MENDELSSOHN

MENDELSSOHN, BARTHOLOMY FELIX, one of the most distinguished musicians of the nineteenth century, was born at Hamburg on the 3d of February 1809. His grandfather was the celebrated Moses Mendelssohn, a Jewish philoso-

pher and writer on various subjects, and, among these, on the aesthetics of music. His father was a wealthy merchant of the Jewish persuasion at Berlin, who spared no expense on the literary as well as musical education of his son Felix. His mother, an accomplished woman, gave him his first lessons in music. During a visit to Paris, he and his sister received lessons on the pianoforte from Madame Bigot; and on his return to Berlin he was placed under Berger the pianist and Zelter the teacher of harmony and counterpoint. He received some lessons from Hummel; and in a few years became a first-rate pianist and an excellent organist, besides acquiring a practical knowledge of the violin, and a familiarity with the powers and uses of orchestral instruments. In 1821 he had become an excellent pianist, and had learned to improvise with great facility upon any musical theme given to him; while his retentive memory enabled him to play without book most of the finest classical pianoforte compositions. Being really in one sense an amateur musician, from the wealthy condition of his father, he was at full liberty to develop his musical powers in any form that he might choose. In that respect he was not like Handel, Haydn, Mozart, Beethoven, and others, who, as young prodigies of musical talent, had nevertheless to make their bread by their art, and to endeavour to consult the taste of the public. Probably this superiority of social condition may have influenced his feelings and the style of his musical compositions. Certainly he seems in general to have cared little for the production of that flowing and impressive melody which forms so great a charm in the works of the great composers just named, and to have devoted his attention rather to the effects of instrumentation, and to the resources of harmony, modulation, and counterpoint. In his fifteenth year he published two quartets for pianoforte, violin, viola, and violoncello. Next, a grand sonata for pianoforte and violin, and a third quartet. In 1827 he brought out at Berlin a comic opera, Die Hochzeit des Camacho, which did not succeed, and was withdrawn. This disappointment seems to have disgusted him for life with opera-writing. A copy of that opera, arranged for pianoforte, &c., was published at Berlin. In 1829 Mendelssohn visited London, and the writer of this article then heard him perform, at a rehearsal in the Philharmonic Society's rooms, a double concerto with Moscheles in a style that excited great admiration, and witnessed his conducting of his Overture to A Midsummer Night's Dream, with a minute attention to the details of orchestral effect which seemed quite new to the performers, and not a little annoying to their self-love; for Mendelssohn frequently stopped them, and made them repeat the passages over and over until he was satisfied. But the lessons that he then and afterwards gave them were not forgotten; they were laid to heart, and in a very few years rendered the London Philharmonic orchestra one of the best in Europe. From London Mendelssohn went to Edinburgh with his friend the Chevalier Neukomm, and after a short residence there, visited some of the most remarkable scenery of Scotland. His visit to Staffa suggested his Overture to The Cave of Fingal. He afterwards went to Paris, and performed there; and then visited Italy, where he remained about four years. After his return to Berlin he was engaged in a music-directorship at Düsseldorf, which he resigned in 1836, in consequence of irreconcilable dissensions which arose between him and the artists and amateurs. It was there that he composed and produced his Oratorio of St Paul. In that year he married at Frankfurt. In 1837 he settled in Leipzig as director of the concerts; and the university conferred on him the title of Doctor. He was called to a court appointment at Berlin, but soon obtained leave to return to Leipzig, where he felt that he could serve his art better than at court. At Leipzig he composed most of his works; and by his unwearied exertions at last formed

in that town a school of music, which is now one of the best in Europe. He was frequently called away from Leipzig to conduct performances of his own music, and several times revisited England, which, next to his own Germany, was the land he best loved. His last visit to England was in 1846, to conduct his Elijah, written for that year's Birmingham festival. Incessant labour at last affected his health, and rendered relaxation indispensable. He proceeded to Switzerland. In May 1846 he received news of the death of his sister, Madame Hensel, whom he tenderly loved. From this severe shock he never recovered. He endeavoured to divert his mind by making sketches of Swiss scenery,—for drawing and painting were among his many accomplishments,—but he felt that his bodily frame was decaying, and used to speak to his friends and relatives of his approaching death. Soon after his return to Leipzig he was attacked, on the 8th of October 1847, by a violent cerebral affection, which proved fatal on the 4th of November following. He left a widow and children to lament his premature death. His amiable manners, as well as his extraordinary accomplishments, endeared him to numerous friends, among whom he reckoned several in Great Britain. His domestic virtues are highly spoken of by all who knew him intimately. He was below the middle height, and delicately formed; his countenance handsome and intellectual, though somewhat effeminate. A good classical scholar, and well acquainted with modern languages, he possessed an accomplishment that is very rare among continental musicians—i.e., he spoke and wrote English remarkably well. Though not absolutely endowed with musical genius, his musical talents were of the highest order. The dry and pedantic discipline of Zelter may have repressed the estro of his gifted young pupil, and such training left its impress for a long time upon the compositions of Mendelssohn. About that time also several German theoretical and æsthetic writers began to declaim against Italian melody, and to insist that in music harmony and modulation were all in all. The bad effects of this false doctrine are but too evident in the music of the new German school. Mendelssohn's early death prevented the full development of his powers of composition, for it is evident that his style was becoming year after year more free and melodious. His St Paul, his Elijah, and his Symphony in A, are proofs of this. Most of his earlier works show more of musical learning and calculation than of melodic inspiration. As he never was compelled to write for bread, he always wrote his best—always carefully and conscientiously. He was not easily satisfied with his own works. His knowledge of the art of musical composition was great; his musical reading very extensive, and his memory prodigious; his skill as a pianist and an organist almost unrivalled. Besides the works above named, Mendelssohn published the following compositions:—Overture, Meerstille, &c.; Overture, Melusina; Quintet in A for stringed instruments; two grand Quartets for stringed instruments; two Concertos for pianoforte, with orchestra; Octet for stringed instruments in E flat; three Quartets for pianoforte, violin, viola, and bass; grand Sonata for pianoforte and violin; Sonata for pianoforte and violoncello; seven characteristic pieces for pianoforte alone; Rondo for pianoforte; Sonata for pianoforte; Fantasia on an Irish air; three Fantasie for pianoforte; six melodies, without words (Lieder ohne worte), for pianoforte alone; Concerto for the violin; religious Chorus, for four voices, Aus tiefer Noth; Ave Maria, for eight voices; religious Chorus for eight voices, Mitten wir im Leben sind; three Latin and German Motets, with organ accompaniment; the forty-second Psalm, with orchestra; grand Cantata for the anniversary festival of Albert Dürer; grand Cantata for the fête given by Alexander von Humboldt to the natural philosophers assembled at Berlin; three collections of songs for a single voice, with pianoforte;

music to Göethe's Walpurgis Nacht; six Sonatas for the organ; music for A Midsummer Night's Dream; Choruses to Antigone; Symphonies for grand orchestra, in score. The above is an approximative list. Among his works that he left unpublished were,—Music to Edipus; Choruses to Racine's Athalie; one act of his Opera of Loreley; songs for one voice and pianoforte, of which some of the best were written for Jenny Lind. (G. F. G.)