, and mean to act according to it; but, in fact, when I -say anything to you, or discuss anything, I say it and do it from no -other reason than from instinct.<span class="pagenum"><a name="page_264" id="page_264"></a>{264}</span> I <i>must</i> speak to you or discuss -whatever is of importance to me, or nearly concerns me; it cannot be -otherwise, and this proceeds so little from that tiresome asking for -advice, that I am convinced, if you had not answered me at all, and if -we had not spoken to each other for ten years, I should have asked you -the same questions, and expected your answer as eagerly, and received it -with as much pleasure as now. There is a curious misapprehension on your -part, with regard to the comparison between the two cities. You believe -(and several of the residents here, as well as strangers, have told me -the same), that here in Leipzig we have comfort, domestic life, and -retirement; and in Berlin, public efficacy in and for Germany, and -active work for the benefit of others, etc. etc.; whereas it is in truth -exactly the reverse. It is just because I am so unwilling to be burdened -with a sinecure, the public active efficiency which you so urged on me -formerly, and which seemed to myself so necessary, having become -gradually dear to me, and nothing of the kind being possible in -Berlin,—it is for these very reasons I go there unwillingly. There, all -efforts are private efforts without any echo in the land, and <i>this</i> -they certainly do have here, small as the nest is. I did not establish -myself in Leipzig with a view to a quiet life; on the contrary, I felt a -longing to do so, because here all is so gay and motley. On the other -hand, I have mastered and learned many things, which could only be thus -mastered and learned,<span class="pagenum"><a name="page_265" id="page_265"></a>{265}</span> nor have I been idle either; I think I am on a -better footing with my countrymen, in Germany, and have gained their -confidence more than I should probably have done all my life long in -Berlin, and that is worth something too. That I am now to recommence a -private life, but at the same time to become a sort of school-master to -a Conservatorium, is what I can scarcely understand, after my excellent -vigorous orchestra here. I might perhaps do so if I were really to enjoy -an entirely private life, in which case I should only compose and live -in retirement; but the mongrel Berlin doings interfere; the vast -projects, the petty execution, the admirable criticism, the indifferent -musicians, the liberal ideas, the Court officials in the streets, the -Museum and the Academy, and the sand! I doubt whether my stay there will -be more than a year; still I shall of course do all in my power, not to -allow this time to pass without some profit to myself and others. I -shall have no solitude during the time, for I must bestir myself and -write what I can; a couple of earlier melodies may bring up the -rear-guard. Many others have come to light since their date; you see I -defend myself vigorously, with claws and teeth. Believe me, Berlin is at -the present day the city which is the least efficacious, and Leipzig the -most beneficial to the public. Do you know what I have recently been -composing with enthusiasm? Variations for the piano,—actually eighteen -on a theme in D minor, and they amused me so famously, that I<span class="pagenum"><a name="page_266" id="page_266"></a>{266}</span> instantly -made fresh ones on a theme in E flat major, and now for the third time -on a theme in B flat major. I feel quite as if I must make up for lost -time, never having written any before.</p> - -<h2><span class="smcap">To Concert-Meister Ferdinand David, Leipzig.</span></h2> - -<p class="r"> -Berlin, August 9th, 1841.<br /> -</p> - -<p class="indd">Dear Friend,<br /> -</p> - -<p>You wish to hear some news about the Berlin Conservatorium,—so do -I,—but there is none. The affair is on the most extensive scale, if it -be actually on any scale at all, and not merely in the air. The King -seems to have a plan for reorganizing the Academy of Arts; this will not -be easily effected, without entirely changing its present form into a -very different one, which they cannot make up their mind to do; there is -little use in my advising it, as I do not expect much profit for music -from the Academy, either in its present or future form. The musical -portion of the new academy is, I believe, to become a Conservatorium; -but to reorganize one part alone, is an idea which cannot be entertained -under any circumstances, so it depends now on the three others. A -director is not yet found for the architectural department, and in the -four different departments the existing members cannot (or at least will -not) be superseded, or their privileges diminished,<span class="pagenum"><a name="page_267" id="page_267"></a>{267}</span>—so these members -must first die off; but we must die off as well as they, and whether the -reorganization will then take place in the wished-for manner is the -question. <i>One</i> service I have at all events accomplished here, in -having placed these relations in a clear light, and free from all -circumlocution,—so that there will be no longer any necessity to refer -to these projects, or the discussions connected with them, until the -obstacles are removed.</p> - -<p>You will ask, then, what in the world do they want with me just now in -Berlin? My answer is, on the one side, I really do not know; on the -other, I believe that it is intended to give, during the winter, some -great concerts, with the addition of all their best means, and that I am -to direct them, some in church, and some in the concert hall; but -whether they will ever take place seems to me very doubtful: at all -events these are, in my opinion, the only projects which can or will be -carried out at this time.</p> - -<h2><span class="smcap">To President Verkenius, Cologne.</span></h2> - -<p class="r"> -Berlin, August 14th, 1841.<br /> -</p> - -<p class="indd">Dear and esteemed Herr President,<br /> -</p> - -<p>Though so much delighted by recognizing on the address of your letter of -yesterday the well-known writing, I was equally grieved by the grave and -mournful<span class="pagenum"><a name="page_268" id="page_268"></a>{268}</span> tone of your words, and I cannot tell you how much the -intelligence of your continued illness alarms and distresses me. It is, -indeed, often the case, that in moments of indisposition, everything -seems to us covered with a black veil,—that illness drags within its -domain, not only the body, but also the spirit and the thoughts (thus it -is always with me when I am ailing or ill), but with returning health, -these mournful images are chased away. God grant this may be the case -with you, and soon, too, very soon; such sorrowful moments, however, are -not less distressing at the time, though they quickly pass away, and are -forgotten. Would that I could do anything to make you more cheerful, or -to drive away such sad thoughts! These are the moments when distance -seems doubly painful; when cordially-loved and honoured friends are in -suffering, and yet we must go on living apart from them, instead of -being near to sympathize with them, even if unable to do them good, or -to alleviate their troubles.</p> - -<p>You say that my letters are agreeable to you. I shall therefore -frequently write; let me know if I do so too often; and Heaven grant -that, in return, I may soon receive good news of your recovery, from -yourself, or one of your family!</p> - -<p>I have now been a fortnight here with my family, and am living with my -mother and brother and sisters, in the very same house, which I quitted -twelve years ago, with a heavy heart. The more unaccountable is it to -me<span class="pagenum"><a name="page_269" id="page_269"></a>{269}</span> that, in spite of the delight of being with my mother and family -once more, in spite, also, of every advantage, and many and glad -memories, there is scarcely a place in all Germany where I feel so -little at home as here. The ground of this may be, that all the causes -which formerly made it impossible for me to begin and to continue my -career in Berlin, and which drove me away, still subsist, just as they -formerly did, and are likely, alas! to subsist to the end of time. There -is the same frittering away of all energies and all people, the same -unpoetical striving after outward results, the same superfluity of -knowledge, the same failure in production, and the same want of nature, -the same illiberality and backwardness as to progress and development, -by which, indeed, though the latter are rendered safer and less -dangerous, still they are robbed of all merit, and of all life. I -believe that these qualities will one day be reproduced here in all -things; that it is the case with music, there can be no doubt whatever. -The King has the best inclination to alter and to improve all this; but -if he were to hold fast his will steadily for a succession of years, and -were he to find none but people with the same will, working unweariedly -in accordance with it,—even then, results and happy consequences could -not be anticipated, till <i>after</i> a succession of years had elapsed; yet -here these are expected first and foremost. The soil must be entirely -ploughed and turned up before it can bring forth fruit, at least so it -seems to me<span class="pagenum"><a name="page_270" id="page_270"></a>{270}</span> in my department; the musicians work, each for himself, and -no two agree; the amateurs are divided and absorbed into thousands of -small circles; besides, all the music one hears is, at the best, only -indifferent; criticism alone is keen, close, and well-studied. These are -no very flattering prospects, I think, for the approaching period, and -to “organize this from the foundation” is not my affair, for I am -deficient both in talent and inclination for the purpose. I am, -therefore, waiting to know what is desired of me, and probably this will -be limited to a certain number of concerts, which the Academy of Arts is -to give in the coming winter, and which I am then to direct. In my next -letter, I will write you some musical details. Heaven grant that I may -soon be tranquillized about your recovery, and may we meet again in -cheerfulness and health; God grant it!—Ever your faithful</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To President Verkenius, Cologne.</span></h2> - -<p class="r"> -Berlin, August 23rd, 1841.<br /> -</p> - -<p class="indd">Dear Herr President,<br /> -</p> - -<p>You see that I take advantage of your permission, and write constantly; -if it be too much for you, let me know it, or do not read my letters. -May it please God that I shall soon receive good news of your returning -health! I think of it every day, and I wish it<span class="pagenum"><a name="page_271" id="page_271"></a>{271}</span> every day! In my -previous letter, I promised you some details of musical life here, so -far as I am acquainted with it. Unfortunately, there is very little that -is cheering to relate. Here, as everywhere else, it is principally the -committees which ought to be answerable for this; while, as these are -appointed, more or less, by the public, I cannot make the distinction -which seems so usual with the Berliners, who abuse and revile all -committees, both musical and others, and yet like to see them remain in -their old form. The whole tendency of the musicians, as well as of the -<i>dilettanti</i>, is too little directed to the practical; they play chiefly -that they may talk about it, before and afterwards, so the discussions -are better and wiser than in most other places in Germany, but the music -more defective. Unfortunately, there is very little to discuss with -regard to music and its deficiencies; the only thing to be done is to -feel, and to improve it; so I have not the least idea how it is ever to -become better. In the orchestra (excellent as some individual members of -it are), this is, alas! too perceptible. In operas and symphonies, I -have heard blunders, and false notes constantly played, which could only -proceed from the grossest carelessness. The people are Royal -functionaries, and cannot be brought to account, and if the conversation -turns on these faults afterwards, they strive to prove that there is no -such thing as time, or should be none,—what can I say? but <i>item</i>, it -goes badly. I have played my trio ten or twelve times<span class="pagenum"><a name="page_272" id="page_272"></a>{272}</span> here; on each -occasion the same mistakes were made in the time, and the same careless -blunders in the accompaniment, though they were the first artists here -who played with me. The blame of this state of things rests chiefly on -Spontini, who was for so long a period at their head, and who rather -oppressed, than sought to elevate and improve, the many excellent -musicians in this orchestra. My conviction is, that Spohr would be the -man to aid them, and to restore proper order; but just because he is so, -he will not be elected; too many talk about it, and wish to have -everything in ideal beauty; and this produces mediocrity. The -<i>dilettanti</i> doings are even worse. Their chief organ and institution is -the Academy for Singing, and there each individual considers himself far -superior to the Director. But if they really did all know properly how -things should be, they would sing better together,—whoever -directed,—and the false notes, and errors in time, would -disappear,—but they by no means disappear. So here again, it is mostly -all talk. I lately heard Pasta in “Semiramide.” She sings now so -fearfully out of tune, especially in the middle notes, that it is quite -painful to listen to her; but, of course, the splendid remains of her -great talent, the traces of a first-class singer, are often -unmistakable. In any other city, this dreadful want of tune would have -been felt first of all, and, afterwards, the remembrance that she was a -great artist would have recurred; here every one said, beforehand, that -here was the Pasta, she was old, she<span class="pagenum"><a name="page_273" id="page_273"></a>{273}</span> could no longer sing in tune, so -this must be put out of the question. In other places, they would -perhaps have unjustly abased her; here they as unjustly praised her to -the skies, and after deliberate reflection, and entire consciousness of -the state of things, they continued to be delighted,—this is a bad kind -of delight!</p> - -<p>How hypochondriacal this letter is become! I ought rather to write to -you in a gayer strain, to cheer you. Next time I shall try to find a -more rose-coloured aspect; forgive the dark-brown hues of to-day.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> -With the most heartfelt and cordial wishes for your recovery, I am -always, your loving</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Franz Hauser</span>,<br /><br /> -<small>(PRESENT DIRECTOR OF THE CONSERVATORIUM IN MUNICH.)</small></h2> - -<p class="r"> -Berlin, October 12th, 1841.<br /> -</p> - -<p>... I do not know what you have been told about Berlin and its -prospects. If, however, you allude to the project of which all the -people and all the journals are speaking, that of establishing a Musical -Conservatorium here, then I regret to be obliged to say, that I know no -more about it than every one else seems to know. It is said the desire -for it exists, and perhaps a remote prospect,<span class="pagenum"><a name="page_274" id="page_274"></a>{274}</span> but far too remote for -anything to be told about it with the least certainty at present. Years -may pass away, nothing may ever come of it (which is not at all -improbable), and also it may soon be again discussed. During the last -three months which I passed here I came to this conclusion, on seeing -the proceedings more closely. I am so kindly received on every side, -that personally I can wish for nothing better, and have only cause for -gratitude. But though it is easy for a person here to do what he -chooses, it is proportionably difficult to aid the cause; and yet that -is, after all, the most important point, and should be the very first. -If I only knew how to make this better! In the meanwhile I write music, -and when asked a question I answer it.</p> - -<h2><span class="smcap">To Concert-Meister Ferdinand David, Leipzig.</span></h2> - -<p class="r"> -Berlin, October 21st, 1841.<br /> -</p> - -<p class="indd">Dear David,<br /> -</p> - -<p>Thanks for your having at once read through ‘Antigone.’ I felt assured -beforehand that it would please you beyond measure when you did so; and -the very impression which reading it made on me, is in fact the cause of -the affair being accomplished. There was a great deal of talking about -it, but no one would begin; they wished to put it off till next autumn, -and so forth, but as the noble style of the piece fascinated me so much, -I got hold of old Tieck, and said “Now or never!<span class="pagenum"><a name="page_275" id="page_275"></a>{275}</span>” and he was amiable, -and said “Now!” and so I composed music for it to my heart’s content; we -have two rehearsals of it daily, and the choruses are executed with such -precision, that it is a real delight to listen to them. All in Berlin of -course think that we are very sly, and that I composed the choruses to -become a court favourite, or a court <i>musicus</i>, or a court fool; while -at the beginning I thought, on the contrary, that I would not mix myself -up with the affair; but the piece itself, with its extraordinary beauty -and grandeur, drove everything else out of my head, and only inspired me -with the wish to see it performed as soon as possible. The subject in -itself was glorious, and I worked at it with heartfelt pleasure. It -seems to me very remarkable that there is so much in art quite -unchangeable. The parts of all these choruses are to this day so -genuinely musical, and yet so different from each other, that no man -could wish anything finer for his composition. If it were not so -difficult here to come to any kind of judgment about a work! There are -only shameless flatterers, or equally shameless critics to be met with, -and there is nothing to be done with either, for both from the very -first deprive us of all pleasure. As yet I have had only to do with -admiration. After this performance the learned will, no doubt, come -forward and reveal to me how I should and must have composed, had I been -a Berliner.—Your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_276" id="page_276"></a>{276}</span></p> - -<h2><span class="smcap">To Professor Dehn, Berlin.</span><a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></h2> - -<p class="r"> -Berlin, October 28th, 1841.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>The kind and amiable feelings which your letter of yesterday testified -towards me, caused me great pleasure, and I beg to thank you very -sincerely and truly. Although I entirely agree with you that my choruses -to ‘Antigone’ will furnish an opportunity for a number of unfair and -malignant attacks, still I cannot meet these unpleasant probabilities by -the means which you are so good as to propose to me. I have always made -it an inviolable rule, never to write on any subject connected with -music, even in newspapers, nor either directly or indirectly to prompt -any article to be written on my own compositions; and although I am well -aware how often this must be both a temporary and sensible disadvantage, -still I cannot deviate from a resolution which I have strictly followed -out under all circumstances. I decline, therefore, accepting your -obliging offer; but I beg you will believe that my gratitude for the -friendly intentions you expressed remains the same; and in the hope of -soon finding an opportunity to repeat this assurance in person, I am, -etc.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p> - -<p><span class="pagenum"><a name="page_277" id="page_277"></a>{277}</span></p> - -<h2><span class="smcap">To Professor Köstlin, Tübingen.</span></h2> - -<p class="r"> -Berlin, December 15th, 1841.<br /> -</p> - -<p>... When I was lately in society, I was seated next a lady at supper who -spoke the South German dialect, and seemed at home in Stuttgart, so I -thought I would ask her if she knew anything of Tübingen, and inquired -about Professor Köstlin. She said she did not know him, but one of her -acquaintances had written to her that he had been recently betrothed. -This was the first happy news. She did not know the name of the bride, -but so far she remembered, that she was from Munich, and a fine musical -genius. I had instantly a presentiment. I vowed it must be Josephine -Lang. She thought it was another name; but she would look at the letter -when she went home. Next morning I got a note. “The bride of Herr -Köstlin is Josephine Lang after all, and he has been recently in Munich, -and then in Stuttgart with her,” etc. Had it not been for this last -piece of intelligence, I would have written to you instantly, to offer -you both my congratulations, and to express my most heartfelt joy. Now I -have got your welcome letter, and the details of the piece of good news -the South German lady told me; first, then, receive my thanks for it, -and then accept my fervent prayers for a blessing on your fortunate -union, my wishes for health for you and your bride (happiness and<span class="pagenum"><a name="page_278" id="page_278"></a>{278}</span> every -other good you already have), and my cordial, most cordial sympathy in -all connected with you both, now and for the future. Whatever concerns -you, concerns me also. If I were not the most miserable correspondent in -the world, I should have written to your bride six months ago, to thank -her for the two books of songs she published. I have done so in thought -twenty times at least. It is long since I have seen any new music so -genial, or which affected me so deeply, as these charming songs; their -appearance was equally unexpected and welcome, not only to me, but to -all those whose predilections are in accordance with my own, who -participate in my love of music, and feel in a similar manner with -myself. I sent my Sister a copy at the time from Leipzig, but when it -arrived she had already bought one, without our ever having corresponded -on the subject. The “poem” in F sharp major, is, I think, best of all, -and the “Lenau Meer,” in C major, and the “Frühlingskinder” in E, and -the “Goethe’schen geliebten Bäume” in D; I also think the -“Blumauer’sche” in F major 3/8 wonderfully lovely. Nothing more charming -could be devised than the happy way in which they prattle together, one -after the other telling their tale, and all so delicate and sportive, -and a little amorous too. In so many passages in both books, I thought I -heard Josephine Lang’s voice, though it is a long time now since I have -heard her sing; but there are many inflections peculiar to her, and -which she<span class="pagenum"><a name="page_279" id="page_279"></a>{279}</span> inherits from the grace of God, and when such a turn occurred -in the music, she made a little turn with her head; and in fact the -whole form, and voice, and manner, were once more placed before my eyes -by these songs. I intended to have written all this to her, and to have -thanked her a thousand times in my name, and in that of all my friends. -Now this will come sadly in the background, for our cordial -congratulations must take place of everything else, and prevent any -other topic being alluded to. But when you tell her of these, tell her -at the same time what pleasure she caused us all.</p> - -<p>For Heaven’s sake, urge her to continue composing. It is really your -duty towards us all, who continually long and look for good new music. -She once sent me a collection of the music of various composers, with -some of her own, saying that among so many master-works she hoped I -would view her attempts with indulgence, etc. Oh, Gemini! how petty many -of these <i>chefs-d’œuvre</i> appear beside her fresh music! So, as I -said, instigate her strongly to new compositions.</p> - -<p>If I have still a wish to form, it is that your blissful betrothal mood -may be continued in marriage; that is, may you be like me, who feel -every day of my life that I cannot be sufficiently thankful to God for -my happiness.</p> - -<p>Do not punish me for my laziness as a correspondent. I really cannot -contrive to write a tolerably sensible<span class="pagenum"><a name="page_280" id="page_280"></a>{280}</span> letter to-day; still, you must -write to me from time to time. If it were by music I should not -complain, for <i>your</i> music is speech, though probably you have other -things to think of.</p> - -<p>And now farewell for to-day, and remember kindly your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -London, June 21st, 1842.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>Your letter of yesterday was most charming, and gave us so much -pleasure,<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> that I must thank you for it in detail to-day; I could -scarcely do so as I wished for the previous one, containing quite a -kaleidoscope of events in Berlin, which through the glasses of your -description assumed constant novel and pleasing forms. If I could write -half as well, you should receive to-day the most charming letter, for we -are daily seeing the most beautiful and splendid objects; but I am -somewhat fatigued by the incessant bustle of this last week, and for two -days past I have been chiefly lying on the sofa reading ‘Wilhelm -Meister,’ and strolling through the fields with Klingemann in the -evening, to try to restore myself.</p> - -<p>So if the tone of this letter is rather languid and<span class="pagenum"><a name="page_281" id="page_281"></a>{281}</span> weary, it -accurately paints my feelings. I have really been urged to do too much. -Lately, when playing the organ in Christ Church, Newgate Street, I -almost thought, for a few moments, I must have been suffocated, so great -was the crowd and pressure round my seat at the organ; and two days -afterwards I played in Exeter Hall before three thousand people, who -shouted hurrahs and waved their handkerchiefs, and stamped with their -feet till the hall resounded with the uproar; at the moment I felt no -bad effects from this, but next morning my head was confused and -stupefied. Add to this the pretty and most charming Queen Victoria, who -looks so youthful, and is so gently courteous and gracious, who speaks -such good German and who knows all my music so well; the four books of -songs without words and those with words, and the symphony, and the -“Hymn of Praise.” Yesterday evening I was sent for by the Queen, who was -almost alone with Prince Albert, and who seated herself near the piano -and made me play to her; first seven of the “songs without words,” then -the serenade, two impromptus on “Rule Britannia,” Lützow’s “Wilde Jagd,” -and “Gaudeamus igitur.” The latter was somewhat difficult, but -remonstrance was out of the question, and as they gave the themes, of -course it was my duty to play them. Then the splendid grand gallery in -Buckingham Palace where they drank tea, and where two boars by Paul -Potter are hanging, and a good many other pictures which pleased me -well. I must tell you that my A<span class="pagenum"><a name="page_282" id="page_282"></a>{282}</span> minor symphony has had great success -with the people here, who one and all receive us with a degree of -amiability and kindness which exceeds all I have ever yet seen in the -way of hospitality, though this sometimes makes me feel my head quite -bewildered and strange, and I am obliged to collect my thoughts in order -not to lose all self-possession.</p> - -<p><i>June 22nd.</i>—To-day, however, I can continue my letter in a more -cheerful spirit; I have slept away my weary mood, and feel again quite -fresh and well. Yesterday evening I played my concerto in D minor, and -directed my “Hebrides” in the Philharmonic, where I was received like an -old friend, and where they played with a degree of enthusiasm which -caused me more pleasure than I can describe. The people make such a fuss -with me this time that I feel really quite abashed; I believe they -clapped their hands and stamped for at least ten minutes after the -concerto, and insisted on the “Hebrides” being repeated. The directors -are to give a dinner at Greenwich next week, and we are to sail down the -Thames <i>in corpore</i> and to make speeches. They talk of bringing out -‘Antigone’ at Covent Garden as soon as they can procure a tolerable -translation. Lately I went to a concert in Exeter Hall where I had -nothing whatever to do, and was sauntering in quite coolly with -Klingemann,—in the middle of the first part, and an audience of about -three thousand present,—when just as I came in at the door, such a -clamour, and clapping, and shouting,<span class="pagenum"><a name="page_283" id="page_283"></a>{283}</span> and standing up ensued, that I had -no idea at first that I was concerned in it; but I discovered it was so. -On reaching my place, I found Sir Robert Peel and Lord Wharncliffe close -to me, who continued to applaud with the rest till I made my bow and -thanked them. I was immensely proud of my popularity in Peel’s presence. -When I left the concert they gave me another hurrah.</p> - -<p>Oh! how splendidly Mrs. Butler, at Chorley’s, lately read aloud -Shakespeare’s ‘Antony and Cleopatra;’ we have always been on the most -friendly terms since our acquaintance twelve years ago, when she was -Miss Fanny Kemble; and she gave this reading in honour of me, and quite -too beautiful it was; and Lady Morgan was there, and Winterhalter, and -Mrs. Jameson, and Duprez, who afterwards sang a French Romance of a -starving old beggar, and another of a young man losing his reason, with -the <i>refrain</i>, “Le vent qui vient à travers la montagne me rendra fou!” -“Sweet!” said the ladies; and Benedict, and Moscheles, and the -Grotes—who can enumerate them all! This evening at seven o’clock we -dine with Bunsen, and as we do not know what to do with our evening -afterwards, we shall probably drive to Charles Kemble’s about eleven -o’clock and be among his early guests; the late ones will not arrive -till after midnight. We have too such invariably bright and beautiful -weather. One day lately we saw first in the morning the Tower, then the -Katharine Docks, then the Tunnel, and ate fish at Blackwall, had -luncheon at Greenwich, and home<span class="pagenum"><a name="page_284" id="page_284"></a>{284}</span> by Peckham; we travelled on foot, in a -carriage, on a railway, in a boat, and in a steamboat. The day after -to-morrow we intend to go to Manchester for a couple of days, and next -week be on our way back to Frankfort. I have given up the musical -festival at the Hague, though they pressed me very hard to go there for -my “Hymn of Praise.” I wish to have nothing to do with music during the -next few weeks.</p> - -<p>I have still a vast deal to say to Fanny about the Bridgewater -Collection, where pictures and sketches by Hensel are hanging up, and -Sutherland House, and Grosvenor House, etc. etc.; and to Rebecca, about -the meeting of scientific men at Manchester, to which I was invited, but -unfortunately I could not go to greet Whewell. Jacoby and Enke were also -there; I alone was absent.</p> - -<p>But I must conclude. May we soon have a happy meeting, dearest Mother, -and dearest Brother and Sisters.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Carl Eckert, Paris.</span></h2> - -<p class="r"> -Berlin, January 26th, 1842.<br /> -</p> - -<p class="indd">Dear Eckert,<br /> -</p> - -<p>I have been long in your debt for an answer to your kind letter; pray -forgive this. I have been living such a stirring, excited life this -year, that I am more than ever unable to carry on any correspondence. I<span class="pagenum"><a name="page_285" id="page_285"></a>{285}</span> -need not tell you the great pleasure I felt in hearing from you, and -always shall feel every time that I do so. You know how entirely you won -my regard during the years when you resided in Leipzig, and how highly I -both honour and estimate your talents and your character. It is really -difficult to say which, in the present day, should be considered most -important; without talent nothing can be done, but without character -just as little. We see instances of this day after day, in people of the -finest capacities, who once excited great expectations, and yet -accomplish nothing. May Heaven bestow on you a continuous development of -both, in the same measure that within the last few years you have made -progress; or rather, <i>bestow all this on yourself</i>, for Heaven can do no -more than endow you with the germs and capabilities for this end, with -which it has already so richly endowed you: the rest becomes the affair, -and the responsibility, of each individual. Such a preaching tone must -sound very strange to you, living in joyous Paris; but it is a part of -the world and of life, that every wild animal has its own special skin -and roar, so I continue to roar in my old tones.</p> - -<p>Hofrath Förster sent me yesterday your “Lieder ohne Worte,” and your -overture, so I have occupied myself with little else than with you and -your compositions, and heartily rejoice in both; in the former from the -memory of the past, and in the latter from the pleasure of the present. -Both yesterday and to-day I have looked<span class="pagenum"><a name="page_286" id="page_286"></a>{286}</span> through, and played through, -your charming “Lieder” with the greatest delight; they all please me, -and are thoroughly genial, earnest music. More, more, a thousand times -more, in this and every other style! The overture in F sharp major, too, -caused me great pleasure, and suits me almost throughout; a few passages -only seem to me rather too amplified: we must not write, however, but -speak on this subject when we meet again, although the only really -important thing I have to say with regard to your music, I have already -said in this letter,—more, more! You have reached a standard, that may -in every relation well be called a mastership, which all musicians or -friends to music must highly esteem, and beyond which nothing actually -extrinsic (whether it be called erudition or recognition, facility and -knowledge, or honour and fame) is any longer worth striving for; but -this is, in my opinion, just the time when true work really first -begins. The question is then solely what is felt and experienced within -a man’s own breast, and uttered from the depths of his heart, be it -grave or gay, bitter or sweet,—character and life are displayed here; -and in order to prevent existence being dissipated and wasted when -brilliant and happy—or depressed and destroyed when the reverse—there -is but one safeguard—to work, and to go on working. So, for your sake, -I have only <i>one</i> wish, that you may bring to light what exists within -you, in your nature and feelings, which none save yourself can know or -possess. In your works,<span class="pagenum"><a name="page_287" id="page_287"></a>{287}</span> go deeper into your inmost being, and let them -bear a distinct stamp; let criticism and intellect rule as much as you -please in all outward questions and forms, but in all inner and original -thought, the heart alone, and genuine feeling. So work daily, hourly, -and unremittingly,—<i>there</i> you never can attain entire mastery or -perfection; no man ever yet did, and therefore it is the highest -vocation of life.</p> - -<p>I was three weeks in Leipzig not long since, where I was well amused, -and both heard and assisted in much good music. One morning I went to -the Klengels; it was on the Wednesday of the fast-week, at eleven -o’clock in the forenoon; the old gentleman was sitting in his -dressing-gown at the piano. As during the whole week there had been no -rehearsal of any concert, he had made Nanné sing a little. The -conversation turned on Julius’s “Lieder.” “If we only had an alto!” said -they. I offered to sing <i>falsetto</i>; the music was brought, and good red -wine beside. We sat round the table, and sang all his songs, which -delighted me exceedingly, and some of yours also. I had a great deal to -do that morning, but I stayed on till half-past one o’clock, and could -not resolve to come away. See if you can find such mornings in Paris! -“And you in Berlin,” you will reply.</p> - -<p>Now, farewell; continue your regard for me, and ever believe me your -friend,</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_288" id="page_288"></a>{288}</span></p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Interlachen, August 18th, 1842.<br /> -</p> - -<p class="indd">My dearest Mother,<br /> -</p> - -<p>Do you still remember our staying, twenty years ago, in a pretty small -inn here, shaded by large walnut-trees (I sketched some of them), and -our lovely young landlady? When I was here ten years ago, she refused to -give me a room, I looked so shabby from my pedestrian journey; I believe -that was the only single vexation I at that time experienced, during the -whole course of my tour. Now we are living here again as substantial -people. The Jungfrau, with her silver horns, stands out against the sky, -with the same delicate, elegant, and pointed outlines, and looks as -fresh as ever. The landlady, however, is grown old, and had it not been -for her manner, I should never have recognized her to be the same -person. I have again sketched the walnut-trees, much better than I did -at that time, but far worse than they deserve; the post in Untersee -brings us letters from the same house as it did then, and many new -houses are built; and the Aar gurgles, and glides along as rapid, and -smooth, and green as ever,—<i>time is, time was, time is past</i>. I have, -in fact, nothing more to write about, except that we are all well, and -think of you daily and hourly.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p> - -<p><span class="pagenum"><a name="page_289" id="page_289"></a>{289}</span></p> - -<p>Descriptions of Switzerland are impossible, and instead of a journal, -such as I formerly kept, I this time sketch furiously, and sit in front -of a mountain, and try to draw its likeness, and do not give it up till -I have quite spoiled the sketch; but I take care to have at least one -new landscape in my book every day. He who has not seen the Gemmi knows -nothing of Switzerland; but this is what people say of every new object -in this most incredibly beautiful country. With regard to this land, I -feel just as I do about clever books; when one is exchanged for another, -in every exchange a new phase presents itself, always equally fine and -equally admirable. So now, when I see this country with my wife, I have -quite a different impression from the previous times; then I wished -forthwith to climb every-crested mountain, and to run into every meadow; -this time, on the contrary, I should like to stay everywhere, and to -remain for months in one spot. I am by no means sure that some fine -spring I may not set off, bag and baggage, not returning to the north -till all the leaves are gone. Such, at least, are my daily thoughts, and -castles in the air. In a few days we are going into Oberland; I rejoice -at the thoughts of the full moon in Lauterbrunn. We then return here, -across Furka and Grimsel to the Lake of Lucerne and the Righi, and -thence away from the land of all lands, and back to Germany,—where it -is not so bad, after all. I own there are many days when the world -pleases me most exceedingly.<span class="pagenum"><a name="page_290" id="page_290"></a>{290}</span> I am writing fine novelties, dear Mother! -Forgive me, for I have nothing better to say; besides, I know that Paul -wrote to you at full length a few days ago. When we meet, I shall have a -tale to tell that will know no end. I wish I only knew whether I am to -remain in Berlin permanently, or merely for a few weeks. How gladly -would I write to you that it was to be the former; but the whole affair -has taken so many strange twists and turns of late, that I feel quite -astray and bewildered when I try to think what is to be done. On my -return it will all come right, no doubt. Do not be displeased with me, I -entreat, on account of this prolonged uncertainty; it is no fault of -mine.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Zurich, September 3rd, 1842.<br /> -</p> - -<p class="indd">Dear Mother,<br /> -</p> - -<p>I am not so hard-hearted a correspondent as to rest satisfied with only -writing to you once from Switzerland. Indeed, our Swiss expedition is -drawing nearly to a close for the present. There are few more herdsmen’s -huts to be seen; neither glaciers, nor anything of the kind; rocks, and -so forth, just as little; but we still have the greenish-blue lake, and -the clean houses, and the bright gardens, and a chain of mountains, such -as could only stand on the confines of a land like this.<span class="pagenum"><a name="page_291" id="page_291"></a>{291}</span> So my -greetings to you all once more from Switzerland! How beautiful all has -been, and most thoroughly have we enjoyed it! A gay mood, perfect -health, and clear weather, combined to impress all the marvels indelibly -on our souls. We were obliged to give up the expeditions we had planned -the last few days, owing to the rain, and mists, and unfavourable -weather; unfortunately the Righi was among the number, and the -Schaffhausen Rheinfall, neither of which is there any chance of our -seeing, for the weather continues cloudy, and the air very cold and -comfortless for a journey. But, with these two exceptions, we have seen -everything in as great beauty as we could have wished or expected; and I -am particularly delighted that, on the last fine forenoon, I -accomplished my expedition over the <i>Surene</i> (“Durch der Surener -furchtbar Eisgebirg,” <i>vide</i> ‘William Tell’). On the same afternoon it -began to rain in Engelberg, and next day I was obliged to tramp through -the whole of the Unterwalden under an umbrella, nor has it ever been -fair since. I sought out my former guide, and we mutually recognized -each other, to our great joy.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> He is now the landlord of the ‘Crown’ -in Meiringen. Dearest Mother, recommend the man and his house to all -your correspondents. I am quite determined to write to London and ask -Murray to praise the ‘Crown’ in Meiringen, in his next red Guide-book to -Switzerland; he can do so with a clear conscience. Michael<span class="pagenum"><a name="page_292" id="page_292"></a>{292}</span> has a good -house, an extremely pretty wife, and five fine children, for whom I -bought a few little trifles and some toy soldiers in Untersee, and thus -we had a happy meeting after the lapse of eleven years. He brought me -the words of the song in G major he sang at that time, the melody of -which I had retained, but always plagued myself in vain about the -verses. When I told him that we wished to go to the Grimsel, he got very -red, and said, “Then I must go too—I must go.” He entrusted the public -room (which is his department) to the care of a friend, and was ready -next morning with his mountain staff and blouse, and led the horses past -some awkward places, and the ladies past the most dangerous ones, and us -too, when it was possible to cut off the distance by footpaths; and the -people in Guttann laughed at seeing him again. “It is only for a little -while,” said he; and a man who was making hay called out to him, “Oho! -Michael, so you can’t give up being a guide yet?” He confided to me, -that it did sometimes seem hard to be obliged to do so, and if he did -not think of his wife and children, who knows what might happen? We -separated on the Grimsel. This was a pleasant episode. I have sketched a -great deal, and taken much trouble, but more than a mere scrawl cannot -be accomplished here. Still, it may serve as a kind of diary, and as -such I feel an attachment to all the old leaves in my book, and to the -present ones also.</p> - -<p>Kücken has just been with me; he is going to Paris,<span class="pagenum"><a name="page_293" id="page_293"></a>{293}</span> having composed an -opera, which he is anxious to have performed first in Berlin; he got the -<i>libretto</i> from a man in Vienna. The Faulhorn, Meyerbeer, Rungenhagen, -the Brünig, the Lungernsee, Donizetti, and the drivers, enlivened the -conversation by turns,—not forgetting the Conservatorium in Berlin, and -the Grimsel and Furka in the snow. But what kind of letter is this? Paul -is resolved to see Zurich, so I must conclude. I feel as if you must be -provoked at my chit-chat, all about nothing. Well, then, we are all -perfectly hale and hearty, and love you very dearly, and think of you -always and everywhere, and send you a thousand greetings, and hope for a -joyful meeting. Such is, after all, the chief substance of every letter -we long for, and so it is of this one also. <i>Au revoir</i>, dearest -Mother.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To A. Simrock, Bonn.</span></h2> - -<p class="r"> -Frankfort, September 21st, 1842.<br /> -</p> - -<p class="indd">Dear Herr Simrock,<br /> -</p> - -<p>I write to you to-day on a particular subject, relying on your most -entire discretion and perfect secrecy; but I know too well from -experience, your kindly feeling towards myself, to doubt the fulfilment -of my wish, and in full confidence in your silence I shall now come to -the point. During my stay here I heard by <span class="pagenum"><a name="page_294" id="page_294"></a>{294}</span>chance that my friend and -colleague in art, Herr X——, had written to you about the publication -of some new works, but hitherto had received no answer. Now both in the -interest of art, as well as in that of my friend, I should indeed be -very glad if the answer were to prove favourable; and as I flatter -myself that you place some value on my opinion and my wish, it occurred -to me to write to you myself on the subject, and to beg of you, if you -possibly can, to make some of my friend’s works known to the German -public. My wish for the secrecy which I beg you to observe <i>towards -every one</i> and under <i>all circumstances</i>, is owing to this: that I feel -certain Herr X—— would be <i>frantic</i> if he had the most remote idea -that I had taken such a step on his behalf. I know that nothing would be -more intolerable to him than not to stand absolutely on his own ground, -and therefore he <i>never</i> must know of this letter; but, on the other -hand, it is the positive duty of one artist towards another to assist as -much as possible in overcoming difficulties and annoyances, when such -efforts are noble and in a good cause, and both of these are so to the -highest degree in this case. I therefore beg you to publish some of his -compositions, and, above all, if possible, to enter into a more -permanent connection with him. I am well aware that the German -publishers have not hitherto had any very brilliant success (as it is -called) with the works he has written, and whether this may be otherwise -in future I cannot pretend to say; but that they <i>well deserve</i> to -succeed, is a point on which<span class="pagenum"><a name="page_295" id="page_295"></a>{295}</span> I have no doubt; and on that account, and -<i>solely</i> on that account, I now make my request. Were it not so, however -great a friend he might be of mine, I would not do this. In fact, the -only consideration which ought to have any influence, is the <i>intrinsic</i> -value of a work,—that being the only thing which would <i>inevitably</i> -ensure success, if there were any honesty in the world. It is too -provoking to hear the oft-told tale of clever, meritorious artists, who, -at the beginning of their career, are in such a state of anxious -solicitude that their works should be purchased and made known, and when -one of these chances to make a good hit, and gains great applause and -becomes vastly popular, still this success does not cause him -satisfaction equal to all his previous anxiety and vexation; for this -very reason I should like you to act differently, and to place more -value on true worth than on any chance result. This system, in fact, -must soon be abolished, and in such a case the only question is, how -soon? and after how many more annoyances? and this is just the point -where a publisher can be useful and valuable to an artist. When -universal popularity ensues, they are all ready enough to come forward, -but I think you are the very man to act differently, not losing sight of -the ideal, but also doing what is practical and right. Forgive the -liberty I have taken, and if possible, comply with my wish. So far as I -have heard, there is no pretension to any considerable sum for these -works, but a very strong desire that they may be generally<span class="pagenum"><a name="page_296" id="page_296"></a>{296}</span> circulated -and made known, and that the correspondence should be carried on in a -friendly artistic spirit. If you will or can enter into the affair, I -rely on your <i>sacred silence</i> as to my interference, my name, or my -request. If I shortly hear from my friend that you have written to him -in a kind manner, and have agreed to assist him in making the public -familiar with his songs and pianoforte works, how heartily shall I then -rejoice! Perhaps you will say, what does this lazy composer, and still -more lazy correspondent, mean? But I have improved in the latter -respect, as the <i>figura</i> proves; and with regard to the former, I mean -to set to work shortly, and to overwhelm you with music-paper (as soon -as it is well filled), and to request in my own name, what I now so -urgently and anxiously entreat in that of my friend.—Ever yours, with -esteem,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To A. Simrock, Bonn.</span></h2> - -<p class="r"> -Berlin, October 10th, 1842<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>If I ever was agreeably surprised by any letter, it was by yours, which -I received here yesterday. Your kind and immediate compliance with my -request, and also the very handsome present you make me for my “Songs -without Words,” render it really difficult for me<span class="pagenum"><a name="page_297" id="page_297"></a>{297}</span> to know how to thank -you, and to express the great pleasure you have conferred on me; I must -confess that I had not expected such ready courtesy, and satisfactory -compliance with my letter of solicitation. I now doubly rejoice in -having taken a step which a feeling of false shame, and that odious -worldly maxim, “Don’t interfere in the affairs of others,” which -occurred to me while writing, nearly deterred me from carrying out. Your -conduct, as displayed in your letter of yesterday, has confirmed me more -than ever in what I esteem to be good and right; so I intend to lay -aside for ever the (so-called) highly-prized worldly wisdom, and -henceforth to pursue a straightforward course according to my own first -impulse and feeling; if it fails a hundred times, still <i>one</i> such -success is ample compensation. What artist, too, would not, at the same -time, be highly delighted by the kind manner in which you allude to my -compositions, and evince your approbation? Who would not prize and -esteem this beyond all other recognition? I ought especially to feel -thus, and by hereafter producing better works, strive to deserve the -good and friendly feeling shown to me for my present ones. I hope one -day, in some degree at least, to succeed in doing so; and if not, you -will at all events know that neither goodwill nor earnest efforts were -wanting. So I thank you for the fulfilment of my request, I thank you -for the flattering and handsome present, and, above all, I thank you for -your kindly sentiments about myself and my music,<span class="pagenum"><a name="page_298" id="page_298"></a>{298}</span> both of which are so -much indebted to you, and which will fill me with gratitude and pleasure -so long as I live.—I am, with esteem, your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Marc-André Souchay, Lübeck.</span><a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></h2> - -<p class="r"> -Berlin, October 15th, 1842.<br /> -</p> - -<p>... There is so much talk about music, and yet so little really said. -For my part I believe that words do not suffice for such a purpose, and -if I found they did suffice, then I certainly would have nothing more to -do with music. People often complain that music is ambiguous, that their -ideas on the subject always seem so vague, whereas every one understands -words; with me it is exactly the reverse; not merely with regard to -entire sentences, but also as to individual words; these, too, seem to -me so ambiguous, so vague, so unintelligible when compared with genuine -music, which fills the soul with a thousand things better than words. -What the music I love expresses to me, is not thought too <i>indefinite</i> -to be put into words, but, on the contrary, too <i>definite</i>. I therefore -consider every effort to express such thoughts commendable, but still -there is something unsatisfactory too in them all, and so it is with -yours also. This, however, is not your fault, but<span class="pagenum"><a name="page_299" id="page_299"></a>{299}</span> that of the poetry, -which does not enable you to do better. If you ask me what <i>my</i> idea is, -I say—just the song as it stands; and if I have in my mind a definite -term or terms with regard to one or more of these songs, I will disclose -them to no one, because the words of one person assume a totally -different meaning in the mind of another person, because the music of -the song alone can awaken the same ideas and the same feelings in one -mind as in another,—a feeling which is not, however, expressed by the -same words.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> Resignation, melancholy, the praise of God, a -hunting-song,—one person does not form the same conception from these -that another does. Resignation is to the one, what melancholy is to the -other; the third can form no lively idea of either. To any man who is by -nature a very keen sportsman, a hunting-song and the praise of God would -come pretty much to the same thing, and to such a one the sound of the -hunting-horn would really and truly be the praise of God, while we hear -nothing in it but a mere hunting-song; and if we were to discuss it ever -so often with him, we should get no further. Words have many meanings, -and yet music we could both understand correctly. Will you allow this to -serve as an answer to your question? At all events, it is the only<span class="pagenum"><a name="page_300" id="page_300"></a>{300}</span> one -I can give,—although these too are nothing, after all, but ambiguous -words!</p> - -<h2><span class="smcap">To Wirklich Geheimrath Herr von Massow.</span></h2> - -<p class="r"> -Berlin, October 23rd 1842.<br /> -</p> - -<p class="indd">Your Excellency,<br /> -</p> - -<p>Permit me respectfully to ask whether you will be so good as to assist -in procuring me an audience of his Majesty, to place before him my -present position here, and my wishes with regard to it.</p> - -<p>Your Excellency is aware that I am not so situated as to be able to -accept the proposal of Herr Eichhorn to place myself at the head of the -whole of the Evangelical Church music here. As I already told the -Minister (and your Excellency quite agreed to this in our last -conversation), such a situation, if considered <i>practically</i>, must -either consist of a general superintendence of all the present -organists, choristers, school-masters, etc., or of the improvement and -practice of the singing choirs in one or more cathedrals. Neither of -these, however, is the kind of work which I particularly desire. -Moreover, the first of these functions is superfluous if such places are -properly filled; and the second, to be really effectually carried out, -demands more vast and comprehensive regulations, and greater pecuniary -resources than could be obtained at this moment.<span class="pagenum"><a name="page_301" id="page_301"></a>{301}</span></p> - -<p>With regard to the other plans which were proposed, partly for the -reorganization of the present Institute, and partly for the -establishment of a new one, difficulties have arisen which render the -establishment of these plans void; and thus the case now occurs which -your Excellency may remember I always anticipated, much to my regret, at -the very beginning of our correspondence in December, 1840,—there is no -opportunity on my side for a practical, influential, musical efficiency -in Berlin.</p> - -<p>Herr Eichhorn declared that this would be altered in the course of time; -that everything was being done in order to bring about a different state -of things, and he requested me to wait with patience till the building -was completed which it was proposed to erect.</p> - -<p>I think, on the contrary, that it would not be responding properly on my -part to the confidence the King has placed in me, if I were not at once -to employ my energies in fulfilling what your Excellency at that time -told me, in the name of the King, were his designs; if, instead of at -least making the attempt to animate and ennoble my art in this country -(as your Excellency was pleased to say), I were to continue to work for -myself personally; if I were to wait instead of to act. The very depth -of my gratitude for such flattering confidence constrains me to say all -this candidly to his Majesty,—to state that circumstances, over which I -have no control, now render the fulfilment of his commands impossible.<span class="pagenum"><a name="page_302" id="page_302"></a>{302}</span></p> - -<p>My wish is that his Majesty would permit me in the meantime to reside -and to work, and to await his commands in some other place, where I -could for the moment be useful and efficient. As soon as the building is -finished, of which Herr Eichhorn spoke, or so soon as the King required -any service from me, I should consider it a great happiness to hasten -back and to exert my best energies for such a Sovereign, whose mandates -are in themselves the highest rewards for an artist.</p> - -<p>I would fain have written this to the King sooner, but when I reflected -that my communication would only meet his Majesty’s eye among a vast -number of others, I thought I could express my views and feelings of -most sincere gratitude, more plainly and better, verbally, even if only -by a few words; and that your Excellency may be so obliging as to -promote my wish is my present request, and the object of this letter.—I -am, your Excellency’s most devoted</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To His Majesty the King of Prussia.</span><a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></h2> - -<p class="r"> -Berlin, October, 28th, 1842<br /> -</p> - -<p class="indd">Your Majesty,<br /> -</p> - -<p>In the memorable words your Majesty was pleased to address to me, you -mentioned that it was intended to add a certain number of able singers -to the existing<span class="pagenum"><a name="page_303" id="page_303"></a>{303}</span> Royal Church choirs, to form a nucleus for these -choirs, as well as for any amateurs of singing who might subsequently -wish to join them, serving as a rallying-point and example, and in this -manner gradually to elevate and to ennoble church music, and to ensure -its greater development.</p> - -<p>Also, in order to support the singing of the congregation by -instruments, which produce the most solemn and noble effects,—as your -Majesty may remember, during the celebration of the Jubilee in the -Nicolai Church,—it is proposed that a small number of instrumentalists -(probably selected from the members of the Royal Orchestra) should be -engaged, who are also intended to form the basis for subsequent grand -performances of oratorios, etc.</p> - -<p>The direction of a musical choir of this instructive nature, a genuine -Royal Orchestra, your Majesty expressed your intention to entrust to me, -but, till its formation, to grant me entire freedom of choice with -regard to my place of residence.</p> - -<p>The execution of this plan will fulfil to the utmost all my wishes as to -public musical efficiency; I can never cease to be grateful to your -Majesty for it, and I do not doubt that the organization of such an -institution could be effected here without any serious difficulties.</p> - -<p>But I would request your Majesty not to devolve this organization on me -personally, but merely to permit me to co-operate with my opinion and -advice, which I shall<span class="pagenum"><a name="page_304" id="page_304"></a>{304}</span> always be gladly prepared to give. Until however, -to use your Majesty’s own expression, the instrument is ready on which I -am hereafter to play, I wish to make use of the freedom of action so -graciously accorded me, and shortly to return to Leipzig, for the -direction of the Town Hall concerts. The orders which your Majesty was -pleased to give me, I shall there with the utmost zeal and to the best -of my abilities carry into execution; at the same time I entreat your -Majesty, as I am engaged in no public sphere of action here till the -organization of the Institute, and am till then to enjoy entire liberty, -to be allowed to give up one-half of the salary, previously granted to -me, so long as I take advantage of this entire freedom from work.</p> - -<p>In repeating my heartfelt thanks for all the favours which your Majesty -has so liberally bestowed on me,—I am, till death, your Majesty’s -devoted servant,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Leipzig, November 23rd, 1842.<br /> -</p> - -<p>We are now again settled in Leipzig, and fairly established here for -this winter and till late in the spring. The old localities where we -passed so many happy days so pleasantly are now re-arranged with all -possible comfort, and we can live here in great comfort. I could no<span class="pagenum"><a name="page_305" id="page_305"></a>{305}</span> -longer endure the state of suspense in Berlin; there was in fact nothing -certain there, but that I was to receive a certain sum of money, and -that alone should not suffice for the vocation of a musician; at least I -felt more oppressed by it from day to day, and I requested either to be -told plainly I should do <i>nothing</i> (with which I should have been quite -contented, for then I could have worked with an easy mind at whatever I -chose), or be told plainly what I was to do. As I was again assured that -the results would certainly ensure my having employment, I wrote to Herr -von Massow begging him to procure me an audience of the King, that I -might thank him verbally, and endeavour to obtain my dismissal on such -and such grounds, requesting him to communicate the contents of this -letter to his Majesty; this he did, and appointed a day for the -audience, at the same time saying that the affair was now at an end; the -King very much displeased with me, and that it was his intention to take -leave of me in very few words. He had made me some proposals in the name -of the King to which I could not altogether agree, and with which I do -not now detain you, as they led to nothing, and could lead to nothing. -So I was quite prepared to take my leave of Berlin in very bad odour, -however painful this might be to me. I was at length obliged also to -speak to my mother on the subject, and to break to her that in the -course of eight days I must return to Leipzig; I could not have believed -that this would have affected her so terribly<span class="pagenum"><a name="page_306" id="page_306"></a>{306}</span> as it actually did. You -know how calm my mother usually is, and how seldom she allows any one to -have a glimpse of the feelings of her heart, and therefore it was doubly -and trebly painful to me to cause her such a pang of sorrow, and yet I -could not act otherwise; so next day I went to the King with Massow—the -most zealous friend I have in Berlin—and who first took a final leave -of me in his own house. The King must have been in an especial good -humour, for instead of finding him angry with me, I never saw him so -amiable and so really confidential. To my farewell speech he replied: he -could not indeed compel me to remain, but he did not hesitate to say, -that it would cause him heartfelt regret if I left him; that by doing -so, all the plans which he had formed from my presence in Berlin would -be frustrated, and that I should leave a void which he could never fill -up. As I did not admit this, he said if I would name any one capable of -carrying such and such plans into execution as well as he believed I -could do, then he would entrust them to the person I selected, but he -felt sure I should be unable to name one whom he could approve of. The -following are the plans which he detailed at full length; first of all, -to form a kind of real <i>capelle</i>, that is, a select choir of about -thirty very first-rate singers, and a small orchestra (to consist of the -<i>élite</i> of the theatrical orchestra); their duties to consist in Church -music on Sundays and at festivals, and besides this, in performing -oratorios and so<span class="pagenum"><a name="page_307" id="page_307"></a>{307}</span> forth; that I was to direct these, and to compose -music for them, etc. etc. “Certainly,” said I, “if there were any chance -of such a thing here, if this were only accomplished;” it was the very -point at issue on which I had so much insisted. On which he replied -again, that he knew perfectly well I must have an instrument to make -music on, and that it should be <i>his</i> care to procure such an instrument -of singers and players; but when he had procured it, he must know that I -was prepared to play on it; till then I might do as I liked, return to -Leipzig, or go to Italy,—in short, be entirely unfettered; but he must -have the certainty that he might depend on me when he <i>required</i> me, and -this could only be acquired by my remaining in his service. Such was at -least the essential substance of the whole long conversation; we then -separated. He said I was not to give him my decision <i>immediately</i>, -because all difficulties could not be for the moment entirely obviated; -I was to take time to consider, and to send my answer to Massow, who was -present during the whole of this conversation of an hour and a quarter. -He was quite flushed with excitement when we left the room, repeating -over and over again, “Surely you can never <i>now</i> think of going away!” -and to tell you the truth, I thought more of my dear mother than of all -the rest. In short, two days afterwards I wrote to the King, and said -that after his words to me I could no longer think of leaving his -service, but that, on the contrary, my best abilities<span class="pagenum"><a name="page_308" id="page_308"></a>{308}</span> should be at his -command so long as I lived. He had mentioned so and so (and I repeated -the substance of our conversation), that I would take advantage of the -liberty he had granted me, and remain in Leipzig <i>until</i> I was appointed -to some <i>definite</i> sphere of work; on which account, I begged to -relinquish one-half of my salary, so long as I was not really engaged in -active work. This proposal he accepted, and I am now here again with my -wife and child. I have been obliged definitively to decline the offers -of the King of Saxony; but in order to do so in the most respectful -manner, I went to Dresden a few days after my return here, thanked the -King once more verbally, and entreated him not the less to bestow the -twenty thousand <i>thalers</i> (which an old Leipziger bequeathed in his will -to the King for the establishment of an Academy of Art) to found a -school for music in Leipzig, to which he graciously acceded. The -official announcement came the day before yesterday. This music school -is to be organized next winter, at least in its chief features; when it -is established, I may well say that I have been the means of procuring a -durable benefit for music here. If they begin anything solid in Berlin, -I can settle there with a clear conscience; if they allow the matter to -stand over, it is probable that I may go on with my half-salary and my -situation here for more than a year, and my duties be confined, as now, -to executing particular commands of the King,—for instance, I am to -supply him with music for<span class="pagenum"><a name="page_309" id="page_309"></a>{309}</span> the “Midsummer Night’s Dream,” the “Storm,” -and “Œdipus Coloneus.”</p> - -<p>Such then is the desired conclusion of this long, long transaction. -Forgive all these details, but I wished to inform you minutely of every -particular.</p> - -<p>A request occurs to me which I long ago intended to have made to you. In -Switzerland I saw my former guide, Michael, whom, on my previous -mountain-expeditions, I always found to be an excellent, honest, -obliging fellow, and on this occasion I met with him again, married to a -charming pretty woman; he has children, and is no longer a guide, but -established as landlord of the ‘Krone.’ During our first visit to -Meiringen this summer, we lived at the Hôtel de Reichenbach, but the -second time we were at the ‘Krone,’ and quite delighted with the -cleanliness, and neatness, and the civil behaviour of all the people in -the house. It is a most genuine Swiss village inn, taken in its best -sense. Now Michael’s greatest wish is to be named among the inns at -Meiringen, in the new edition of Murray’s ‘Switzerland,’ and I promised -to endeavour to effect this for him.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> Is it in your power to get this -done? The first inn there is the ‘Wilde Mann,’ the second the -‘Reichenbach,’ and the third undoubtedly the ‘Krone;’ and if Murray -recommends it as such, I am convinced it will do him credit. He might -also mention that it is most beautifully situated, with a full view of -the<span class="pagenum"><a name="page_310" id="page_310"></a>{310}</span> Engelhorn, and the glacier of the Rosenlaui. Michael said that the -editor of the Handbook had been there, and very much <i>fêté</i> by the other -landlords; his means did not admit of this, still he would give him a -good round sum of money if he would only mention him. I was indignant, -and said, “<i>Without money, or not at all</i>.” But I thought of many -musical newspapers and composers, so I did not lecture him much on the -subject, from the fear that he might one day hear something of the same -sort from one of my colleagues, and take his revenge. There is now a -general complaint, that the large town hotels have superseded the -smaller comfortable genuine Swiss inns; this is one of the latter sort. -Murray must really recommend it. Pray do what you can about this, and -tell me if you succeed. Forgive my troubling you, the secretary to an -embassy, with such things, but if you knew Michael you would like him, I -know. I would fain draw a great deal now, and gladly devote myself to -all manner of <i>allotria</i>, including composition; but I see lying before -me an enormous thick packet of proofs of my A minor symphony, and the -‘Antigone,’ which must absorb all my leisure time; and then the -frightful heap of letters!</p> - -<p>My dearest friend, may these lines find you in good health, and in a -happy frame of mind; may you think of me, as I shall of you, so long as -life lasts; and may you also soon be able to tell me yourself that it is -so, and again rejoice your true friends by your presence, for<span class="pagenum"><a name="page_311" id="page_311"></a>{311}</span> Cecile -writes this letter from first to last along with me, and knows all I -have said, and is, like myself, for ever and ever your friend.</p> - -<p class="r"> -F. M. B.<br /> -</p> - -<h2><span class="smcap">To his Mother.</span></h2> - -<p class="r"> -Leipzig, November 28th, 1842.<br /> -</p> - -<p class="indd">Dearest Mother,<br /> -</p> - -<p>As pen and paper must again serve instead of our usual evening hour for -tea, I begin by making a suggestion, which is, whether you would like me -to write to you regularly every Saturday (perhaps only a few words, but -of this hereafter); and that one of the family, as often as you cannot -or will not write, should undertake to send me a punctual reply. In -addition to the joy of knowing beforehand the day when I am to hear of -you, it is in some degree indispensable to ensure my writing to you, for -time <i>must</i> be found for a weekly letter; while, were this not the case, -I should be ashamed to send you only a few lines, should it happen that -I could not accomplish more. You can have no idea of the mass of -affairs—musical, practical, and social—that have accumulated on the -table in my study since my return here. The weekly concerts; the extra -ones; the money the King has at length bestowed at my request on the -Leipzigers, and for the judicious expenditure of which I only yesterday -had to furnish the prospectus; the<span class="pagenum"><a name="page_312" id="page_312"></a>{312}</span> revisal of “Antigone” and of the A -minor symphony, its score and parts; and a pile of letters. These are -the principal points, which, however, branch off into a number of -secondary ones. Besides, Raupach has already sent me the first chorus of -“Athalia.” The “Midsummer Night’s Dream” and “Œdipus” daily work more -busily in my head; I am really anxious at last to make the “Walpurgis -Nacht” into a symphony cantata, for which it was originally intended, -but did not become so from want of courage on my part, and I must also -complete my violoncello sonata.</p> - -<p>Old Schröder’s concert took place three days ago, in which I played, and -directed the overture to “Ruy Blas;” the old <i>déclamatrice</i> delighted us -all exceedingly by the great power and spirit of her voice, and every -gesture. In particular passages I thought she laid rather too much -stress on the expression of the words, and gave too much preference to -details over the voice; but as a whole her genius was highly remarkable. -In her youth, had she the reputation of laying more stress on effect -than was admissible? and what were her best parts in those days? Her -daughter (looking younger, and wilder, and more of a madcap than ever) -sang also, and sings this evening in Döhler’s concert; she will also -probably sing in our subscription concert next Thursday; the days which -she passes in any town, are not of the most quiet description for her -acquaintances. We had besides, Tichatschek, Wagner,<span class="pagenum"><a name="page_313" id="page_313"></a>{313}</span> Döhler, -Mühlenfels,—so there was a continual hurry and excitement last week.</p> - -<p>Make them read aloud to you at the tea-table the passage from the last -of Lessing’s ‘Antiquarian Letters,’ “Wenn ich Kunstrichter wäre,” etc. -etc.,—and tell me whether any of you dispute the point, or whether you -all agree with me, that it is the most exhaustive address which can be -made to a critic, indeed to every critic. At this moment, when so many -artists, old and young, good and bad, come here, this passage daily -recurs to me.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, December 5th, 1842.<br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>As we agreed (and indeed very properly) that I was to take no step with -regard to my affairs in Berlin without informing you immediately of -every detail, I write you these lines to-day, although I am over head -and ears in business. I received yesterday from the King the following -communication:—</p> - -<p>“By the enclosed written document you will perceive the tenor of the -communication I have this day made on the subject of an Institute for -the Improvement of Church Singing; it is addressed to the Special -Commissioners, W. G. R. von Massow and W. G. R. General Intendant of -Court Music, Graf von Redern. I have<span class="pagenum"><a name="page_314" id="page_314"></a>{314}</span> also, in compliance with your own -wish, informed the Minister of State, Eichhorn, and the Finance -Minister, Von Bodelschwingh, that, until you enter on your functions, -you decline receiving more than fifteen hundred <i>thalers</i>, instead of -three thousand. I nominate you General Music Director, and entrust to -you the superintendence and direction of church and sacred music as your -appointed sphere of action.—Charlottenburg, November 22nd, 1842.”</p> - -<p>The enclosure consists of a Cabinet order, which is drawn up in a most -clear and judicious style, entirely in the spirit of our interview, and -thoroughly in accordance with my wishes, manifestly with the -co-operation of Herr von Massow, and with the true and honest purpose of -carrying out the affair. That no material obstacles exist, is again -evident from this cabinet order, but whether I may consider the -accomplishment of the project as certain, I cannot say with any security -till I actually see it. The affair of the Conservatorium was still -further advanced, and seemed even more decided. On the other hand, I -adhere to my former views, and do what I can to promote the project, and -to display my goodwill towards it.</p> - -<p>Herr von Massow writes to me (only yesterday) that I had better soon -come again to Berlin, to converse with him and Graf von Redern, and that -only one or two days would be required; I shall, however, answer him -that I mean to go there on the 17th, and have arranged to<span class="pagenum"><a name="page_315" id="page_315"></a>{315}</span> remain till -the 23rd. A longer stay is unfortunately impossible; still you and I can -have some political gossip together, and be inseparable during my stay.</p> - -<p>The King having on this occasion conferred on me a new title,<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> almost -embarrasses me; I am unwilling to be of the number of those in the -present day, who possess a greater number of decorations than they have -written good compositions, and yet it seems rather like it; at all -events, I really have no idea what return I can possibly make for all -this, still, as I have not in any way sought it, I may be excused. To -refuse such a thing is out of the question, and there is no one who does -not rejoice in being over-estimated, because on some other occasion the -balance is sure to be made even by depreciation.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To His Mother.</span></h2> - -<p class="r"> -Leipzig, December 11th, 1842.<br /> -</p> - -<p class="indd">Dearest Mother,<br /> -</p> - -<p>On the 21st or 22nd, we give a concert here for the King, who has sworn -death and destruction to all the hares in the country round. In this -concert we mean to sing for his benefit (how touching!) the partridge -and hare hunt out of the “Seasons.” My “Walpurgis Nacht” is to appear -once more in the second part, in<span class="pagenum"><a name="page_316" id="page_316"></a>{316}</span> a somewhat different garb indeed from -the former one, which was somewhat too richly endowed with trombones, -and rather poor in the vocal parts; but to effect this, I have been -obliged to re-write the whole score from A to Z, and to add two new -arias, not to mention the rest of the clipping and cutting. If I don’t -like it now, I solemnly vow to give it up for the rest of my life. I -think of bringing with me to Berlin a movement from the “Midsummer -Night’s Dream,” and one from “Œdipus.” The music school here, please -God! will make a beginning next February; Hauptmann, David, Schumann and -his wife, Becker, Pohlenz, and I, are to be the teachers at first. It -commences with ten sinecures; the rest who may wish to have instruction, -must pay seventy-five <i>thalers</i> a year. Now you know all that I know, -the rest can only be taught by experience and trial.</p> - -<p>I wished for you recently at a subscription concert. I think I never -played the Beethoven G major concerto so well,—my old <i>cheval de -bataille</i>; the first cadence especially, and a new return to the solo, -pleased me exceedingly, and apparently the audience still more.</p> - -<p>What you write to me about the <i>répertoire</i> of your Berlin concerts, -does not inspire me with any wish to hear more about them. The -arrangement of the “Aufforderung zum Tanz,” and the compositions of -English ambassadors,—these are valuable things! If experiments are to -be thus made and listened to, it would be advisable to be rather more -liberal towards the works of<span class="pagenum"><a name="page_317" id="page_317"></a>{317}</span> our Fatherland. You will again say that I -am cynical; but many of my ideas are so intimately connected with my -life and my views on art, that you must be indulgent with regard to -them.</p> - -<p>The monument to old Sebastian Bach is now very handsome.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> Bendemann -was here the day before yesterday, to inspect it once more. All the -inner scaffolding had been removed, so the pillars and smaller columns, -and scrolls, and above all the bas-reliefs, and the grand, antiquated -old features sparkled clearly in the sun, and caused me great delight. -The whole structure, with its numerous elegant decorations, is really -typical of the old fellow. It is now covered up again, and will remain -so till March, when it is to be inaugurated on his birthday, by one of -his motetts. Cedars are to be planted round the monument, and a Gothic -seat placed in front of it. We are anxious, however, not to make too -much fuss on the subject, and to avoid the present pompous style of -phraseology, and the worship of art and artists, which is so much the -fashion.</p> - -<p>Here, the outward aspect of things is now as much too flourishing, as it -formerly was too miserable for artists, which would be very pleasant for -us, but it does harm to the cause. Art is becoming spoiled and sluggish, -so we should rather be grateful to our present enemies than be angry -with them. I also consider it too much good fortune that the King of -Prussia has nominated me<span class="pagenum"><a name="page_318" id="page_318"></a>{318}</span> General Music Director. This is another new -title and new honour, whereas I really do not know how to do enough to -deserve the old ones.</p> - -<p>This is a hallowed day for us all, with its delightful and memorable -recollections;<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> think of me too on this anniversary, as I do of you -and of him, so long as life endures.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Leipzig, December 16th, 1842.<br /> -</p> - -<p class="indd">My dear Schubring,<br /> -</p> - -<p>I now send you, according to your permission, the text of “Elijah,” so -far as it goes. I do beg of you to give me your best assistance, and -return it soon with plenty of notes on the margin (I mean Scriptural -passages, etc.). I also enclose your former letters on the subject, as -you wished, and have torn them out of the book in which they were. They -must, however, be replaced, so do not forget to send them back to me. In -the very first of these letters (at the bottom of the first page), you -properly allude to the chief difficulty of the text, and the very point -in which it is still the most deficient—in universally valid and -impressive thoughts and words; for of course it is not my intention to -compose what you call “a Biblical Walpurgis Night.” I have endeavoured -to obviate this deficiency by the passages<span class="pagenum"><a name="page_319" id="page_319"></a>{319}</span> written in Roman letters, -but there is still something wanting, even to complete these, and to -obtain suitable comprehensive words for the subject. This, then, is the -first point to which I wish to direct your attention, and where your -assistance is very necessary. Secondly, in the “dramatic” arrangement. I -cannot endure the half operatic style of most of the oratorio words, -(where recourse is had to common figures, as, for example, an Israelite, -a maiden, Hannah, Micaiah, and others, and where, instead of saying -“this and that occurred,” they are made to say, “Alas! I see this and -that occurring.”) I consider this very weak, and will not follow such a -precedent. However, the everlasting “he spake” etc., is also not right. -Both of these are avoided in the text; still this is, and ever will be, -one of its weaker aspects.</p> - -<p>Reflect, also, whether it is justifiable that no positively dramatic -figure except that of Elijah appears. I think it is. He ought, however, -at the close, at his ascension to heaven, to have something to say (or -to sing). Can you find appropriate words for this purpose? The second -part, moreover, especially towards the end, is still in a very -unfinished condition. I have not as yet got a final chorus; what do you -advise it to be? Pray study the whole carefully, and write on the margin -a great many beautiful arias, reflections, pithy sentences, choruses, -and all sorts of things, and let me have them as soon as possible.<span class="pagenum"><a name="page_320" id="page_320"></a>{320}</span></p> - -<p>I also send the ‘Méthode des Méthodes.’ While turning over its leaves, I -could not help thinking that you will here and there find much that will -be useful. If that be the case, I beg you will keep it as long as you -and your young pianoforte player may require it. I don’t use it at all. -If it does not please you, I can send you instead, a sight of -Zimmermann’s ‘Pianoforte School,’ which is composed pretty much on the -same principle, and has only different examples, etc.</p> - -<p>Speaking is a very different thing from writing. The few minutes I -lately passed with you and yours, were more enlivening and cheering than -ever so many letters.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, December 22nd, 1842.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a><br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>I wrote to you the day after our arrival here that we were all well, and -living in our sorrow as we best could, dwelling on the happiness we once -possessed. My letter was addressed to Fanny, but written to you all; -though it seems you had not heard of it, and even this trifle shows, -what will day by day be more deeply and painfully felt by us,—that the -point of union<span class="pagenum"><a name="page_321" id="page_321"></a>{321}</span> is now gone, where even as children we could always -meet; and though we were no longer so in years, we felt that we were -still so in feeling. When I wrote to my Mother, I knew that I wrote to -you all, and you knew it too; we are children no longer, but we have -enjoyed what it really is to be so. Now, this is gone for ever! At such -a time, with regard to outward things, we are as if in a dark room, -groping to find the way, hour after hour. Tell me if we cannot arrange -that I should write to one of you by turns once every week, and get an -answer from you, so that we may at least hear of each other every three -weeks, independent of more frequent letters; or say whether any better -arrangement occurs to you. I thank you a thousand times for your kind -question about the house. I had thought of asking you for it, and now -you offer it to me. But before we finally settle this, I should like you -to bring the subject cautiously on the <i>tapis</i>, in the presence of our -sisters and brother-in-law. If you perceive that any unpleasant feeling -is awakened in their minds by such a proposal, when for the first time, -in Berlin, I am not to live under the same roof with them, and if they -give any indication of such a feeling, even by a single word or remark, -(you will quickly observe this, and I rely entirely on you,) then we -must give it up. In any other event, I shall thankfully accept your -kindness. My next visit to Berlin will be a severe trial to me; indeed, -all I say and do is a trial to me,—anything, in<span class="pagenum"><a name="page_322" id="page_322"></a>{322}</span> short, that is not -mere patient endurance. I have, however, begun to work again, and that -is the only thing which occupies me a little. Happily, I have some -half-mechanical work to do,—transcribing, instrumentation, and similar -things. This can be accomplished by a kind of almost animal instinct, -which we can follow, and which does us more good than if we had it not. -But yesterday I was obliged to direct. That was terrible. They told me -that the first time would be terrible, but sooner or later it must be -done. I thought so too, but I would fain have waited for a few weeks. -The first thing was a song of Rochlitz’s; but when in the rehearsal the -alto sang, <i>piano</i>, “Wie der Hirsch schreit,”<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> I was so overcome, -that I was obliged afterwards to go out of the room, to give free vent -to my tears.</p> - -<p>To-day, Heaven be praised, I am not required to see or speak to any one, -and my cough is better. Thus time glides on; but what we have once -possessed is not less precious, and what we have now lost not less -painful with time. Farewell, dearest Brother. Continue to love me.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_323" id="page_323"></a>{323}</span></p> - -<h2><span class="smcap">To Professor Köstlin, Tübingen.</span></h2> - -<p class="r"> -Leipzig, January 12th, 1843.<br /> -</p> - -<p class="indd">Dear Herr Köstlin, or rather, dear Herr Godfather,<br /> -</p> - -<p>You have caused me much joy by your kind letter of yesterday, and by the -happy intelligence it contained, and above all, by your wish that I -should be godfather! Indeed, you may well believe that I gladly accede -to the request, and after reading your letter, it was some moments -before I could realize, that I could not possibly be present at the -baptism. In earlier days, no reasoning would have been of any avail; I -would have taken post horses and arrived in your house for the occasion. -This I cannot now do, but if there be such a thing as to be present in -spirit, then I shall indeed be so. The remembrance of me by such -well-beloved friends, and this proof of your regard, which causes a -still more close and enduring tie between us, cannot fail to cause true -joy and exhilaration of heart; and believe me, I feel this joy, and -thank you and your wife for it.</p> - -<p>That I am to be godfather is then settled; but there are a thousand -things I still wish to know, and if, when the christening is over, you -do not write me all the details which you omit in this letter, you must -expect a good scolding. You forget that I have myself three children, so -I am doubly interested in such things. You do not even mention the name -the boy is to have, and whether he is fair or dark, or has black or blue -eyes.<span class="pagenum"><a name="page_324" id="page_324"></a>{324}</span> My wife is as desirous as I am to know all this, and we hope that -after the christening you will write to us every particular. You were -rather displeased with me for being so bad a correspondent. I earnestly -entreat of you never to be displeased with me on that account; I cannot -remedy this; it is a fault which, in spite of the best resolutions on my -part, I constantly fall into, and which I shall never be cured of so -long as I live. There is so much that stands in my way; first, a really -instinctive dislike to pen and paper, except where music is concerned; -then the various scattered branches of a perfect maze of professional -and other avocations, which I am obliged to undertake partly for myself -and partly for others, so that I really sometimes can only carry on life -like a person in a crowd pushing his way, and shoving along with both -his elbows, using his feet too, as well as his fists and teeth, etc. -This is, in fact, my mood many a week; I extort the time for writing -music, otherwise I could not go on from day to day, but I cannot find -leisure to write letters.</p> - -<p>We have had recently a bitter heavy loss to bewail,—that of my dear -Mother. I intended to have written in a gay mood all through this -letter, and not by a single word to allude to anything, that by its -melancholy nature might disturb your happiness, but I feel that I must -write this to you, otherwise all that I say would appear mere hypocrisy. -You must therefore take part in my sorrow, for I could not conceal from -you the event that<span class="pagenum"><a name="page_325" id="page_325"></a>{325}</span> during the last few weeks, has so bowed us down from -grief, and which it will be long before we can recover from. Yet such a -letter as yours is welcome at all times, and in all sorrow, and just as -I know how you will feel towards me on hearing this, so you know how -cordially I sympathize with your joy; this may well be called sincere -attachment! Give your wife a thousand greetings and congratulations from -me. Tell me if she has composed new songs or anything else; what I -should like best would be to receive one from her in a letter; they -always delight me so much, when I hear and play them.—Ever your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Leipzig, January 13th, 1843.<br /> -</p> - -<p>... We yesterday tried over a new symphony by a Dane of the name of -Gade, and we are to perform it in the course of the ensuing month; it -has given me more pleasure than any work I have seen for a long time. He -has great and superior talents, and I wish you could hear this most -original, most earnest, and sweet-sounding Danish symphony. I am writing -him a few lines to-day, though I know nothing more of him than that he -lives in Copenhagen, and is twenty-six years of age, but I must thank -him for the delight he has caused me; for<span class="pagenum"><a name="page_326" id="page_326"></a>{326}</span> there can scarcely be a -greater than to hear fine music; admiration increasing at every bar, and -a feeling of congeniality; would that it came less seldom!</p> - -<h2><span class="smcap">To A. W. Gade, Professor of Music, Copenhagen.</span></h2> - -<p class="r"> -Leipzig, January 13th, 1842.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>We yesterday rehearsed for the first time your symphony in C minor, and -though personally a stranger, yet I cannot resist the wish to address -you, in order to say what excessive pleasure you have caused me by your -admirable work, and how truly grateful I am for the great enjoyment you -have conferred on me. It is long since any work has made a more lively -and favourable impression on me, and as my surprise increased at every -bar, and yet every moment I felt more at home, I to-day conceive it to -be absolutely necessary to thank you for all this pleasure, and to say -how highly I esteem your splendid talents, and how eager this symphony -(which is the only thing I know of yours) makes me to become acquainted -with your earlier and future compositions; but as I hear that you are -still so young, it is the thoughts of those to come in which I -particularly rejoice, and your present fine work, causes me to -anticipate these with the brightest hopes. I once more thank you for it -and the enjoyment I yesterday had.<span class="pagenum"><a name="page_327" id="page_327"></a>{327}</span></p> - -<p>We are to have some more rehearsals of the symphony, and shall probably -perform it in the course of three or four weeks. The parts were so full -of mistakes, that we were obliged to revise them all, and to have many -of them transcribed afresh; next time it will not be played like a new -piece, but as one familiar and dear to the whole orchestra. This was -indeed the case yesterday, and there was only one voice on the subject -among us <i>musicians</i>, but it must be played so that <i>every one</i> may hear -it properly. Herr Raymond Härtel told me, there was an idea of your -coming here yourself in the course of the winter. I hope this may be the -case, as I could better and more plainly express my high estimation and -my gratitude to you verbally, than by mere empty written words. But -whether we become acquainted or not, I beg you will always look on me as -one who will never cease to regard your works with love and sympathy, -and who will ever feel the greatest and most cordial delight in meeting -with such an artist as yourself, and such a work of art as your C minor -symphony.—Your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Leipzig, January 13th, 1843.<br /> -</p> - -<p>I cannot as yet at all reconcile myself to distraction of thought and -every-day life, as it is called, or to life<span class="pagenum"><a name="page_328" id="page_328"></a>{328}</span> with men who in fact care -very little about you, and to whom what we can never forget or recover -from, is only a mere <i>piece of news</i>. I now feel however more vividly -than ever what a heavenly calling Art is; and for this also I have to -thank my parents; just when all else which ought to interest the mind -appears so repugnant, and empty, and insipid, the smallest real service -to Art lays hold of your inmost thoughts, leading you so far away from -town, and country, and from earth itself, that it is indeed a blessing -sent by God. A few days previous to the 11th, I had undertaken to -transcribe my “Walpurgis Nacht,” which I had long intended to do, and -caused the voice parts of the whole of the voluminous score, to be -written out and copied afresh. Then I was summoned to Berlin, and after -an interval of some weeks, I have now begun to write the instrumental -parts in my little study, which has a pretty view of fields, and -meadows, and a village. I sometimes could not leave the table for hours, -I was so fascinated by such pleasant intercourse with the old familiar -oboes and tenor violins, which live so much longer than we do, and are -such faithful friends. I was too sorrowful, and the wound too recent, to -attempt new compositions; but this mere mechanical pursuit and -employment, was my consolation the whole time that I was alone, when I -had not my wife and children with their beloved faces, who make me -forget even music, and cause me daily to think how grateful I ought to -be to God, for all the benefits he bestows on me.<span class="pagenum"><a name="page_329" id="page_329"></a>{329}</span></p> - -<p>You have not quite understood my previous letter. You say “I <i>could not -act otherwise</i> in my official position.” It was not <i>that</i>, it was my -Mother I alluded to. All the plans and projects have since then been -dragging on slowly; I have my half-salary, and begun the music for the -“Midsummer Night’s Dream,” “Œdipus” and others for the King. My -private opinion is still, that he is resolved to allow things to rest as -they are; in the meantime, I have established the Conservatorium here, -the official announcement of which you will read in the newspapers, and -it gives me a great deal to do.</p> - -<h2><span class="smcap">To Madame Emma Preusser.</span></h2> - -<p class="r"> -Leipzig, February 4th, 1843.<br /> -</p> - -<p class="indd">Dear Lady,<br /> -</p> - -<p>I send “Siebenkäs,” according to your desire. May it cause you half the -pleasure it caused me when I first read it, and very frequently since. I -believe that the period when we first learn to love, and to know such a -glorious work, is among the happiest hours of our lives. As you have -read very little of Jean Paul, were I in your place, I would not concern -myself much about the prologues, but at first entirely discard the -“Blumenstücke,” and begin at once at page 26, and follow the story of -“Siebenkäs” to its close. When you have read this, and perhaps also the -“Flegel Jahre,” and some more of his wonderful works, then no doubt you -will<span class="pagenum"><a name="page_330" id="page_330"></a>{330}</span> like and prize all he has written,—even the more laboured, the -less happy, or the obsolete,—and then you will no longer wish to miss -the “Blumenstücke,” the prologues, and the “Traum im Traum,” etc. etc.</p> - -<p>As soon as you wish for anything new, you will always find me at the -service of you and yours.—Your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To A. W. Gade, Professor of Music, Copenhagen.</span></h2> - -<p class="r"> -Leipzig, March 3rd, 1843.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>Your C minor symphony was performed for the first time yesterday at our -eighteenth subscription concert here, to the lively and unalloyed -delight of the whole public, who broke out into the loudest applause at -the close of each of the four movements. There was great excitement -among the audience after the scherzo, and the shouting and clapping of -hands seemed interminable; after the adagio the very same; after the -last, and after the first,—in short, after all! To see the musicians so -unanimous, the public so enchanted, and the performance so successful, -was to me a source of delight as great as if I had written the work -myself, or indeed I may say greater,—for in my own compositions, the -faults and the less successful portions always seem to me most -prominent, whereas in your<span class="pagenum"><a name="page_331" id="page_331"></a>{331}</span> work, I felt nothing but pure delight in all -its admirable beauties. By the performance of yesterday evening you have -gained the whole of the Leipzig public, who truly love music, as -permanent friends; none here will ever henceforth speak of you or of -your works but with the most heartfelt esteem, and receive with open -arms all your future compositions, which will be assiduously studied, -and joyfully hailed, by all friends to music in this town.</p> - -<p>“Whoever wrote the last half of this scherzo is an admirable genius, and -we have a right to expect the most grand and glorious works from him.” -Such was the universal opinion yesterday evening in our orchestra and in -the whole hall, and we are not fickle here. Thus you have acquired a -large number of friends for life by your work; fulfil then our wishes -and hopes by writing many, many works in the same style, and of the same -beauty, and thus imparting new life to our beloved art; and to effect -this, Heaven has bestowed on you all that He can bestow.</p> - -<p>Besides the rehearsal which I formerly wrote to you about, we recently -had two others, and with the exception of some trifling unimportant -mistakes, the symphony was played with a degree of spirit and enthusiasm -which at once showed how highly enchanted the musicians were with it. I -hear that it is to be published by Kistner, so permit me to ask, whether -the heading of the first introduction, 6/4 time, afterwards repeated,<span class="pagenum"><a name="page_332" id="page_332"></a>{332}</span> -may not give rise to misapprehension? If I am not mistaken it is marked -<i>moderato sostenuto</i>. Instead of this <i>sostenuto</i>, ought it not rather -to be printed <i>con moto</i>, or <i>con molto di moto</i>? That heading would, it -seems to me, lead to the right <i>tempo</i>, if it were 6/8 time instead of -6/4; but in 6/4 time, it is so very customary to count the separate -crotchets slowly and deliberately, that I think the movement would be -taken too slow, which I found to be the case at the first rehearsal, -until I no longer paid any attention to the notes or the heading, but -adhered to the sense alone. As many musicians cling so closely to such -headings, I was resolved at all events to mention to you my doubts on -this subject.</p> - -<p>Allow me to thank you once more for your obliging letter, and the -friendly intention which you inform me of in it;<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> but I thank you -still more for the pleasure which you have caused me by the work itself; -and pray believe that no one will follow your future course with warmer -sympathy, or anticipate your future works with more anxiety and hope -than your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Leipzig, April 30th, 1843.<br /> -</p> - -<p><span class="pagenum"><a name="page_333" id="page_333"></a>{333}</span>... Our Music Academy here has made a famous beginning; fresh notices -of students arrive almost daily, and the number of teachers, as well as -of lessons, have been necessarily very much increased.</p> - -<p>Two serious maladies, however, are apparent, which I mean vigorously to -resist with might and main so long as I am here: the Direction is -disposed to increase and generalize,—that is, to build houses, to hire -localities of several stories,—whereas, I maintain that for the first -ten years, the two rooms we have, in which simultaneous instruction can -be given, are sufficient. Then all the scholars wish to compose and to -theorize, while it is my belief that practical work, thorough steady -practising, and strict time, a solid knowledge of all solid works, etc., -etc., are the chief things which can and must be taught. From these, all -other knowledge follows as a thing of course, and anything further is -not the affair of learning, but the gift of God. I need not however, I -am sure, say that notwithstanding this, I am far from wishing to render -Art a mere handicraft.</p> - -<h2><span class="smcap">To M. Simrock, Bonn.</span></h2> - -<p class="r"> -Leipzig, June 12th, 1843.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>Herr Herrmann, some time since, inquired of you once, in my name, about -the printed score of the “Zauberflöte;” but I now apply to yourself to -know whether any copy of it still exists in the original German,<span class="pagenum"><a name="page_334" id="page_334"></a>{334}</span> or if -any ever did exist? And if neither be the case, I should like to know -whether you are disposed to allow the original correct text to be -substituted in your plates of this opera, and some proofs to be taken? -It appears to me almost a positive duty, that such a work should descend -to posterity in its unvitiated form; <i>we</i> indeed all know perfectly -well, for instance, the aria beginning, with the words “Dies Bildniss -ist bezaubernd schön,” but if in the course of a few years the younger -musicians always see it printed thus, “So reizend hold, so zaub’risch -schön,” they will acquire a false idea of Mozart’s thoughts; and I go so -far as to assert, that even the most undeniably bad passages in such a -text deserve to be retained, as Mozart composed music for them, and they -have thus become household words all through Germany. If improvements -are to be proposed, it is all very well, but in that event they ought to -stand <i>side by side</i> with the original words; in no case must they be -entirely banished, otherwise fidelity towards the great deceased master -is not properly observed. I beg you will say a few words on this point -when you write to Herr Herrmann; and if you resolve to alter your -plates, then I shall be the first, but certainly not the last, of your -customers to thank you for it.—Your obedient</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_335" id="page_335"></a>{335}</span></p> - -<h2><span class="smcap">To G. Otten, Hamburg.</span></h2> - -<p class="r"> -Leipzig, July 7th, 1843.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>My best thanks for your obliging letter, which contains much that is -really far too kind and flattering about myself and my music. Gladly, in -compliance with your friendly invitation, would I at some future time -come to express my thanks to you personally, and to play to you as you -wish me to do. Since we met in Dessau I have learnt a good deal more, -and have made progress. But you must not compare my playing with my -music; I feel quite embarrassed by such an idea, and I am certainly not -the man to prevent people worshipping the golden calf, as it is called -in the fashion of the day. Moreover, I believe that this mode will soon -pass away, even without opposition. To be sure, a new one is sure to -start up; on this account therefore it seems to me best to pursue one’s -own path steadily, and especially to guard against an evil custom of the -day, which is not included in those you name, but which however does -infinite harm,—squandering and frittering away talents for the sake of -outward show. This is a reproach which I might make to most of our -present artists, and to myself also more than I could wish; I have no -great inclination therefore to extend my travels, but rather to restrict -them far more, in<span class="pagenum"><a name="page_336" id="page_336"></a>{336}</span> order to strive with greater earnestness for my own -improvement instead of the good opinion of others.</p> - -<p>I conclude by thanking you for your friendly letter, and pray remember -kindly your obedient</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, July 21st, 1843.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>I had almost hoped to be able to answer your letter in person, for I was -very nearly taking a journey to Berlin again. Herr von Massow has sent -me a communication connected with that tedious everlasting affair, which -irritated me so much that it almost made me ill, and I do not feel right -yet. In my first feeling of anger, I wished to go to Berlin to speak to -you and break off the whole affair; but I prefer writing, and so I am -now writing to you. Instead of receiving the assent to the proposals on -which we had agreed in the interview of the 10th,<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> Herr von Massow -sends me a commission to arrange for orchestra and chorus, without -delay, the chorale, “Herr Gott, Dich loben wir,” the longest chorale and -the most tiresome work which I ever attempted; and the day after I had -finished it and sent<span class="pagenum"><a name="page_337" id="page_337"></a>{337}</span> it off, I receive an official document which I -must sign before the assent of the King can be solicited; when I had -signed it, the others present at that conference would also subscribe -their names. In this deed all the stipulations are correctly stated, but -six or eight additional clauses are written on the margin, not one -syllable of which had ever been named during the conference, -invalidating the whole intention of the above stipulations, and placing -myself and the Institute in the most entire subservience to Herr von -Küstner,—and in short, showing in the clearest light all the -difficulties to which I formerly alluded, and the existence of which -Herr von Massow denied. Among other things, it is said, the appointment -of the orchestra for all church music is to be devolved on the -<i>theatrical</i> music direction; before every concert there must be an -application made to the General <i>Intendancy</i>, whether the day, which -according to our agreement was to be settled once for all at the -beginning of the winter, is to continue the same or be altered, etc.; -all things of which <i>not one syllable</i> had been alluded to in the -conference. As I told you, I fretted myself till I was quite ill about -it. Remembering your words, I thought it the most judicious plan to -write direct to the King, and break off the affair. After two days’ -consideration, I did not think I was justified in doing so; I therefore -wrote to Herr von Massow, why and wherefore I could not give my -signature, requesting him to inform me whether the King intended to -carry out our former<span class="pagenum"><a name="page_338" id="page_338"></a>{338}</span> agreement. If he did not feel disposed to do so, -or if he, Herr von Massow, considered it necessary to insert new clauses -in the agreement, I should then consider the affair impracticable, and -must act accordingly. In the other view of the case, he knew that I was -prepared to come; I was also to say how far I had got with “Œdipus.” -I answered that in accordance with Tieck’s wish, I had arranged the -“Midsummer Night’s Dream” with music, to be performed in the new palace; -that I had also, by special commission from the King, written -choruses,<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> and that I had not resumed the choruses of “Œdipus” -since the previous autumn, because another Greek piece had been -appointed to be performed. I said all this in a friendly manner, but I -do assure you that the affair cost me four most angry, disturbed, and -irksome days. If I could only have spoken to you for a single hour! I -should have been glad to know whether you approved of my course, that is -of my letter, or whether you would have preferred a short letter -resigning the appointment. It is really too provoking that in all and -everything the same spirit prevails; in this case too, all might be -smoothed over and set to rights by a few words, and every moment I -expect to hear them spoken, and then there would be a possibility of -something good and new; but they are not spoken, and they are replaced -by a thousand annoyances, and my head at last is so bewildered that I -think I become almost as perverted and<span class="pagenum"><a name="page_339" id="page_339"></a>{339}</span> unnatural, as the whole affair -is at last likely to turn out. Forgive me for causing you to have your -share of annoyance, but now I have told you all—and enough. I have not -been able to work during these days. To make up for this, I have done -the “Jungfrau” for you in Indian ink; the mountain I think is excellent, -but I have again utterly destroyed the pines in the foreground. I mean -now, too, to resume your sonata.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, July 26th, 1843.<br /> -</p> - -<p class="indd">Dearest Brother,<br /> -</p> - -<p>I have just received your kind letter, and indeed at the very moment -when I was about to write to you and beg you to give me quarters. Next -Tuesday, the 1st of August, I am obliged to return to Berlin to rehearse -and perform the “Tausendjährige Reich,” and to hear from the King his -views with regard to the composition of the Psalms. He yesterday -summoned me for this purpose, and of course I must go, and of course I -must live with you; but is it also of course that my visit is convenient -to you? This time I shall remain at least eight days; on the sixth is -the celebration of the above-mentioned “Reich.” Give me a line in -answer.</p> - -<p>I have a reply to my letter from Von Massow, who<span class="pagenum"><a name="page_340" id="page_340"></a>{340}</span> writes me the King’s -invitation; he says we are sure to agree, and that some matters of form -are the only things in question; that I shall spare myself the annoyance -and vexation which such a tiresome correspondence must entail, and that -as I am coming at all events for the “Tausendjährige Reich,” I can also -reply personally to the <i>zehntausendjährige</i> affair. Herr von Massow, in -fact, says pretty plainly, “Asking and bidding make the bargain;” that -he wished to see whether I would sign; and this not being the case, the -others would no doubt give way, etc. etc. All this is very confusing, -and I do not at all like it. To be sure, it is true that his head must -also be in a maze, and he appears to take all imaginable trouble about -the affair. I mean to bring you the whole of the everlasting papers for -your inspection; we can read them together when we meet. I hope, on this -occasion, not merely to have a Court dinner with the King, but a -satisfactory discussion on business; probably the easiest mode of -bringing about a result. I wish, if possible, to defer this till after -the celebration of the <i>tausendjährig</i> festival; the chorale, that I -wrote for it, is, I believe, just what the King wishes, at all events it -furnishes an opportunity for a complete understanding.</p> - -<p>My anger, which was indeed greater on this occasion than for a long time -past, I shook off in a defile on the way to Naumburg, close to Rippach, -where you drive down to Meissenfels; and a couple of good talks and -walks with Mühlenfels, fairly banished every trace of it.<span class="pagenum"><a name="page_341" id="page_341"></a>{341}</span> Kösen was a -pretty sight; we met Mlle. F—— and Herr C—— under the hazel bushes -and lovely lime-trees, and from every shrub, instead of glow-worms -glittered the order of the red eagle, of different classes; but it was -really beautiful. And now I am writing music once more instead of -painting fir-trees; therefore I cannot positively promise to finish the -“Jungfrau” before eight days. I have washed out the forest recently, for -the second time. It is a year the day after to-morrow since we set off -to Switzerland.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, August 26th, 1843.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>I yesterday received a letter from Herr von Massow containing the -intelligence that the King had fully sanctioned the affair of the -Wirklich Geheimrath; I wished to write this to you instantly.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> To-day -I got a second letter, with the information that the King desires to -have three representations in the New Palace in the second half of -September, namely, 1, “Antigone;<span class="pagenum"><a name="page_342" id="page_342"></a>{342}</span>” 2, “The Midsummer Night’s Dream;” 3, -“Athalia” (“Medea” is to be given between Nos. 1 and 2, and all the four -within fourteen days), and I am invited to Berlin for the purpose. Now I -would rather not write, for I have a frightful quantity of things to do -before then, as not one of the scores is yet fit for the transcriber, -and the overture to “Athalia” still wanting, as well as the -instrumentation of the whole, etc. etc. I have written nevertheless that -I would come, and the music should be finished.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, September 16th, 1843.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>Six days ago, Herr von Küstner (after a silence of ten days, in spite of -all my letters and messages) wrote to me, that the whole project of the -representations in the New Palace was postponed till October. So of -course I receive from him a letter to-day, saying that “on Tuesday, the -19th, ‘Antigone’ is to be given.” Luckily I smelt a rat, and shall set -off to Berlin by the first train the day after to-morrow.</p> - -<p>I defer all else till we meet. You gave me permission to occupy the only -hotel in Berlin that I like, so I mean to go to you. <i>Au revoir.</i>—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_343" id="page_343"></a>{343}</span></p> - -<h2><span class="smcap">To the Hoch Edelrath of Leipzig.</span><br /><br /> -<small>(THE CORPORATION.)</small></h2> - -<p class="r"> -Leipzig, October 3rd, 1843.<br /> -</p> - -<p>To the Corporation of the City of Leipzig, I am indebted for the -privilege of considering myself as in every sense belonging to that -city. I therefore take the liberty to address myself to the Corporation -on a subject which, though it does not personally concern me, is closely -connected with the interests of Art in this place, and with the city -itself. I hope on this account for their indulgence, and esteem it my -plain, bounden duty as a citizen, not to be idly silent on such an -occasion, but to express my dutiful wish, and request, in confidence to -the corporation.</p> - -<p>The town orchestra here has communicated to me a memorial, in which they -beg that some alterations may be made in the terms of their contract -with the lessee of the theatre. Their chief object is an increase of -their salaries, which have for many years remained the same, and also an -improvement in the deputy regulations; and for the attainment of this -purpose the intervention of the Corporation is requested.</p> - -<p>The petition has been rejected in its most essential points; for, -instead of the increase of salary demanded, the reply is that the lessee -of the theatre means to expend three hundred thalers more yearly on the -orchestra<span class="pagenum"><a name="page_344" id="page_344"></a>{344}</span> (which three hundred thalers must be divided among thirty-one -persons), and that “if he is satisfied with the performances of the -orchestra, and if his receipts admit of it, he may possibly be disposed -to grant a donation to the orchestra.”</p> - -<p>I can only attribute such a proposal to some indistinct statement in the -memorial, or some obscure expressions. For, in my opinion, it is not a -question of alms, but of just claims.</p> - -<p>I am well aware that it may be no easy matter to apply a scale of -payment to an intellectual body like that of the orchestra, and to tax -it in thalers and groschen; but in days like the present, when so much -is said about intellectual qualifications, there is one thing absolutely -certain, that it is possible for <i>justice</i> and <i>injustice</i>, <i>fairness</i> -and <i>unfairness</i>, to exist in the remuneration of intellectual services; -that this does not depend upon the goodwill, more or less, or on the -favour of those who pay, but that a positive <i>right</i> exists, which he -has the privilege of claiming who devotes his life to an intellectual -vocation, and can therefore legitimately demand that his life should be -sustained, if he carries out his calling well and blamelessly. This the -orchestra here, do in the most admirable manner; and under such a -conviction I do, in my inmost heart, consider that the salaries fixed in -the contract between the lessee of the theatre and the orchestra, are -unjust. Perhaps they were so even at the time they were settled, but are -now,<span class="pagenum"><a name="page_345" id="page_345"></a>{345}</span> owing to the change in the times, infinitely more so; the evidence -of which is so clearly set forth in the first memorial of the orchestra, -that I believe only a glance at it is necessary to prove the justice of -my assertion.</p> - -<p>If the Corporation be also of this opinion, and convinced of the -unfairness of these points, the question would then be, in how far it is -<i>possible</i> for the lessee of the theatre to comply with the wishes of -the orchestra; if, by his consent to increase the salaries, he would not -become bankrupt himself; and whether, in endeavouring to obtain justice -for the orchestra, injustice might not be done to the lessee?</p> - -<p>Three things may form a criterion on this point,—the average receipts -of the lessee hitherto; the comparison between other theatrical salaries -and those of this orchestra; and lastly, the pay of other German -orchestras, in cities of the same standing as Leipzig.</p> - -<p>With regard to the receipts of the lessee, it will be difficult to -obtain exact information. In spite of all the official documents and -rendering of accounts, I venture to assert that there is not a person in -Leipzig who is thoroughly acquainted with the fact, except the former -lessees themselves, who will at once decline answering any such -questions. In so far as I have seen of similar official documents, here -and in other cities, it seems an undeniable truth that, in an -undertaking of the kind, a yearly additional payment of two thousand -thalers would not cause the speculation to become a losing instead of<span class="pagenum"><a name="page_346" id="page_346"></a>{346}</span> a -good one. This is evident by a glance at the variable and sometimes -enormous salaries of the singers, male and female, for whose engagement -no theatre <i>entrepreneur</i> would grudge an outlay like the above, in -order to cast greater lustre on his stage.</p> - -<p>These salaries also furnish a complete answer to the second point; being -almost everywhere so greatly increased during the years when the -orchestra here have only received the old scale of payment, that a -theatrical lessee of the former date, would perhaps also have declared, -that such an amount of money was utterly irreconcilable with any profits -to himself. Singers, after a certain number of years, deteriorate; their -places must be supplied, new contracts made, and thus they can obtain -for themselves that justice which the members of the orchestra in vain -demand. Singers are paid in Leipzig at the same rate as in other places; -but not so the orchestra. If it be said, singers are only selected and -paid according to the requirements and fashion of the day, whereas, with -regard to the orchestra, it is so in a minor degree, for whether it be -better or worse constituted or paid, the public know nothing,—then this -is an additional reason for my writing this letter; for I consider it my -duty, and that of every friend to music, to protest against such a -theory. Just because the orchestra is not an article of luxury, but the -most necessary and important basis for a theatre,—just because the -public invariably regard with more interest articles of luxury<span class="pagenum"><a name="page_347" id="page_347"></a>{347}</span> than -more essential things,—on this very account, it is a positive duty to -endeavour to effect, that what is legitimate and necessary, should not -be disparaged and superseded by a love of glitter. Indeed, this was why -the Corporation took under their protection this orchestra, in the new -theatre contracts. If, however, they sanction the lessee of the theatre -making a contract with the orchestra, and permit the old and obsolete -salaries to remain as they are, then such protection would be no -benefit, but rather an injury to the orchestra. Things would thus -necessarily remain, year after year, in a position which has no parallel -in any German city of the same rank as Leipzig.</p> - -<p>This leads me to the third point. It has been said that a comparison of -the salaries here with those in other towns is inadmissible. But how is -it possible to arrive in a better manner at a scale of justice or -injustice, in similar payments? As in other towns orchestras are better -paid, as in spite of this, lessees do not become bankrupt (and I believe -no instance was ever known of a theatrical manager being ruined by the -high salaries of an orchestra), as the same pretensions with regard to -services are made by the musicians here as elsewhere,—is it not clear -from all this, that the same mode of acting is possible here as -elsewhere? The pay which the orchestra in Frankfort-on-the-Maine -receives from the <i>theatre alone</i>, is not only higher than it would be -here, were the increase in question granted, but it is almost without<span class="pagenum"><a name="page_348" id="page_348"></a>{348}</span> -exception <i>higher than it is here for the theatre, concert, and church -music combined</i>, even if the demand in question were complied with. -Should not this prove that the prayer of the orchestra here is not -unreasonable,—that the theatre lessee may accede to it without any -risk? Indeed, may not a refusal on his part, lead to the inference that -this city considers its own musicians inferior to those of other towns -of a similar class? And yet such cannot be the case, for the -performances of our orchestra are not only equal to that of Frankfort, -but to those of every other German city; indeed, undeniably superior to -most of those with which I am acquainted! The favourable and wide-spread -musical reputation which Leipzig enjoys through the whole of Germany, it -owes entirely and solely to this orchestra, the members of which must -get on as they best can, in the most sparing and scanty manner. Such a -good reputation is certainly not without material advantage for the town -of Leipzig, even independent of the intellectual benefit to art. Shall, -then, those individuals to whom such happy results are owing, remain in -a state of privation, now as formerly, irrespective of these services, -and the change in the times, while the whole community thrives by their -merits, and the city itself derives honour and profit from them?</p> - -<p>I shall only add a few words with regard to the deputy rule, or rather -<i>misrule</i>, as it ought more properly to be called; for it is really -difficult to form an idea of the<span class="pagenum"><a name="page_349" id="page_349"></a>{349}</span> confusion in this department, without -knowing it from personal experience, which I had an opportunity of -doing. This also has been minutely stated in former memorials, and I now -add an example from my own knowledge. In the concert of the day before -yesterday, the clarionet players were obliged to pay a silver thaler -each to their theatre deputy, so that each of them, for his services at -the rehearsal, and performance in the first subscription concert, <i>paid</i> -eight groschen. It may be suggested to raise the prices of the -concert-tickets; but this would not check the mischief. A strict rule as -to deputies can alone effect this. On the contrary, it is very desirable -that the scale adopted for payment of the concerts, should equally be -applied to the payment of extra performances in the theatre, which -demand the same amount of time and energy.</p> - -<p>This brings me to the last point on which I wish to touch. If there be -the greatest difficulties in the way of repairing these evils, what -difficulty can there be in greatly raising the former fixed salaries for -extra performances? It is notorious that they are in no degree in -proportion to the increased receipts of the lessee; they are not in -proportion to the remuneration for other extra services, such as -concerts, church music, etc.; they are not even in proportion to the set -price fixed for the town musicians for balls, weddings, and so forth. I -am perfectly convinced that such an augmentation could be effected -without difficulty, and without any injury to<span class="pagenum"><a name="page_350" id="page_350"></a>{350}</span> the theatre lessee, and a -portion of the just complaints of the orchestra would thus be obviated. -May they all meet with that consideration to which their equity and -justice entitle them!</p> - -<p>In conclusion, I beg forgiveness from the Corporation for the great -liberty which I have taken in writing this letter; it regards a matter -which does not personally concern me, and from which neither evil nor -good can accrue to me, and which only affects me in so far as it relates -to the interests of artists whom I so highly prize and esteem; it is of -importance to art also in this city; and I certainly can never see with -calmness or indifference, the increasing or decreasing reputation of -such an artistic institution as Leipzig possesses in this admirable -orchestra. May my words accordingly prove the heartfelt love and esteem -with which, so long as I live, I must ever regard all that affects the -honour of Leipzig in her artistic and musical sphere.—I am always the -devoted servant of the Corporation,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To the King of Prussia.</span></h2> - -<p class="r"> -Berlin, 1844.<br /> -</p> - -<p class="indd">Your Majesty,<br /> -</p> - -<p>I venture in these lines to bring before you a petition which I have -much at heart.<span class="pagenum"><a name="page_351" id="page_351"></a>{351}</span></p> - -<p>Among the vast number of compositions sent to me from musicians here and -in other places, I lately received some works of a young man of the name -of G——, in which I perceived such unmistakable talent and such genuine -musical feeling, that they seemed to me like an oasis in the desert. -They consisted of a set of songs, and a grand piece of music for Good -Friday, which, (each in its own peculiar style,) displayed genuine -conceptions, and a true artistic nature. Indeed, the sacred music -inspires me with a strong hope, that the composer may accomplish -something really important in this sphere. Nothing is wanting for the -full development of his talents save that he should reside for some time -in a large city, in order to hear music and to become acquainted with -musicians; for since his youth, he has for the last eight years been a -teacher in the country, and during all that long period has lived -entirely apart from music, with no one but himself to rely on.</p> - -<p>His most anxious wish is therefore to come to Berlin, there to pursue -his musical studies and compositions, and to cultivate his talents for -future practical efficacy. But for the fulfilment of this wish all -pecuniary resources are wanting, and gladly as I would lend him a -helping hand to attain his aim in a musical point of view, as far as my -ability goes, and willing as he is by his own labours in giving lessons -to endeavour to gain his own livelihood, still this latter resource is -always very precarious, and especially just at first, accompanied by so<span class="pagenum"><a name="page_352" id="page_352"></a>{352}</span> -many difficulties, that I could scarcely advise him to give up the -situation of tutor, by which he now gains his living.</p> - -<p>If your Majesty were graciously pleased to furnish the young man with -the means of residing here, where he could hear and practise music till -he could become familiar with the musical world, from which he has been -so long estranged, then all obstacles would be removed, and your Majesty -have made one happy man the more.</p> - -<p>I believe if he were allowed for two years two hundred thalers each -year, this would suffice, with his modest ideas and simple mode of -living, to enable him to accomplish the visit to Berlin he so eagerly -desires, and along with what he could and would make by his own -industry, secure his existence in the meantime.</p> - -<p>His Excellency Herr von Massow, to whom I had an opportunity of -detailing personally the circumstances of the young man, encouraged me -to approach your Majesty with this petition. May, in any event, my -presumption be forgiven. The fulfilment of my request will be a fresh -reason, among many others, to feel the most heartfelt gratitude and -thankfulness towards your Majesty, and I need not say that such a -fulfilment would make the young man happy for life.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p> - -<p><span class="pagenum"><a name="page_353" id="page_353"></a>{353}</span></p> - -<h2><a name="From_Wirklich_Geheimrath_Ritter_Bunsen_to_Felix_Mendelssohn" id="From_Wirklich_Geheimrath_Ritter_Bunsen_to_Felix_Mendelssohn"></a><i>From Wirklich Geheimrath Ritter Bunsen, to Felix Mendelssohn -Bartholdy</i>, <i>Frankfort-on-the-Maine</i>.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a></h2> - -<p class="r"> -Berlin, Sunday morning, April 28th, 1844.<br /> -</p> - -<p class="indd">My dear and esteemed Friend,<br /> -</p> - -<p>I hope that these lines may find you free from all cares and anxieties. -I send them to you in a kindly spirit for the sake of the cause and -yourself.</p> - -<p>You have <i>hurt</i> the feelings of the King by your refusal to compose -music for the “Eumenides.” I was with him when Graf Redern gave him back -the book with this decision. As I saw this touched the King very nearly, -though he was not in the least <i>excited</i>, I remarked that perhaps you -conceived that the whole trilogy was to be set to music. His Majesty -answered, “That would be all the better, but it could not prevent -Mendelssohn composing for the ‘Eumenides,’ which, in itself, may be -regarded as a splendid whole.” I really did not know what to say, and I -confess to you that your answer has deeply grieved myself. The affair, -too, is much talked of <i>here</i>, and minutely discussed. In this good town -it is thought “very wrong” in you to go to England instead of composing -for the King. The King himself is quite determined not to let the affair -drop. It has been suggested to him to entrust the work to<span class="pagenum"><a name="page_354" id="page_354"></a>{354}</span> another -artist, who, it seems, has promised to undertake the affair at once. You -neither <i>must</i> nor <i>can</i> permit this; you neither can nor will annoy the -King. I also heard Tieck speaking of the affair the day before -yesterday, who began to talk of it when I was with him. The King sent -him also a message on the subject. You can understand that his Majesty, -taking into consideration the short span of life remaining to the great -<i>Chorodidascalos</i>, and knowing that <i>he</i> alone can put it on the stage -here, is somewhat impatient. Tieck shares the universal opinion about -you here, although with the most entire recognition of your character -and of your genius. I may also further say to you, quite in confidence, -that your declining to compose some songs for “Wie es euch gefällt” has -left a painful impression on Tieck, and elsewhere; he is of opinion that -your reason for this, “to allow some time to elapse between this and the -Midsummer Night’s Dream,” is a very insufficient one; for the more and -the oftener the public are offered good food, the sooner will they turn -away from the wretched stuff on which they are now nourished.</p> - -<p>But this is immaterial compared with the chief point.</p> - -<p>Rejoice me soon by the intelligence that the whole thing is a -misunderstanding, and that you are willing to compose music for the -“Eumenides.” Tieck himself says that the choruses might be here and -there shortened; a trilogy, too, might be accomplished with great -curtailments. But the “Eumenides,” as a whole, with any<span class="pagenum"><a name="page_355" id="page_355"></a>{355}</span> curtailments -which may appear advisable to you, must first be separately performed. -What a glorious subject! What an unparalleled effect! Your “Antigone” -choruses are making the tour of Europe; those of Æschylus would do the -same. You will aid in establishing a new phase in art. Reflect that the -King loves you; that your refusal affected him very painfully; that -after having endured so much misapprehension, so many bitter -disappointments, so many obstacles in the noblest paths of his reign, he -is not prepared to meet with difficulties in this quarter also. “Et tu -Brute fili.” Pour out your heart to me as I have done to you. You know -that you may depend upon me. We must all assist in supporting this noble -Prince in his good and grand ideas. The world requires new elements of -life; happy he who can help to create them!—Unchangeably your faithful -friend,</p> - -<p class="r"> -<span class="smcap">Bunsen</span>.<br /> -</p> - -<h2><span class="smcap">To the Wirklich Geheimrath Bunsen.</span></h2> - -<p class="r"> -Frankfort-a.-M., May 4th, 1844.<br /> -</p> - -<p>Your Excellency’s kind letter I received here when on the point of -setting off for England. First of all, I hasten to thank you in the most -heartfelt manner for this fresh proof of your friendly feelings towards -myself. I wish I may one day be able to express more clearly my -gratitude for all your kindness and friendship! I<span class="pagenum"><a name="page_356" id="page_356"></a>{356}</span> know how to -appreciate these to the fullest extent, and am proud of them, as the -best and dearest which can ever be my portion in this world.</p> - -<p>To all those who have discussed with me the performances of Æschylus’s -“Eumenides,” to the King, to Graf Redern, and more particularly to -Geheimrath Tieck,—I have declared that I consider this representation, -and, above all, the composition of the choruses, a most difficult and -perhaps impracticable problem, <i>but that I would nevertheless make the -attempt to solve it</i>. I asked Herr Geheimrath Tieck what time was -allowed me to make my decision; whether my attempt would be considered -by the King worthy of being performed, or if it were likely to be -permitted to rest in my desk? He answered me that the representation -could only take place in the <i>large Opera-House</i>; that pieces of this -kind could not be produced in small localities; this was a very -different affair from the “Antigone,” etc., and as the opening of the -Opera-House was fixed for the 15th of December, it would be time enough -if I occupied myself with the music during my stay in England, or after -my return thence. Moreover, it was signified to me that in the event of -my not undertaking the commission, some other composer would be -selected. In accordance with truth I was obliged to answer, that it -would certainly be more agreeable to me if another person were chosen -for this purpose, as in my eyes the difficulties were immense; but I -always and everywhere declared my entire readiness to attempt the<span class="pagenum"><a name="page_357" id="page_357"></a>{357}</span> -composition, adding that my decision on the point should at all events -be made early enough, to give ample time to any other composer who could -more easily solve the difficulties, so that no obstacles should be -thrown in the way on my side.</p> - -<p>What your Excellency therefore has written to me about this affair, -comes upon me the more unexpectedly and vexatiously since Herr -Geheimrath Tieck, in the conversations we held together on the subject, -thoroughly agreed in my views of the difficulties attending its -execution,—acknowledging them in his turn to be almost insuperable; and -yet, to his express question, whether I would not undertake the -composition of the choruses he received from me, agreeably to the -above-mentioned explanations, the following answer,—that I was, <i>on the -contrary</i>, ready to make the <i>attempt</i>, and I should certainly <i>not be -any hindrance</i> in the matter. Indeed, with a view to facilitate the -idea, I suggested <i>to him</i> that some of the choruses, which appeared to -me unsuitable, should be curtailed, a proposal which, as you write to -me, he fully concurs in.</p> - -<p>I have always spoken only of an attempt, and must now do the same. My -not being able at once to accept and consent to the request as I would -to any other, is partly owing to the novel nature and extraordinary -difficulty of the piece itself, (I can appeal to the judgment of any -musician as to the fact,) and partly to the high estimation in which I -hold the refined artistic feeling<span class="pagenum"><a name="page_358" id="page_358"></a>{358}</span> of the King—to whom it is impossible -to offer indiscriminately failures and successes—and lastly owing to a -certain duty that I owe to myself, which makes me unwilling to undertake -music, in the success of which I, at least to a considerable degree, -place no faith. I thought I might hope that this should not cause my -goodwill to be doubted, which I have already proved in the course of -this year by the accomplishment of various very difficult tasks, which -were demanded in the <i>shortest</i> time.</p> - -<p>The key of the riddle seems to me to be, that my views as to the -difficult nature of the representation, are shared by many who may -probably have wished to convince the King also of the fact; for this -purpose they have selected me as the origin of these difficulties, which -I am not, and never will be; they lie, unluckily, far more in the piece -itself. And now permit me a few words on this point also.</p> - -<p>Because I owe so much gratitude to the King,—because I honour him in -the depths of my soul as an admirable, noble prince and man,—on this -very account I think that all I do by his command should be done with a -good conscience, and in a cheerful spirit. If I were to accept his ideas -<i>without that</i>, were I to produce them before people without being -myself really and truly inspired by them, were I to use his commands as -a cloak for my failure, and further, to represent my failure as the -result of his ideas,—then I should utterly ruin these ideas, and then I -should utterly ruin the good<span class="pagenum"><a name="page_359" id="page_359"></a>{359}</span> opinion which I trust he still has of me; -<i>then</i> he would have a right to apply to me the words, “Et tu Brute.” -For thus it appears to me most of those seem to act who entail on him, -as you say, so many obstacles and deceptions, and I never will join such -“assassins.”</p> - -<p>I will always obey the commands of a sovereign so beloved by me, even at -the sacrifice of my personal wishes and advantage. If I find I cannot do -so with a <i>good artistic conscience</i>, I must endeavour candidly to state -my scruples or my incapacity, and if that does not suffice, then I must -go. This may sound absurd in the mouth of a musician, but shall I not -feel duty as much in <i>my</i> position as others do in <i>theirs</i>? In an -occurrence so personally important to me, shall I not follow the -dictates of integrity and truth, as I have striven to do all my life?</p> - -<p>After this fresh experience, I fear even what I verbally mentioned to -your Excellency already,—that my stay on such slippery ground, and -under such perplexing circumstances, is impossible. But by this mode of -acting, and this <i>alone</i>, can I hope, independently of momentary -impressions, to preserve the good opinion of his Majesty, which is more -important to me than all the rest; indeed it is only thus that I can -hope <i>really</i> to serve the King and his ideas. I cannot be an -indifferent, doubtful, or secretly discontented servant to such a -monarch; he could not employ me <i>thus</i>, and <i>thus</i> I would not only be -useless to him, but sacrifice myself.<span class="pagenum"><a name="page_360" id="page_360"></a>{360}</span></p> - -<h2><span class="smcap">To Julius Stern, Paris, (now professor in berlin.)</span></h2> - -<p class="r"> -London, May 27th, 1844.<br /> -</p> - -<p class="indd">Dear Herr Stern,<br /> -</p> - -<p>You well know the very great pleasure your kind letter was sure to cause -me; at the same time I was perfectly aware that in the first moments -after the representation<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> you would view in far too favourable a -light, and far too highly prize, my music and its success. But that you -should do so, and feel yourself thus rewarded for the many and great -efforts which this representation has cost you, is indeed to me a source -of the highest gratification. Accept my most cordial thanks. May I, by -better works, deserve your too partial opinion! May all my works find -friends as loving to adopt them, and to bring them to a satisfactory -execution! May this also be the case at all times with your own works; I -cannot desire anything better for you.</p> - -<p>I am also exceedingly indebted to you for having been so kind as to -thank the performers in my name. According to your suggestion, I am -writing some lines to Herr Morel, who directed the music, requesting him -to be assured of my gratitude, and to express this also to Herr Boccage; -but do not be displeased with me if<span class="pagenum"><a name="page_361" id="page_361"></a>{361}</span> I decline taking the other -hint,—as to making a present to the leading performers. This would be -contrary to the fixed principles which I adopted at the beginning of my -musical career,—never in any way to mix up my personal position with my -musical one, or ever to improve the latter by the influence of the -former, or in any manner to bribe public or private opinion with regard -to me, or even to attempt to strengthen it. Precisely owing to the -heartfelt gratitude I entertain towards all those who interest -themselves in my music, it would be impossible for me to follow the -fashion of giving similar presents, without for ever embittering for the -future, the gratitude, and the joy emanating from it. And although this -fashion may have been introduced by great authorities, I must always -remain true to myself, and to what I deem to be right, and feel to be -right; so you must excuse me for not complying with this practice.<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> I -trust that you will not be angry with me, and rather defend me against -those who may attack me on this account. You will acknowledge that every -man must fix certain rules by which he is to live and act, and will not -therefore misconstrue my adhering to mine. My hearty greeting to all my -friends, and may we have a happy meeting in our Fatherland.—Your -devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_362" id="page_362"></a>{362}</span></p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Soden, near Frankfort-a.-M., July 17th, 1844.<br /> -</p> - -<p class="indd">My dearest Friend,<br /> -</p> - -<p>I found all my family well, and we had a joyful meeting when I arrived -here on Saturday, in health and happiness, after a very rapid journey. -Cécile looks so well again,—tanned by the sun, but without the least -trace of her former indisposition; my first glance told this when I came -into the room, but to this day I cannot cease rejoicing afresh every -time that I look at her. The children are as brown as Moors, and play -all day long in the garden. I employed yesterday and the day before -entirely in recovering from my great fatigue, in sleeping and eating,—I -did not a little in that way, and so I am myself again now, and I take -one of the sheets of paper that Cécile painted for me to write to you. -Once more I thank you from my very heart for the past happy time,—all -that is good and imperishable in it comes from you; so I feel most -grateful to you, and pray continue to love me, as I shall you so long as -I live.</p> - -<p>I am sitting here at the open window, looking into the garden at the -children, who are playing with their “dear Johann.”<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> The omnibus to -Königstein passes this twice every day. We have early strawberries for -breakfast, at two we dine, have supper at half-past<span class="pagenum"><a name="page_363" id="page_363"></a>{363}</span> eight in the -evening, and by ten we are all asleep. Hoffmann von Fallersleben is -here, and paid me a visit yesterday. All those who are entitled to do -so, wear a bit of ribbon in their button-holes, and are called -“Geheimrath;” all the world talking of Prussia and blaming her,—in fact -they speak of nothing else. The country is covered with pear-trees and -apple-trees, so heavy with fruit that they are all propped up; then the -blue hills, and the windings of the Maine and the Rhine; the -confectioner, from whom you can buy thread and shirt-buttons; the -well-spring No. 18, which is also called the Champagne Spring; the Herr -Medicinalrath Thilenius; the list of visitors, which comes out every -Saturday, as ‘Punch’ does with you; the walking-post, who, before going -to Frankfort, calls as he passes to ask what we want, and next day -brings me my linen back; the women who sell cherries, with whom my -little four-year-old Paul makes a bargain, or sends them away, just as -he pleases; above all, the pure Rhenish air,—this is familiar to all, -and I call it Germany!</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Soden, July 19th, 1844.<br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>I am once more on German ground and soil; well, fresh, and happy at -home, having found all my family<span class="pagenum"><a name="page_364" id="page_364"></a>{364}</span> in the best health possible; and we -now pass our days pleasantly here, in this most lovely country.</p> - -<p>My visit to England was glorious; I never was anywhere received with -such universal kindness as on this occasion, and I had more music in -these two months than elsewhere in two years. My A minor symphony twice, -the “Midsummer Night’s Dream” three times, “St. Paul” twice, the trio -twice; the last evening of my stay in London the “Walpurgis Nacht,” with -quite wonderful applause; besides these, the variations for two -performers on the piano, the quartett twice, the D major and E minor -quartett twice, various songs without words, Bach’s D minor concerto -twice, and Beethoven’s G major concerto. These are some of the pieces -which I played in public. Then, in addition, the direction of all the -Philharmonic and other concerts, the innumerable parties, the -publication of “Israel in Egypt,” which I worked at for the Handel -Society, and revised from the manuscript; and in the midst of all this -the composition of the overture to “Athalia,” which, being excessively -troublesome, was no slight task.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a></p> - -<p>You can gather from this how gay and stirring my life was. My chief -aim—to do a service to the Philharmonic Society—succeeded beyond all -expectation; it<span class="pagenum"><a name="page_365" id="page_365"></a>{365}</span> is the universal opinion that they have not had such a -season for years past. This, to be sure, does not cure the radical evil -which I this time amply experienced, and which, must prevent the Society -continuing to prosper—the canker in its constitution—musical <i>rotten -boroughs</i>, etc. But more of this and many other points when we meet. One -thing I must also mention, which I regretted chiefly on your account. I -was invited to go to Dublin, to be made a Doctor by the University -there, and Morgan John O’Connell wished to give me a letter to his uncle -in prison; but I could not accept it, on account of the short time, and -the intense excitement of such a journey, in five days. The thought of -the great pleasure you would have felt in my doing so was constantly -present with me, and I gave up the idea with sincere regret. What a -strange contrast this quiet little spot forms to all the previous -immense excitement! Here a walk of ten minutes brings you to the heights -of the Taunus, with a view over the valleys of the Maine and Rhine, as -far as Frankfort, Worms, and Mayence. Here I can look all around for -days and days, and require nothing further, and yet do as much, or, in -fact, more, than in the midst of the excitement in London.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_366" id="page_366"></a>{366}</span></p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Soden, July 25th, 1844.<br /> -</p> - -<p>If you refuse to come to Soden for a fortnight, to enjoy with me the -incredible fascinations of this country and locality, all my -descriptions are of no avail; and, alas! I know too well that you will -not come. I therefore spare you many descriptions. My family improve -every day in health, while I lie under apple-trees and huge oaks. In the -latter case, I request the swine-herd to drive his animals under some -other tree, not to disturb me (this happened yesterday); further, I eat -strawberries with my coffee, at dinner and supper; I drink the waters of -the Asmannshäuser spring, rise at six o’clock, and yet sleep nine hours -and a half (pray, Fanny, at what hour do I go to bed?). I visit all the -wondrously beautiful environs, I generally meet Herr B. in the most -romantic spot of all (happened yesterday), who gives me the latest and -best report of you all, and addresses me as General Music Director, -which sounds as strange here as Oberursel, and Lorschbach, and -Schneidheim would to you. Then towards evening I have visits from Lenau, -and Hoffmann von Fallersleben, and Freiligrath, when we stroll through -the fields for a quarter of an hour near home, and find fault with the -system of the world, utter prophecies about the weather, and are unable -to say what England is prepared to do in the future. Further, I sketch -busily, and compose<span class="pagenum"><a name="page_367" id="page_367"></a>{367}</span> still more busily. (<i>A propos</i>, look for the organ -piece in A major, that I composed for your wedding, and wrote out in -Wales, and send it to me here immediately; you shall positively have it -back, but I require it. I have promised an English publisher to furnish -him with a whole book of organ pieces, and as I was writing out one -after another, that former one recurred to me. I like the beginning, but -detest the middle, and am re-writing it with another choral fugue; but -should like to compare it with the original, so pray send it here.) -Further, I must unluckily go to-morrow to Zweibrücken,<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> and I don’t -feel much disposed for this; still, there is first-rate wine at Dürkheim -(as credible witnesses inform me), and I hear the country is very -beautiful, and to-morrow week (God willing) I shall be here again, when -I shall once more lie under the apple-trees, etc., <i>dal segno</i>. Ah! if -this could go on for ever!</p> - -<p>Jesting apart, the contrast of these days with my stay in England is so -remarkable, that I can never forget it. The previous three weeks <i>not a -single hour</i> unoccupied, and here the whole of the bright days free, -without an employment of any kind, except what I choose for myself -(which is the sole fruitful and profitable kind), and what is not done -to-day is done to-morrow, and there is leisure for everything. In -England this time, it was indeed wonderful; but I must describe to you -when we meet each concert there, and each bramble-bush here.<span class="pagenum"><a name="page_368" id="page_368"></a>{368}</span></p> - -<p>Now, tell me what you are doing, and <i>he</i>, and all of you. It is high -time that Sebastian<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> should write me a letter. Read him these lines -from his uncle (no other part of the letter; he ought to think it -contained something worth reading), and do really make him write to me. -But I stipulate beforehand, that none of you are to read his letter, or -he would be on ceremony, and write in a fine style, or even write first -a rough copy.</p> - -<p>Farewell, dear Sister; may we soon meet again. Do not forget the piece -for the organ, and still less its author; forget, however, the stupidity -of this letter, and that I am such a lazy correspondent.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Fanny Hensel, Berlin.</span></h2> - -<p class="r"> -Soden, August 15th, 1844.<br /> -</p> - -<p>Look again in the music shelves, in the compartment where there is a -great deal of loose music lying; among it you will find an open red -portfolio, which contains a quantity of my unbound manuscript -music—songs, pianoforte pieces, printed and unprinted; there you will -positively find the organ piece in A major. It is just possible that I -may in so far be mistaken; that it is in a <i>bound</i> music-book which lies -in “<i>my</i> compartment,” and in which many similar pieces are bound -together.<span class="pagenum"><a name="page_369" id="page_369"></a>{369}</span> I found the piece, however, in one of the two last winter, -and <i>stans pede in uno</i> (Sebastian will explain this) looked through it, -marvelled at the odious middle part, and also at the charming -commencement (between ourselves, all from modesty). Now, pray search -diligently, and send it off to Soden as soon as you find it. I shall -laugh heartily if, by describing to you at the distance of Soden where -the piece is, you find it. I must tease you about this for the rest of -my life.</p> - -<p>I am going to make an expedition on foot to Wiesbaden to-morrow, to -visit Uncle Joseph; and the day after to Hamburg, also on foot, to -attend Döhler’s concert. Prume is to call for me, and we are to go -together. I heard Döhler and Piatti in their last concert in London, and -clapped and shouted for them; and now I mean to do the same at Hamburg, -which will be diverting enough. The day before yesterday I was at -Eppstein, where there was a new organ and a church festival, and where -the Vocal Associations of Frankfort, Wiesbaden, and Mayence offered to -sing, and were present; but a letter came from the Amtmann in Königstein -forbidding them to sing, so they set off, and went to Hofheim, (do you -know the white chapel, which is visible in the whole country round? Paul -will tell you about it,) and there they sang. Towards evening, as I was -driving quietly with the ladies and all the children on the high-road -through Hofheim, we saw heads innumerable <span class="pagenum"><a name="page_370" id="page_370"></a>{370}</span>peeping out of the windows of -the inn,—all, I suspect, more or less tipsy,—shouting out loud -<i>vivats</i> to me. The ladies wished to stop there to have some coffee, but -I opposed this strongly, so we ate pound-cake in the carriage.</p> - -<p>But I must now tell you of my works; there is little enough to say about -them as yet. With the exception of five great organ pieces, and three -little songs, nothing is finished; the symphony makes but slow progress; -I have resumed a Psalm. If I could only continue to live during half a -year as I have done here for a fortnight past, what might I not -accomplish? But the regulation and direction of so many concerts, and -attending others, is no joke, and nothing is gained by it. I feel always -at home among cows and pigs, and like best to be with my equals,—the -one is the result of the other, you will say; but to let bad jokes -alone, I am not a little pleased with your new songs. Would that I could -hear them forthwith! But it will certainly be September before we see -each other again, as Madame Bunsen has written that she has been charged -to inform me the King does not expect me back in Berlin till the end of -September. We have had for some days past such abominable weather, that -this is the first day I have been able to cross the threshold since I -left Eppstein. My letter, therefore, is not so cheerful as you could -desire; but I cannot help it, for the Altkönig looks too stern and -gloomy. I must describe to you my journey back from Zweibrücken. My -landlord<span class="pagenum"><a name="page_371" id="page_371"></a>{371}</span> drove me the first stage in his carriage; there the Landrath -von Pirmaseus received us with a breakfast, and very fine wine, (this -was at eight o’clock in the morning,) and drove us a stage further in -his carriage, to a grand old castle in the Vosges, where we dined, and -ascended a hill in the afternoon. Cannons were fired there to show the -echo, and champagne drunk, and at every fresh toast the cannons were -discharged. He then drove us another stage, where the proprietor of St. -Johann took us under his charge, and gave us quarters for the night, and -good wine; and next morning came another Zweibrückner with his carriage, -and after drinking a little more good wine, we drove on to Deidesheim, -where Herr Buhl was waiting to receive us in his vaults; but who and -what Herr Buhl and his vaults are, it is quite impossible for me to -describe to you,—you must come and taste for yourself, I mean the -Forster of 1842, which he fabricates. The cellars were lighted up, and -there lay all the valuable hogsheads; and the rooms above these cellars -were as elegant as possible, adorned with paintings by Spasimo, and the -great Roberts, and Winterhalter’s ‘Decameron;’ and a fine new grand -pianoforte, by Streicher; and a pretty woman, who in autumn selects the -particular grapes in the bunches to be used in making the wine, -which—but excuse the rest. Still, those who have not paid a visit to -Herr Buhl (or to his brother-in-law, Herr Jordan), do not know what -Forster is here below. They insisted<span class="pagenum"><a name="page_372" id="page_372"></a>{372}</span> on our dining with them, though we -ought not to have done so, being expected to dinner at Dürkheim; still, -we dined all the same (Richard Boeckh will fully confirm all this, for -he was with us the whole time), and when dinner was over, Herr Buhl -drove us in his phaeton to Durkheim (three-quarters of a German mile) in -twenty minutes, so that we might not arrive too late for dinner; and in -Dürkheim we found half the musical festival again assembled, and -wreaths, and inscriptions, and ripe grapes; only we could drink no more -wine after that of Herr Buhl!</p> - -<div class="figcenter"> -<img src="images/ill_pg-372.png" width="450" height="195" alt="musical notation" title="" /> -</div> - -<p>This is the national song of the Palatinate, called “Der Jäger aus -Kurpfalz.” It is sung the whole live-long day, blown on horns by -postilions, played as a serenade by regimental bands, and used as a -march; and, if a native of the Palatinate comes to see you, and you wish -to give him pleasure, you must play it to him; but with <i>abandon</i>, and -with great expression,—that is, jovially.<span class="pagenum"><a name="page_373" id="page_373"></a>{373}</span></p> - -<p>Such was my journey back from the Palatinate; and if you find this -description somewhat inebriated, I have certainly hit on the right key, -for, from nine o’clock in the morning, we were never really quite -steady, though I can assure you that until the evening, I invariably -displayed great dignity and propriety. (I refer you to Richard Boeckh.) -After the performance of “St. Paul,” he suddenly and unexpectedly -emerged from among the public, and you may imagine with what joy I -recognized my <i>Boccia</i> comrade from the Leipziger Strasse, No. 3,<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> -among all the strange faces; and, to use an expression of the -Palatinate, I held him fast. As to the performances themselves,—now, I -must of course resume my usual sober style, for the other forms too -great a contrast to my <i>métier</i>,—but no! I think I must continue my -tipsy tone, and tell you that amid a great many deficiencies, we had the -best St. Paul and Druid Priest there whom I have yet met with in -Germany, namely, a Herr Oberhofer, a singer from Carlsruhe, who was -formerly in the capital. I do not know what he may be on the stage, but -it is impossible for any one to sing, or to deliver the music which I -heard better, with more intelligence, or more impressively, than he did. -He made the third in our merry return journey. How the Landrath -Pirmaseus was thrown into a brook, how Herr Sternfeld used a sausage to -conduct the orchestra,<span class="pagenum"><a name="page_374" id="page_374"></a>{374}</span> and how, in the first part of the oratorio, the -player of the kettle-drum beat it in two, and his remark on the subject, -when sitting in the street with the others, at half-past two o’clock in -the morning, drinking punch,—all this you must hear from my own lips. -Keep the whole of this letter strictly private from Sebastian; but thank -him repeatedly from me for his nice letter. Tell him that I care very -little about his No. 1, and that he ought not to be in any hurry to come -to <i>Untersecunda</i>. When all number <i>ones</i>, and classes, and -examinations, come to an end, and when no man living either asks for or -gives testimonials, then learning will first begin in good earnest, and -all our energies will be called forth, and yet we shall obtain no red -certificates; and that would indeed be delightful, and that would indeed -be life itself. And thus it is that I care so little about No. 1 of -<i>Untertertia</i>, or for No. 1 of the Order of the Red Eagle, or for all -the other numbers in the world. Or, if this be too philosophical for -you, or too unphilosophical, then keep it from him also; but it forms a -part of my creed. May we have a pleasant, happy, speedy meeting!—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_375" id="page_375"></a>{375}</span></p> - -<h2><span class="smcap">To Professor Verhulst, the Hague.</span></h2> - -<p class="r"> -Berlin, November 17th, 1844.<br /> -</p> - -<p>Sir,</p> - -<p>Pray accept my thanks for your kind letter, and the accompanying parcel, -with its rich and valuable contents.</p> - -<p>If you are like me, you can hear nothing more welcome about your works, -than when you are told that you have made progress in them; and in those -you have now sent me, this is very manifest throughout them all. They -are almost in every respect masterly and defined, and devoid of all that -is false or incongruous, in individual passages; and when taken as a -whole, if one piece appears more finished or more sympathetic than -another, what is so fine in Art is precisely, that it gives no mastery -so entire as to <i>rise superior</i> to this; and one of the secrets of -honest assiduous work is, that what is less successful does not give -rise to despair, and what is more successful does not give rise to -arrogance; and thus others may get a just insight into the workshop of -the soul of an artist. Such a survey of your present production you have -enabled me to make, by the valuable packet you have sent me. A -succession of many works, displays decidedly what one solitary work -cannot do, that you have won for yourself a higher and loftier position -by the cultivation of your talents, which rejoices me<span class="pagenum"><a name="page_376" id="page_376"></a>{376}</span> much, and for -which I owe you my sincere and heartfelt thanks.</p> - -<p>May your praiseworthy endeavours to diffuse the knowledge of songs in -your mother-tongue prove successful, and meet with that grateful -acknowledgment which they so well deserve! I know of no more noble aim -that any one could propose to himself, than to give music to his own -language and to his own country, as you have done, and still design to -do. These works are a fine commencement for such a purpose; but, that -their tones may not die away unheard by your fellow-countrymen, many, -many more must yet follow, and with ever-increasing progress. Vocation -and endowments are your own. So, may Heaven grant you also health and -steady perseverance, and a happy life!</p> - -<p>This is the wish of your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><a name="From_Minister_Eichhorn79_to_Felix_Mendelssohn_Bartholdy_at" id="From_Minister_Eichhorn79_to_Felix_Mendelssohn_Bartholdy_at"></a><i>From Minister Eichhorn,<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> to Felix Mendelssohn Bartholdy, at -Frankfurt-am-Main.</i></h2> - -<p class="r"> -Berlin, March 2nd, 1845.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>You may remember that I made a report to his Majesty, some years since, -on proposals which had been suggested for the establishment of a -Conservatorium<span class="pagenum"><a name="page_377" id="page_377"></a>{377}</span> here; his Majesty, however, was pleased to declare that -the establishment of such a Conservatorium was not at present in -accordance with his Majesty’s views. The affair has consequently -remained since that time in abeyance. The absolute necessity of a reform -in the Royal Academy of Arts seems daily to be more urgent, it therefore -becomes a duty to obtain as clear a view as possible of the measures to -be pursued, and to settle the preliminary arrangements for the best mode -of fulfilling this design. The musical section of the Academy, which -cannot be continued under its present regulations, must form one of the -most essential points in this reform. As, however, in accordance with -the good pleasure of his Majesty, the eventual enlargement of this -section to a real Conservatorium is not at present to take place, it -seems most advisable not to lose sight of the principle which forms the -basis of the present section, and to direct every effort to secure its -most perfect development. This principle assumes that the chief object -of the musical section should be especially to form a school for -<i>musical composition</i>. For this purpose, it is, in my opinion, above all -expedient that a master should stand at the head of such a section who, -by his own energetic, creative powers, may become a guiding star for -others, and thus be enabled to exercise a genuine and stimulating -influence; possessing also the ability to examine critically the -productions of the scholars, and by his zealous co-operation to guide -them on the right<span class="pagenum"><a name="page_378" id="page_378"></a>{378}</span> path, in the very same way that in the plastic arts, -the master of the <i>atelier</i> stands in relation to his scholars. -Instruction in the theory and history of music might be shared by other -teachers. Steps should besides be taken, by a closer connection with -other institutes, or by any other suitable means, to endeavour to form a -limited choir and orchestra, which might furnish an opportunity for the -performance of classical <i>chefs-d’œuvre</i>, as well as of the works of -the scholars, and likewise for practice in conducting,—an arrangement -which, in the event of an urgent and manifest necessity for such a -thing, might perhaps at some future day lead to a real Conservatorium.</p> - -<p>You will, Sir, earn my best thanks by being so good as to transmit to me -your sentiments on these suggestions, and more especially if, in case -you agree to these proposals in their general outline, you could also -assure me that you are eventually disposed yourself to undertake the -direction and the situation of teacher of composition, in the said -musical section. Should this latter proposal, however, not be in -conformity with your plans in life, may I request you to name the person -among our composers here or elsewhere who, according to your competent -judgment, is best suited to superintend with success the situation in -question, as it seems to me very desirable to discuss any further -measures that may be necessary with the director selected for that -section.—Accept, Sir, etc.,</p> - -<p class="r"> -<span class="smcap">Eichhorn</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_379" id="page_379"></a>{379}</span></p> - -<h2><span class="smcap">To Minister Eichhorn, Berlin.</span></h2> - -<p class="r"> -Frankfurt-am-M., March 6th, 1845.<br /> -</p> - -<p>I must first of all thank your Excellency for the flattering proof of -confidence contained in the letter I have received from your Excellency, -and also for your wish to hear my opinion in so important a matter. That -the reform of the Academy of Arts and its musical section, which your -Excellency refers to in your letter, will be of the greatest value to -the whole musical condition of Berlin, does not admit of the smallest -doubt. Your Excellency informs me that it is your intention to effect -this by placing a composer at the head of the musical section to be a -guiding star to the pupils by his own energetic creative powers, like -the master of the <i>atelier</i> in the plastic arts, and you do me honour to -mention my name on this occasion, or in the event of my being prevented -accepting this offer, you commission me to point out one of my -colleagues in art whom I consider best suited for such a situation. But -in order to form a decided opinion on the matter, I must beg for an -explanation of various points which, in this and every other affair of -the same kind, appear to me the most important, and before which all -personal questions must retire into the background.</p> - -<p>Is the reform which you have in view in the musical section, to consist -solely in the appointment of such a<span class="pagenum"><a name="page_380" id="page_380"></a>{380}</span> composer, and the musical section -to continue in the same shape as formerly? If this be the case, what -relation will such a director assume to the former members of the senate -or section, and to the director of the whole Academy? Is the -distribution of the different branches of instruction to remain the -same, or is a reform proposed in this respect also? In what does the -actual practical efficacy of such a teacher consist? It is not possible -to show the act of composition, as the master in an <i>atelier</i> does the -design of a picture or the form of a model, and according to your -Excellency’s words, an intellectual influence is what is chiefly -required. Such an influence, according to my conviction, is only to be -obtained in the School of Art, when the whole course of instruction has -already laid a sound foundation, when all the teachers in their positive -departments strive towards the same point, when no actual deficiency is -anywhere overlooked in the organization, and finally, when, as a -key-stone, the corresponding impulses of this organization are combined -and placed before the scholars in their practical application, and thus -more strongly impressed on their minds. In this sense I could well -imagine such a new active situation fruitful for good and for influence; -but it seems to me that for this purpose it is not merely the situation -itself which is to effect it, but in reality a reform of the whole -<i>inner</i> constitution of the Academy; and I do not know whether this -enters into your Excellency<span class="pagenum"><a name="page_381" id="page_381"></a>{381}</span>’s views, or indeed be within the range of -possibility. Without this, the position, though undoubtedly highly -honourable, would be devoid of all real, practical utility; a merely -universal excitement, however great, can at best only call forth an -unfruitful enthusiasm in the minds of the scholars, if indeed it calls -forth anything whatsoever. The teachers of positive science alone would, -in such a case, acquire a decided influence on the development of young -artists; the professor at the head, influencing only by example, would, -on the other hand, be like a mere airy phantom, and the connection -between the head and the limbs fail, without which neither the head nor -the limbs can live or thrive.</p> - -<p>If your Excellency will be so good as to give me some more precise -information on this matter, I shall then be in a position to form a -clearer view of the affair itself, as well as of the personal questions -connected with it; and I shall esteem it my duty on this as on every -other subject, to state my opinion candidly to your -Excellency.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a>—Your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_382" id="page_382"></a>{382}</span></p> - -<h2><a name="To_Felix_Mendelssohn_Bartholdy_from_the_Geheim_Cabinetsrath" id="To_Felix_Mendelssohn_Bartholdy_from_the_Geheim_Cabinetsrath"></a><i>To Felix Mendelssohn Bartholdy, from the Geheim Cabinetsrath -Müller.</i><a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></h2> - -<p class="r"> -Berlin, March 5th, 1855.<br /> -</p> - -<p>It is proposed to set to music the choruses of the trilogy of -“Agamemnon,” the “Choëphorœ,” and the “Eumenides,” to be combined and -curtailed for performance. According to Tieck’s information, you -declined the composition in this form. The King can scarcely believe -this, as his Majesty distinctly remembers that you, esteemed Sir, -personally assured him that you were prepared to undertake this -composition. I am therefore commissioned by the King to ask, whether the -affair may not be considered settled by your verbal assent, and whether, -in pursuance of this, you feel disposed to be so kind as to declare your -readiness to undertake the composition, which will be a source of much -pleasure to the King, and in accordance with your promise, gladly to -comply with any wishes of his Majesty.—I am, Sir, your obedient,</p> - -<p class="r"> -<span class="smcap">Müller</span>.<br /> -</p> - -<h2><span class="smcap">To Geheim Cabinetsrath Müller, Berlin.</span></h2> - -<p class="r"> -Frankfort, March 12th, 1845.<br /> -</p> - -<p>His Majesty the King never spoke to me on the<span class="pagenum"><a name="page_383" id="page_383"></a>{383}</span> subject of the choruses -in the combined and curtailed trilogy of “Agamemnon,” the -“Choëphorœ,” and the “Eumenides.” His Majesty certainly was pleased -to appoint me the task last winter of composing music for the choruses -in Æschylus’s “Eumenides.” I could not promise to supply this music, -because I at once saw that the undertaking was beyond my capabilities; -still I promised his Majesty to make the attempt, not concealing at the -same time the almost insuperable difficulties which caused me to doubt -the success of the attempt.<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a></p> - -<p>Since then, I have occupied myself for a considerable time, in the most -earnest manner, with the tragedy. I have endeavoured by every means in -my power to extract a musical sense from these choruses, in order to -render them suitable for composition, but I have not succeeded, and have -only been enabled to fulfil the task in the case of one of them, in such -a manner as is demanded by the loftiness of the subject, and the refined -artistic perceptions of the King. Of course the question was not that of -writing tolerably suitable music for the choruses, such as any composer -conversant with the forms of art could write for almost every word, but -the injunction was to create for the Æschylus choruses music in the good -and scientific style of the present day, which should express their -meaning, with life and reality. I have endeavoured to do this in my -music to “Antigone,<span class="pagenum"><a name="page_384" id="page_384"></a>{384}</span>” with the Sophocles choruses; with regard, however, -to the Æschylus choruses, in spite of all my strenuous efforts, I have -not hitherto succeeded even in any one attempt.</p> - -<p>The contraction of these pieces into one, exceedingly augments the -difficulty, and I venture to assert that no living musician is in a -position to solve this giant task conscientiously,—far less then can I -pretend to do so.</p> - -<p>In requesting your Excellency to communicate this to his Majesty, I also -beg you at the same time to mention the three compositions of mine, -which, by his Majesty’s commands, are now ready for performance, namely, -the “Œdipus Coloneus,” the “Athalie” of Racine, and the “Œdipus -Rex” of Sophocles. The entire full scores of the two former are -completed, first and last, so that nothing further is required for their -representation, except the distribution of the parts to the actors and -singers. The sketch of the “Œdipus Rex,” is also completed. I mention -these, in the hope that they may furnish a proof that I always consider -the fulfilment of his Majesty’s commands as a duty and a pleasure, so -long as I can entertain any hope of performing the task worthily; and to -show that when I allow even one to remain unfulfilled, it arises solely -from want of ability, and never from want of intention.<span class="pagenum"><a name="page_385" id="page_385"></a>{385}</span></p> - -<h2><a name="Answer_from_Muller" id="Answer_from_Muller"></a><i>Answer from Müller.</i></h2> - -<p class="r"> -Berlin, March 19th, 1845.<br /> -</p> - -<p>Immediately on receipt of your esteemed letter of the 12th instant, I -took an opportunity to inform his Majesty of its contents. The King -laments being obliged to resign the great pleasure it would have caused -his Majesty to see the Æschylus choruses composed by you, but rejoices -in the completion of the Sophocles trilogy, and also in that of -“Athalie.” The King hopes for your presence here in the approaching -summer, as his Majesty wishes to become acquainted with these new -compositions under your direction alone.</p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Frankfort, March 7th, 1845.<br /> -</p> - -<p class="indd">My dear Friend,<br /> -</p> - -<p>It is so good and kind of you to write me a gossiping letter again, as -in the good old times. I leave everything undone and untouched till I -have answered you, and thanked you for all your continued friendship and -kindness towards me. What you say of the English musical doings -certainly does not sound very satisfactory, but where are they really -satisfactory? Only within a man’s own heart; and there we find no such -doings, but something far better. So little benefit is derived even by -the<span class="pagenum"><a name="page_386" id="page_386"></a>{386}</span> public itself from all this directing and these musical -performances,—a little better, a little worse, what does it matter? how -quickly is it forgotten! and what really influences all this and -advances and promotes it, are after all the quiet calm moments of the -inner man, taking in tow all these public fallacies and dragging them to -and fro as they well deserve. Probably you will say this is the way in -which a domestic animal, or a snail, or an old-fashioned grumbler would -speak; and yet there is some truth in it; and one book of your studies -has had more influence on the public and on Art, than I do not know how -many morning and evening concerts during how many years. Do you see what -I am aiming at? I should like so very much to get the sonata as a duett, -or the “Études” as duetts or solos, or in short something.</p> - -<p>I much regret the affair with the <i>Handel Society</i>,<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> but it is -impossible for me to alter my views on the subject. Though quite ready -to yield in non-essential points, such as the mode of marking -accidentals,—though, in this even, owing to the long bars, I prefer the -old fashion—yet on no account whatever would I interpolate marks of -expression, <i>tempi</i>, etc., or anything else, in a score of Handel’s, if -there is to be any doubt whether they are mine or his; and as he has -marked his <i>pianos</i> and <i>fortes</i>, and figured bass wherever he thought -them essential, I must either leave these out altogether,<span class="pagenum"><a name="page_387" id="page_387"></a>{387}</span> or place the -public under the impossibility of discovering which are his marks, and -which are mine. To extract these signs from the pianoforte edition, and -transfer them to the score, <i>if mine are to be inserted</i>, would cause -very little trouble to any one who wishes to have the score thus marked; -while, on the other hand, the injury is very great, if the edition does -not distinguish between the opinion of the editor and the opinion of -Handel. I confess that the whole interest I take in the Society is -connected with this point, for the edition of the Anthems which I -formerly saw, was of a kind, precisely owing to the new marking, that I -could never adopt for performance. Above all, I must know exactly and -beyond all doubt, what is Handel’s and what is not. The Council -supported me in this opinion when I was present, now they seem to have -adopted a contrary one; if this is to be followed out, I, and I fear -<i>many</i> others, would much prefer the old edition with its false notes, -to the new, with its different readings and signs in the text. I have -already written all this to Macfarren. I am sure you are not angry with -me for stating my opinion so candidly? it is too closely connected with -all that I have considered right, during the whole course of my life, -for me now to give it up.</p> - -<p>André has just sent me the original score, to look over, of Mozart’s -symphony in C major, “Jupiter;” I will copy for you something out of it -that will amuse you.<span class="pagenum"><a name="page_388" id="page_388"></a>{388}</span> The eleven bars at the close of the adagio were -formerly written thus:—</p> - -<div class="figcenter"> -<img src="images/ill_pg-388.png" width="450" height="338" alt="musical notation" title="" /> -</div> - -<p class="nind">and so on to the end.</p> - -<p>He has written the whole repetition of the <i>thema</i> on a separate leaf, -and struck out this passage, bringing it in again only three bars before -the end. Is not this a happy alteration? The repetition of the seven -bars is to me one of the most delightful passages in the whole symphony!</p> - -<p>Give my kind remembrances to your family, and retain a kindly regard for -your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_389" id="page_389"></a>{389}</span></p> - -<h2><span class="smcap">To Rebecca Dirichlet, Florence.</span></h2> - -<p class="r"> -Frankfort, March 25th, 1845.<br /> -</p> - -<p class="indd">Dear Sister,<br /> -</p> - -<p>I continue faithful to the new custom I have adopted, and answer your -welcome letter on the spot; it is just come, and brings spring with it. -For the first time to-day we have, out of doors, that kind of atmosphere -in which ice and winter cold melt away, and all becomes mild, and warm, -and enjoyable. If, however, you have no driving ice in Florence, you -ought to <i>envy us</i>, instead of the reverse, for it is a splendid -spectacle to see the water bubbling under the bridge here, and springing -and rushing along, and flinging about the great blocks and masses of -ice, and saying, “Away with you! we have done with you for the present!” -it also is celebrating its spring day, and showing that under its icy -covering, it has preserved both strength and youth, and runs along twice -as rapidly, and leaps twice as high, as in the sober days of other -seasons. You should really see it for once! The whole bridge and the -whole quay are black with people, all enjoying the fine sight gratis, -with the sun shining on them gratis too. It is very pitiable in me, that -instead of speaking of the poetry of spring, I only talk of the economy -she brings in wood, light, and overshoes, and how much sweeter -everything smells, and how many more good things there are to eat, and -that the ladies have resumed their bright <span class="pagenum"><a name="page_390" id="page_390"></a>{390}</span>gay-coloured dresses, and -that the steamboats are going down the Rhine, instead of diligences, -etc. etc. From the above you will perceive, and Fanny also (for you must -send <i>her</i> all my letters to Rome), that, God be praised, there is -nothing new with us, which means that we are all well and happy, and -thinking of you. I came with S—— last night at one o’clock from a -punch party, where I first played Beethoven’s sonata 106, in B flat, and -then drank 212 glasses of punch <i>fortissimo</i>; we sang the duett from -“Faust” in the Mainz Street, because there was such wonderful moonlight, -and to-day I have rather a headache. Pray cut off this part before you -send the letter to Rome; a younger sister may be entrusted with such a -confidence, but an elder one, and in such a Papal atmosphere,—not for -your life!</p> - -<p>I have only seen X—— three times this winter; he is, unfortunately, -very unsociable; I cannot get on with him even with the best will on my -side, and I believe he is going on worse now than for many years past. -Any one who at all enters into the religious squabbles of the moment, -and does not steadily refuse to listen to them, one and all, will get so -deeply involved, as to be ere long severed unawares from both friends -and happiness, and instances of this begin to be manifest in Germany in -all circles. In my inmost heart I feel uncertain as to which extreme is -the most repugnant to me, and yet I cannot clearly decide between them.<span class="pagenum"><a name="page_391" id="page_391"></a>{391}</span></p> - -<p>In Düsseldorf they announced on the second day of the Musical Festival, -Mozart’s “Requiem,” my “Walpurgis Nacht,” and finally Beethoven’s choral -symphony. “O tempora! O mores!” If you ask what this letter contains, -the answer is, that we are all well, and hope you are the same, and -rejoice at the thoughts of our meeting again.—Your (in spring weather) -very pleased</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Emil Naumann</span>,<br /><br /> -<small>(NOW MUSIC DIRECTOR AT BERLIN.)</small></h2> - -<p class="r"> -Leipzig, March, 1845.<br /> -</p> - -<p class="indd">Dear Herr Naumann,<br /> -</p> - -<p>I have observed with much pleasure very important progress in the -compositions which you have sent me, and essential improvement in your -whole musical nature and efficiency. I consider these works in every -particular preferable to your earlier ones, and consequently they cause -me most extreme gratification. There is much in them to be unreservedly -commended; almost all, when compared with your productions of past -years, awaken in me a fresh hope that you will one day be able to -produce something really vigorous and good, and that it only rests with -yourself to fulfil this hope.</p> - -<p>I have nothing special to say to you with regard to the works, and -indeed, owing to the mass of affairs and<span class="pagenum"><a name="page_392" id="page_392"></a>{392}</span> occupations which crowd on me -here, I can now less than ever find time to write. But it is not -necessary, for throughout I see traces of the good advice of your -present instructor,<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> and feel increased respect for him in -consequence of your progress. You are certainly, with him, in the best -hands possible; attend assiduously therefore to his advice, and take -advantage of his instructions, and of the time in which you can and must -learn.</p> - -<p>I should like to hear you play the capriccio in C, for if you can play -it with steadiness and clearness, and keep correct time, you must have -improved very much. I like this capriccio better than the one in E -minor, and it seems to me more original. On the other hand, there is a -great deal that pleases me in the sonata; particularly the beginning and -end of the first movement, and the <i>tempo di marcia</i>, etc. etc. As I -said before, you must <i>continue</i> to work; I must also beg you to place -the same reliance henceforth on me, that you so kindly express in your -letter. And as you apply Goethe’s words to me, and call me a <i>master</i>, I -can only reply once more in Goethe’s words:—</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Learn soon to know wherein he fails;<br /></span> -<span class="i1">True Art, and not its type, revere.”<br /></span> -</div></div> -</div> - -<p>The advice in the first line is not difficult to follow, and the latter -is not to be feared with you. Towards<span class="pagenum"><a name="page_393" id="page_393"></a>{393}</span> Whitsunday, when I am to be at -Aix, I intend to pass through Frankfort, and hope then to see and hear -something new of yours.—Always yours sincerely,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Senator Bernus, Frankfort.</span></h2> - -<p class="r"> -Leipzig, October 10th, 1845.<br /> -</p> - -<p>... I cannot tell you how often, indeed almost daily, I think of the -last winter and spring which I passed so pleasantly with you in -Frankfort. I could scarcely myself have believed that my stay there -would have caused such a lasting and happy impression on my mind! So -strong is it, that I have often pictured to myself, in all earnest, -giving you a commission (according to your promise) to buy or to build -for me a house with a garden, when I would return permanently to that -glorious country with its gay easy life. But such happiness cannot be -mine; some years must first elapse, and the work I have begun here must -have produced solid results, and be a good deal further advanced (at -least I must have tried to effect it), before I can think of such a -thing.</p> - -<p>But I have the same feeling as formerly, that I shall only remain in -this place so long as I feel pleasure and interest in the outward -occupations which <i>here</i> seem the most agreeable to me. As soon, -however, as I have won<span class="pagenum"><a name="page_394" id="page_394"></a>{394}</span> the right to live solely for my inward work and -composing, only occasionally conducting and playing in public just as it -may suit me, then I shall assuredly return to the Rhine, and probably, -according to my present idea, settle at Frankfort. The sooner I can do -so, the more I shall be pleased. I never undertook external musical -pursuits, such as conducting, etc., from inclination, but only from a -sense of duty; so I hope, before many years are over, to apply myself to -building a house.</p> - -<p>Before then, probably, either a true and solid nucleus will have been -formed among the German Catholics in favour of enlightenment and other -new German ideas, and free ground and soil won for these, or the whole -movement will have vanished and been superseded by other catastrophes. -If neither the one nor the other occurs, I fear we run the risk of -losing our finest national features, solidity, constancy, and honourable -perseverance, without gaining any compensation for them. A collection of -French phrases and French levity would be too dearly bought at such a -price. It is to be hoped that something better will ensue!</p> - -<h2><span class="smcap">To Pastor Bauer, Beszig.</span></h2> - -<p class="r"> -Leipzig, May 23rd, 1846.<br /> -</p> - -<p>Your kind letter and the book caused me great pleasure. I received the -parcel some weeks since, but as<span class="pagenum"><a name="page_395" id="page_395"></a>{395}</span> I have very little time left for -reading, and as a work like yours cannot be quickly perused by a layman, -you will be able to understand the delay in expressing my thanks. I have -learnt much from your book, for it is in fact the first summary of -Church history that I ever read; but from this very circumstance you are -mistaken in my position if you think I could attempt either verbally or -in writing to maintain my own opinions on such a matter, when opposed to -yours, and that I might see it in a different light as a musician, etc. -The only point of view from which I can consider such questions is that -of a learner, and I confess to you that the older I become, the more do -I perceive the importance of <i>first</i> learning and <i>then</i> forming an -opinion; not the latter previous to the former, and not both -simultaneously. In this I certainly differ much from very many of our -leading men of the present day, both in music and theology. They declare -that he alone can form a right judgment who has learned nothing, and -indeed requires to learn nothing; and my rejoinder is, that there is no -man living who does not require to learn. I think, therefore, that it is -more than ever the duty of every one to be very industrious in his -sphere, and to concentrate all his powers to accomplish the very best of -which he is capable; and thus the recent Church movements are more -unknown to me than you probably believe (perhaps more than you would -approve), and I rejoice that the very reverse is the<span class="pagenum"><a name="page_396" id="page_396"></a>{396}</span> case with you. I -cannot, in fact, understand a theologian who at this moment does not -come forward, or who feels no sympathy in these matters; but just as -little, many of those <i>non</i>-theologians whom I often see, and who talk -of reformation and of improvement, but who are equally incompetent to -know or to comprehend either the present or the past, and who, in short, -wish to introduce <i>dilettanteism</i> into the highest questions.</p> - -<p>I believe it is this very <i>dilettanteism</i> which plays us many a trick, -because it is of a twofold nature,—necessary, useful, and beneficial, -when coupled with sincere interest and modest reserve, for then it -furthers and promotes all things,—but culpable and contemptible when -fed on vanity, and when obtrusive, arrogant, and self-sufficient. For -instance, there are few artists for whom I feel so much respect, as for -a genuine <i>dilettante</i> of the first class, and for no single artist have -I so little respect as for a <i>dilettante</i> of the second class. But where -am I wandering to?...</p> - -<h2><span class="smcap">To Pastor Julius Schubring, Dessau.</span></h2> - -<p class="r"> -Leipzig, May 23rd, 1846.<br /> -</p> - -<p class="indd">Dear Schubring,<br /> -</p> - -<p>Once more I must trouble you about “Elijah;” I hope it is for the last -time, and I also hope that you will at some future day derive enjoyment -from it; and how glad I should be were this to be the case! I have<span class="pagenum"><a name="page_397" id="page_397"></a>{397}</span> now -quite finished the first part, and six or eight numbers of the second -are already written down. In various places, however, of the second part -I require a choice of really fine Scriptural passages, and I do beg of -you to send them to me! I set off to-night for the Rhine, so there is no -hurry about them; but in three weeks I return here, and then I purpose -forthwith to take up the work and complete it. So I earnestly beseech of -you to send me by that time a rich harvest of fine Bible texts. You -cannot believe how much you have helped me in the first part; this I -will tell you more fully when we meet. On this very account I entreat -you to assist me in improving the second part also. I have now been able -to dispense with all historical recitative in the form, and introduced -individual persons. Instead of the Lord, always an angel or a chorus of -angels, and the first part and the largest half of the second are finely -rounded off. The second part begins with the words of the queen, “So let -the gods do to me, and more also,” etc. (1 Kings xix. 2); and the next -words about which I feel secure are those in the scene in the wilderness -(same chapter, fourth and following verses); but between these I want, -<i>first</i>, something more particularly characteristic of the persecution -of the prophet; for example, I should like to have a couple of choruses -<i>against</i> him, to describe the people in their fickleness and their -rising in opposition to him; <i>secondly</i>, a representation of the third -verse of the<span class="pagenum"><a name="page_398" id="page_398"></a>{398}</span> same passage; for instance, a duett with the boy, who -might use the words of Ruth, “Where thou goest, I will go,” etc. But -what is Elijah to say before and after this? and what could the chorus -say? Can you furnish me with, first, a duett, and then a chorus in this -sense? Then, till verse 15, all is in order; but there a passage is -wanted for Elijah, something to this effect:—“Lord, as Thou willest, be -it with me:” (this is not in the Bible, I believe?) I also wish that -<i>after</i> the manifestation of the Lord he should announce his entire -submission, and after all this persecution declare himself to be -entirely resigned, and eager to do his duty. I am in want too of some -words for him to say at, or before, or even after his ascension, and -also some for the chorus. The chorus sings the ascension historically -with the words from 2 Kings ii. 11, but then there ought to be a couple -of very solemn choruses. “God is gone up” will not do, for it was not -the Lord, but Elijah who went up; however, something of <i>that</i> sort. I -should like also to hear Elijah’s voice once more at the close.</p> - -<p>(May Elisha sing soprano? or is this inadmissible, as in the same -chapter he is described as a “bald head”? Joking apart, must he appear -at the ascension as a prophet, or as a youth?)</p> - -<p>Lastly, the passages which you have sent for the close of the whole -(especially the trio between Peter, John, and James) are too historical -and too far removed from the grouping of the (Old Testament) story; -still<span class="pagenum"><a name="page_399" id="page_399"></a>{399}</span> I could manage with the former, if, instead of the trio, I could -make a chorus out of the words; it would be very quickly done, and this -will probably be the case. I return you the pages that you may have -every necessary information, but pray send them back to me. You will see -that the bearing of the whole is quite decided; it is only the lyric -passages (from which arias, duetts, etc., could be composed) which fail -towards the end. So I beg you will get your large Concordance, open it, -and bestow this time on me, and when I return three weeks hence at -latest, let me find your answer. Continue your regard for your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To I. Moscheles, London.</span></h2> - -<p class="r"> -Leipzig, June 26th, 1846.<br /> -</p> - -<p class="indd">My dear Friend,<br /> -</p> - -<p>The cause of this letter is a line in a recent communication from Mr. -Moore, who writes, “Nearly the whole of the Philharmonic band are -engaged;<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> a few only are left out who made themselves unpleasant when -you were there.”<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> This is anything but pleasing to me, and as I think -that you have the principal regulation of<span class="pagenum"><a name="page_400" id="page_400"></a>{400}</span> such things, I address my -remonstrance to you, and beg you to mention them to Mr. Moore.</p> - -<p>Nothing is more hateful to me than the revival of old worn-out -squabbles; it is quite bad enough that they should ever be in the world -at all. Those of the Philharmonic I had quite forgotten, and they <i>must -on no account</i> have any influence on the engagements for the Birmingham -Festival. If people are left out because they are incapable, that is no -affair of mine, and I have nothing to say against it; but if <i>any one</i> -is to be left out because “he made himself unpleasant” to me, I should -consider it a piece of injustice, and beg that this may not be the case. -There is certainly no cause to fear that those gentlemen will again be -troublesome; at least, I feel none, and do not believe that any one can -do so. So I beg you earnestly to let the affair proceed exactly as it -would have done if I had no thoughts of coming to England; and if it be -really desired to show me <i>consideration</i>, the greatest favour that can -be conferred on me would be <i>not</i> to take notice of any such personal -considerations.</p> - -<p>I know you will be so good as to bring this subject under the notice of -Mr. Moore, and I hope I shall hear nothing further of these obsolete -stories; that is, if my wishes are complied with, and <i>no kind of -vindictiveness</i> exercised. Otherwise I shall protest against it ten -times at least by letter.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p><span class="pagenum"><a name="page_401" id="page_401"></a>{401}</span></p> - -<h2><span class="smcap">To Herr Velten, Carlsruhe.</span></h2> - -<p class="r"> -Leipzig, July 11th, 1846.<br /> -</p> - -<p class="indd">Sir,<br /> -</p> - -<p>When I received your letter of May the 10th, I felt most anxious to -convey to you a word of consolation, and the assurance of my heartfelt -sympathy; but I could find no words for such a loss as yours, or -adequately express what I wished to say.</p> - -<p>Far more could I appreciate the extent of this loss when I had become -acquainted with the musical compositions which you so kindly sent me, in -the name of your deceased son. Every one who is in earnest with regard -to Art, must indeed mourn with you, for in him a true genius has passed -away, a genius that only required life and health to be developed, and -to be a source of joy and pride to his family, and a benefit to Art. How -very superior many of these works are to those we every day see, even by -better musicians, and how there shines forth, in every part, a striving -after progress, and the promise of a genuine vocation, along with the -most perfect development! And all this was not to be! and everything in -Art and in life remains so inscrutable? And thus <i>we</i> lament him, who -only know a few compositions of this young artist; so how could suitable -words of comfort be found for you, his father?</p> - -<p>But I must <i>thank</i> you for having made me acquainted with those works, -and for having written me those few lines; and I will waft my thanks -after your son also,<span class="pagenum"><a name="page_402" id="page_402"></a>{402}</span> for having destined these works for me. May Heaven -grant you consolation, and alleviate your grief, and one day permit you -to rejoin your son, where it is to be hoped there is still music, but no -more sorrow or partings.—Yours,</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Birmingham, August 26th, 1846.<br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>From the very first you took so kind an interest in my “Elijah,” and -thus inspired me with so much energy and courage for its completion, -that I must write to tell you of its first performance yesterday. No -work of mine ever went so admirably the first time of execution, or was -received with such enthusiasm, by both the musicians and the audience, -as this oratorio. It was quite evident at the first rehearsal in London, -that they liked it, and liked to sing and to play it; but I own I was -far from anticipating that it would acquire such fresh vigour and -impetus at the performance. Had you only been there! During the whole -two hours and a half that it lasted, the large hall, with its two -thousand people, and the large orchestra, were all so fully intent on -the one object in question, that not the slightest sound was to be heard -among the whole audience, so that I could sway at pleasure the enormous -orchestra and choir,<span class="pagenum"><a name="page_403" id="page_403"></a>{403}</span> and also the organ accompaniments. How often I -thought of you during the time! More especially, however, when the -“sound of abundance of rain” came, and when they sang and played the -final chorus with <i>furore</i>, and when, after the close of the first part, -we were obliged to repeat the whole movement. Not less than four -choruses and four airs were encored, and not one single mistake occurred -in the whole of the first part; there were some afterwards in the second -part, but even these were but trifling. A young English tenor sang the -last air with such wonderful sweetness, that I was obliged to collect -all my energies not be affected, and to continue beating time steadily. -As I said before, had you only been there! But to-morrow I set off on my -journey home. We can no longer say, as Goethe did, that the horses’ -heads are turned homewards, but I always have the same feeling on the -first day of my journey home. I hope to see you in Berlin in October, -when I shall bring my score with me, either to have it performed, or at -all events to play it over to you, and Fanny, and Rebecca, but I think -probably the former (or rather both). Farewell, my dear Brother; if this -letter be dull, pray forgive it. I have been repeatedly interrupted, and -in fact it should only contain that I thank you for having taken such -part in my “Elijah,” and having assisted me with it.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<div class="blockquot"><p>After the first performance of the “Elijah” in London,<span class="pagenum"><a name="page_404" id="page_404"></a>{404}</span> Prince -Albert wrote the following in the book of words which he used on -that occasion, and sent it to Mendelssohn as a token of -remembrance:—“To the noble artist who, though encompassed by the -Baal-worship of false art, by his genius and study has succeeded, -like another Elijah, in faithfully preserving the worship of true -art; once more habituating the ear, amid the giddy whirl of empty, -frivolous sound, to the pure tones of sympathetic feeling and -legitimate harmony;—to the great master who, by the tranquil -current of his thoughts, reveals to us the gentle whisperings, as -well as the mighty strife of the elements,—to him is this written -in grateful remembrance, by</p> - -<p>“<i>Buckingham Palace.</i></p> - -<p class="r"> -“<span class="smcap">Albert</span>.”<br /> -</p></div> - -<h2><span class="smcap">To Frau Doctorin Frege, Leipzig.</span></h2> - -<p class="r"> -London, August 31st, 1846.<br /> -</p> - -<p class="indd">Dear Lady,<br /> -</p> - -<p>You have always shown such kind sympathy in my “Elijah,” that I may well -consider it incumbent on me to write to you after its performance, and -to give you a report on the subject. If this should weary you, you have -only yourself to blame; for why did you allow me to come to you with the -score under my arm, and play to you those parts that were half -completed, and why did you sing so much of it for me at sight? Indeed, -on this account you in turn should have considered it incumbent on you -to go with me to Birmingham; for it<span class="pagenum"><a name="page_405" id="page_405"></a>{405}</span> is not fair to make people’s mouths -water, and to disgust them with their condition, when you cannot remedy -it for them; and really the state in which I found the soprano solo -parts here was most truly miserable and forlorn.</p> - -<p>There was, however, so much that was good to make up for this, that I -shall bring back with me a very delightful impression of the whole; and -I often thought what pleasure it would have caused you.</p> - -<p>The rich, full sounds of the orchestra and the huge organ, combined with -the powerful choruses who sang with honest enthusiasm, the wonderful -resonance in the grand giant hall, an admirable English tenor singer; -Staudigl, too, who took all possible pains, and whose talents and powers -you already well know, and in addition a couple of excellent second -soprano and contralto solo singers; all executing the music with -peculiar spirit, and the utmost fire and sympathy, doing justice not -only to the loudest passages, but also to the softest <i>pianos</i>, in a -manner which I never before heard from such masses, and in addition, an -impressionable, kindly, hushed and enthusiastic audience,—all this is -indeed sufficient good fortune for a first performance. In fact, I never -in my life heard a better, or I may say so good a one, and I almost -doubt whether I shall ever again hear one equal to it, because there -were so many favourable combinations on this occasion. Along, however, -with so much light, as I before said, there were also shadows,<span class="pagenum"><a name="page_406" id="page_406"></a>{406}</span> and the -worst was the soprano part. It was all so neat, so pretty, so elegant, -so slovenly, so devoid both of soul and head, that the music acquired a -kind of amiable expression, which even now almost drives me mad when I -think of it. The voice of the contralto, too, was not powerful enough to -fill the hall, or to make itself heard beside such masses, and such solo -singers; but she sang exceedingly well and musically, and in that case -the want of voice can be tolerated. At least to <i>me</i>, <i>nothing</i> is so -repugnant in music as a certain cold, soulless coquetry, which is in -itself so unmusical, and yet so often adopted as the basis of singing, -and playing, and music of all kinds. It is singular that I find this to -be the case much less even with Italians than with us Germans. It seems -to me that our countrymen must either love music in all sincerity, or -they display an odious, stupid, and affected coldness, while an Italian -throat sings just as it comes, in a straightforward way, though perhaps -for the sake of money,—but still not for the sake of money, <i>and</i> -æsthetics, <i>and</i> criticism, <i>and</i> self-esteem, <i>and</i> the right school, -and twenty-seven thousand other reasons, none of which really harmonize -with their real nature. This struck me very forcibly at the Musical -Festival. Moscheles was ill on the Monday, so I conducted the rehearsals -for him.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> Towards ten o’clock at night, when I was tired enough, the -Italians lounged<span class="pagenum"><a name="page_407" id="page_407"></a>{407}</span> quietly in, with their usual cool <i>nonchalance</i>. But, -from the very first moment that Grisi, Mario, and Lablache began to -sing, I inwardly thanked God. They themselves know exactly what they -intend, sing with purity and in time, and there is no mistaking where -the first crotchet should come in. That I feel so little sympathy for -their music is no fault of theirs. But this digression is out of place -here. I wished to tell you about the Birmingham Musical Festival, and -the Town Hall, and here I am abusing the musical execution of our -countrymen. You will say, I have often enough, and too often, been -obliged to listen to you on that subject already. So I prefer reserving -all further description of the festival till I can relate it to you in -your own room.</p> - -<p>May I soon meet you in health and happiness, and find you unchanged in -kindly feelings towards myself.—Your devoted</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, October 31st, 1846.<br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>From my only being able to-day to wish you joy of yesterday, that is, in -writing and by words, you will at once see that I have even more than my -full share of affairs at this moment. What I wish most to do, I cannot -accomplish all day long, and what I most particularly<span class="pagenum"><a name="page_408" id="page_408"></a>{408}</span> dislike often -occupies my whole day,—but no more <i>Jérémiades</i>, and now for true -heartfelt good wishes. A thousand good wishes, which may all be summed -up in one,—health for you and yours, and all those you love; in this -wish lies the continuance of your happiness, in this lies your enjoyment -of it, in this lies all that is good, all that I can possibly desire for -you, and no human being could possibly wish or desire anything better -for any man? Were you very happy on the day? were all your family well? -(this however is included in my previous question;) had you a cake -decorated with lights? This is certainly an entirely novel question, but -not absolutely indispensable to the happiness of life (like the last). -Did you drink chocolate? were my sisters with you, or you with them at -dinner or supper? did you think of us? May God bless you, my dear -Brother, on that day, and on every day of your life!</p> - -<p>It is shameful in me, not to have thanked you yet for the beautiful copy -of Dahlmann, but it is still more shameful, that such ordinary—not -extraordinary—but honest, able, true words, are so seldom to be met -with in our Fatherland; and the cause of this is, that mediocrity, or -what is still worse, vapid superficiality, is so prevalent in Germany, -parading itself till we would fain drive out of sight; and this is also -why I have been hitherto prevented from even thanking you. I never yet -encountered such an accumulation of strangers, of inquiries and -proposals, and almost all entirely worthless; many so modest<span class="pagenum"><a name="page_409" id="page_409"></a>{409}</span>—and many -so immodest! Singers, players, a fine heap of compositions, and scarcely -one that can be called even tolerably good, but at the same time -overflowing with the longest words, full of patriotic ardour, full -of—anything but striving after high aims, though laying claim to the -highest of all; and then the impossibility of fulfilling even <i>one</i> of -these demands with a good conscience, or recommending them to others. -But why should I tell you all this? you, no doubt, know it by experience -in your own department, for it pervades every department. All this -however confirms me in my resolution, not to continue in this public -official situation more than a few years; and just as it formerly was my -duty to fill such an office to the best of my ability, it is now equally -my duty to give it up. Everything here is gradually assuming a pleasant -aspect. Moscheles has set to work very vigorously with the -Conservatorium; the concerts also pursue their steady course now as -ever; when all this is secure and certain, I daily meditate on the -possibility of being able to pass the summer in some pretty country -(somewhere near the Rhine), and the winter in Berlin, and this I hope to -be able to do, without any public duties to perform in Berlin, and -without all that has now irrevocably passed away there; I intend to live -entirely with you in all happiness, and to write music. <i>Ainsi soit-il.</i></p> - -<p>I should have been glad to bring the “Elijah” with me, but I am still at -work on two passages, which I am striving<span class="pagenum"><a name="page_410" id="page_410"></a>{410}</span> to remodel, and they cause me -great tribulation. In the meantime, I have been obliged to compose -afresh the whole Liturgy for the King. He has desired that I should be -repeatedly written to on the subject, and now at last it is finished. I -am often too in no happy mood, for poor Johann<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> is very seriously -ill, and causes us really very great anxiety. “May I be so bold as to -ask who is to play the part of the servant?” says Goethe, and lately -these words often recurred to me. May God soon restore the poor faithful -fellow! Love me as ever, and may you be happy in the approaching -year.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Professor Edward Bendemann.</span></h2> - -<p class="r"> -Leipzig, November 8th, 1846.<br /> -</p> - -<p>... Have I already thanked you for your excellent contributions, and -advice about “Elijah”? All your notes on the margin are most acceptable, -and are a fresh proof that you have not only a different, but a much -deeper insight than almost any one else into a subject of this kind. You -recommend that the “Sanctus” should be followed by the command of God to -Elijah to resume his mission; such was indeed my original intention, and -I think of replacing it, but I cannot dispense with an answer from -Elijah; and I think <i>both</i> can and<span class="pagenum"><a name="page_411" id="page_411"></a>{411}</span> ought to be there. I shall not -however be able to bring in King Ahab again. The greatest difficulty in -the whole undertaking, was after the manifestation of the Lord in the -“still small voice,” to discover a conclusion for the whole, with -sufficient breadth (and yet not long); and if Elijah were to be -<i>afterwards</i> introduced again in person as a zealous and avenging -prophet (in a dramatic aspect) it would in my opinion be difficult to -represent, without great circumlocution, his significance for the new -dispensation (which however must necessarily be alluded to), while I -think it most important, that from the moment of the appearance of the -Lord, all should go on in grand narrative to the close. But when you say -that one of these passages should relate how he came down, and again -came down in vain, you are quite right, and I will try to accomplish it, -as I am at this moment revising the whole, and re-writing several -passages before sending it to the engraver. It is singular that the -passage which caused me the greatest trouble, is the very one that you -would like to see omitted,—that of the widow. To me it seems, that by -introducing some phrases (either by the chorus or otherwise), the part -might become more significant and comprehensive, whereas you prefer its -being a simple narrative. After all, you are possibly right, which would -be unfortunate, for I believe that in the distribution of the whole, the -passage in its present expansion could not possibly be spared. This is a -point therefore which I shall weigh well.<span class="pagenum"><a name="page_412" id="page_412"></a>{412}</span></p> - -<h2><span class="smcap">To Carl Klingemann, London.</span></h2> - -<p class="r"> -Leipzig, December 6th, 1846.<br /> -</p> - -<p>... Montaigne says, and so does Vult, that a man can have but <i>one</i> -friend; you will find this too in the ‘Flegeljahre.’ I also said this -from my heart when I received your letter, my <i>one</i> friend!</p> - -<p>How gladly would I have burst forth into joy and gratitude, at the news -it contained, and have replied in a gay and happy spirit; but this was -impossible, as at the time your letter arrived, we were in great anxiety -about our servant Johann, who had been confined to bed for the last two -mouths, with a species of dropsy, becoming daily worse, and when, about -a fortnight since, the improvement took place that we had been so -anxiously longing for during three weeks, his vital powers suddenly -sank, and to our great sorrow he died. You know that I valued him very -highly, and can well understand, that during the whole time when I saw -him suffer so much, and become worse and worse, and then the momentary -hope that ensued, followed by his sudden and inevitable death, must -cause me to be in a very grave mood for long, long to come. His mother -and sister did not arrive here till the day after his funeral. It -distressed us also very much, not to be able to say one consolatory word -to them! Among his things, which were all in the most exemplary order, -we found a letter to me containing his last will; I must show you this -the<span class="pagenum"><a name="page_413" id="page_413"></a>{413}</span> next time we meet,—no man, no poet indeed, could have written -anything more heartfelt, earnest and touching; then there was a great -deal to do and to regulate, until all the trunks, with his clothes, -etc., were sent off to his mother, and his brothers and sisters: and -this was why I have been unable to write to you during the last few -weeks. I relate all this to you in detail, because you are my <i>one</i> -friend, and because you sympathize in all that really affects and -concerns me. Happily, I was able to work the whole time (though, indeed, -not to compose). I got the parts of Bach’s B minor Mass from Dresden. -(Do you remember it on Zelter’s Fridays?) It is chiefly in his own -writing, and dedicated to the Elector of that day. (“To his Royal -Highness the most noble the Elector of Saxony, the accompanying Mass is -dedicated, with the most respectful devotion of the author, J. S. Bach.” -This is inscribed on the title-page.) From it I have gradually corrected -all the mistakes in my score, which were innumerable, and which I had -frequently remarked, but never had a proper opportunity to rectify. This -occupation, mechanical, though now and then interesting enough, was most -welcome to me. For the last few days, however, I have again begun to -work with all my might at my “Elijah,” and hope to amend the greatest -part of what I thought deficient in the first performance. I have quite -completed one of the most difficult parts (the widow), and you will -certainly be pleased with the alterations,—I may well say, with the -improvements.<span class="pagenum"><a name="page_414" id="page_414"></a>{414}</span> “Elijah” is become far more impressive and mysterious in -this part, the want of which was what annoyed me. Unluckily I never find -out this kind of thing till <i>post festum</i>, and till I have improved it. -I hope, too, to hit on the true sense of other passages that we have -discussed together, and shall seriously revise all that I did not deem -satisfactory; so that I hope to see the whole completely finished within -a few weeks, and then be able to begin something new. The parts that I -have hitherto remodelled prove to me that I am right, not to rest till -such a work is as good as I can make it, although in these matters very -few people either remark or wish to hear about them, and yet they cost a -very, very great deal of time; but, on the other hand, such passages -make a very different impression when they are really made better, both -in themselves, and with regard to all other portions,—you see I am -still so very much pleased with the part of the widow, that I completed -to-day,—so I think it will not do to rest satisfied with them just as -they are. Conscience, too, has a word to say on this matter.</p> - -<h2><span class="smcap">To his Brother-in-Law, Professor Dirichlet, Berlin</span>,</h2> - -<p class="r"> -Leipzig, January 4th, 1847.<br /> -</p> - -<p class="indd">Dear Dirichlet,<br /> -</p> - -<p>I write you these lines to say that I wish for my<span class="pagenum"><a name="page_415" id="page_415"></a>{415}</span> sake, I might say for -your sake also, that you should remain at Berlin.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> Jesting apart, I -would gladly repeat in writing, and at this new year’s time, all that I -said to you about it personally. The more I reflect on this plan <i>here</i> -(not in Berlin), the more I feel convinced that its execution would -grieve me, first, for your own sake, and secondly, for mine (which comes -to one and the same thing); for when I look repeatedly around here, and -thus try to discover what kind of weather there is in Germany (and you -know that it is often long, long before this can be perceived in -Berlin), I everywhere see the current setting in towards large cities, -but receding from the smaller ones. It might be said, then, a residence -in small towns will now become really agreeable; but they, too, will not -be content to remain in their state of quiet comfort, but strive to -become great cities: and this is why I could not see any one, far less -yourself, leave a large city at this moment to settle in a small one, -without the most extreme concern. There are a thousand wants, both -material and spiritual, which these smaller places are at this moment -seeking to supply (thus making these wants only more perceptible), a -thousand pleasant things in life and knowledge,—all linked for many -long years with yourself and with Rebecca’s early days,—which you value -less than they deserve, because you have always been accustomed<span class="pagenum"><a name="page_416" id="page_416"></a>{416}</span> to have -things in one fashion and in no other, and because you are uneasy about -the present, and dissatisfied with what is going on. But, in truth, you -will find the same uneasiness, and the same dissatisfaction, prevailing -everywhere through all Germany; at present, indeed, only in those whom -you meet, and not in yourself, the new-comer; but, alas! alas! in these -days such contamination spreads hourly in our Fatherland, where these -evils daily strike deeper root, and you will and must experience them -also, wherever you go, and not in any respect improve your condition in -this chief point. By your change of residence, you cannot effect any -cure in the prevailing malady, and I as little with my subscription -concerts; it can only be done by very different means, or by a very -sharp crisis; and, in any event, it would then be best not to be placed -in new, but in old familiar circumstances. A third thing may happen, -and, alas! not the most improbable; all may remain in its old form. In -that case also, however, it is best not to begin a new life, which holds -out no prospect of any improvement in itself. I do wish, then, that you -would remain in Berlin.</p> - -<p>That you, by any kind of promise, however well meant, or positive, are -now in the hands of the people of Heidelberg, and <i>must</i> say Yes, if -<i>they</i> say Yes also, I <i>cannot</i> believe. Such a connection as yours with -Berlin is not to be dissolved by a letter and a few words; and if these -people believe that by your answer<span class="pagenum"><a name="page_417" id="page_417"></a>{417}</span> they have acquired any right over -you, it is not to be denied that the others have at least an equal -right. Simply from an overweening sense of justice, and from too much -delicacy, a person often chooses that which costs him the greatest -sacrifice, and thus, I believe, you would at last rather choose -Heidelberg; but they will not be sensible of this: they only wish to -conclude a bargain, and you must do the same, and no more. In the -meanwhile they have the <i>præ</i>, because they wish to acquire something -new for themselves, and the people of Berlin only to keep what they -have, and the former is always more tempting and pleasant; but, as I -said before, it is a mere matter of business,—do not forget that; and -you know quite as well as I do that all the <i>Berliners</i> are anxious to -keep you. Forgive my strange lecture, but remain.</p> - -<p>I ask it for my sake also; for I have now, I may say, decided soon to go -for the winter to Berlin. Don’t let us play at the game of “change -sides.” I preferred a residence in a smaller town, under very favourable -circumstances; I always liked it, and am accustomed to no other, and yet -I feel compelled to leave it, to rejoin those with whom I enjoyed my -childhood and youth, and whose memories and friendships and experiences -are the same as my own. My plan is, that we should <i>form all together</i> -one pleasant united household, such as we have not seen for long, and -live happily together (independent of political life or <i>non-life</i>, -which<span class="pagenum"><a name="page_418" id="page_418"></a>{418}</span> has swallowed up <i>all</i> else). For some time past everything seems -to contribute to this, and, as I said, <i>I</i> shall not be found wanting, -for I consider it the greatest possible good fortune that could ever -befall me; so do not frustrate all this by one blow, but remain in -Berlin, and let us be together there. These are my reasons, badly -expressed, but better intended than expressed; and don’t take this -amiss.—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Frau Geheimeräthin Steffens, geb. Reichardt, Berlin.</span></h2> - -<p class="r"> -Leipzig, February, 1847.<br /> -</p> - -<p class="indd">Dear Madam,<br /> -</p> - -<p>When I meet any one who knew my Father, and who loved and esteemed him -as he deserved, I immediately look on such a one as a friend, and not as -a stranger, and a meeting of this kind always makes me glad and happy. -As you no doubt feel the same, I trust you will excuse the liberty I -take in addressing you. I wish to relate to you how touched and -delighted the friends of music in Leipzig were yesterday by the -composition of your father; we felt as if his spirit were still living -and working among us, and indeed it is so. In the concert of yesterday -(which, like the previous and both the ensuing ones, was dedicated to a -kind<span class="pagenum"><a name="page_419" id="page_419"></a>{419}</span> of historical succession of the great masters) there was an -opportunity of bringing before the public some of your father’s songs. A -symphony of Haydn’s was followed by the Reichardt song, “Dem Schnee, dem -Regen,” and his duett, “Ein Veilchen auf der Wiese stand;” and then the -same poem set to music by Mozart. You will perceive that your father’s -music was by no means in a very easy proximity, but I wish you could -have heard how he maintained his honourable position. The very first -song sounded charming and effective; but when the little duett was given -by two very fresh pure voices, in great simplicity and perfection, many -a lover of music could not suppress his tears, so charming and genial -was <i>that</i> music, so genuine and touching. Such applause as we seldom -hear, and a <i>da capo</i> of all three verses, followed as a matter of -course. This was not for a moment doubtful after the three first bars -had been sung, and I felt as if I could not only listen to the song -twice, but during the whole evening, and to nothing else. It was the -true genuine German song, such as no other nation has, but even ours -nothing better; perhaps grander, certainly more complicated, more -elaborate, and more artificial, but not on that account more -artistic—thus, not better. This must happily be the case for all time, -and it must cause you much joy, thus once more to meet your father’s -spirit in its still living influence; for many a young musician who -heard his music yesterday (if, indeed, he can feel<span class="pagenum"><a name="page_420" id="page_420"></a>{420}</span> such things at all) -will now know better what a song should be, than from all the books of -instruction, all the lectures, and all the examples of the present day; -“and thus is life won,” as Goethe says. Forgive me for writing nothing -in this letter, except that the Reichardt songs were so lovely, and the -Leipzig public so enchanted. The first you have long known, though the -second in itself may be a matter of indifference; but as I was seated at -the piano accompanying yesterday and feeling such delight, I said to -myself that I must write to you about it.</p> - -<p>Begging you to recall me to the remembrance of your daughter, I am your</p> - -<p class="r"> -<span class="smcap">Felix Mendelssohn Bartholdy</span>.<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a><br /> -</p> - -<h2><span class="smcap">To his Nephew, Sebastian Hensel.</span></h2> - -<p class="r"> -Leipzig, February 22nd, 1847.<br /> -</p> - -<p class="indd">Dear Sebastian,<br /> -</p> - -<p>I thank you very much for the drawing, which, as your own composition, -pleases me extremely, especially the technical part, in which you have -made great progress. If, however, you intend to adopt painting as a -profession, you cannot too soon accustom yourself to study the <i>meaning</i> -of a work of art with more earnestness and zeal than its mere -<i>form</i>,—that is, in other<span class="pagenum"><a name="page_421" id="page_421"></a>{421}</span> words (as a painter is so fortunate as to be -able to select visible nature herself for his substance), to contemplate -and to study nature most lovingly, most closely, most innately and -inwardly, all your life long. Study very thoroughly how the outer form -and the inward formation of a tree, or a mountain, or a house always -<i>must</i> look, and how it <i>can</i> be made to look, if it is to be beautiful, -and then produce it with sepia or oils, or on a smoked plate; it will -always be of use, if only as a testimony of your love of substance. You -will not take amiss this little sermon from such a screech-owl as I -often am, and above all, do not forget the substance,—as for the form -(my lecture), the devil may fly away with it, it is of very little -value.</p> - -<p>Tell your mother that I quite agree with her about the scherzo. Perhaps -she may one day compose a <i>scherzo serioso</i>; there may be such a -thing.—Your Uncle,</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To General von Webern, Berlin.</span><a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></h2> - -<p class="r"> -Frankfort, May 24th, 1847.<br /> -</p> - -<p>Your letter did me good, even in the depths of my sorrow, when I -received it; above all, your handwriting, and your sympathy, and every -single word of yours. I thank you for it all, my dear, kind, faithful -friend. It is indeed true that no one who ever knew<span class="pagenum"><a name="page_422" id="page_422"></a>{422}</span> my sister can ever -forget her through life; but what have not we, her brothers and sister, -lost! and I more especially, to whom she was every moment present in her -goodness and love; her sympathy being my first thought in every joy; -whom she ever so spoiled, and made so proud, by all the riches of her -sisterly love, which made me feel all was sure to go well, for she was -ever ready to take a full and loving share in all that concerned me. All -this, I believe we cannot yet estimate, just as I still instinctively -believe that the mournful intelligence will be suddenly recalled; and -then again I feel that it is true,—but never, never can I inure myself -to it! It is consolatory to think of such a beautiful, harmonious -nature, and that she has been spared all the infirmities of advanced age -and declining life; but it is hard for us to bear such a blow with -proper submission and fortitude.</p> - -<p>Forgive me for not being able to say or write much, but I wished to -thank you.</p> - -<p>My family are all well; the happy, unconcerned, cheerful faces of my -children alone have done me good in these days of sorrow. I have not as -yet been able to think of music; when I try to do so, all seems empty -and desolate within me. But when the children come in I feel less sad, -and I can look at them and listen to them for hours.</p> - -<p>Thanks for your letter; may Heaven grant health to you, and preserve all -those you love.—Your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<p><span class="pagenum"><a name="page_423" id="page_423"></a>{423}</span></p> - -<h2><span class="smcap">To his Nephew, Sebastian Hensel.</span></h2> - -<p class="r"> -Baden-Baden, June 13th, 1847.<br /> -</p> - -<p class="indd">Dear Sebastian,<br /> -</p> - -<p>I must send you my good wishes on your birthday, the most mournful one -you have yet known. The retrospect of its celebration last year will -deeply grieve you, for then your mother was still by your side; may, -however, the anticipation of the future birthdays which you may yet be -spared to see, comfort and strengthen you! for your mother will stand by -your side in these also, as well as in everything that you do or fulfil. -May all you do be estimable and upright, and may your daily steps be -directed towards that path to which your mother’s eyes were turned for -you, and in which her example and her being went with you, and always -will go with you so long as you remain true to her,—in other words, I -trust, all your life long. Whatever branch of life, or knowledge, or -work you may devote yourself to, it is indispensable to <i>will</i> (not to -wish, but to <i>will</i>) something good and solid; but this is sufficient. -In all employments and in all spheres there is now and always will be a -want of able honest workmen, and therefore it is not true when people -declare it now more difficult than formerly to achieve anything. On the -contrary, in a certain sense, it is and always will be <i>easy</i>, or -altogether <i>impossible</i>; a genuine, faithful heart, true love,<span class="pagenum"><a name="page_424" id="page_424"></a>{424}</span> and a -brave, determined will, are alone required for this, and you will not -assuredly fail in these, with such a bright and beloved example steadily -shining before you. And even if you follow this, and do all, all in your -power, still nothing is done, nothing is attained, without the -fulfilment of one fervent wish,—may God be with you!</p> - -<p>This prayer comprises consolation and strength, and also cheerfulness in -days to come. I often long to be able to pass those days with you and -your aunt Rebecca. We expect your father ten or twelve days hence; I -wish you could come with him, and we might sketch from nature together. -I lately <i>composed</i> a sketch of an old mountain castle in a forest, with -a distant view of a plain; another of a terrace, with an old lime-tree, -and an image of the Virgin under it; and a third, of a solitary mountain -lake between high hills, with reeds in the foreground. I mean to wash -them in with Indian ink. Are you inclined to try the same three -subjects, that we may compare our compositions? Do so, I beg, dear -Sebastian, and show them to me when we meet again,—soon, very soon, I -hope. May God bless you.—Ever your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<p><span class="pagenum"><a name="page_425" id="page_425"></a>{425}</span></p> - -<h2><span class="smcap">To Rebecca Dirichlet, Berlin.</span></h2> - -<p class="r"> -Thun, July 7th, 1847.<br /> -</p> - -<p class="indd">Dear Sister,<br /> -</p> - -<p>In your letter of yesterday to Paul,<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> you said you wished I would -write to you again; I therefore do so to-day, but what to write I cannot -tell. You have often laughed at me and rallied me because my letters -assumed the tone around me or within me, and such is the case now, for -it is as impossible for me to write a consistent letter as to recover a -consistent frame of mind. I hope that as the days pass on they will -bring with them more fortitude, and so I let them pursue their course, -and in the society of Paul, and in this lovely country, they glide on -monotonously and rapidly. We are all well in health, and sometimes even -cheerful. But if I return within myself, which I am always inclined to -do, or when we are talking together, the ground-tint is no longer -there—not even a black one, far less one of a brighter hue.</p> - -<p>A great chapter is now ended, and neither the title nor even the first -word of the next is yet written. But God will make it all right one day; -this suits the beginning and the end of all chapters.</p> - -<p>We intend going to Interlachen in a few days, and towards the end of the -month Paul will have begun his<span class="pagenum"><a name="page_426" id="page_426"></a>{426}</span> journey thence towards home. He enjoys -with me the <i>old</i> familiar mountain-summits, which look as hoary as five -or twenty-five years ago, and on which Time makes little impression! We -shall probably stay in Interlachen for another month, and establish -ourselves there; I will, and must, soon attempt once more to begin some -regular work, and should like to have made some progress in a -composition before my journey home. I hope to find you and yours in good -health in September. May we soon meet again, my dear, good Sister! and -do not forget your</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Interlachen, July 19th, 1847.<br /> -</p> - -<p class="indd">My dear Brother,<br /> -</p> - -<p>Scarcely were you gone, when a storm arose, and the thunder and rain -were tremendous. Then we dined, and found an unfilled place at table. -Then I reflected for two hours on Schiller’s chorus in the ‘Bride of -Messina,’ “Say what are we now to do?” and then the children brought the -two enclosed letters for you, and said, “I wonder where our Uncle is -now!”</p> - -<p>But it is no longer any use telling you such commonplace, indifferent -things, and yet life is made up chiefly of these. So adieu, till we meet -again on the<span class="pagenum"><a name="page_427" id="page_427"></a>{427}</span> plains or on the mountains. We shall be as happy there as -we were here.</p> - -<p>It is still thundering, and this is the most dreary day we have had here -for many weeks—in every sense!—Your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To Rebecca Dirichlet.</span></h2> - -<p class="r"> -Interlachen, July 20th, 1847.<br /> -</p> - -<p class="indd">Dear Sister,<br /> -</p> - -<p>When your dear letter arrived, I was writing music; I force myself now -to be very busy, in the hope that hereafter I may become so from -inclination, and that I shall take pleasure in it. This is “weather -expressly calculated for writing, but not for gipsying.” Since Paul left -us, the sky has been so dismal and rainy that I have only been able to -take one walk. Since the day before yesterday, it has been quite cold -besides, so we have a fire in-doors, and, out-of-doors, streaming rain. -But I cannot deny that I sometimes rather like such downright, pouring -wet days, which confine you effectually to the house. This time they -give me an opportunity of passing the whole day with my three elder -children; they write, and learn arithmetic and Latin with me,—paint -landscapes during their play-hours, or play draughts, and ask a thousand -wise questions, which<span class="pagenum"><a name="page_428" id="page_428"></a>{428}</span> no fool can answer (people generally say the -reverse of this, still it is so). The standing reply is, and always will -be, “You do not yet understand such things,” which still vibrates in my -ears from my own mother, and which I shall soon hear in turn from my -children, when they give their children the same answer; and thus it -goes on.</p> - -<p>As for Sebastian’s profession, I think he is now at the age, and period, -when he is not likely to feel conviction or enthusiasm for anything that -cannot be laid hold of by the hand, or counted by numbers, or expressed -by words, and he must be kept from everything—as a life aim—which -might forestal such convictions. He knows that as well as I do, and I -have entire confidence in his not choosing any profession from which he -will hereafter turn aside, or which might eventually become indifferent -or wearisome to him. As soon, therefore, as I feel secure <i>on this -point</i>, it is quite the same to me, what he may choose in this wide -world, or how high or how humble his path may then be, if he only -pursues it cheerfully! And as all agree in allowing him to make his own -choice, and as he can now or never understand the serious aspect of -life, and as this earnest feeling is the affair of his own heart, in -which no one can assist him, or advise him, although it does affect each -of us deeply, I believe he will not be found wanting in this respect, -and will do well, what he settles to do; <i>that</i> would be my suggestion -to him, but, otherwise, not to offer him the slightest approach<span class="pagenum"><a name="page_429" id="page_429"></a>{429}</span> to -advice. It is the old story of Hercules, choosing his path, which for -several thousand years has always been acted once, at least, in the life -of every man; and whether the young maidens be called Virtue or Vice, -and the young men Hercules or not, the sense remains the same.</p> - -<p>In September, God willing, I intend to come to Berlin, and Paul has -probably told you how seriously I am occupied with the thought of -spending my life with you, my dear Sister and Brother, and residing with -you, renouncing all other considerations. I wish to live with you, and -never did I feel this more vividly than when the steamboat set off to -Thun with Paul and his family, and Hensel; and, strangely enough (either -for this reason, or in spite of it), it is almost impossible for me at -this time to be with strangers. There is no lack of visitors here, both -musical and others; scarcely a single day lately has passed without one, -or several; but they all seem to me so empty and indifferent, that I, no -doubt, must appear in the same light to them, so I heartily wish that we -may soon part, and remain apart; and in the midst of all the phrases, -and inquiries, and speechifying, one thought is always present with -me—the shortness of life; and, in fact, I hope we shall soon be -together, and long remain together. Farewell, dear Sister, till we -meet!<span class="pagenum"><a name="page_430" id="page_430"></a>{430}</span></p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Interlachen, August 3rd, 1847.<br /> -</p> - -<p class="indd">Dear Brother,<br /> -</p> - -<p>We are all well, and continue to live the same quiet life that you -enjoyed with us here. It was, indeed, most solitary the first days after -you left us, when each of us went about with dismal faces, as if we had -forgotten something, or were looking for something,—and it was so, -indeed! Since then, I have begun to write music very busily; the three -elder children work with me in the forenoon; in the afternoon, when the -weather permits, we all take a walk together; and I have also finished a -few rabid sketches in Indian ink. Herr Kohl came here yesterday, the -Irish and Russian traveller, and spent the evening with us; also, Mr. -Grote,<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> whom I always am very glad to see and to listen to; but I now -feel so tranquil in this quiet retirement, and so little tranquil with a -number of people, that I do all I can to avoid what is called society, -and as yet I have succeeded in this. Why were you not with me in -Boningen? you would indeed have been pleased! and in Wilderschwyl, and -Unspunnen besides? This alone would be a sufficient reason for your -returning here as soon as you can. We have not, however, <i>once</i> had fine -weather since the day of your departure, and often very bad; there has -been no further question, since then, of sitting under the walnut-trees, -and many days we were unable to leave the<span class="pagenum"><a name="page_431" id="page_431"></a>{431}</span> house. Still we always took -advantage of the hours that were fair for all kinds of expeditions; and -wherever you turn your steps here, it is always splendid. If the weather -becomes more settled, I mean to go over the Susten, and to the summit of -the Sidelhorn, which can be done from here in a few days. But to carry -this resolution into effect seems by no means easy; it is so lovely -here, and we so much enjoy our regular, quiet life. It has enabled me -once more to become often quite cheerful; but when people come, and talk -at random about commonplace matters, and of God and the world, my mood -becomes again so unutterably mournful, that I do not know how to endure -it. You are obliged to surmount such feelings, to the utmost extent; and -I think of this every day. It must be hard on you, and I shrink from the -idea of it myself. But it must be so, and it is right, so with the help -of God, it can be done. All send heartfelt greetings; and ever continue -to love your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<h2><span class="smcap">To General von Webern, Berlin.</span></h2> - -<p class="r"> -Interlachen, August 15, 1847.<br /> -</p> - -<p class="indd">My dear, kind Friend,<br /> -</p> - -<p>I send you a thousand thanks for your letter of the 14th of July, which -had been much delayed, as I only received it here a short time ago. You -have, no<span class="pagenum"><a name="page_432" id="page_432"></a>{432}</span> doubt, seen my Brother since then, and he has probably told -you more minutely of my intention to visit Berlin this autumn. But I -cannot delay sending you an immediate answer to your kind and friendly -proposal about the three concerts, but, indeed, I would rather not at -present agree to announce the three concerts (of which two were to be -“Elijah”). “Elijah” has not yet been heard in Berlin, and it would not -only appear presumptuous, but would really be so, if I proposed to the -public to perform it twice in succession. In addition to this, my -present mood makes me so decidedly disinclined for all publicity, that I -have with difficulty, and chiefly through Paul’s sensible exhortations, -resolved not to give up those performances to which I had already -agreed. I intend, also, to fulfil my promise to Herr von Arnim about the -Friedrich Stift,<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> and the 14th of October seems to me a very suitable -day. If the sympathy in the work is so great that a repetition of it is -expected and desired within a short period, you may imagine that this -can only be a source of pleasure to me, and then I would gladly see the -receipts of the second performance applied entirely according to your -wish. If, in spite of this very unsatisfactory and undecided answer, you -will be so kind as to assist in promoting the first performance in -October, and inspiring those who have to do with it, as soon as -possible, with some activity, you will do me a great service, and I -shall again owe you many thanks.<span class="pagenum"><a name="page_433" id="page_433"></a>{433}</span> For I know, as you say, the -difficulties consequent on the state of things there, which is very -similar to the sand, and must be desperately ploughed up, before it -brings forth any fruit.</p> - -<p>Your letter to Cécile does not sound so cheerful as usual. We hope that -this may have only been caused by some passing cloud, and that the sun -of your gayer mood again shines as brightly as we are accustomed to see -it with you. There are, to be sure, just now, very dense misty fogs, if -not thunder-clouds in our Fatherland, and many a day that might be -bright and clear becomes thus sultry and grey, and all objects dim and -dull; yet no one can strive against this, or maintain that they see the -bright colours and forms which genuine sunshine brings; and, indeed, -vivid lightning and loud thunder out of the black cloud, are sometimes -preferable to vague mists and foggy abysses. Every one suffers from -them, but these mists do not yet absorb the light, and cannot fail to be -dispersed at last. That no personal reason, no illness of your family or -yourself, or any other serious cause may exist for your depression, is -what we wish!</p> - -<p>My wife and children are well, God be praised! We walk a great deal, the -children do their lessons, Cécile paints Alpine roses, and I write -music, so the days pass monotonously and quickly. Preserve your regard -for me as I ever shall for you, for ever and ever.—Your friend,</p> - -<p class="r"> -<span class="smcap">Felix M. B.</span><br /> -</p> - -<p><span class="pagenum"><a name="page_434" id="page_434"></a>{434}</span></p> - -<h2><span class="smcap">To Paul Mendelssohn Bartholdy.</span></h2> - -<p class="r"> -Leipzig, October, 25th 1847.<br /> -</p> - -<p class="indd">Dearest Brother,<br /> -</p> - -<p>I thank you a thousand times for your letter to-day, and for the hint -you give about coming here, which I seize with the utmost eagerness of -heart. I really did not know till to-day what to say about my plans. God -be praised, I am now daily getting better, and my strength returning -more and more; but to travel this day week to Vienna (and that is the -latest period which will admit of my arriving in time for a rehearsal of -their Musical Festival) is an idea which cannot possibly be thought -of.<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> It is certainly very unlucky that they should have made so many -preparations, and that my going there should be a second time put off. -There is no doubt, however, that my improvement in health is day by day -greater and more sure, so I have written to ask if I may delay coming -for a week; but, as I said, I place little faith in the practicability -of the whole thing, and it seems to me I must remain here. In no case -can I attempt to travel before eight days from this time; and as to the -state of my expedition to Berlin, has not Herr von Arnim reported it to -you in regular detail? If I cannot go to Vienna, the same reasons which -prevent my going there, must cause me to stay here for a fortnight or -three weeks, and to put<span class="pagenum"><a name="page_435" id="page_435"></a>{435}</span> off the performance in Berlin till the end of -November at the latest; and even if I do go to Vienna, this must of -course still be the case.</p> - -<p>After, however, these interrupted performances, which must now be -carried through, that I positively undertake no new ones is quite -settled. If it were not necessary to keep one’s promise! but this must -be done, and now the only question is whether I shall see you again on -Saturday? Say Yes to this; I believe you would do me more good than all -my bitter medicine. Write me a couple of lines soon again, and be sure -you agree to come. My love to you all! and continue your love for your</p> - -<p class="r"> -<span class="smcap">Felix</span>.<br /> -</p> - -<p> </p> - -<p>On the 30th of October his brother was summoned to Leipzig, in -consequence of Mendelssohn being seized by another attack of illness. He -died on the 4th of November.</p> - -<p><span class="pagenum"><a name="page_436" id="page_436"></a>{436}</span></p> - -<p><span class="pagenum"><a name="page_437" id="page_437"></a>{437}</span></p> - -<hr /> - -<h2> -CATALOGUE<br /> -OF<br /> -ALL THE MUSICAL COMPOSITIONS<br /> -OF<br /> -FELIX MENDELSSOHN BARTHOLDY.<br /> -<br /> -<br /> -I. THE PUBLISHED WORKS, IN CHRONOLOGICAL ORDER.<br /> -<br /> -II. THE UNPUBLISHED WORKS, CLASSIFIED UNDER DIFFERENT HEADS.<br /> -<br /> -<small>COLLECTED PRINCIPALLY FROM THE AUTHOR’S ORIGINAL MANUSCRIPTS,<br /> -<br /> -AND ACCOMPANIED BY A PREFACE,<br /> -<br /> -BY</small><br /> -J U L I U S R I E T Z.</h2> - -<p><span class="pagenum"><a name="page_438" id="page_438"></a>{438}</span></p> - -<p><span class="pagenum"><a name="page_439" id="page_439"></a>{439}</span></p> - -<h2>PREFACE.</h2> - -<p class="nind"><span class="smcap">In</span> the first section of this Catalogue a few compositions are omitted, -because the autograph notes, by which Mendelssohn was in the habit of -recording the date and place of composition of his pieces, are wanting; -the precise date at which these works were composed cannot therefore be -given. They are as follows:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> -<tr><td align="left" rowspan="6" valign="top">Op.</td><td align="right">6.</td><td align="left">Sonata for Pianoforte.</td></tr> -<tr><td align="right">7.</td><td align="left">Seven characteristic pieces for Pianoforte.</td></tr> -<tr><td align="right">8.</td><td align="left">Twelve Songs.</td></tr> -<tr><td align="right">9.</td><td align="left">Twelve Songs (with the exception of No. 3).</td></tr> -<tr><td align="right">10.</td><td align="left">Symphony No. 1.</td></tr> -<tr><td align="right">14.</td><td align="left">Rondo Capriccioso for Pianoforte.</td></tr> -</table> - -<p>These may all be placed between 1824 and 1828; the symphony, probably -the earliest of all, about 1824; it was not published, however, till -much later, and was then marked as Opus 11, that number happening to be -vacant. In marking his works with Opus figures, both at that time and -especially later, Mendelssohn invariably referred to the date, not of -their composition, but of their publication; years not unfrequently -intervening<span class="pagenum"><a name="page_440" id="page_440"></a>{440}</span> between the two. This fact is strikingly exemplified in the -“Walpurgis Nacht,” which, though composed in 1830, was not published -till 1843, when indeed it was much over-elaborated. In his books of -songs and other minor works, he was in the habit of selecting those -which answered his purpose, out of a large number composed in <i>different -years</i>. Thus, for example, the six songs in the first book of songs for -men’s voices (op. 50), were composed between 1837 and 1840. Dates are -also wanting for</p> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> -<tr><td align="left" rowspan="6" valign="top">Op.</td><td align="right">15.</td><td align="left">Fantasia for Pianoforte.</td></tr> -<tr><td align="right">19.</td><td align="left">Six Songs, (with the exception of No. 6) undoubtedly written between 1830 and 1834.</td></tr> -<tr><td align="right">44.</td><td align="left">String Quartett, No. 1.</td></tr> -<tr><td align="right">66.</td><td align="left">Trio No. 2, for Pianoforte, Violin, and Violoncello.</td></tr> -<tr><td align="right">72.</td><td align="left">Six Juvenile pieces.</td></tr> -<tr><td align="right">13.</td><td align="left">Variations for Pianoforte.</td></tr> -</table> - -<p>All belonging to the last period, subsequent to 1840.</p> - -<p>Besides these, the originals of many single songs, with and without -words, are so dispersed, that with the most anxious desire to render the -Catalogue complete, and notwithstanding all the efforts of the Editor, -they have not yet been discovered. Still, even in its incomplete and -imperfect condition, the Catalogue will be interesting to the friends -and admirers of this immortal composer. It cannot fail also to be of -great value to Mendelssohn’s future biographer, for the striking picture -it furnishes of his development, of which the Thematic Catalogue of -Breitkopf and Härtel can give no idea, since<span class="pagenum"><a name="page_441" id="page_441"></a>{441}</span> in its compilation it was -not possible to observe the chronological succession of the works.</p> - -<p>This is the proper place to mention a widely-spread report, to the -effect that Mendelssohn’s sister, Fanny Hensel (who died on the 14th of -May, 1847), had a share in the composition of many of his works. Thus, -among others, she has been often named as the composer of the entire -first book of “Songs without Words” (op. 19). This has been much -exaggerated. We are now enabled to reduce it to its proper -proportions,<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a> and to state positively that Mendelssohn included six -only of his sister’s songs with words in his first four books of songs, -<i>and beyond these not one of any kind whatsoever</i>. These songs are:—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td align="left">“Heimweh,” No. 2</td><td valign="middle" class="lrg" rowspan="3">}</td><td align="left" valign="middle" rowspan="3">in Opus 8.</td></tr> -<tr><td align="left">“Italien,” No. 3</td></tr> -<tr><td align="left">“Suleika and Hatem,” Duett, No. 12</td></tr> -</table> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td align="left">“Sehnsucht,” No. 7</td><td valign="middle" class="lrg" rowspan="3">}</td><td align="left" valign="middle" rowspan="3">in Opus 9.</td></tr> -<tr><td align="left">“Verlust,” No. 10</td></tr> -<tr><td align="left">“Die Nonne,” No. 12</td></tr> -</table> - -<p>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<span class="pagenum"><a name="page_442" id="page_442"></a>{442}</span> in 1829, in a book of songs (Logier, -Berlin), with other words, and was afterwards most charmingly and -delicately instrumented by Mendelssohn for the operetta.</p> - -<p>In addition to the list contained in the thematic catalogue of -Mendelssohn’s published works, the following have since appeared in -Germany.</p> - -<p>1. Two Pianoforte Pieces: (<i>a</i>) Andante cantabile, in B flat; (<i>b</i>) -Presto agitato, in G minor (Senff, Leipzig).</p> - -<p>2. Two Songs for four Men’s Voices: (<i>a</i>) “Schlummernd an des Vaters -Brust;” (<i>b</i>) “Auf, Freunde, lasst das Jahr uns singen,” in the -“Repertorium für Männergesang” (Kahnt, Leipzig).</p> - -<p>A “Te Deum,” for a four-part chorus and organ, with English words, has -been published in London.</p> - -<p>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—</p> - -<p>“The Maiden of Andros, a Comedy by Terence, in the metre of the -original, translated by F——; with an introduction and notes, edited by -K. W. L. Heyse. (Berlin, 1826, Ferdinand Dummler.)”</p> - -<p>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.</p> - -<p> </p> - -<p>II. The second division of the Catalogue is intended to furnish a more -ready means of reference to what Mendelssohn has accomplished in the -most various styles<span class="pagenum"><a name="page_443" id="page_443"></a>{443}</span> of composition (besides the published works); it is -not arranged chronologically, but under different heads,—Church Music, -Dramatic, etc. etc. The immense number 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 -representatives, 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 <i>fêtes</i>, 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 mentioned, 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.</p> - -<p class="r"> -J. R.<br /> -</p> - -<p><span class="pagenum"><a name="page_444" id="page_444"></a>{444}</span></p> - -<p> </p> - -<h2>I.<a name="I_PUBLISHED_WORKS" id="I_PUBLISHED_WORKS"></a><br /> -PUBLISHED WORKS,<br /> -<small>IN CHRONOLOGICAL ORDER.</small></h2> - -<div class="blockquot"> -<p class="chead">1822.</p> - -<p>Quartett for Pianoforte, Violin, Tenor, and Violoncello, in C minor, op. -1. Berlin.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a></p> - -<p class="chead">1823.</p> - -<p>Quartett for Pianoforte, Violin, Tenor, and Violoncello, in F minor, op. -2. Berlin.</p> - -<p>Sonata for Pianoforte and Violin, in F minor, op. 4. Berlin.</p> - -<p class="chead">1824.</p> - -<p>Quartett for Pianoforte, Violin, Tenor, and Violoncello, in B minor, op. -3. Berlin.</p> - -<p>“Die Hochzeit des Camacho,” Opera in Two Acts, op. 10. First Act. -Berlin.</p> - -<p>Overture for a Military Band, in C major, op. 24. Dobberan.</p> - -<p class="sml">Originally composed for the Band of the Dobberan Baths, and subsequently -arranged for a full Military Band.</p> - -<p><span class="pagenum"><a name="page_445" id="page_445"></a>{445}</span></p> - -<p class="chead">1825.</p> - -<p>“Die Hochzeit des Camacho,” Overture and Second Act.</p> - -<p class="sml">This Opera was given once in the Berlin theatre, on the 29th April, -1827.</p> - -<p>Capriccio for Pianoforte, in F sharp minor, op. 5. Berlin.</p> - -<p>Octett for four Violins, two Tenors, and two Violoncellos, in E flat, -op. 20. Berlin.</p> - -<p class="chead">1826.</p> - -<p>Quintett for two Violins, two Tenors, and Violoncello, in A, op. 18. -Berlin.</p> - -<p class="sml">The Intermezzo, Andante sostenuto, 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 F sharp, Allegro molto; with a -Trio, in D, Canone doppio.</p> - -<p>Overture to Shakspeare’s ‘Midsummer’s Night’s Dream,’ in E major, op. -21. Berlin.</p> - -<p>Song for Voice and Pianoforte, “Es lauschte das Laub,” op. 86, no. 1.</p> - -<p class="chead">1827.</p> - -<p>Quartett for two Violins, Tenor, and Violoncello, in A minor, op. 13. -Berlin.</p> - -<p>Fugue for two Violins, Tenor, and Violoncello, in E flat, in op. 81.</p> - -<p>Fugue for Pianoforte, in E minor. Berlin.</p> - -<p class="sml">No. 7 in a collection entitled, “Notre Temps,” published by Schott, of -Mayence.</p> - -<p class="chead">1828.</p> - -<p>Quartett for two Violins, Tenor, and Violoncello, in E flat, op. 12. -Berlin.</p> - -<p class="sml">At the period of its composition, this Quartett appeared as “the first -for stringed instruments.”</p> - -<p><span class="pagenum"><a name="page_446" id="page_446"></a>{446}</span></p> - -<p>Overture, “Meeresstille und glückliche Fahrt,” in D, op. 27. Berlin.</p> - -<p>Variations for Pianoforte and Violoncello, in D, op. 17. Berlin.</p> - -<p class="chead">1829.</p> - -<p>Song for Voice and Pianoforte, “Wartend,” op. 9, no. 3. Berlin.</p> - -<p>Song for Voice and Pianoforte, “Der Blumenkranz.” London.</p> - -<p class="sml">This appeared at a much later period, in an Album of Spehr’s, Brunswick.</p> - -<p>Three Fantasias or Caprices for the Pianoforte, op. 16. Coed Du, in -Wales.</p> - -<p>“Heimkehr aus der Fremde,” Operetta in One Act, op. 89. London and -Berlin.</p> - -<p class="sml">Composed for the celebration of the silver wedding-day of his parents. -Performed in public for the first time on the 20th April, 1851, in -Leipzig.</p> - -<p class="chead">1830.</p> - -<p>Overture, “Die Hebriden,” in B minor, op. 26. Rome.</p> - -<p>Psalm CXV., “Nicht unserm Namen, Herr,” for Chorus, Solo, and Orchestra, -op. 31. Rome.</p> - -<p>Song for Voice and Pianoforte, “Reiselied,” op. 19, no. 6. Venice.</p> - -<p>Song without words, “Gondellied,” op. 19, no. 6. Venice.</p> - -<p class="sml">A book of songs with words, and one of songs without words, are each -marked as Opus 19.</p> - -<p>Three pieces of Sacred Music for Solo and Chorus, with Organ, op. 23. -Rome.</p> - -<p>Three Motetts for Female Voices with Organ, op. 39. Rome.</p> - -<p class="sml">Composed for the Nuns in Trinità de’ Monti, in Rome; but not published -till 1838, when it was partly re-written.</p> - -<p><span class="pagenum"><a name="page_447" id="page_447"></a>{447}</span></p> - -<p class="chead">1831.</p> - -<p>“Die erste Walpurgis Nacht,” Ballad, for Chorus, Solo, and Orchestra, -op. 60. Milan and Paris.</p> - -<p class="sml">Re-written in Leipzig in 1842, and published in 1843.</p> - -<p>“Verleih’ uns Frieden,” Prayer, for Chorus and Orchestra. No opus -number. Rome.</p> - -<p>Song for Voice and Pianoforte, “Da lieg’ ich unter den Bäumen,” op. 84, -no. 1. Düsseldorf.</p> - -<p>Song for Voice and Pianoforte, “Die Liebende schreibt,” op. 86, no. 3. -Untersee.</p> - -<p class="chead">1832.</p> - -<p>Concerto for Pianoforte and Orchestra, in G minor, op. 25. Munich.</p> - -<p>Capriccio Brillant, for Pianoforte with Orchestra, in B minor, op. 22. -London.</p> - -<p>Fugue for Pianoforte, in B minor, op. 35, no. 3.</p> - -<p class="chead">1833.</p> - -<p>Symphony, in A major, op. 90. Berlin.</p> - -<p class="sml">Repeatedly mentioned in Mendelssohn’s Letters from Italy, as the Italian -Symphony.</p> - -<p>Overture, “Zum Mährchen von der schönen Melusine,” in F, op. 32. Berlin.</p> - -<p>Fantasia for Pianoforte, in F sharp minor, op. 28. Berlin.</p> - -<p class="sml">Entitled on the autograph, “Sonate Écossaise.”</p> - -<p>Capriccio for Pianoforte, in F sharp minor, op. 33, no. 3. London.</p> - -<p>“Lied ohne Worte,” in D, op. 30, no. 5. Düsseldorf.<span class="pagenum"><a name="page_448" id="page_448"></a>{448}</span></p> - -<p>Vocal Chorus, “Lord, have mercy,” in A minor. No opus number. Berlin.</p> - -<p class="sml">Published in an Album, by Bösenberg, Leipzig.</p> - -<p class="chead">1834.</p> - -<p>Rondo Brillant for Pianoforte, in E flat, op. 29.</p> - -<p>Capriccio for Pianoforte, in A minor, op. 33, no. 1.</p> - -<p>“Lieder ohne “Worte:”—</p> - -<p> -<span style="margin-left: 2em;">Op. 30, Nos. 1 and 4.</span><br /> -<span style="margin-left: 1em;">Op. 85, No. 2.</span><br /> -</p> - -<p>Songs for Voice and Pianoforte:—</p> - -<p> -<span style="margin-left: 2em;">“Minnelied,” op. 34, no. 1.</span><br /> -<span style="margin-left: 1em;">“Auf Flügeln des Gesanges,” op. 34, no. 2.</span><br /> -<span style="margin-left: 1em;">“Sonntagslied,” op. 34, no. 5.</span><br /> -<span style="margin-left: 1em;">“Jagdlied,” op. 84, no. 3.</span><br /> -</p> - -<p>Romance for Voice and Pianoforte, “Schlafloser Augen.” No opus number.</p> - -<p class="sml">Published in an Album. Breitkopf and Härtel, Leipzig.</p> - -<p>Three “Volkslieder,” for Soprano, Alto, Tenor, and Bass, op. 41, nos. 2, -3, 4.</p> - -<p>Commencement of the Oratorio of “St. Paul.”</p> - -<p>“Todeslied der Bojaren,” from Immermann’s Tragedy of “Alexis,” for a -chorus of men’s voices in unison, and wind instruments; in E minor.</p> - -<p class="sml">First published as a contribution to the fourth volume of Immermann’s -works. Schaub, Düsseldorf.</p> - -<p class="sml">N.B.—All the works of this year were composed at Düsseldorf.</p> - -<p class="chead">1835.</p> - -<p>Oratorio of “St. Paul,” op. 36. Düsseldorf and Leipzig.</p> - -<p class="sml">Performed for the first time at the Musical Festival of the Lower Rhine, -at Düsseldorf, on the 22nd of May, 1836.</p> - -<p><span class="pagenum"><a name="page_449" id="page_449"></a>{449}</span></p> - -<p>Capriccio for Pianoforte, in E major, op. 33, no. 2. Düsseldorf.</p> - -<p>Fugue for Pianoforte, in A flat, op. 35, no. 4. Düsseldorf.</p> - -<p>Song for Voice with Pianoforte, “Das Waldschloss.” No opus number. -Berlin.</p> - -<p class="chead">1836.</p> - -<p>Preludes for Pianoforte, op. 35:—no. 2, in D; no. 3, in B minor; no. 5, -in F minor. Leipzig.</p> - -<p>Fugue for Pianoforte, op. 35, no. 6, B flat. Leipzig.</p> - -<p>Fugue for the Organ, in G, op. 37, no. 2. Leipzig.</p> - -<p>Étude and Scherzo for the Pianoforte, in F minor. No opus number. -Leipzig.</p> - -<p>Two-part Song, with Pianoforte, “Sonntagsmorgen,” op. 77, no. 1. -Leipzig.</p> - -<p class="chead">1837.</p> - -<p>Concerto for Pianoforte and Orchestra, in D minor, op. 40. Bingen and -Horchheim on the Rhine.</p> - -<p>Quartett for Two Violins, Tenor, and Violoncello, in E minor, op. 44, -no. 2. Frankfort on the Main.</p> - -<p>Psalm XLII., “Wie der Hirsch schreit,” for Chorus, Solo, and Orchestra. -Freyburg in Breisgau, and Leipzig.</p> - -<p>Preludes for Pianoforte, op. 35:—no. 1, in E minor; no. 4, in A flat -major; no. 6, B flat. Leipzig.</p> - -<p>Fugue for Pianoforte, op. 35, no. 2. Leipzig.</p> - -<p>Three Preludes for the Organ, op. 37. Speyer.</p> - -<p>Fugue for the Organ, op. 37, no. 1. Speyer.</p> - -<p>Songs for Voice with Pianoforte:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Suleika,” op. 34, no. 4.</td><td class="bl" valign="middle" rowspan="3">—</td><td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left">“Reiselied,” op. 34, no. 6.</td></tr> -<tr><td align="left">“Suleika,” op. 57, no. 3.</td></tr> -</table> - -<p><span class="pagenum"><a name="page_450" id="page_450"></a>{450}</span></p> - -<p>Songs for Four Male Voices:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Sommerlied,” op. 50, no. 3.</td> -<td class="bl" valign="middle" rowspan="4">—</td> -<td align="left" valign="middle" rowspan="4">Leipzig.</td></tr> -<tr><td align="left">“Wasserfahrt,” op. 50, no. 4.</td></tr> -<tr><td align="left">“So lang man nüchtern ist,” op. 75, no. 3.</td></tr> -<tr><td align="left">“Geben wir Rath,” op. 76, no. 1.</td></tr> -</table> - -<p>Song for Soprano, Alto, Tenor, and Bass, “Im Grünen,” op. 59, no. 1. -Leipzig.</p> - -<p>“Song without Words,” in A minor, op. 38, no. 5. Speyer.</p> - -<p class="chead">1838.</p> - -<p>Serenade and Allegro Giojoso for Pianoforte, with Orchestra, op. 43. -Leipzig.</p> - -<p>Quartett for Stringed Instruments, in E flat, op. 44, No. 3. Leipzig.</p> - -<p>Sonata for Pianoforte and Violoncello, in B flat, op. 45. Leipzig.</p> - -<p>Psalm XCV., “Kommt, lasst uns anbeten,” for Chorus, Solo, and Orchestra, -op. 46. Leipzig.</p> - -<p>Andante Cantabile and Presto Agitato, for the Pianoforte, in B. Without -any opus number. Berlin.</p> - -<p>Appeared in an Album. Breitkopf and Härtel, Leipzig.</p> - -<p>Song for Four Male Voices, “Türkisches Schenkenlied,” op. 50, No. 1. -Leipzig.</p> - -<p class="chead">1839.</p> - -<p>Psalm CXIV., “Da Israel aus Egypten zog,” for an eight-part Chorus and -Orchestra, op. 51. Horchheim.</p> - -<p>Trio, for Pianoforte, Violin, and Violoncello, in D minor, op. 49. -Frankfort, Berlin, and Leipzig.</p> - -<p>Sonata for the Organ, in C minor, op. 65, no. 2. Frankfort.<a -name="page_451" id="page_451"></a></p> - -<p>Overture to Victor Hugo’s drama, “Ruy Blas,” in C minor, op. 95. -Leipzig.</p> - -<p>Chorus for Two Female Voices, with Quartett accompaniment, from “Ruy -Blas,” in A, op. 77, no. 3.</p> - -<p>The foregoing two pieces were written for a performance of “Ruy Blas” -for the benefit of the Theatrical Pension Fund, at the request of the -Committee of the Fund.</p> - -<p>Six Songs, for Soprano, Alto, Tenor, and Bass, op. 48. Frankfort and -Leipzig.</p> - -<p>Besides these:—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Hirtenlied,” op. 88, no. 3.</td> -<td class="bl" valign="middle" rowspan="2">—</td> -<td align="left" valign="middle" rowspan="2">Frankfort.</td></tr> -<tr><td align="left">“Im Wald,” op. 100, no. 4.</td></tr> -</table> - -<p>Songs for Four Male Voices:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Liebe und Wein,” op. 50, no. 5.</td> -<td class="bl" valign="middle" rowspan="3">—</td><td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left">“Abendständchen,” op. 75, no. 2.</td></tr> -<tr><td align="left">“Ersatz für Unbestand.” No opus number.</td></tr> -</table> - -<p>Songs for One Voice with Pianoforte:—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Frühlingslied,” op. 47, no. 3.</td> -<td class="bl" valign="middle" rowspan="3">—</td> -<td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left">“Volkslied,” op. 47, no. 4.</td></tr> -<tr><td align="left">“Wiegenlied,” op. 47, no. 6.</td></tr> -</table> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Altdeutsches Lied,” op. 57, no. 1.</td> -<td align="left">Horchheim.</td></tr> -</table> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Hirtenlied,” op. 57, no. 2.</td> -<td class="bl" valign="middle" rowspan="3">—</td> -<td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left">“Herbstlied,” op. 84, no. 2.</td></tr> -<tr><td align="left">“Song without Words,” in F sharp minor, op. 67, no. 2.</td></tr> -</table> - -<p class="chead">1840.</p> - -<p>“Hymn of Praise,” Symphony Cantata, op. 52. Leipzig.</p> - -<p class="sml">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.</p> - -<p>A “Festgesang,” for Male Voices and Brass Band, “Begeht mit heil’gem -Lobgesang.” No opus number.</p> - -<p class="sml">For the opening of the same Festival in honour of Printing.</p> - -<p><span class="pagenum"><a name="page_452" id="page_452"></a>{452}</span></p> - -<p>Songs for Four Male Voices:—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Der Jäger Abschied,” op. 50, no. 2.</td></tr> -<tr><td align="left">“Wanderlied,” op. 50, no. 6.</td></tr> -</table> - -<p>Song for Soprano, Alto, Tenor, and Bass, “Der wandernde Musikant,” op. -88, No. 6.</p> - -<p class="chead">1841.</p> - -<p>Music for “Antigone,” op. 55. Berlin.</p> - -<p class="sml">Performed for the first time on the 6th November, 1841, in the New -Palace, at Potsdam, and in the theatre at Berlin on the 13th of April, -1842.</p> - -<p>Variations Sérieuses, for the Pianoforte, in D minor, op. 54. Leipzig.</p> - -<p>Variations for the Pianoforte, in E flat, op. 82. Leipzig.</p> - -<p>Allegro Brillant for the Pianoforte, arranged as a Duett, in A, op. 92. -Leipzig.</p> - -<p>Prelude for the Pianoforte, in E minor, for “Notre Temps.” Refer to -1827. Leipzig.</p> - -<p>Songs for Voice, with Pianoforte accompaniment:—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Frische Fahrt,” op. 57, no. 6.</td> -<td class="bl" valign="middle" rowspan="3">—</td> - -<td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left">“Erster Verlust,” op. 99, no. 1. Berlin.</td></tr> -<tr><td align="left">“Das Schifflein,” op. 99, no. 4. Leipzig.</td></tr> -</table> - -<p>Song for Voice, with Pianoforte, “Ich hör’ ein Vöglein locken.” No opus -number.</p> - -<p class="sml">Appeared first as a contribution to a Collection of Poetry by Adolph -Böttger.</p> - -<p>“Songs without Words:”—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Volkslied,” in A minor, op. 53, no. 5.</td> -<td class="bl" valign="middle" rowspan="3">—</td> -<td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left"><span class="ditto">“</span>in A major, op. 53, no. 6.</td></tr> -<tr><td align="left"><span class="ditto">“</span>in B flat, op. 85, no. 6.</td></tr> -</table> - -<p><span class="pagenum"><a name="page_453" id="page_453"></a>{453}</span></p> - -<p class="chead">1842.</p> - -<p>Symphony, in A minor, op. 56. Berlin.</p> - -<p><small>Called the “Scotch Symphony,” in the Letters of 1830.</small></p> - -<p>Songs for Voice with Pianoforte:—</p> - -<p> -<span style="margin-left: 2em;">“Gondellied,” op. 57, no. 5.</span><br /> -<span style="margin-left: 1em;">“Schilflied,” op. 71, no. 4.</span><br /> -</p> - -<p>Song for Two Voices, with Pianoforte, “Wie war so schön,” op. 63, no. 2.</p> - -<p>“Song without Words,” in A major, op. 62, no. 6.</p> - -<p class="chead">1843.</p> - -<p>Music for the “Midsummer Night’s Dream,” op. 61. See year 1826. Leipzig.</p> - -<p class="sml">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 October, -1843.</p> - -<p>Sonata for Pianoforte and Violoncello, in D, op. 58. Leipzig.</p> - -<p>Choruses for Racine’s “Athalie.” Leipzig.</p> - -<p class="sml">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 Royal Theatre at Charlottenburg. See year 1845.</p> - -<p>Concert Aria for Soprano with Orchestra, in B flat, op. 94. Leipzig.</p> - -<p>Capriccio for Two Violins, Tenor, and Violoncello, in E minor, in op. -81. Leipzig.</p> - -<p>Psalm XCI., “Singet dem Herrn ein neues Lied,” for Chorus and Orchestra, -op. 91. Berlin.</p> - -<p class="sml">For the celebration of New Year’s Day, 1844, in the Dom Kirche, at -Berlin.</p> - -<p><span class="pagenum"><a name="page_454" id="page_454"></a>{454}</span></p> - -<p>Psalm II., “Warum toben die Heiden?” for an eight-part Chorus, op. 78, -no. 1. Berlin.</p> - -<p>Anthem, “Herr Gott, du bist unsre Zuflucht,” for a Chorus of Eight -Voices, op. 79, no. 2. Berlin.</p> - -<p>Hymn for a Contralto, Chorus, and Orchestra, op. 96. Leipzig.</p> - -<p class="sml">The elaboration of a work formerly published by Simrock, of Bonn, -without any opus-number, entitled “Three Sacred Songs for an Alto Voice, -Chorus, and Organ.”</p> - -<p>Song for Voice with Pianoforte, “Es weiss und räth es doch Keiner,” op. -99, no. 6.</p> - -<p>Songs for Soprano, Alto, Tenor, and Bass:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Frühzeitiger Frühling,”</td> -<td class="bl" valign="middle" rowspan="5">—</td> -<td align="left" valign="middle" rowspan="5">op. 59, nos. 2 to 6. Leipzig.</td></tr> -<tr><td align="left">“Abschied vom Walde,”</td></tr> -<tr><td align="left">“Die Nachtigall,”</td></tr> -<tr><td align="left">“Ruhethal,”</td></tr> -<tr><td align="left">“Jagdlied,”</td></tr> -</table> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Ich hab’ ein Liebchen,” op. 88, no. 2.</td> -<td class="bl" valign="middle" rowspan="3">—</td> -<td align="left" valign="middle" rowspan="3">Leipzig.</td></tr> -<tr><td align="left">“Die Waldvöglein,” op. 88, no. 4.</td></tr> -<tr><td align="left">“Lob des Frühlings,” op. 100, no. 2.</td></tr> -</table> - -<p>“Songs without Words:”—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">B, op. 62, no. 2.</td> -<td class="bl" valign="middle" rowspan="4">—</td> -<td align="left" valign="middle" rowspan="4">Leipzig.</td></tr> -<tr><td align="left">E minor, op. 62, no. 3.</td></tr> -<tr><td align="left">G, op. 62, no. 4.</td></tr> -<tr><td align="left">C, op. 67, no. 4.</td></tr> -</table> - -<p class="chead">1844.</p> - -<p>Concerto for the Violin, with Orchestra, in E minor, op. 64. Leipzig.</p> - -<p>Overture to “Athalie,” in D minor, and March of the Priests, in F, op. -74. London.</p> - -<p>Hymn, “Hör’ mein Bitten,” for a Soprano, Chorus, and Organ. No number. -Berlin.<span class="pagenum"><a name="page_455" id="page_455"></a>{455}</span></p> - -<p>Sonatas for the Organ, op. 65:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">F minor, no. 1.</td> -<td class="bl" valign="middle" rowspan="4">—</td> -<td align="left" valign="middle" rowspan="4">Frankfort.</td></tr> -<tr><td align="left">C minor, no, 2.</td></tr> -<tr><td align="left">A major, no. 3.</td></tr> -<tr><td align="left">D minor, no. 6.</td></tr> -</table> - -<p>Psalms for a Choir of Eight Voices, op. 78.</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">Psalm XLIII., “Richte mich Gott,” No. 2.</td> -<td class="bl" valign="middle" rowspan="2">—</td> -<td align="left" valign="middle" rowspan="2">Berlin.</td></tr> -<tr><td align="left">Psalm XLII., “Mein Gott, warum hast Du,” no. 3.</td></tr> -</table> - -<p>Songs for Four Male Voices:—</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Wem Gott will,” op. 75, no, 1.</td> -<td class="bl" valign="middle" rowspan="3">—</td> -<td align="left" valign="middle" rowspan="3">Berlin.</td></tr> -<tr><td align="left">“So rückt denn,” op. 75, no. 4.</td></tr> -<tr><td align="left">“Rheinweinlied,” op. 76, no. 2.</td></tr> -</table> - -<p>Songs for Soprano, Alto, Tenor, and Bass:—</p> - -<p> -<span style="margin-left: 2em;">“Neujahrslied,” op. 88, no. 1.</span><br /> -<span style="margin-left: 1em;">“Andenken,” op. 100, no. 1.</span><br /> -</p> - -<p>“Songs without Words:”—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">G, op. 62, no. 1.</td><td align="left">Berlin.</td></tr> -<tr><td align="left">E flat, op. 67, no. 1.</td><td align="left">Leipzig.</td></tr> -<tr><td align="left">B minor, op. 51.</td><td align="left">Berlin.</td></tr> -</table> - -<p>Songs for Two Voices with Pianoforte:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Gruss,” op. 63, no. 2.</td> -<td class="bl" valign="middle" rowspan="2">—</td> -<td align="left" valign="middle" rowspan="2">Leipzig.</td></tr> -<tr><td align="left" valign="middle" rowspan="2">“Herbstlied,” op. 63, no. 3.</td></tr> -</table> - -<table border="0" cellpadding="0" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">“Maiglöckchen und die Blümelein,” op. 63, no. 6. Berlin.</td></tr> -</table> - -<p class="chead">1845.</p> - -<p>Music for “Oedipus von Kolonos,” op. 93. Leipzig and Frankfort.</p> - -<p class="sml">Performed for the first time on the 1st November, 1845, in the New -Palace at Potsdam, and in the theatre at Berlin on the 10th November, -1845.</p> - -<p>Quintett for two Violins, two Tenors, and Violoncello, in B flat, op. -87. Soden.<span class="pagenum"><a name="page_456" id="page_456"></a>{456}</span></p> - -<p>“Athalie,” instrumentation and arrangement of the Choruses for Soprano, -Alto, Tenor, and Bass. See the years 1843 and 1844. Op. 74.</p> - -<p>Sonatas for the Organ:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">B flat, op. 65, no. 4.</td> -<td class="bl" valign="middle" rowspan="2">—</td> -<td align="left" valign="middle" rowspan="2">Frankfort.</td></tr> -<tr><td align="left">D minor, op. 65, no. 6.</td></tr> -</table> - -<p>Songs for One Voice with Pianoforte:—</p> - -<p> -<span style="margin-left: 2em;">“Tröstung,” op. 71, no. 1. Leipzig.</span><br /> -<span style="margin-left: 1em;">“Frühlingslied,” op. 71, no. 2. Frankfort.</span><br /> -<span style="margin-left: 1em;">“Wenn sich zwei Herzen scheiden,” op. 99, no. 5. Leipzig.</span><br /> -</p> - -<p>“Songs without Words:”—</p> - -<p> -<span style="margin-left:1em;">B flat, op. 67, no. 3. Leipzig.</span><br /> -</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" - class="tablleft"> -<tr><td align="left">D, op. 84, no. 4.</td> -<td class="bl" valign="middle" rowspan="2">—</td> -<td align="left" valign="middle" rowspan="2">Frankfort.</td></tr> -<tr><td align="left">A, op. 84, no. 5.</td></tr> -</table> - -<p>Anthems for an Eight-part Chorus:—</p> - -<p> -<span style="margin-left: 2em;">“Frohlocket, ihr Völker,” op. 97, no. 1.</span><br /> -<span style="margin-left: 1em;">“Herr, gedenke,” op. 79, no. 4.</span><br /> -</p> - -<p>Commencement of the Oratorio of “Elijah.”</p> - -<p class="chead">1846.</p> - -<p>Cantata to the “Sons of Art,” Male Chorus and Brass Band, op. 68.</p> - -<p class="sml">Written for the first German-Flemish Vocal Festival at Cologne.</p> - -<p>“Lauda Sion,” for Chorus, Solo, and Orchestra, op. 73.</p> - -<p class="sml">For the church of St. Martin, in Lüttich.</p> - -<p>“Elijah,” Oratorio, op. 70.</p> - -<p class="sml">Performed for the first time at Birmingham, August 25, 1846.</p> - -<p>Song for Four Male Voices, “Was uns eint als deutsche Brüder,” op. 76, -no. 3.</p> - -<p class="sml">For the Germans in Lyons.</p> - -<p><span class="pagenum"><a name="page_457" id="page_457"></a>{457}</span></p> - -<p>Anthems for an Eight-part Chorus:—</p> - -<p> -<span style="margin-left: 2em;">“Erhaben, O Herr,” op. 79, no. 3.</span><br /> -<span style="margin-left: 1em;">“Lasset uns frohlocken,” op. 79, no. 5.</span><br /> -</p> - -<p class="sml">All the works of this year were composed in Leipzig.</p> - -<p class="chead">1847.</p> - -<p>Three Motetts for Chorus and Solo Voices, op. 69. Baden-Baden and -Leipzig.</p> - -<p>Recitative and Choruses from the unfinished Oratorio, “Christus,” op. -97.</p> - -<p>Finale of the first Act from the unfinished Opera of “Loreley,” op. 98. -Leipzig.</p> - -<p class="sml">Besides this finale there are only extant, an Ave Maria for Soprano Solo -and Female Chorus, a grand March with Chorus, and the beginning of three -other pieces of music.</p> - -<p>Quartett for Two Violins, Tenor, and Violoncello, in F minor, op. 80. -Interlachen.</p> - -<p>Andante and Scherzo for Two Violins, Tenor, and Violoncello, in op. 81.</p> - -<p>Songs for One Voice with Pianoforte:—</p> - -<p> -<span style="margin-left: 2em;">“An die Entfernte,” op. 71, no. 3. Leipzig.</span><br /> -<span style="margin-left: 1em;">“Auf der Wanderschaft,” op. 71, no. 5. Interlachen.</span><br /> -<span style="margin-left: 1em;">“Nachtlied,” op. 71, no. 6. Leipzig.</span><br /> -</p> - -<p>Song for Four Male Voices, “Comitat,” op. 76, no. 4. Frankfort.</p> - -<p>Song for Two Voices with Pianoforte, “Das Aehrenfeld,” op. 77, no. 2. -Leipzig.</p> - -<p>Song for Voice with Pianoforte, “Altdeutsches Frühlingslied,” op. 86, -no. 6.</p> - -<p class="sml">Mendelssohn’s last composition, written on the 7th October, 1847, in -Leipzig.</p> -</div> - -<p><span class="pagenum"><a name="page_458" id="page_458"></a>{458}</span></p> - -<h2><a name="II" id="II"></a>II.<br /><br /> -<small>WORKS NOT PUBLISHED.</small></h2> - -<div class="blockquot"> -<p class="c"><span class="smcap">Sacred Music.</span></p> - -<p>“Magnificat” for Chorus and Orchestra, in D. 1822.</p> - -<p>“Juba Domine” for Chorus and Soli, without Orchestra. 1822.</p> - -<p>“Gloria” for a four-part Chorus and Orchestra, in E flat.</p> - -<p>“Kyrie” for two Choruses and Soli, in C minor.</p> - -<p>“Jesus meine Zuversicht,” Chorale, four and five Voices. 1824.</p> - -<p>“Ich bin durch der Hoffnung Band,” Chorale and Fugue, for four and five -Voices.</p> - -<p>“Kyrie” for a five-part Chorus and Orchestra. 1825.</p> - -<p>“Und ob du mich züchtigest, Herr,” Canon for five Voices.</p> - -<p>“O Beata,” Chorus for three Female Voices and Organ.</p> - -<p>“Te Deum Laudamus,” for an eight-part Chorus. Eight movements. 1826.</p> - -<p>“Tu es Petrus,” for a five-part Chorus and Orchestra. 1827.</p> - -<p>“Christe, du Lamm Gottes,” Cantata for four Voices and stringed -instruments.</p> - -<p>“Ach Gott vom Himmel sieh darein,” Cantata for four Voices and -Orchestra.</p> - -<p>“Vom Himmel hoch, da komm’ ich her,” Christmas hymn <span class="pagenum"><a name="page_459" id="page_459"></a>{459}</span>for four voices and -Orchestra. Rome. 1831.</p> - -<p>“Hora est de somno surgere,” for four Four-part Choirs.</p> - -<p>“Ad vesperas Dom. XXI. post Trinitatis. Responsorium et Hymnus,” for -three-and four-part Male Chorus.</p> - -<p>“Beati mortui,” for a four-part Male Chorus.</p> - -<p>Two English Psalm-tunes for four voices. 1839.</p> - -<p>Nine pieces in the Oratorio of “St. Paul,” subsequently omitted:—four -Choruses, three Chorales, four Recitatives, a Soprano Aria, and a Duett -for Tenor and Bass.</p> - -<p>“Herr Gott, dich loben wir,” Chorale for double Chorus, Organ, four -Trombones, and stringed instruments, for the celebration of the German -Tausendjährige festival. 1843.</p> - -<p>Psalm C., “Jauchzet dem Herrn,” for a four-part Chorus. 1844.</p> - -<p>The German Liturgy, for two four-part Choirs.</p> - -<p>“Wir glauben all’ an einen Gott,” for Chorus and Orchestra.</p> - -<p class="sml">The most important of these works <i>a capella</i>, the “Te Deum,” the “Hora -est,” etc., were written from 1826 to 1828 for the Berlin 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.</p> - -<p class="chead"><span class="smcap">Secular Cantatas.</span></p> - -<p>Grand Festival Music for the Dürer 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—Solos, Grand fugued Choruses, etc.</p> - -<p>Festival Music, for a festival given in the Hall of the Royal Theatre at -Berlin, by Alexander von Humboldt. The words by L. Rellstab. For Male -Voices, with accompaniment <span class="pagenum"><a name="page_460" id="page_460"></a>{460}</span>of Clarionets, Horns, Trumpets, Kettle-drums, -Violoncello, and Double Bass. Seven numbers, Solos and Choruses. 1827.</p> - -<p>Festal Song at the uncovering of the statue of Friedrich August the -Just, at Dresden, on the 9th June, 1842, for two Male Choirs and Brass -Band.</p> - -<p class="chead"><span class="smcap">Dramatic.</span></p> - -<p>“Die beiden Pädagogen,” Comic Operetta, in one Act, adapted from the -French. Overture and ten numbers.</p> - -<p>“Soldatenliebschaft,” Comic Operetta, in one Act. Overture and fourteen -numbers.</p> - -<p>“Die wandernden Komödianten,” Comic Opera in one Act. Overture and -twelve numbers. 1821.</p> - -<p>“Der Onkel aus Boston, oder die beiden Neffen,” Comic Opera in three -Acts. 1822-1823. Overture and fourteen numbers, with much Ballet Music.</p> - -<p>Music to Calderon’s Tragedy, “The Steadfast Prince.” Two Choruses for -Male Voices, Battle-piece, Melodrama. 1834.</p> - -<p class="sml">Written for a performance in Düsseldorf.</p> - -<p class="chead"><span class="smcap">For Voice, with Orchestral Accompaniment or Stringed Instruments.</span></p> - -<p>Recitative and Aria, “Che vuoi mio cor,” for a Contralto, accompanied by -Stringed Instruments. 1824. Scena and Aria, for a Soprano, with -Orchestra. 1834.</p> - -<p class="sml">Much of this was afterwards made use of in the Aria, op. 94, the only -instance in which Mendelssohn’s artistic energy permitted him so to do.</p> - -<p>Air for Barytone and Orchestra, with English Words, written for -Philipps, the singer, of London. 1846.</p> - -<p><span class="pagenum"><a name="page_461" id="page_461"></a>{461}</span></p> - -<p class="chead"><span class="smcap">Songs for Voice, with Pianoforte Accompaniment.</span></p> - -<p>Songs, finished ballads, several in Italian, chiefly from Mendelssohn’s -earlier period to the year 1834. The words are, with few exceptions, by -unknown poets, and the enumeration of the individual pieces can be of -little interest. Their number is from twenty to thirty.</p> - -<p class="chead"><span class="smcap">For Four Male Voices.</span></p> - -<p>“A frischer Bua bin ich,” for Immermann’s “Andreas Hofer.” 1833.</p> - -<p>“Der weise Diogenes war der erste der griechischen Sieben,” Canon for -twice Two Voices. 1833.</p> - -<p>“Musikanten Prügelei.” 1833.</p> - -<p>“Im Nebelgeriesel, im tiefen Schnee,” Gipsy Song by Goethe, for two -Two-part Choirs.</p> - -<p>“Worauf kommt es überall an,” by Goethe. 1837.</p> - -<p>“Auf ihr Herrn und Damen schön,” Hunting Song. 1837.</p> - -<p>Morning Song of the Thuringian Vocal Association, “Seid gegrüsset, -traute Brüder.” For the Festival in Eisenach. 1847.</p> - -<p class="chead"><span class="smcap">For Full Orchestra.</span></p> - -<p>Symphony, in D. 1822.</p> - -<p>Grand Overture, in C. 1825.</p> - -<p class="sml">Performed at the Musical Festival in Düsseldorf, at Whitsuntide, 1833.</p> - -<p>Symphony for the celebration of the Reformation Festival, in D minor. -1830.</p> - -<p class="sml">Performed in London and Berlin.</p> - -<p>Marches for smaller Military Bands, composed for the use in Church -Processions at Düsseldorf. 1833.<span class="pagenum"><a name="page_462" id="page_462"></a>{462}</span></p> - -<p>March for a full Orchestra, in D, in celebration of the visit of -Cornelius the painter to Dresden.</p> - -<p class="chead"><span class="smcap">For Strings.</span></p> - -<p>Ten Four-, Five-, and Six-part Symphonies, in the years 1820 to 1823.</p> - -<p>Concerto for the Violin, with accompaniment of Stringed Instruments, in -D minor.</p> - -<p>Quartett for Two Violins, Tenor and Violoncello, in E flat. 1823.</p> - -<p>Many single Four-and Five-part pieces, Fugues, etc.</p> - -<p class="chead"><span class="smcap">For Pianoforte, with Accompaniment.</span></p> - -<p>Concerto for Two Pianos, with Orchestra, in E. 1823.</p> - -<p>Concerto for Two Pianos, with Orchestra, in A flat. 1824.</p> - -<p>Concerto for Pianoforte and Violin, with Stringed Instruments, in D -minor. 1823.</p> - -<p>Concerto for Pianoforte, with Stringed Instruments, in A minor.</p> - -<p>Sextett for Pianoforte, Violin, Two Tenors, Violoncello, and Double -Bass, in D. 1824.</p> - -<p>Quartett for Pianoforte, Violin, Tenor, and Violoncello, in D minor.</p> - -<p>Trio for Pianoforte, Violin, and Tenor, in C minor. 1820.</p> - -<p>Sonata for Pianoforte and Tenor, in C minor. 1824.</p> - -<p>Sonata for Pianoforte and Clarionet, in E flat.</p> - -<p>Sonata for Pianoforte and Violin, in D minor.</p> - -<p>Sonata for Pianoforte and Violin, in F. 1838.</p> - -<p>“Song without Words,” for Pianoforte and Violoncello. For Fräulein Lisa -Christiani.</p> - -<p><span class="pagenum"><a name="page_463" id="page_463"></a>{463}</span></p> - -<p class="chead"><span class="smcap">For Pianoforte Solo.</span></p> - -<p>Grand Fantasia. 1823.</p> - -<p>Fantasia, four hands, in D minor. 1824.</p> - -<p>Sonatina, in B flat minor. 1824.</p> - -<p>Sonata, in B flat. 1827.</p> - -<p>Andante and Allegro, in E major and E minor. 1837.</p> - -<p>A vast number of Songs without Words, Studies, Preludes, Fugues, -Juvenile Pieces, etc., of all dates.</p> - -<p class="chead"><span class="smcap">For Clarionet and Corno di Bassetto, with Pianoforte Accompaniment.</span></p> - -<p>Two Concertos for the Royal Bavarian Kammer-Musiker, Herren Bärmann, -father and son, composed in Munich, in 1832.</p> -</div> - -<p><span class="pagenum"><a name="page_464" id="page_464"></a>{464}</span></p> - -<p><span class="pagenum"><a name="page_465" id="page_465"></a>{465}</span></p> - -<h2><a name="INDEX" id="INDEX"></a>INDEX.<br /><br /> -<small>N.B.—A * is prefixed to Mendelssohn’s own Compositions.</small></h2> - -<p class="c"><a href="#A">A</a>, -<a href="#B">B</a>, -<a href="#C">C</a>, -<a href="#D">D</a>, -<a href="#E">E</a>, -<a href="#F">F</a>, -<a href="#G">G</a>, -<a href="#H">H</a>, -<a href="#I-i">I</a>, -<a href="#J">J</a>, -<a href="#K">K</a>, -<a href="#L">L</a>, -<a href="#M">M</a>, -<a href="#N">N</a>, -<a href="#O">O</a>, -<a href="#P">P</a>, -<a href="#R">R</a>, -<a href="#S">S</a>, -<a href="#T">T</a>, -<a href="#V-i">V</a>, -<a href="#W">W</a>, -<a href="#Z">Z</a></p> - -<p class="nind"> -<a name="A" id="A"></a>Alexander’s Feast, Handel’s, <a href="#page_15">15</a>, <a href="#page_62">62</a>.<br /> - -André, of Offenbach, <a href="#page_119">119</a>.<br /> - -Andria of Terence, <a href="#page_442">442</a>.<br /> - -*Antigone, <a href="#page_274">274</a>, <a href="#page_276">276</a>, <a href="#page_282">282</a>.<br /> - -Athalie, <a href="#page_384">384</a>, <a href="#page_385">385</a>;<br /> -<span style="margin-left: 1em;">overture to, <a href="#page_342">342</a>, <a href="#page_364">364</a>.</span><br /> - -*Ave Maria (op. 23, No. 2), <a href="#page_75">75</a>, <a href="#page_80">80</a>.<br /> - -<br /> -<a name="B" id="B"></a>Bach, Sebastian, <a href="#page_73">73</a>, <a href="#page_75">75</a>, <a href="#page_76">76</a>, <a href="#page_80">80</a>, <a href="#page_128">128</a>, <a href="#page_180">180</a>, <a href="#page_208">208</a>;<br /> -<span style="margin-left: 1em;">monument to, <a href="#page_191">191</a>, <a href="#page_208">208</a>, <a href="#page_317">317</a>; cantata in E minor, <a href="#page_41">41</a>;</span><br /> -<span style="margin-left: 1em;">‘Passion,’ <a href="#page_69">69</a>;</span><br /> -<span style="margin-left: 1em;">Chromatic fantasia, <a href="#page_216">216</a>;</span><br /> -<span style="margin-left: 1em;">Mass in B minor, <a href="#page_413">413</a>.</span><br /> - -Bauer, Pastor, letters to, <a href="#page_1">1</a>, <a href="#page_3">3</a>, <a href="#page_68">68</a>, <a href="#page_96">96</a>, <a href="#page_394">394</a>.<br /> - -Becker’s Rheinlied, <a href="#page_247">247</a>.<br /> - -Beethoven, <a href="#page_23">23</a>;<br /> -<span style="margin-left: 1em;">concerto in G, <a href="#page_316">316</a>, <a href="#page_364">364</a>;</span><br /> -<span style="margin-left: 1em;">sonata op. 106, <a href="#page_390">390</a>.</span><br /> - -Bennett, Sterndale, <a href="#page_161">161</a>.<br /> - -Berlin, project for Academy at, <a href="#page_223">223</a>, <a href="#page_226">226</a>, <a href="#page_230">230</a>, <a href="#page_235">235</a>, <a href="#page_239">239</a>, <a href="#page_254">254</a>, <a href="#page_258">258</a>, <a href="#page_261">261</a>, <a href="#page_266">266</a>, <a href="#page_273">273</a>, <a href="#page_301">301</a>, <a href="#page_303">303</a>, <a href="#page_305">305</a>, <a href="#page_376">376</a>, <a href="#page_379">379</a>;<br /> -<span style="margin-left: 1em;">state of music there, <a href="#page_271">271</a>;</span><br /> -<span style="margin-left: 1em;">Mendelssohn’s appointment, <a href="#page_336">336</a>, <a href="#page_417">417</a>.</span><br /> - -Bernus, letter to, <a href="#page_393">393</a>.<br /> - -Bendemann, letter to, <a href="#page_410">410</a>.<br /> - -Birmingham, <a href="#page_133">133</a>, <a href="#page_210">210</a>, <a href="#page_402">402</a>, <a href="#page_404">404</a>.<br /> - -Birmingham Festival (1837), <a href="#page_133">133-5</a>, <a href="#page_142">142</a>;<br /> -<span style="margin-left: 1em;">(1846), <a href="#page_400">400-407</a>.</span><br /> - -Blümner, his legacy, <a href="#page_203">203</a>, <a href="#page_206">206</a>.<br /> - -‘Bonifacius,’ Schubring’s, <a href="#page_164">164</a>.<br /> - -Bunsen, letters from and to, <a href="#page_353">353</a>, <a href="#page_355">355</a>.<br /> - -Butler, Mrs., <a href="#page_283">283</a>.<br /> - -<br /> -<a name="C" id="C"></a>Cherubini, <a href="#page_27">27</a>, <a href="#page_28">28</a>, <a href="#page_60">60</a>, <a href="#page_147">147</a>, <a href="#page_187">187</a>, <a href="#page_192">192</a>.<br /> - -Chopin, <a href="#page_38">38</a>, <a href="#page_88">88</a>, <a href="#page_89">89</a>.<br /> - -Chorley, <a href="#page_190">190</a>, <a href="#page_283">283</a>.<br /> - -Composition, Mendelssohn’s desire to stick to, <a href="#page_139">139</a>, <a href="#page_144">144</a>.<br /> - -Cramer’s Studies recommended, <a href="#page_189">189</a>.<br /> - -Creation, Haydn’s, <a href="#page_79">79</a>.<br /> - -Crown Prince, the, <a href="#page_11">11</a>.<br /> - -<br /> -<a name="D" id="D"></a>David, F., letters to, <a href="#page_153">153</a>, <a href="#page_266">266</a>, <a href="#page_274">274</a>.<br /> - -Dehn, letter to, <a href="#page_276">276</a>.<br /> - -Deidesheim, wine-cellars at, <a href="#page_371">371</a>.<br /> - -Dilettanti and Artists, <a href="#page_396">396</a>.<br /> - -Dirichlet, Professor, letter to, <a href="#page_414">414</a>.<br /> - -Dirichlet, Rebecca, letters to, <a href="#page_8">8</a>, <a href="#page_57">57</a>, <a href="#page_65">65</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>, <a href="#page_148">148</a>, <a href="#page_389">389</a>, <a href="#page_425">425</a>, <a href="#page_427">427</a>.<br /> - -‘Don Juan’ at Düsseldorf, <a href="#page_16">16-19</a>.<br /> - -Duprez, <a href="#page_283">283</a>.<br /> - -Düsseldorf, residence there, <a href="#page_8">8-87</a>;<br /> -<span style="margin-left: 1em;">resignation of post, <a href="#page_53">53</a>, <a href="#page_60">60</a>.</span><br /> - -<br /> -<a name="E" id="E"></a>Eckert, <a href="#page_214">214</a>;<br /> -<span style="margin-left: 1em;">letters to, <a href="#page_284">284</a>.</span><br /> - -Education of a youth in music, <a href="#page_186">186</a>.<br /> - -Egmont, Beethoven’s, <a href="#page_22">22</a>.<br /> - -Eichhorn, Herr, letters from and to, <a href="#page_376">376</a>, <a href="#page_379">379</a>.<br /> - -Elijah, oratorio of, <a href="#page_159">159</a>, <a href="#page_164">164</a>, <a href="#page_318">318</a>, <a href="#page_396">396</a>, <a href="#page_402">402</a>, <a href="#page_410">410</a>, <a href="#page_413">413</a>, <a href="#page_432">432</a>.<span class="pagenum"><a name="page_466" id="page_466"></a>{466}</span><br /> - -England, <a href="#page_364">364</a>, <a href="#page_367">367</a>.<br /> - -Ernst, <a href="#page_198">198</a>.<br /> - -Eumenides, composition of, <a href="#page_353">353</a>, <a href="#page_356">356</a>, <a href="#page_382">382</a>.<br /> - -Extemporizing, Mendelssohn’s, <a href="#page_23">23</a>.<br /> - -<br /> -<a name="F" id="F"></a>Falkenstein, Von, letters to, <a href="#page_203">203</a>.<br /> - -Family, his, letters to, <a href="#page_22">22</a>, <a href="#page_44">44</a>, <a href="#page_115">115</a>, <a href="#page_149">149</a>, <a href="#page_161">161</a>.<br /> - -*Fantasia in F minor (op. 28), <a href="#page_24">24</a>, <a href="#page_447">447</a>.<br /> - -Father, his, death of, <a href="#page_93">93</a>, <a href="#page_94">94</a>, <a href="#page_96">96</a>;<br /> -<span style="margin-left: 1em;">character, <a href="#page_112">112</a>.</span><br /> - -Father, his, letters to, <a href="#page_16">16</a>, <a href="#page_28">28</a>, <a href="#page_80">80</a>, <a href="#page_82">82</a>;<br /> -<span style="margin-left: 1em;">letters from, <a href="#page_61">61</a>, <a href="#page_74">74</a>.</span><br /> - -Florence, <a href="#page_182">182</a>.<br /> - -*Four-part songs, <a href="#page_35">35</a>, <a href="#page_174">174</a>, <a href="#page_176">176</a>.<br /> - -Franck, E., letter to, <a href="#page_143">143</a>.<br /> - -Frankfort, direction of the St. Cecilia Association, <a href="#page_109">109</a>, <a href="#page_111">111</a>, <a href="#page_116">116</a>, <a href="#page_123">123</a>, <a href="#page_170">170</a>;<br /> -<span style="margin-left: 1em;">night fête at, <a href="#page_175">175</a>;</span><br /> -<span style="margin-left: 1em;">entertainment to Mendelssohn, <a href="#page_178">178</a>;</span><br /> -<span style="margin-left: 1em;">his delight in the place, <a href="#page_362">362</a>, <a href="#page_366">366</a>, <a href="#page_389">389</a>, <a href="#page_393">393</a>.</span><br /> - -Frege, Madame, letters to, <a href="#page_404">404</a>.<br /> - -French painters, <a href="#page_164">164</a>.<br /> - -Fürst, letters to, <a href="#page_41">41</a>, <a href="#page_195">195</a>.<br /> - -<br /> -<a name="G" id="G"></a>Gade, symphony in C minor, <a href="#page_325">325</a>;<br /> -<span style="margin-left: 1em;">letters to, <a href="#page_326">326</a>, <a href="#page_330">330</a>.</span><br /> - -Gluck, <a href="#page_152">152</a>.<br /> - -Goethe, <a href="#page_19">19</a>, <a href="#page_79">79</a>, <a href="#page_115">115</a>, <a href="#page_121">121</a>.<br /> - -Grote, Mr., <a href="#page_430">430</a>.<br /> - -Grimsel, the, <a href="#page_292">292</a>.<br /> - -Guhr, <a href="#page_168">168-169</a>.<br /> - -Günther, <a href="#page_29">29</a>.<br /> - -Gusikow, <a href="#page_109">109</a>.<br /> - -<br /> -<a name="H" id="H"></a>Hähnel, Mademoiselle, <a href="#page_35">35</a>.<br /> - -Handel, <a href="#page_77">77</a>, <a href="#page_105">105</a>, <a href="#page_146">146</a>, <a href="#page_151">151</a>;<br /> -<span style="margin-left: 1em;">his judicious scoring, <a href="#page_26">26</a>;</span><br /> -<span style="margin-left: 1em;">works presented to Mendelssohn, <a href="#page_90">90</a>, <a href="#page_147">147</a>.</span><br /> - -Handel Society, <a href="#page_386">386</a>.<br /> - -Hauser, F., letter to, <a href="#page_273">273</a>.<br /> - -Haydn, Creation, <a href="#page_79">79</a>;<br /> -<span style="margin-left: 1em;">“Farewell Symphony,” <a href="#page_148">148</a>.</span><br /> - -*Hebrides, overture, <a href="#page_7">7</a>, <a href="#page_15">15</a>.<br /> - -Hensel, Fanny, <a href="#page_54">54</a>, <a href="#page_125">125</a>, <a href="#page_126">126</a>;<br /> -<span style="margin-left: 1em;">her music, <a href="#page_102">102</a>, <a href="#page_125">125</a>, <a href="#page_128">128</a>, <a href="#page_441">441</a>;</span><br /> -<span style="margin-left: 1em;">her death, <a href="#page_422">422</a>.</span><br /> - -Hensel, Fanny, letters to, <a href="#page_34">34</a>, <a href="#page_55">55</a>, <a href="#page_101">101</a>, <a href="#page_123">123</a>, <a href="#page_163">163</a>, <a href="#page_181">181</a>, <a href="#page_192">192</a>, <a href="#page_208">208</a>, <a href="#page_215">215</a>, <a href="#page_244">244</a>, <a href="#page_325">325</a>, <a href="#page_366">366</a>, <a href="#page_368">368</a>.<br /> - -Hiller, F., <a href="#page_37">37</a>, <a href="#page_38">38</a>, <a href="#page_81">81</a>, <a href="#page_98">98</a>, <a href="#page_111">111</a>, <a href="#page_117">117</a>, <a href="#page_122">122</a>, <a href="#page_124">124</a>, <a href="#page_140">140</a>, <a href="#page_193">193</a>, <a href="#page_199">199</a>;<br /> -<span style="margin-left: 1em;">his overture in D minor, <a href="#page_98">98</a>;</span><br /> -<span style="margin-left: 1em;">letter to, <a href="#page_152">152</a>.</span><br /> - -Hixte, letter to, <a href="#page_87">87</a>.<br /> - -*Hymn of Praise (Lobgesang), <a href="#page_213">213</a>, <a href="#page_219">219</a>, <a href="#page_222">222</a>, <a href="#page_242">242</a>.<br /> - -<br /> -<a name="I-i" id="I-i"></a>Immermann, <a href="#page_16">16</a>, <a href="#page_20">20</a>, <a href="#page_58">58</a>;<br /> -<span style="margin-left: 1em;">his ‘Münchhausen,’ <a href="#page_242">242</a>.</span><br /> - -*‘Infelice,’ scena (op. 94), <a href="#page_25">25</a>.<br /> - -Interlachen, letter from, <a href="#page_288">288</a>.<br /> - -‘Israel in Egypt,’ <a href="#page_12">12</a>;<br /> -<span style="margin-left: 1em;">Mendelssohn’s edition of, <a href="#page_364">364</a>.</span><br /> - -Italy, <a href="#page_141">141</a>, <a href="#page_181">181</a>, <a href="#page_209">209</a>.<br /> - -<br /> -<a name="J" id="J"></a>Jean Paul, <a href="#page_64">64</a>, <a href="#page_329">329</a>.<br /> - -Johann, Mendelssohn’s servant, <a href="#page_362">362</a>, <a href="#page_410">410</a>, <a href="#page_412">412</a>.<br /> - -Jungfrau, the, <a href="#page_288">288</a>.<br /> - -<br /> -<a name="K" id="K"></a>King of Prussia, the, letters to, <a href="#page_302">302</a>, <a href="#page_350">350</a>;<br /> -<span style="margin-left: 1em;">from, <a href="#page_241">241</a>, <a href="#page_313">313</a>.</span><br /> - -Klengel, <a href="#page_287">287</a>.<br /> - -Klingemann, <a href="#page_441">441</a>;<br /> -<span style="margin-left: 1em;">letters to, <a href="#page_64">64</a>, <a href="#page_171">171</a>, <a href="#page_219">219</a>, <a href="#page_263">263</a>, <a href="#page_304">304</a>, <a href="#page_327">327</a>, <a href="#page_362">362</a>, <a href="#page_412">412</a>.</span><br /> - -Köstlin, letters to, <a href="#page_277">277</a>, <a href="#page_323">323</a>.<br /> - -Kücken, <a href="#page_292">292</a>.<br /> - -<br /> -<a name="L" id="L"></a>Lang, Josephine, <a href="#page_277">277</a>.<br /> - -Leipzig, <a href="#page_71">71</a>, <a href="#page_85">85</a>.<span class="pagenum"><a name="page_467" id="page_467"></a>{467}</span><br /> - -Leipzig Conservatorium, <a href="#page_203">203</a>, <a href="#page_213">213</a>, <a href="#page_311">311</a>, <a href="#page_316">316</a>, <a href="#page_409">409</a>;<br /> -<span style="margin-left: 1em;">the town-orchestra of, <a href="#page_343">343</a>;</span><br /> -<span style="margin-left: 1em;">concerts at, <a href="#page_85">85</a>, <a href="#page_190">190</a>.</span><br /> - -Lessing, <a href="#page_162">162</a>, <a href="#page_313">313</a>.<br /> - -Libretto of an Opera, <a href="#page_196">196</a>.<br /> - -Lindblad, <a href="#page_21">21</a>.<br /> - -Liszt, <a href="#page_201">201</a>, <a href="#page_202">202</a>.<br /> - -*Liturgy composed for the King, <a href="#page_410">410</a>.<br /> - -London, <a href="#page_135">135</a>, <a href="#page_210">210</a>, <a href="#page_283">283</a>.<br /> - -Lower Rhine Festival, <a href="#page_145">145</a>.<br /> - -<br /> -<a name="M" id="M"></a>Mass in the Catholic Church, <a href="#page_70">70</a>.<br /> - -Massow, Von, letters to, <a href="#page_300">300</a>.<br /> - -Measles, Mendelssohn’s recovery from, <a href="#page_161">161</a>.<br /> - -Meeresstille, overture, <a href="#page_52">52</a>, <a href="#page_91">91</a>.<br /> - -Meiringen, <a href="#page_309">309</a>.<br /> - -*Melusina, overture, <a href="#page_15">15</a>, <a href="#page_34">34</a>, <a href="#page_47">47</a>, <a href="#page_73">73</a>, <a href="#page_105">105</a>.<br /> - -Merk, <a href="#page_110">110</a>.<br /> - -Messiah, the, <a href="#page_69">69</a>.<br /> - -*Midsummer Night’s Dream Music, <a href="#page_338">338</a>.<br /> - -Moscheles, <a href="#page_90">90</a>, <a href="#page_92">92</a>, <a href="#page_406">406</a>, <a href="#page_409">409</a>;<br /> -<span style="margin-left: 1em;">letters to, <a href="#page_7">7</a>, <a href="#page_25">25</a>, <a href="#page_158">158</a>, <a href="#page_189">189</a>, <a href="#page_332">332</a>, <a href="#page_385">385</a>, <a href="#page_399">399</a>.</span><br /> - -Mother, letters to his, <a href="#page_37">37</a>, <a href="#page_52">52</a>, <a href="#page_108">108</a>, <a href="#page_111">111</a>, <a href="#page_114">114</a>, <a href="#page_125">125</a>, <a href="#page_126">126</a>, <a href="#page_133">133</a>, <a href="#page_167">167</a>, <a href="#page_175">175</a>, <a href="#page_200">200</a>, <a href="#page_208">208</a>, <a href="#page_212">212</a>, <a href="#page_238">238</a>, <a href="#page_280">280</a>, <a href="#page_288">288</a>, <a href="#page_290">290</a>, <a href="#page_311">311</a>;<br /> -<span style="margin-left: 1em;">her death, <a href="#page_324">324</a>.</span><br /> - -Mozart, D minor concerto, <a href="#page_103">103</a>;<br /> -<span style="margin-left: 1em;">Do. for two Pianos, <a href="#page_199">199</a>;</span><br /> -<span style="margin-left: 1em;">“Jupiter” Symphony, <a href="#page_387">387</a>;</span><br /> -<span style="margin-left: 1em;">Zaïde, <a href="#page_148">148</a>;</span><br /> -<span style="margin-left: 1em;">Zauberflöte, <a href="#page_333">333</a>.</span><br /> - -Müller, Herr, letters from and to, <a href="#page_382">382</a>, <a href="#page_385">385</a>.<br /> - -Music as a part of worship, <a href="#page_69">69</a>.<br /> - -Music, the meaning of, <a href="#page_298">298</a>.<br /> - -*Musikanten-prügelei, <a href="#page_48">48</a>.<br /> - -<br /> -<a name="N" id="N"></a>Naumann, letter to, <a href="#page_186">186</a>, <a href="#page_391">391</a>.<br /> - -Nausikaa, <a href="#page_148">148</a>.<br /> - -Neukomm, <a href="#page_26">26</a>, <a href="#page_124">124</a>, <a href="#page_134">134</a>, <a href="#page_143">143</a>.<br /> - -<br /> -<a name="O" id="O"></a>Oberhofer, singer, of Carlsruhe, <a href="#page_373">373</a>.<br /> - -*Œdipus, <a href="#page_309">309</a>, <a href="#page_384">384</a>.<br /> - -*Organ fugues (op. 37), <a href="#page_123">123</a>.<br /> - -Organ playing, <a href="#page_45">45</a>.<br /> - -Otten, G., letter to, <a href="#page_335">335</a>.<br /> - -<br /> -<a name="P" id="P"></a>Painters characterized, <a href="#page_182">182</a>.<br /> - -Palatinate, national song of, <a href="#page_372">372</a>.<br /> - -Palestrina, <a href="#page_2">2</a>, <a href="#page_10">10</a>.<br /> - -“Passion” projected by Mendelssohn, <a href="#page_36">36</a>.<br /> - -Pasta, <a href="#page_272">272</a>.<br /> - -Paul Mendelssohn, letters to, <a href="#page_138">138</a>, <a href="#page_198">198</a>, <a href="#page_221">221</a>, <a href="#page_223">223</a>, <a href="#page_226">226</a>, <a href="#page_229">229</a>, <a href="#page_233">233</a>, <a href="#page_239">239</a>, <a href="#page_249">249</a>, <a href="#page_261">261</a>, <a href="#page_313">313</a>, <a href="#page_320">320</a>, <a href="#page_336">336</a>, <a href="#page_339">339</a>, <a href="#page_341">341</a>, <a href="#page_342">342</a>, <a href="#page_363">363</a>, <a href="#page_402">402</a>, <a href="#page_407">407</a>, <a href="#page_426">426</a>, <a href="#page_430">430</a>, <a href="#page_434">434</a>.<br /> - -Philharmonic Society of London, <a href="#page_25">25</a>, <a href="#page_364">364</a>.<br /> - -Planché, his opera-text, <a href="#page_173">173</a>, <a href="#page_196">196</a>.<br /> - -Pleyel, Madame, <a href="#page_193">193</a>.<br /> - -*Preludes and fugues (op. 35), <a href="#page_123">123</a>.<br /> - -Preusser, Madame, letter to, <a href="#page_329">329</a>.<br /> - -Prince Albert, <a href="#page_404">404</a>.<br /> - -*Psalm xlii. (op. 42), <a href="#page_322">322</a>.<br /> - -<br /> -*Quartett, D major (op. 44, No. 1), <a href="#page_154">154</a>.<br /> - -*Quartett, E minor (op. 44, No. 2), <a href="#page_139">139</a>.<br /> - -*Quartett, pianoforte, in C minor (op. 1), <a href="#page_140">140</a>.<br /> - -<br /> -*<a name="R" id="R"></a>Reformation Symphony, <a href="#page_252">252</a>.<br /> - -Reichardt, <a href="#page_19">19</a>, <a href="#page_82">82</a>, <a href="#page_419">419</a>.<br /> - -“Revolution” in music, <a href="#page_56">56</a>, <a href="#page_65">65</a>.<br /> - -Rietz, Julius, letter to, <a href="#page_251">251</a>;<br /> -<span style="margin-left: 1em;">his overture to ‘Hero and Leander,’ <a href="#page_251">251</a>. -<span class="pagenum"><a name="page_468" id="page_468"></a>{468}</span></span><br /> - -Rome, <a href="#page_184">184</a>, <a href="#page_194">194</a>.<br /> - -*Rondo brillant in E flat (op. 29), <a href="#page_24">24</a>, <a href="#page_25">25</a>, <a href="#page_46">46</a>.<br /> - -Rosen, Dr. F., letter to, <a href="#page_106">106</a>.<br /> - -Rossini, <a href="#page_117">117</a>, <a href="#page_118">118</a>.<br /> - -Ruhr, bathing in the, <a href="#page_45">45</a>.<br /> - -*Ruy Blas, overture to, <a href="#page_167">167</a>.<br /> - -<br /> -<a name="S" id="S"></a>Saarn, excursion to, <a href="#page_44">44</a>.<br /> - -Sacred Harmonic Society, <a href="#page_135">135</a>.<br /> - -“Saint,” Mendelssohn’s definition of, <a href="#page_162">162</a>.<br /> - -Samson, Handel’s, <a href="#page_116">116</a>.<br /> - -Saxony, King of, <a href="#page_213">213</a>.<br /> - -Schadow, the painter, <a href="#page_129">129</a>.<br /> - -Schelble, <a href="#page_110">110</a>, <a href="#page_115">115</a>.<br /> - -Schirmer, letter to, <a href="#page_162">162</a>.<br /> - -Schleinitz, letters to, <a href="#page_70">70</a>, <a href="#page_85">85</a>, <a href="#page_113">113</a>, <a href="#page_156">156</a>.<br /> - -Schröder-Devrient, <a href="#page_245">245</a>, <a href="#page_312">312</a>.<br /> - -Schubring, Pastor, letters to, <a href="#page_5">5</a>, <a href="#page_39">39</a>, <a href="#page_49">49</a>, <a href="#page_93">93</a>, <a href="#page_159">159</a>, <a href="#page_164">164</a>, <a href="#page_246">246</a>, <a href="#page_318">318</a>, <a href="#page_397">397</a>.<br /> - -‘Seasons,’ Haydn’s, <a href="#page_79">79</a>.<br /> - -Sebastian Hensel, <a href="#page_429">429</a>;<br /> -<span style="margin-left: 1em;">letter to, <a href="#page_420">420</a>, <a href="#page_423">423</a>.</span><br /> - -*Serenade, etc. (op. 43), <a href="#page_149">149</a>.<br /> - -Seydelmann, actor, <a href="#page_32">32</a>.<br /> - -Simrock, A., letters to, <a href="#page_150">150</a>, <a href="#page_166">166</a>, <a href="#page_293">293</a>, <a href="#page_296">296</a>, <a href="#page_333">333</a>.<br /> - -Souchay, M. A., letter to, <a href="#page_298">298</a>.<br /> - -Spohr, <a href="#page_273">273</a>; letter to, <a href="#page_72">72</a>.<br /> - -Spontini, <a href="#page_272">272</a>.<br /> - -Staudigl in Elijah, <a href="#page_405">405</a>.<br /> - -Steffens, Frau, letter to, <a href="#page_418">418</a>.<br /> - -Stern, J., letter to, <a href="#page_360">360</a>.<br /> - -*St. Paul, Oratorio of, <a href="#page_5">5</a>, <a href="#page_25">25</a>, <a href="#page_39">39</a>, <a href="#page_40">40</a>, <a href="#page_49">49</a>, <a href="#page_54">54</a>, <a href="#page_55">55</a>, <a href="#page_67">67</a>, <a href="#page_73">73</a>, <a href="#page_84">84</a>, <a href="#page_89">89</a>, <a href="#page_95">95</a>, <a href="#page_113">113</a>, <a href="#page_120">120</a>, <a href="#page_130">130</a>, <a href="#page_174">174</a>, <a href="#page_373">373</a>;<br /> -<span style="margin-left: 1em;">first performance of, <a href="#page_113">113</a>;</span><br /> -<span style="margin-left: 1em;">at Birmingham, <a href="#page_133">133</a>.</span><br /> - -St. Peter, projected oratorio on, <a href="#page_129">129</a>, <a href="#page_130">130</a>.<br /> - -Switzerland, <a href="#page_288">288-9</a>.<br /> - -*Symphony No. <a href="#page_1">1</a>, <a href="#page_439">439</a>.<br /> - -*Symphony, the Italian, <a href="#page_7">7</a>.<br /> - -*Symphony, the Scotch, <a href="#page_56">56</a>, <a href="#page_155">155</a>, <a href="#page_171">171</a>, <a href="#page_310">310</a>, <a href="#page_364">364</a>.<br /> - -<br /> -“<a name="T" id="T"></a>Tempest, The,” <a href="#page_309">309</a>.<br /> - -Thalberg, <a href="#page_200">200</a>.<br /> - -Theatre, the, its influence, <a href="#page_51">51</a>.<br /> - -Theodora, Handel’s, <a href="#page_124">124</a>.<br /> - -Tieck, <a href="#page_354">354</a>, <a href="#page_356">356</a>.<br /> - -Titian, his pictures at Venice, <a href="#page_181">181</a>;<br /> -<span style="margin-left: 1em;">at Rome, <a href="#page_194">194</a>.</span><br /> - -*Trio in D minor, <a href="#page_171">171</a>, <a href="#page_174">174</a>.<br /> - -<br /> -*<a name="V-i" id="V-i"></a>Variations in B flat (op. 83), <a href="#page_266">266</a>;<br /> -<span style="margin-left: 1em;">in D minor (op. 54), <a href="#page_265">265</a>;</span><br /> -<span style="margin-left: 1em;">in E flat, <a href="#page_266">266</a>.</span><br /> - -Velten, letter to, <a href="#page_401">401</a>.<br /> - -Verhulst, letter to, <a href="#page_375">375</a>.<br /> - -Verkenius, letters to, <a href="#page_267">267</a>, <a href="#page_270">270</a>.<br /> - -Victoria, Queen, <a href="#page_281">281</a>.<br /> - -‘Vier Fragen,’ pamphlet of Jacobi, <a href="#page_249">249</a>.<br /> - -*Violin concerto, <a href="#page_155">155</a>.<br /> - -<br /> -*<a name="W" id="W"></a>Walpurgis Nacht, <a href="#page_219">219</a>, <a href="#page_312">312</a>, <a href="#page_315">315</a>, <a href="#page_328">328</a>, <a href="#page_364">364</a>, <a href="#page_440">440</a>.<br /> - -‘Wasserträger,’ Cherubini’s, <a href="#page_28">28</a>.<br /> - -Webern, von, letters to, <a href="#page_421">421</a>, <a href="#page_431">431</a>.<br /> - -Werden, visit to, <a href="#page_45">45</a>.<br /> - -<br /> -<a name="Z" id="Z"></a>Zauberflöte, score of, <a href="#page_333">333</a>.<br /> -</p> - -<p class="c"> -JOHN EDWARD TAYLOR, PRINTER,<br /> -LITTLE QUEEN STREET LINCOLN’S INN FIELDS.<br /> -</p> - -<p><span class="pagenum"><a name="page_469" id="page_469"></a>{469}</span></p> - -<hr /> - -<p class="r"> -39, <span class="smcap">Paternoster Row</span>:<br /> -<span class="smcap">London</span>: <i>December, 1863</i>.<br /> -</p> - -<p class="c"> -BOOKS<br /> -SUITABLE FOR PRESENTATION.<br /> -</p> - -<p>A CHRONICLE of ENGLAND from <small>B.C.</small> 55 to <small>A.D.</small> 1485. 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Fcp 8vo 10<i>s</i></p> - -<p><b>THE HISTORICAL TREASURY</b>: Comprising a General Introductory Outline -of Universal History, Ancient and Modern, and a Series of Separate -Histories of every principal Nation. Fcp 8vo 10<i>s</i></p> - -<p><b>THE BIOGRAPHICAL TREASURY</b>: Consisting of Memoirs, Sketches, and -Brief Notices of above 12,000 Eminent Persons of All Ages and -Nations. <i>12th Edition.</i> Fcp 8vo 10<i>s</i></p> - -<p><b>THE TREASURY OF KNOWLEDGE AND LIBRARY OF REFERENCE</b>: Comprising an -English Dictionary and Grammar, a Universal Gazetteer, a Classical -Dictionary, a Chronology, a Law Dictionary, a Synopsis of the -Peerage, useful Tables, &c. Fcp 8vo 10<i>s</i></p> - -<p><i>Uniform with the above.</i></p> -<p><b>THE TREASURY OF BOTANY.</b> By Dr. <span class="smcap">J. Lindley</span>.</p> - -<p class="r"> -[<i>In the press.</i><br /> -</p> - -<p><b>THE TREASURY OF BIBLE KNOWLEDGE.</b> By Rev. <span class="smcap">J. Ayre</span>, M.A.</p> - -<p class="r"> -[<i>In the press.</i></p> - -<p><span class="pagenum"><a name="page_500" id="page_500"></a>{500}</span></p> - -<hr /> - -<p class="c">GRADUATED SERIES OF ENGLISH READING-BOOKS.</p> - -<p class="c">In 5 vols, fcp 8vo price 10<i>s</i> cloth, each of which Volumes may be had -separately as below,</p> - -<p class="c">THE GRADUATED SERIES OF FIVE READING-LESSON BOOKS WITH EXPLANATORY -NOTES;</p> - -<p class="c">Adapted, as a Progressive Course of Reading, for all Classes of English -Schools and Families.</p> - -<p class="c">Edited by J. S. LAURIE,<br /> Editor of the <i>Shilling Entertaining Library</i>, -&c.</p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td align="left"> </td><td align="left"><i>s.</i></td><td rowspan="6"> </td><td align="left"><i>d.</i></td></tr> -<tr><td align="left"><span class="smcap">First Book</span>, 192 Pages, <i>Sixth Edition</i></td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><span class="smcap">Second Book</span>, 256 Paces, <i>Fifth Edition</i></td><td align="left">1</td><td align="left">6</td></tr> -<tr><td align="left"><span class="smcap">Third Book</span>, 512 Paces, <i>Sixth Edition</i></td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left"><span class="smcap">Fourth Book</span>, 440 Pages, <i>Sixth Edition</i></td><td align="left">2</td><td align="left">6</td></tr> -<tr><td align="left"><span class="smcap">Fifth Book</span>, 496 Pages, <i>Second Edition</i> </td><td align="left">3</td><td align="left">0</td></tr> -</table> - -<p class="nind">This is an entirely new series of Reading-Books, carefully adapted -throughout 10 the requirements of modern education. The Five Books are -arranged each in corresponding sections, on a serial and uniform scheme -of progressive, yet constantly varied selections. <span class="smcap">Book I.</span> consists of -rhymes and fireside stories, fables and parables, and short simple -tales, all within the comprehension of children who have mastered the -first steps in reading. <span class="smcap">Book II.</span> contains miscellanies, tales of -adventure, imaginative and real, anecdotes in natural history, and -ballad poetry—all preliminary to the Third Book. <span class="smcap">Book III.</span> comprises -literary selections in prose and verse, descriptive travel, natural -history (with reference to the previous section), and narratives of -English history. <span class="smcap">Book IV.</span> to which the Third Book is introductory, is a -further extension of the same general plan, with the addition of a -division on the more popular branches of Natural Science and Physics, -sequentially arranged. <span class="smcap">Book V.</span>, which completes the course, forms a -further advance and a completion of the general plan, and aims at -answering the practical purposes of a Class-book of later English -Literature.</p> - -<p class="c"> -<i>By the same Author.</i><br /> -</p> - -<p>FIRST STEPS to READING: being an Introduction to the Graduated -Series of English Reading-Books. Fcp 8vo <span class="smcap">Part I.</span> price 3<i>d</i>, <span class="smcap">Part -II.</span> price 6<i>d</i> sewed; or complete, price 10<i>d</i> cloth. Or the whole -conspicuously printed in bold type for Class Teaching, on a Set of -Broadside Sheets, price 4<i>s</i> 6<i>d</i>, or price 7<i>s</i> the Set of -<span class="smcap">Broadsides</span> mounted as 15 Cardboards, or 9<i>s</i> 6<i>d</i> with convenient -<span class="smcap">Iron Frame</span>; the <span class="smcap">Iron Frame</span>, separately, price 2<i>s</i> 6<i>d</i></p> - -<p><span class="pagenum"><a name="page_501" id="page_501"></a>{501}</span></p> - -<hr /> - -<h2><a name="LAURIES_ENTERTAINING_LIBRARY" id="LAURIES_ENTERTAINING_LIBRARY"></a>LAURIE’S ENTERTAINING LIBRARY.</h2> - -<p class="c">In course of publication, in Quarterly Volumes, from January 1863, each -volume in square 18mo, with Six full-page Illustrations, price One -Shilling cloth, or Ninepence sewed,</p> - -<p class="c">THE</p> - -<p class="c">SHILLING ENTERTAINING LIBRARY,</p> - -<p class="c">Adapted to the requirements of School Libraries, Families, and Working -Men.</p> - -<p class="c">By J. S. LAURIE,</p> - -<p class="c">Editor of the <i>Graduated Series of Reading-Lesson Books</i>, <i>&c.</i></p> - -<p class="c">The First Three Volumes are now ready, viz.</p> - -<p class="c"> -<b>ROBINSON CRUSOE.</b> -<b>GULLIVER’S TRAVELS.</b> -<b>CHRISTMAS TALES.</b></p> - -<p class="nind">The object of the <span class="smcap">Entertaining Library</span> is to provide the young and, -generally speaking, the less educated portion of the community with -books which they will find <i>readable</i>. Many similar projects have been -started, and have failed. The Proprietors of the present <span class="smcap">Library</span> believe -that those failures are to be ascribed to a fundamental deficiency -which, with proper attention and care, may be fully supplied.</p> - -<p>In undertakings of this kind too little allowance has been made for what -may almost be termed the repulsiveness of a book to the untutored mind. -Children freed from irksome tasks, and working men wearied with a hard -day’s toil, cannot possibly be induced to read until they find out what -a wealth of entertainment is concealed under the hard, ungraceful forms -of typography. Nothing appears more certain than that they will not read -at all, unless materials are placed before them which are calculated to -arouse their interest and enchain their attention.</p> - -<p>The practical problem to be solved would seem to be to furnish a -selection of works which will appeal to that dominant principle in the -human breast, the love of pleasure. The aim of the Editor of the -<span class="smcap">Entertaining Library</span> is to provide an ample and varied repast for the -gratification of this instinct. The concentration of his efforts upon -this single point will give the present series of books its distinctive -character.</p> - -<p>A glance at the sources upon which he has already drawn will, it is -believed, convince those who are acquainted with English literature, -that such volumes as the <span class="smcap">Entertaining Library</span> promises to contain will -necessarily tend to enlarge the intellectual views, and to direct and -strengthen the moral sentiments of every reader. But the prime end kept -in view will be to afford, in a wide and liberal sense, pleasure and -amusement; and to this end whatever bears more directly upon the -practical utilities of life will invariably be held subordinate.</p> - -<p>It is proper to state that the Editor assumes the right of adapting the -original text so as to suit his purpose. Grammatical constructions which -are too involved and difficult will be simplified; modern words and -idioms will be substituted for such as have become obsolete or nearly -obsolete; and in all cases passages which are unsuitable to the young -will be expunged.</p> - -<p>Care will be taken to adorn each of the volumes with a number of -striking illustrations. The illustrations to the three volumes now ready -are drawn by Mr. Sandercock, a rising artist, whose merit has been -acknowledged by competent judges.</p> - -<p>Special attention will be paid to the binding of the volumes. They will -be prepared 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.</p> - -<p> </p> - -<p class="c"><i>Volumes preparing for Publication Quarterly, uniform with the above -three</i>:</p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td align="left">SANDFORD and MERTON [<i>On March 31.</i></td></tr> -<tr><td align="left">The PILGRIM’S PROGRESS</td></tr> -<tr><td align="left">EVENINGS AT HOME</td></tr> -<tr><td align="left">HISTORY of the PLAGUE</td></tr> -<tr><td align="left">The VICAR of WAKEFIELD</td></tr> -<tr><td align="left">CITIZEN of the WORLD</td></tr> -<tr><td align="left">SWISS FAMILY ROBINSON</td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="left"><i>AND OTHER WORKS.</i></td></tr> -</table> - -<p><span class="pagenum"><a name="page_502" id="page_502"></a>{502}</span></p> - -<hr /> - -<h2>INDEX.</h2> - -<p class="nind"> -<i>Acton’s</i> Cookery-Book, 23<br /> -Afternoon of Life, 16<br /> -<i>Agassiz</i> on Classification, 12<br /> -<i>Alcock’s</i> Japan, 1<br /> -<i>Arago’s</i> Scientific Biographies, 4<br /> -<i>Arago’s</i> Meteorological Essays, 4<br /> -<i>Arago’s</i> Popular Astronomy, 4<br /> -<i>Arago’s</i> Treatise on Comets, 4<br /> -<i>Arbuthnot’s</i> Herzegovina, 9<br /> -<i>Arnold’s</i> Manual of English Literature, 7<br /> -<i>Arnold’s</i> Poems, 21<br /> -<i>Arnold’s</i> Merope, 21<br /> -<i>Arnold</i> on Translating Homer, 8<br /> -<i>Arnott</i> on Progress, 21<br /> -Autobiography of Charles V, 1<br /> -<i>Ayre’s</i> Treasury of Bible Knowledge, 20<br /> -<br /> -Bacon’s Life, by <i>Spedding</i>, 3<br /> -<i>Bacon’s</i> Works, 3<br /> -<i>Bayldon’s</i> Rents and Tillages, 25<br /> -<i>Beard’s</i> Port-Royal, 6<br /> -<i>Berlepsch’s</i> Alps, 8<br /> -<i>Black</i> on Brewing, 23<br /> -<i>Blaine’s</i> Encyclopædia of Rural Sports, 14<br /> -<i>Blight’s</i> Land’s End, 10<br /> -<i>Boner’s</i> Forest Creatures, 13<br /> -<i>Bourne</i> on the Steam Engine, 25<br /> -<i>Bourne’s</i> Catechism of ditto, 25<br /> -<i>Bowdler’s</i> Family Shakspeare, 20<br /> -<i>Boyd’s</i> Naval Cadet’s Manual, 24<br /> -Brande’s Dictionary of Science, 12<br /> -<i>Bréhaut</i> on Cordon-Training, 27<br /> -<i>Brodie’s</i> Psychological Inquiries, 10<br /> -<i>Brinton</i> on Food, 23<br /> -<i>Bristow’s</i> Glossary of Mineralogy, 12<br /> -<i>Bromfield’s</i> Brittany and the Bible, 10<br /> -<i>Brunel’s</i> Life, by <i>Beamish</i>, 3<br /> -<i>Bull’s</i> Hints to Mothers, 24<br /> -<i>Bull</i> on Management of Children, 24<br /> -<i>Bunsen’s</i> Hippolytus, 6<br /> -<i>Bunsen’s</i> Outlines of Universal History, 6<br /> -<i>Bunsen’s</i> Analecta Ante-Nicæna, 6<br /> -<i>Bunsen’s</i> Ancient Egypt, 6<br /> -<i>Bunyan’s</i> Pilgrim’s Progress illustrated, 19<br /> -<i>Burke’s</i> Vicissitudes of Families, 4<br /> -<i>Burn’s</i> Agricultural Tour in Belgium, 10<br /> -<i>Burton’s</i> Lake Regions of Central Africa, 9<br /> -<i>Burton’s</i> Footsteps in East Africa, 9<br /> -<i>Burton’s</i> Medina and Mecca, 9<br /> -<i>Burton’s</i> City of the Saints, 9<br /> -<br /> -Cabinet Lawyer (The), 26<br /> -Calderon’s Dramas, by <i>MacCarthy</i>, 21<br /> -<i>Calvert’s</i> Wife’s Manual, 20<br /> -<i>Cats’</i> and <i>Farlie’s</i> Emblems, 19<br /> -Chorale-Book (The) for England, 19<br /> -<i>Clark’s</i> Comparative Grammar, 7<br /> -<i>Clough’s</i> Lives from Plutarch, 4<br /> -<i>Colenso</i> on the Pentateuch, 1<br /> -<i>Coltyns</i> on Stag-Hunting, 15<br /> -<i>Comyn’s</i> Ellice, a Tale, 16<br /> -<i>Conington’s</i> Chemical Analysis, 12<br /> -<i>Contanseau’s</i> French Dictionary, 7<br /> -<i>Conybeare</i> and <i>Howson’s</i> St. Paul, 6<br /> -<i>Copland’s</i> Dictionary of Medicine, 11<br /> -<i>Cotton’s</i> Instructions in Christianity, 20<br /> -<i>Cox’s</i> Tales from Greek Mythology, 5<br /> -<i>Cox’s</i> Tale of the Great Persian War, 5<br /> -<i>Cox’s</i> Tales of the Gods and Heroes, 5<br /> -<i>Cresy’s</i> Encyclopædia of Civil Engineering, 22<br /> -Cricket Field (The), 16<br /> -Cricket Tutor (The), 16<br /> -<i>Crowe’s</i> History of France, 2<br /> -<br /> -<i>D’Aubigne’s</i> Calvin, 1<br /> -Dead Shot (The), 14<br /> -<i>De la Rive’s</i> Reminiscences of Cavour, 1<br /> -<i>De la Rive’s</i> Electricity, 12<br /> -<i>De Tocqueville</i> on Democracy, 1<br /> -<i>De Witt’s</i> Jefferson, 1<br /> -<i>Döllinger’s</i> Gentile and Jew, 6<br /> -<i>Dove’s</i> Law of Storms, 13<br /> -<br /> -<i>Eastlake</i> on Oil Painting, 3<br /> -Eclipse of Faith (The), 17<br /> -Defence of ditto, 17<br /> -Essays <i>and</i> Reviews, 18<br /> -<br /> -<i>Fairbairn’s</i> Information for Engineers, 23<br /> -<i>Fairbairn’s</i> Treatise on Millwork, 23<br /> -<i>FitzRoy’s</i> Weather Book, 13<br /> -<i>Folkard’s</i> Sailing Boat, 15<br /> -<i>Forster’s</i> Life of Eliot, 1<br /> -<i>Fowler’s</i> Collieries, 24<br /> -<i>Freshfield’s</i> Alpine Byways, 8<br /> -<i>Freshfield’s</i> Tour in the Grisons, 8<br /> -<br /> -<i>Garratt’s</i> Marvels of Instinct, 14<br /> -<i>Goldsmith’s</i> Poems, illustrated, 20<br /> -<i>Goodeve’s</i> Elements of Mechanism, 23<br /> -<i>Green’s</i> English Princesses, 3<br /> -<i>Greene’s</i> Manual of Cœlenterata, 13<br /> -<i>Greene’s</i> Manual of Protozoa, 13<br /> -<i>Greyson’s</i> Correspondence, 17<br /> -<i>Grove</i> on Physical Forces, 12<br /> -<i>Gwilt’s</i> Encyclopædia of Architecture, 23<br /> -<br /> -<i>Hartwig’s</i> Sea, 13<br /> -<i>Hartwig’s</i> Tropical World, 13<span class="pagenum"><a name="page_503" id="page_503"></a>{503}</span><br /> -<i>Hassall’s</i> Freshwater Algæ, 26<br /> -<i>Hassall’s</i> Adulterations Detected, 26<br /> -Havelock’s Life, by <i>Marshman</i>, 4<br /> -<i>Hawker</i> on Guns and Shooting, 14<br /> -<i>Herschel’s</i> Outlines of Astronomy, 13<br /> -<i>Herschel’s</i> Essays, 13<br /> -<i>Hind’s</i> American Exploring Expeditions, 9<br /> -<i>Hind’s</i> Labrador, 9<br /> -Hints on Etiquette, 15<br /> -<i>Hole’s</i> Gardeners’ Annual, 27<br /> -<i>Holland’s</i> Essays, 10<br /> -<i>Holland’s</i> Medical Notes, 10<br /> -<i>Holland</i> on Mental Physiology, 10<br /> -<i>Hooker’s</i> British Flora, 26<br /> -<i>Hopkins’s</i> Hawaii, 9<br /> -<i>Horne’s</i> Introduction to the Scriptures, 20<br /> -<i>Horne’s</i> Compendium of ditto, 20<br /> -<i>Hoskyns</i>’ Talpa, 15<br /> -<i>Howard’s</i> Athletic Exercises, 15<br /> -<i>Howitt’s</i> History of the Supernatural, 18<br /> -<i>Howitt’s</i> Remarkable Places, 10<br /> -<i>Howitt’s</i> Rural Life of England, 10<br /> -<i>Howson’s</i> Deaconesses, 16<br /> -<i>Hudson’s</i> Directions for Making Wills, 26<br /> -<i>Hudson’s</i> Executor’s Guide, 26<br /> -<i>Hughes’s</i> Geography of History, 22<br /> -<i>Hughes’s</i> Manual of Geography, 22<br /> -<br /> -<i>Jameson’s</i> Saints and Martyrs, 19<br /> -<i>Jameson’s</i> Monastic Orders, 19<br /> -<i>Jameson’s</i> Legends of the Madonna, 19<br /> -<i>Jameson’s</i> Legends of the Saviour, 19<br /> -<i>Johnson’s</i> Dictionary by Latham, 7<br /> -<i>Johnson’s</i> Patentee’s Manual, 24<br /> -<i>Johnson’s</i> Book of Industrial Designs, 24<br /> -<i>Johnston’s</i> Geographical Dictionary, 22<br /> -<br /> -<i>Kennedy’s</i> Hymnologia, 20<br /> -<i>Kirby</i> and <i>Spence’s</i> Entomology, 14<br /> -<br /> -<i>L. E. L’s.</i> Poetical Works, 21<br /> -Lady’s Tour round Monte Rosa, 8<br /> -<i>Latham’s</i> Comparative Philology, 7<br /> -<i>Latham’s</i> English Language, 7<br /> -<i>Latham’s</i> Handbook of ditto, 7<br /> -<i>Laurie’s</i> Entertaining Library, 29<br /> -<i>Laurie’s</i> Graduated Reading Books, 28<br /> -<i>Lempriere’s</i> Notes on Mexico, 9<br /> -<i>Liddell</i> and Scott’s Greek Lexicons, 6<br /> -<i>Lindley’s</i> Horticulture, 27<br /> -<i>Lindley’s</i> Introduction to Botany, 27<br /> -<i>Lindley’s</i> Treasury of Botany, 27<br /> -<i>Lister’s</i> Physico-Prophetical Essays, 18<br /> -<i>Lewin’s</i> Jerusalem, 8<br /> -<i>Loudon’s</i> Encyclopædia of Cottage Architecture, 23<br /> -<i>Loudon’s</i> Encyclopædia of Agriculture, 26<br /> -<i>Loudon’s</i> Encyclopædia of Gardening, 26<br /> -<i>Loudon’s</i> Encyclopædia of Trees and Shrubs, 26<br /> -<i>Loudon’s</i> Encyclopædia of Plants, 26<br /> -<i>Lowndes’s</i> Engineer’s Handbook, 22<br /> -Lyra Domestica, 20<br /> -Lyra Germanica, 19<br /> -Lyra Sacra, 20<br /> -<br /> -<i>Macaulay’s</i> England, 2<br /> -<i>Macaulay’s</i> Essays, 17<br /> -<i>Macaulay’s</i> Miscellaneous Writings, 17<br /> -<i>Macaulay’s</i> Laws of Ancient Rome, 21<br /> -<i>Macaulay’s</i> Speeches, 5<br /> -<i>MacBrair’s</i> Africans, 10<br /> -<i>MacDougall’s</i> Theory of War, 24<br /> -<i>M’Culloch’s</i> Commercial Dictionary, 22<br /> -<i>M’Culloch’s</i> Geographical Dictionary, 22<br /> -<i>Marcet’s</i> Land and Water, 25<br /> -<i>Marcet’s</i> Political Economy, 25<br /> -<i>Marcet’s</i> Conversations on Natural Philosophy, 25<br /> -<i>Marcet’s</i> Conversations on Chemistry, 25<br /> -<i>Maunder’s</i> Biographical Treasury, 27<br /> -<i>Maunder’s</i> Geographical Treasury, 27<br /> -<i>Maunder’s</i> Historical Treasury, 27<br /> -<i>Maunder’s</i> Natural History, 27<br /> -<i>Maunder’s</i> Scientific and Literary Treasury, 27<br /> -<i>Maunder’s</i> Treasury of Knowledge, 27<br /> -<i>May’s</i> England, 2<br /> -Memoir of Sydney Smith, 5<br /> -Memoirs, &c. of Thomas Moore, 5<br /> -<i>Mendelssohn’s</i> Letters, 8<br /> -<i>Merivale’s</i> Romans under the Empire, 2<br /> -<i>Merivale’s</i> Fall of the Roman Republic, 2<br /> -<i>Merivale’s</i> (H.) Lectures on Colonisation, 21<br /> -<i>Meryon’s</i> History of Medicine, 3<br /> -<i>Miles</i> on Horse’s Foot, 15<br /> -<i>Miles</i> on Shoeing Horses, 15<br /> -<i>Moore’s</i> Lalla Rookh, 21<br /> -<i>Moore’s</i> Irish Melodies, 21<br /> -<i>Moore’s</i> Poetical Works, 21<br /> -<i>Morell’s</i> Mental Philosophy, 11<br /> -<i>Morell’s</i> Elements of Psychology, 11<br /> -Morning Clouds, 16<br /> -<i>Morton’s</i> Royal Farms, 2<br /> -<i>Morton’s</i> Dairy Husbandry, 25<br /> -<i>Morton’s</i> Farm Labour, 25<br /> -<i>Mosheim’s</i> Ecclesiastical History, 18<br /> -<i>Müller’s</i> Lectures on Language, 7<br /> -<i>Munk’s</i> College of Physicians, 3<br /> -<i>Mure’s</i> Language and Literature of Greece, 2<br /> -My Life, and What shall I do with it?, 16<br /> -<br /> -<i>Neale’s</i> Sunsets and Sunshine, 16<span class="pagenum"><a name="page_504" id="page_504"></a>{504}</span><br /> -<i>Odling’s</i> Chemistry, 11<br /> -<i>Owen’s</i> Anatomy, 11<br /> -<br /> -<i>Packe’s</i> Guide to the Pyrenees, 9<br /> -Parry’s Memoirs, 4<br /> -Peaks, Passes, and Glaciers, 8<br /> -<i>Pereira’s</i> Materia Medica, 12<br /> -<i>Peschel’s</i> Elements of Physics, 12<br /> -<i>Phillips’s</i> Guide to Geology, 13<br /> -<i>Phillips’s</i> Introduction to Mineralogy, 12<br /> -<i>Piesse’s</i> Art of Perfumery, 15<br /> -<i>Piesse’s</i> Chemical Wonders, 15<br /> -<i>Piesse’s</i> Chemical and Natural Magic, 15<br /> -<i>Pictrowski’s</i> Siberian Exile, 1<br /> -Porson’s Life by <i>Watson</i>, 4<br /> -Practical Mechanic’s Journal, 24<br /> -Problems in Human Nature, 16<br /> -<i>Pycroft’s</i> English Reading, 19<br /> -<br /> -<i>Ranken’s</i> Canada and the Crimea, 9<br /> -Record of International Exhibition, 24<br /> -<i>Rhind’s</i> Thebes, 8<br /> -<i>Rich’s</i> Roman and Greek Antiquities, 5<br /> -<i>Rivers’s</i> Rose Amateur’s Guide, 27<br /> -<i>Rogers’s</i> Essays, 17<br /> -<i>Roget’s</i> English Thesaurus, 7<br /> -Romance of a Dull Life, 16<br /> -<i>Ronald’s</i> Fly-Fisher, 15<br /> -<i>Rowton’s</i> Debater, 7<br /> -<br /> -<i>Sandford’s</i> Bampton Lectures, 18<br /> -<i>Savile</i> on Revelation and Science, 18<br /> -<i>Saxby</i> on Projection of Sphere, 25<br /> -<i>Saxby</i> on Study of Steam, 25<br /> -<i>Scoffern</i> on Projectiles, 24<br /> -<i>Scott’s</i> Lectures on the Fine Arts, 4<br /> -<i>Scott’s</i> Volumetrical Analysis, 12<br /> -<i>Scrope</i> on Volcanos, 11<br /> -<i>Senior’s</i> Biographical Sketches, 3<br /> -<i>Sewell’s</i> Ancient History, 5<br /> -<i>Sewell’s</i> Early Church, 5<br /> -<i>Sewell’s</i> Passing Thoughts on Religion, 18<br /> -<i>Sewell’s</i> Self-Examination for Confirmation, 18<br /> -<i>Sewell’s</i> Readings for Confirmation, 18<br /> -<i>Sewell’s</i> Readings for Lent, 18<br /> -<i>Sewell’s</i> Impressions of Rome, &c., 10<br /> -<i>Sewell’s</i> Stories and Tales, 16<br /> -<i>Sharp’s</i> British Gazetteer, 22<br /> -Short Whist, 15<br /> -Sidney’s (Sir P.) Life, by <i>Lloyd</i>, 3<br /> -<i>Smith’s</i> (J.) St. Paul’s Shipwreck, 5<br /> -<i>Smith’s</i> (G.) Wesleyan Methodism, 1<br /> -Social Life in Australia, 10<br /> -<i>Southey’s</i> Poetical Works, 21<br /> -<i>Southey’s</i> Doctor, 21<br /> -<i>Stephen’s</i> Essays, 17<br /> -<i>Stephen’s</i> Lectures on the History of France, 17<br /> -Stephenson’s Life, by <i>Jeaffreson</i> and <i>Pole</i>, 3<br /> -‘Stonehenge’ on the Dog, 14<br /> -‘Stonehenge’ on the Greyhound, 14<br /> -<i>Strickland’s</i> Queens of England, 3<br /> -<i>Sydney Smith’s</i> Works, 17<br /> -<i>Sydney Smith’s</i> Moral Philosophy, 17<br /> -<br /> -<i>Tate</i> on Strength of Materials, 13<br /> -<i>Taylor’s</i> (Jeremy) Works, 18<br /> -<i>Tennent’s</i> Ceylon, 14<br /> -<i>Tennent’s</i> Natural History of Ceylon, 14<br /> -<i>Theologia</i> Germanica, 19<br /> -<i>Thirlwall’s</i> Greece, 2<br /> -<i>Thomson’s</i> Interest Tables, 22<br /> -<i>Thomson’s</i> Laws of Thought, 11<br /> -<i>Thrupp’s</i> Anglo-Saxon Home, 3<br /> -<i>Todd’s</i> Cyclopædia of Anatomy and Physiology, 11<br /> -<i>Trollope’s</i> Warden, 16<br /> -<i>Trollope’s</i> Barchester Towers, 16<br /> -<i>Twiss’s</i> Law of Nations, 2<br /> -<i>Tyndall</i> on Heat, 11<br /> -<i>Tyndall’s</i> Mountaineering, 8<br /> -<br /> -<i>Ure’s</i> Dictionary of Arts, Manufactures, and Mines, 23<br /> -<br /> -<i>Van Der Hoeven’s</i> Handbook of Zoology, 11<br /> -<i>Villari’s</i> History of Savonarola, 4<br /> -<br /> -Warburton’s Life, by <i>Watson</i>, 4<br /> -<i>Warter’s</i> Last of the Old Squires, 16<br /> -<i>Watts’s</i> Dictionary of Chemistry, 12<br /> -<i>Webb’s</i> Celestial Objects, 13<br /> -<i>Webster</i> and <i>Parkes’s</i> Domestic Economy, 23<br /> -Wellington’s Life, by <i>Gleig</i>, 4<br /> -Wesley’s Life, by <i>Southey</i>, 5<br /> -<i>West</i> on Children’s Diseases, 24<br /> -<i>White</i> and <i>Riddle’s</i> Latin Dictionary, 6<br /> -<i>Wilson’s</i> Bryologia Britannica, 26<br /> -<i>Willich’s</i> Popular Tables, 22<br /> -Wit and Wisdom of Sydney Smith, 17<br /> -<i>Woodward’s</i> Chronological and Historical Encyclopædia, 2<br /> -<i>Worms</i> on the Earth’s Motion, 11<br /> -<i>Wyndham’s</i> Norway, 9<br /> -<br /> -<i>Yonge’s</i> English-Greek Lexicon, 7<br /> -<i>Youatt’s</i> work on the Horse, 14<br /> -<i>Youatt’s</i> work on the Dog, 14<br /> -</p> - -<p class="r"> -[<i>January 1863.</i><br /> -</p> - -<p class="c">SPOTTISWOODE AND CO., PRINTERS, NEW-STREET SQUARE, LONDON</p> - -<div class="footnotes"><p class="cb">FOOTNOTES:</p> - -<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> At the period to which Mendelssohn here refers, owing to -the advice of his friends, he had applied for the situation of Director -of the Singing Academy, but was not chosen.</p></div> - -<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> “St. Paul.”</p></div> - -<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> From “Alexander’s Feast.”</p></div> - -<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Mendelssohn’s sister had learned Greek along with him.</p></div> - -<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> The subject 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.</p></div> - -<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Immermann and Mendelssohn had agreed to give a certain -number of performances in the theatre, which they termed “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 -performance the tumult ensued that Mendelssohn here describes.</p></div> - -<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> He never had recourse to it. Mendelssohn wrote invariably -everything, without exception, himself.</p></div> - -<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Music Director in Stockholm.</p></div> - -<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> This fantasia and the E flat rondo (with orchestra), Op. -29, are both dedicated to Moscheles.</p></div> - -<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> E flat (with orchestra), Op. 29.</p></div> - -<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Well known as the most crowded street in London.</p></div> - -<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> “Ali Baba.”</p></div> - -<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> For the text of “St. Paul.”</p></div> - -<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> <i>Cantor</i> (leader of a choir), a term Mendelssohn often -applied to his sister Fanny.</p></div> - -<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> A number of birthdays occurred at this particular period -in the family.</p></div> - -<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Mendelssohn had made an expedition through part of Germany -for the benefit of the theatre, in order to engage singers.</p></div> - -<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Professor Heyse, Mendelssohn’s teacher.</p></div> - -<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> The mode, however, in which Mendelssohn treated this -affair of the theatre was by no means approved of by his father; on the -contrary, some time afterwards he wrote to him as follows:— -</p><p> -“I must once more resume the subject of the dramatic career, as I feel -very anxious about it on your account. You have not, according to my -judgment, either in a productive or administrative point of view, had -sufficient experience to decide with certainty that your disinclination -towards it proceeds from anything innate in your talents or character. I -know no dramatic composer, except Beethoven, who has not written a -number of operas, now totally forgotten, before attaining the right -object at the right moment, and gaining a place for himself. You have -only made one public effort, which was partly frustrated by the text, -and, in fact, was neither very successful nor the reverse. Subsequently -you were too fastidious about the words, and did not succeed in finding -the right man, and perhaps did not seek him in a right manner; I cannot -but think that, by more diligent inquiries and more moderate -pretensions, you would at length attain your object. With regard to the -administrative career, however, it gives rise to another series of -reflections which I wish to impress on you. Those who have the -opportunity and the inclination, to become more closely and intimately -acquainted with you, as well as all those to whom you have the -opportunity and the inclination to reveal yourself more fully, cannot -fail to love and respect you. But this is really far from being -sufficient to enable a man to enter on life with active efficacy; on the -contrary, when you advance in years, and opportunity and inclination -fail, both in others and yourself, it is much more likely to lead to -isolation and misanthropy. Even what we consider faults will be -respected, or at least treated with forbearance, when once firmly and -thoroughly established in the world, while the individual himself -disappears. He has least of all arrived at the ideal of virtue, who -exacts it most inexorably from others. The most stern moral principle is -a citadel, with outworks, in defence of which we are unwilling to expend -our strength, in order to maintain ourselves with greater certainty in -our stronghold, which indeed ought only to be surrendered with life -itself. Hitherto it is undeniable that you have never been able to -divest yourself of a tendency to austerity and irascibility, to suddenly -grasping an object, and as suddenly relinquishing it, and thus creating -for yourself many obstacles in a practical point of view. For example, I -must confess, that though I approved of your withdrawing from any active -participation in the management of details in the Düsseldorf theatre, I -by no means did so of the manner in which you accomplished your object, -as you undertook it voluntarily, and, to speak candidly, rather -heedlessly. From the beginning you, most wisely, declined any positive -compact, but only agreed to undertake the studying and conducting of -particular operas, and, in accordance with this resolution, very -properly insisted on another music director being appointed. When you -came here some time ago with the commission to engage Krethi and Plethi, -I did not at all like the idea; I thought, however, that as you were -coming here at all events, you could not through politeness decline this -service. But on your return to Düsseldorf, after wisely refusing to -undertake another journey for the purpose of making engagements for the -theatre, instead of persevering in your duties in this sense, and -getting rid of all <i>odiosa</i>, you allowed yourself to be overwhelmed by -them; and as they naturally became most obnoxious to you, instead of -quietly striving to remedy them, and thus gradually to get rid of them, -you at one leap extricated yourself, and by so doing you undeniably -subjected yourself to the imputation of fickleness and unsteadiness, and -made a decided enemy of a man whom at all events policy should have -taught you not to displease; and most probably offended and lost the -friendliness of many members of the <i>Comité</i> also, among whom there are, -no doubt, most respectable people. If I view this matter incorrectly, -then teach me a better mode of judging.” -</p><p> -This letter will show what an impartial and incorruptible judge -Mendelssohn possessed in his father.</p></div> - -<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> The following letter from Mendelssohn’s Father will -certainly not be read without interest, as it throws so clear a light on -the intellectual relations between father and son; a place may therefore -be appropriately found for it here. It has been selected from a large -collection of letters of a similar tendency.</p></div> - -<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> By Reichardt. Compare the passage in reference to -Reichardt in the letter of December 28th, 1833.</p></div> - -<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> “St. Paul.”</p></div> - -<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Compare the passage on this subject in the letter of April -3rd, 1835.</p></div> - -<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> “Hommage à Handel.”</p></div> - -<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> The death of his Father.</p></div> - -<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> This refers to the circumstance of Mendelssohn’s father -having advised him to “hang up on a nail” the elfin and spirit life with -which, for a certain period, Mendelssohn had chiefly occupied himself in -his compositions, and to proceed to graver works.</p></div> - -<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> He alludes to the Musical Festival, where “St. Paul” was -performed for the first time.</p></div> - -<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Verkenius.</p></div> - -<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> This Letter was written a short time before his -betrothal.</p></div> - -<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> This project was never fulfilled, but the letter is -inserted, as it proves the deep earnestness with which Mendelssohn -treated such subjects.</p></div> - -<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Mendelssohn’s marriage.</p></div> - -<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> “St. Paul” was performed for the first time in England at -this Festival.</p></div> - -<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> A provincial mode of pronouncing ‘Birmingham.’</p></div> - -<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See Letter of October 6th, 1835.</p></div> - -<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> It appeared afterwards under the title of “Serenade and -Allegro Giojoso,” Op. 43.</p></div> - -<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Hanover.</p></div> - -<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> A habit of Mendelssohn’s.</p></div> - -<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Just before his Sister’s journey to Italy.</p></div> - -<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> ‘Earthly and Heavenly Love.’</p></div> - -<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> “Hommage à Handel.”</p></div> - -<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> This has been done. The monument is on the promenade, -under the windows of Sebastian Bach’s rooms, in the Thomas School.</p></div> - -<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> It is characteristic of both, that Mendelssohn’s sister -set the following poem of Goethe’s to music:— -</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Here are we then, my friend, at home once more!<br /></span> -<span class="i2">And tranquilly reclines the artist’s eye<br /></span> -<span class="i1">On scenes of peace and love from door to door,<br /></span> -<span class="i2">Where life to life in kindliness draws nigh.<br /></span> -</div> -<div class="stanza"> -<span class="i0">“Back with our household gods, here are we then!<br /></span> -<span class="i2">For though through distant regions we may roam,<br /></span> -<span class="i1">From all these ravishments we turn again<br /></span> -<span class="i2">Back to the magic sphere we call our home.”<br /></span> -</div></div> -</div> - -</div> - -<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> See the letter to Herr von Falkenstein, April 8th, 1840.</p></div> - -<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> By Sebastian Bach.</p></div> - -<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> His brother had gone to Leipzig, at the instigation of the -Wirklich Geheimrath Herr von Massow, to negotiate with Mendelssohn the -subject of a situation in Berlin. It was proposed to divide the Academy -of Arts into four classes,—namely, painting, sculpture, architecture, -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. The music class, for which Mendelssohn had been -selected as Director, was to consist essentially of a large -Conservatorium, in the expectation that in connection with the resources -of the Royal Theatre, public concerts, partly of a sacred and partly of -a secular nature, should be given. However promising Mendelssohn -considered this project, he at once expressed considerable doubts, not -so much that the plan <i>could</i> not be carried out, but that it <i>would</i> -not be so; and the result proved how correct his judgment was on the -point.</p></div> - -<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> The performance of “Athalie,” with Schulz’s music, had -caused considerable excitement in the Berlin Theatre.</p></div> - -<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> The ‘Vier Fragen’ of Jacobi, a pamphlet of the day, the -purport and contents of which, would certainly no longer cause the -smallest annoyance to either party.</p></div> - -<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> At the time of the appearance of the ‘Vier Fragen,’ -Minister Schön was unquestionably supposed by the public to be the -author.</p></div> - -<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> An unpublished composition of Mendelssohn’s.</p></div> - -<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> In this Report, the result of the negotiations with -Mendelssohn, which finally caused him to go to Berlin, are fully -detailed,—so it was considered necessary to give it a place here.</p></div> - -<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Massow’s proposals were finally accepted by Mendelssohn, -who came to Berlin; there were many conferences held as to the -remodelling of the musical class in the Academy, and the organization of -the future Conservatorium; but as Mendelssohn very justly foresaw, all -this evaporated, though from no fault of his, which the beginning of -Minister Eichhorn’s letter of the 2nd March, 1815, fully proves.</p></div> - -<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> The death of President Verkenius ended the correspondence -by this Letter.</p></div> - -<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> In answer to the Professor’s offer to write, or to cause -to be written, something in his musical paper with regard to -‘Antigone.’</p></div> - -<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Compare also his letter to Julius Stern of the 27th of -May, 1814.</p></div> - -<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Mendelssohn and his wife.</p></div> - -<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> The party consisted of Mendelssohn and his Brother, and -their wives.</p></div> - -<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> See Mendelssohn’s Letters in 1831.</p></div> - -<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Herr Souchay had asked Mendelssohn the meanings of some of -his “Songs without Words.”</p></div> - -<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Goethe also says, in the fourth part of ‘Dichtung und -Wahrheit,’ “I have already but too plainly seen, that no one person -understands another; that no one receives the same impression as another -from the very same words.”</p></div> - -<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> The following Letter contains the result of the audience -requested.</p></div> - -<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> See Letter to his Mother of the 3rd of September, 1842.</p></div> - -<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> See Letter to the King of the 28th of October, 1842.</p></div> - -<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> See Letter of 10th August, 1840.</p></div> - -<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> The birthday of Mendelssohn’s Father.</p></div> - -<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> After the death of his Mother.</p></div> - -<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> From his own Psalm, op. 42.</p></div> - -<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Gade dedicated his C minor symphony to Mendelssohn.</p></div> - -<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> This conference was held in order to hasten the -performance of the plans of the King. See the letters of 28th October, -1842, and 5th December, 1842.</p></div> - -<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Neither of these works, however, had yet been performed.</p></div> - -<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> The execution of this project also, nevertheless was not -completed and Mendelssohn, after some time had elapsed, requested the -King to relieve him from all public duties, and to be permitted to -remain only in an artistic and personal relation to his Majesty, to -which the King was graciously pleased to accede.</p></div> - -<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> Mendelssohn’s request was graciously granted by the King.</p></div> - -<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> The letter of Herr von Bunsen to Mendelssohn is inserted -here, in order to render the following reply intelligible.</p></div> - -<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> Herr Stern had accomplished the production of “Antigone,” -in the Odéon Theatre, in Paris.</p></div> - -<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> See also the Letter to Dehn, of the 28th of October, -1841.</p></div> - -<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> Mendelssohn’s servant.</p></div> - -<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> Mendelssohn was desired by the Berlin Theatre Intendancy -to compose this overture as quickly as possible (which he consequently -did in a few days), because “Athalia” was to be performed immediately. -The performance, however, did not take place till the 1st of December, -1845.</p></div> - -<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> To direct the musical festival there.</p></div> - -<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> The son of his sister Fanny.</p></div> - -<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> Mendelssohn’s paternal home, in which the Boeckh family -also resided.</p></div> - -<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> Inserted in order to make Mendelssohn’s reply more clear.</p></div> - -<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> This communication also led to no results.</p></div> - -<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> Here also this letter to Mendelssohn seems necessary to -render his reply intelligible.</p></div> - -<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> See the Letter to Bunsen of May 1st, 1844.</p></div> - -<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> Referring to his edition of “Israel in Egypt,” for this -Society.</p></div> - -<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> Franz Messer, at Frankfort-on-the-Main.</p></div> - -<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> For the Musical Festival in Birmingham, where “Elijah” was -performed for the first time.</p></div> - -<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> In relation to a couple of members of the orchestra, who -took the liberty to make some saucy remarks on Mendelssohn coming in -rather late one morning to direct a rehearsal at the Philharmonic.</p></div> - -<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> Moscheles recovered sufficiently to direct the rest of the -performances at the festival, except “Elijah.”</p></div> - -<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> Mendelssohn’s servant.</p></div> - -<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Dirichlet was engaged in a negotiation about a situation -at Heidelberg.</p></div> - -<div class="footnote"><p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> See letter about Reichardt, of December 28, 1833.</p></div> - -<div class="footnote"><p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> After Fanny Hensel’s death.</p></div> - -<div class="footnote"><p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> Mendelssohn and his brother, with their families, went -together to Switzerland after Fanny Hensel’s death.</p></div> - -<div class="footnote"><p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> The author of the ‘History of Greece.’</p></div> - -<div class="footnote"><p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> To allow the “Elijah” to be performed for the benefit of -that institution.</p></div> - -<div class="footnote"><p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> Mendelssohn was to direct the “Elijah” in Vienna.</p></div> - -<div class="footnote"><p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> In the tenth edition of Brockhaus’s -‘Conversations-Lexicon,’ vol. vii., 1852, we read, “She felt great -repugnance to publish, so that her brother <i>often</i>, in jest, allowed her -compositions to appear under his name.”</p></div> - -<div class="footnote"><p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> The name of the place invariably indicates where the Work -was composed, or at all events finished.</p></div> - -</div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Letters of Felix Mendelssohn-Bartholdy -from 1833 to 1847, by Felix Mendelssohn-Bartholdy - -*** END OF THIS PROJECT GUTENBERG EBOOK LETTERS OF FELIX MENDELSSOHN-BARTHOLDY *** - -***** This file should be named 50473-h.htm or 50473-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/4/7/50473/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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