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.
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