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| author | nfenwick <nfenwick@pglaf.org> | 2025-02-05 18:07:08 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-05 18:07:08 -0800 |
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diff --git a/old/51750-0.txt b/old/51750-0.txt deleted file mode 100644 index d5f9165..0000000 --- a/old/51750-0.txt +++ /dev/null @@ -1,8962 +0,0 @@ -The Project Gutenberg EBook of Letters of Felix Mendelssohn to Ignaz and -Charlotte Moscheles, by Felix Mendelssohn - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Letters of Felix Mendelssohn to Ignaz and Charlotte Moscheles - -Author: Felix Mendelssohn - -Translator: Felix Moscheles - -Release Date: April 13, 2016 [EBook #51750] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK LETTERS OF FELIX MENDELSSOHN *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - - - - - - FELIX MENDELSSOHN’S LETTERS - -[Illustration: 1. Mendelssohn’s Study. From a Water-Color made by Felix - Moscheles a few days after the composer’s death.] - - - - - LETTERS - - OF - - FELIX MENDELSSOHN - - TO - - IGNAZ AND CHARLOTTE MOSCHELES - - TRANSLATED FROM THE ORIGINALS IN HIS - POSSESSION, AND EDITED - - BY FELIX MOSCHELES - - ILLUSTRATED - - [Illustration] - - BOSTON - TICKNOR AND COMPANY - 211 Tremont Street - 1888 - - _Copyright, 1888_, - BY CHARLES SCRIBNER’S SONS - AND TICKNOR AND COMPANY. - - _All rights reserved._ - - University Press: - JOHN WILSON AND SON, CAMBRIDGE, U.S.A. - - Dedicated - - TO - - SIR GEORGE GROVE, D.C.L., LL.D., - - THE TRUEST FRIEND TO MUSIC - - AND MUSICIANS. - -I am indebted to Mr. ISAAC HENDERSON, of New York, for his kind -assistance in the selections made for publication. - -Messrs. LITTLETON, of the firm of Novello, I have to thank for some -interesting details in reference to Mendelssohn’s business transactions -with them. - -The letters as published in “Scribner’s Magazine,” by arrangement, were -selections from my manuscript translations. The portraits of Mendelssohn -and of the Mendelssohn family were, however, not contributed by me, with -the exception of the reproduction of the bust by Rietschel, and of the -medallion by Knauer. - -FELIX MOSCHELES. - - - - -PREFACE. - - -The letters addressed by Felix Mendelssohn to my father came into my -possession in 1870. After Mendelssohn’s death, my father had carefully -arranged them in a special manuscript book, and had supplemented them -with an index of the contents and a table showing the dates of the -principal events in the life of his departed friend. - -If I have abstained from giving publicity to these letters for so long a -time, it is because I thought such delay was in accordance with the -wishes of both writers. Many passages occur in which prominent musicians -of those days are unreservedly criticised,--passages which I felt as -little authorized to suppress as to publish during the lifetime of those -alluded to. I trust they will be none the less interesting now that time -has judged between the critics and those criticised. Nor did I feel -justified in omitting passages that may prove of less interest to the -general public than to a smaller circle; for they truly depict the warm -friendship which, in the course of years, ripened between Mendelssohn -and Moscheles, and they are thoroughly characteristic of the bright and -genial way in which Mendelssohn would express his personal feelings. - -For a copy of my father’s letters to Mendelssohn, I am indebted to Prof. -Carl Mendelssohn, of Freiburg, the eldest son of the composer. From -these I have made extracts, or embodied their substance in a commentary, -where it seemed necessary to explain what Mendelssohn had written. To -give them in full I deemed undesirable, so much of similar -subject-matter from the pen of my father having already been made -public, notably in the “Life of Moscheles,” edited by my mother. This -biography is chiefly compiled from diaries extending over a period of -nearly sixty years, and faithfully reflecting his impressions on the -manifold incidents of his artistic career. - -The letters addressed by Mendelssohn to my mother could, however, not be -omitted, although an English version of most of these appeared in print -some years ago. They accompany the letters to my father in chronological -order, and bear testimony to the warm regard which Mendelssohn -entertained for her, and which she so fully reciprocated. Although only -five years his senior, she was well fitted to be his guide and Mentor on -his entrance into London society; and he, on his side, was always ready -to take advice and friendly hints from his “grandmother,” as she would -call herself. Since that time half a century has gone by. She has become -a grandmother and a great-grandmother, surrounded by a bevy of -great-grandchildren; and now, in her eighty-third year, she is still -with us, active in mind and body, and, while cherishing the memories of -the past, ever ready to share in the joys and to join in the aspirations -of the present. And when she looks back on the long list of departed -friends, no figure stands out more brightly in her memory than that of -Mendelssohn; and we all, young or old, love to listen when she talks of -him. - -I too have my recollections of him,--juvenile impressions, to be sure, -for I was not fifteen when he died; but none the less firmly are they -imprinted on my mind. Nor could it be otherwise. From earliest -childhood, I looked upon him as my parents’ dearest friend and my own -specially dear godfather, whose attention I had a right to monopolize, -whenever I thought my turn had come. I recollect waiting for that turn -more than once, while he was sitting at the piano with my father. When -it came, I had every reason to enjoy it. He really was a rare -playfellow, a delightful companion, not likely to be forgotten. A -certain race across the Regent’s Park; the tennis ball thrown into -immeasurable space; that pitched battle of snowballs, which appeared to -me second to none in the annals of warfare; his improvisation of a -funeral march, to which I enacted the part and exemplified the throes of -the dying hero,--all seem but things of yesterday. And then the drawing -of that troublesome hatchet!--to this day I am grateful to him for -helping me with that curve I could not get right. In fact, whether it -was play or lessons, my drawing or my Latin, he always took the most -lively interest in everything concerning me and my first steps along the -path of life,--the thorny path, I might add; for such it was on those -occasions when it led me away from the drawing-room in which he was the -ever-attractive centre,--when the hour struck which, according to cruel -practice, gave the signal for my discreet retirement. It is, however, -gratifying to me to remember that I occasionally proved refractory. One -evening, in particular, I successfully resisted, when Mendelssohn and my -father were just sitting down to the piano to improvise as only they -could, playing together or alternately, and pouring forth a -never-failing stream of musical ideas. A subject once started, it was -caught up as if it were a shuttlecock; now one of the players would seem -to toss it up on high, or to keep it balanced in mid-octaves with -delicate touch. Then the other would take it in hand, start it on -classical lines, and develop it with profound erudition, until, perhaps, -the two, joining together in new and brilliant forms, would triumphantly -carry it off to other spheres of sound. Four hands there might be, but -only one soul, so it seemed, as they would catch with lightning speed at -each other’s ideas, each trying to introduce subjects from the works of -the other. It was exciting to watch how the amicable contest would wax -hot, culminating occasionally in an outburst of merriment when some -conflicting harmonies met in terrible collision. I see Mendelssohn’s -sparkling eye, his air of triumph, on that evening when he had succeeded -in twisting a subject from a composition of his own into a Moscheles -theme, while Moscheles was obliged to second him in the bass. But not -for long. “Stop a minute!” said the next few chords that Moscheles -struck. “There I have you; this time you have taken the bait.” Soon they -would seem to be again fraternizing in perfect harmonies, gradually -leading up to the brilliant finale, that sounded as if it had been so -written, revised, and corrected, and were now being interpreted from the -score by two masters. - -Bright and enjoyable as were such performances, they were by no means -the only ones that impressed me. In my father’s house there used to be a -great deal of music-making. “To make music” (_Musikmachen_) is a German -expression that covers a vast area of artistic ground. I should say it -meant: “To perform music, for the love of music.” That is certainly how -it was understood by the select little circle of musicians which -gathered round the piano in London, and later on in the Leipzig home. -Their motto was that which stood inscribed over the orchestra in the -Gewandhaus: “Res severa est verum gaudium.” High art to them was truly a -source of eternal joy. As I write now, I know full well that I was born -under a happy constellation; it was a happy name that Mendelssohn had -given me, and Berlioz was not wrong when, quoting the line of Horace, he -wrote in my album: “Donec eris _Felix_, multos numerabis amicos” (As -long as you are _Felix_, you will number many friends). But in those -days the fact that I was enjoying special privileges scarcely dawned -upon me. It was all a matter of course; to be sure, Mendelssohn or -Liszt, the Schumanns or Joachim, would come in and make music, and I -would listen devoutly enough many a time; but then, again, I could not -always follow my inclinations. There were my Latin and Greek exercises -to be done by to-morrow; and when such was the case, I might or might -not listen to what was going on in the next room, even if it happened -that Mendelssohn was playing and singing some new numbers just composed -for the “Elijah.” - -The mention of my exercises reminds me of an incident truly -characteristic of Mendelssohn. It was on the evening of the 8th of -October, 1847, memorable to me as being the last I passed in his house. -He, Rietz, David, and my father had been playing much classical music. -In the course of an animated conversation which followed, some knotty -art-question arose and led to a lively discussion. Each of the -authorities present was warmly defending his own opinion, and there -seemed little prospect of an immediate agreement, when Mendelssohn, -suddenly interrupting himself in the middle of a sentence, turned on his -heel and startled me with the unexpected question: “What is the -_aoristus primus_ of τὑπτω, Felix?” Quickly recovering from my surprise, -I gave the answer. “Good!” said he; and off we went to supper, the -knotty point being thereby promptly settled. - -But the sounds of mirth, as the chords of harmony, were soon to be -silenced. On the following day, the 9th of October, Mendelssohn was -struck down by the illness that proved fatal. He died on the 4th of -November. - -Shortly afterwards I spent many an hour in the house that had been his. -Cécile Mendelssohn, his widow, carried her heavy burden with dignity and -resignation. The door of his study she kept locked. “Not a pen, not a -paper,” she says, in a letter to my father, “could I bring myself to -move from its place; and daily I admire in him that love of order which, -during his lifetime, you have so often noticed. That room must remain, -for a short time, my sanctuary,--those things, that music, my secret -treasure.” - -It was with feelings of deep emotion that I entered that sanctuary, when -shortly afterwards Cécile Mendelssohn opened its door for me. I -possessed already much love for the study of painting; and now I had -asked and obtained permission to make a water-color drawing of that -room, while all yet stood as the master and friend had left it. There, -on the right, was the little old-fashioned piano, on which he had -composed so many of his great works; near the window was the -writing-desk he used to stand at. On the walls hung water-colors by his -own hand,--Swiss landscapes and others; to the left, on the bookcases -containing his valuable musical library, stood the busts of Goethe and -Bach; on the writing-table, the pen which but the other day was wet, -along with this or that object which I had so recently seen in his hand. -And as I sat working, doubts and misgivings arose in my mind. Was it not -profanation, I thought, to intrude with my petty attempt at painting, -where all was hushed in the silence of death? But I worked on, and my -thoughts were lost in my first great sorrow. Cécile Mendelssohn came and -went. Not a sigh, not a murmur, escaped her lips. - -But enough. I close this hasty sketch, although yet many a color and -form arise in my memory to complete it. Sufficient has been said in -these pages, if between the lines there stands to read, that in editing -and translating the following correspondence I have been performing a -pleasant duty and a labor of love, and that I feel happy to share with a -larger circle of Mendelssohn’s friends and admirers the possession of -those letters which have so long been dear to me. - - -LONDON, _May, 1888_. - - - - -LIST OF ILLUSTRATIONS. - - - PAGE - -1. MENDELSSOHN’S STUDY. From a Water-Color Drawing -made by Felix Moscheles a few days after the composer’s -death _Frontispiece_ - -2. IGNAZ MOSCHELES. From a Fainting by Felix Moscheles 1 - -3. Mendelssohn’s Congratulations to Moscheles on the -Latter’s Birthday 20 - -4. Fac-simile of Mendelssohn’s Dedication to Moscheles -upon the Fly-leaf of Beethoven’s Musical Sketch-Book 49 - -5. Fac-simile of the Drawing in Mendelssohn’s Letter of -Feb. 27, 1833 55 - -6. The well-known “Cradle Song,” composed for his Godson. -The words are by Klingemann 62 - -7. First Page of the Original Draft of Mendelssohn’s “Melodies” -(Songs without Words). The original in the -possession of Felix Moscheles 64 - -8. Fac-simile of Assignment to Mr. Novello 67 - -9. Fac-simile of Note from the Zoölogical Gardens 71 - -10. Fac-simile of Humorous Note, “At the Residence” 75 - -11. Fac-simile of Card of Invitation filled in by Mendelssohn 79 - -12. First Page of the Original Score of Mendelssohn’s Overture -to the “Isles of Fingal,” given by him to Moscheles. -On perusing it fifty years later, Gounod -made the note appended 83 - -13. The House in which the Moscheleses lived, No. 3 Chester -Place, Regent’s Park. Mr. Moscheles is supposed to -be looking out of the window of his dressing-room. -From a Sketch made by Mendelssohn in an autograph -album given by him to his godchild 90 - -14. Regent’s Park, near the Moscheles House. From a -Sketch made by Mendelssohn in an autograph album -presented by him to his godchild 94 - -15. “Mailied,” in Letter of May 15, 1834, to Mrs. Moscheles -(Fac-simile) 105 - -16. THE BRIDGE OF SIGHS. From a Water-Color Drawing -by Mendelssohn 122 - -17. On March 20, 1836, the University of Leipzig presented -Mendelssohn with the diploma which we reproduce. -It is worded, “Ob insignia in artem musicam merita,”--“In -recognition of his signal services to the art of -music” 146 - -18. “Im Kahn” (words by H. Heine), on last page of Letter, -Dec. 12, 1837 (Fac-simile) 161 - -19. Fac-simile from Letter of Feb. 27, 1839 183 - -20. “Des Hirten Winterlied.” In Letter of Nov. 18, 1840, -to Mrs. Moscheles 199 - -21. BIRMINGHAM. From a Pen and Ink Drawing by Mendelssohn 208 - -22. Fac-simile of an Album Sketch by Mendelssohn 211 - -23. Mendelssohn left England with Moscheles and Chorley, -on the 3d of October. The Sketch is taken from a -joint letter which they wrote on their arrival at Ostend. - - “Bid me not speak, bid me be mute.”--_Goethe._ - - “There are moments in the life of man.”--_Schiller._ - - “Here the ship gave a lurch, and he grew seasick.”--_Byron._ - - “However, we are all three sitting comfortably round - the fire in Moscheles’s room, and our thoughts are with - you. - -F. M. B.” 215 - -24. Although, or perhaps because, he had no “special duties” to perform -as “Kapellmeister” in Berlin, the time he spent there was productive of -great work. Amongst other things he composed the music to Sophocles’s -Antigone, in the surprisingly short time of eleven days. It was -performed on the 28th of October, 1841, at the King’s Palace in Potsdam, -a select audience being invited on that occasion. - -In the Sketch taken from Mrs. Moscheles’s album, Mendelssohn gives the -stage arrangements, as made for the performance at the Berlin theatre:-- - - _a b._ Curtain and line of Proscenium. - _c d._ Scene representing Palace. - _x._ Altar to Bacchus. - _a e b._ Orchestra 5’ above the floor. - _a b._ 5’ above the orchestra. - _f g_, _h i_. Steps leading to the stage. - _k l_, _m n_. Steps leading to the orchestra. - _y z._ The usual limit between the orchestra and the - first row of stalls. - _y o p z._ Space for the instrumentalists. - -“This, however, is not from ‘Antigone,’ but in remembrance of many a -happy gathering, of all the happy days of last spring, and of - -“Yours gratefully, - -F. M. B.” 222 - -25. Fac-simile from a Letter written in July, 1842 225 - -26. MENDELSSOHN. From the Bust modelled by Professor -Rietschel 228 - -27. Fac-simile of a Second Page of Congratulations to -Moscheles, drawn May 30, 1844. (See also Illustration -No. 4) 244 - -28. Fac-simile of Drawing.--Incidents of a Concert at -Frankfurt 249 - -29. From a Cast of Mendelssohn’s Hand 266 - -30. Medallion modelled by Knauer, of Leipzig, shortly after -Mendelssohn’s death, and presented by him to the -Directors of the Gewandhaus. It was placed in the -concert-room at the back of the orchestra. We are -indebted to Messrs. Novello for the reduced copy of -the medallion 276 - -[Illustration: 2. IGNAZ MOSCHELES - -FROM A PAINTING BY FELIX MOSCHELES] - - - - -LETTERS -OF -FELIX MENDELSSOHN. - - -In 1824 Moscheles was engaged on a professional tour, giving concerts in -the principal cities of Germany. During his short stay in Berlin, and in -response to the two following notes from Mendelssohn’s mother, he gave -some instruction to Felix, then in his fifteenth year. How fully he, -even at this early period of their acquaintance, recognized the genius -of the young composer, is shown by an entry in his diary. He says: “I am -quite aware that I am sitting next to a master, not a pupil.” - - * * * * * - -BERLIN, Nov. 18, 1824. - -We much regretted not to see you at dinner to-day; pray let us have the -pleasure of your company, if not earlier, at least next Sunday. Have you -kindly thought over our request concerning lessons? You would sincerely -oblige us by consenting, if you could do so without interfering with -the arrangements you have made for your stay in this place. Please do -not set down these repeated requests to indiscretion, but attribute them -solely to the wish that our children should be enabled to profit by the -presence of the “prince des pianistes.” - -With sincere regards, yours, - -L. MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Nov. 23, 1824. - -Being uncertain whether my son will find you at home, I write this line -to ask if you feel inclined to visit the Sing-Akademie. Felix will at -any rate call for you, as his way lies in that direction. If you are -disengaged, will you join our family dinner at three o’clock, or, should -that be impossible, will you accompany Felix, after the “Akademie” (it -lasts from five to seven o’clock), and be one of our small circle at -tea? - -If I may be allowed to renew my request that you will give lessons to my -two eldest children, be good enough to let me know your terms. I should -like them to begin at once, that they may profit as much as possible -during the time of your stay here. - -With sincere regard and esteem, yours, - -L. MENDELSSOHN BARTHOLDY. - - * * * * * - -The relative positions of teacher and pupil were soon to be exchanged -for friendship of a lasting character,--Moscheles, on the one hand, -greeting with the most cordial sympathy the great promises of the -youthful genius; Mendelssohn, on the other, appreciating with all the -warmth of his artistic nature what had been achieved by the maturer -artist, his senior by sixteen years. - -In the autumn of 1826 Moscheles, then again on a concert tour through -Germany, made a short stay in Berlin, and spent many happy hours with -his friends the Mendelssohns. Felix had just completed his Overture to -“A Midsummer Night’s Dream,” and played it, arranged for two performers, -with his sister Fanny. Amongst other compositions that mark these early -days of his musical career, were the Sonata in E major and an Overture -in C. Moscheles in his diary expresses his warm appreciation of those -works, and comments at the same time on the fact that “this young genius -is so far scarcely recognized beyond the small circle of his teachers -and personal friends. One more prophet,” he adds, “who will have to lay -the foundation of fame in another country.” - -On the eve of Moscheles’s departure from Berlin, Mendelssohn sent him -his E major Sonata with the following lines:-- - - * * * * * - -BERLIN, Nov. 28, 1826. - -You kindly expressed a wish, dear Mr. Moscheles, to have my Sonata, and -I therefore take the liberty of presenting it to you. Should you -occasionally come across it, let it remind you of one who will always -esteem and respect you. - -Once more a thousand heartfelt thanks for the happy hours I owe to your -“Studies;” they will long find an echo in my mind. I am sure they are -the most valuable of your works,--that is, until you write another. - -My best wishes accompany you on what I trust will be a happy and -pleasant journey. - -Please remember me most kindly to Mrs. Moscheles, and believe me - -Ever yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -During the next two years Mendelssohn was cultivating and developing his -natural gifts in every direction. He attended the lectures of Hegel, -Ritter, and others at the Berlin University, was in frequent contact -with some of the most prominent men of the day, and already took the -highest position both as a composer and as a pianist. Amongst the -friends who formed the select circle at his father’s house, and who -remained attached to him through life, were Eduard Devrient, the -distinguished actor and writer on Dramatic Art, and Carl Klingemann, who -lived many years in England as Attaché to the Hanoverian Embassy. The -latter was highly gifted as a poet, and many of Mendelssohn’s most -popular songs were inspired by his verses. - - * * * * * - -BERLIN, Dec. 12, 1828. - -MY DEAR SIR AND ESTEEMED FRIEND,--My son, in whom you take so kind an -interest, is about to leave his home in a few months, and to go forth -into the world. He is a musician, and a musician he means to remain; and -in furtherance of his musical education he proposes to make some stay in -Italy, France, England, and Germany, with a view to becoming acquainted -with the great works of art, the prominent artists and art institutions -of these countries, and of seeing for himself what Music aspires to, and -what it has achieved. - -What a comfort it is to us to know that in that vast metropolis, so -strange and so new to my son, he is to be welcomed by such true and warm -friends as yourself and Carl Klingemann! - -To him please remember me most kindly when you see him, and do not fail -to present my kindest regards to Mrs. Moscheles. - -Yours most truly, - -A. MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Jan. 10, 1829. - -DEAR SIR,--Let me begin by apologizing for troubling you with this -letter. - -The kindness and friendship you have so often shown me will not, I know, -fail me on this occasion; more especially as I come to you for advice on -a subject of which I know you to be the most competent judge. The -matter on which I want your kind opinion is this:-- - -I intend to start at the beginning of this year, and to devote three -years to travelling; my chief object being to make a long stay in Italy -and France. As it is desirable, for several reasons, that I should spend -a few days in Berlin about the middle of next December, before leaving -for Rome, I intend to devote the eight and a half months of the present -year, during which I can absent myself, to visiting first those cities -of Germany I am not acquainted with, such as Vienna and Munich, and -then, if possible, I would extend my journey to London. - -The object I have in view is, not to appear in public, but rather to be -musically benefited by my tour, to compare the various views and -opinions of others, and thus to consolidate my own taste. As I only care -to see what is most remarkable in these two cities, and to become -acquainted with those eminent in the world of Art,--not, as I said -before, to be heard myself or to appear in public,--I trust the time I -can devote to my travels will not prove too short. Now, the question -which I want you to decide is this: whether it will be better to begin -or to end with London. In the one case I should be in Vienna early in -April, remaining there till about the middle of July, and go first to -Munich _viâ_ the Tyrol, and then down the Rhine to London, where I could -stay till December, and return by way of Hamburg to Berlin. In the -other case I should take London first in April, remain till July, then -go up the Rhine to Munich, and through the Tyrol to Vienna, and thence -back to Berlin. Evidently the former of these tours would be the more -agreeable, and as such I would willingly select it; but in following the -latter, should I not have a better chance of seeing the two capitals to -the fullest advantage,--the season in Vienna coming to an end, as I am -given to understand, in May, whereas in London it extends all through -June and even beyond? - -You, who have so long lived in both cities, and are so well acquainted -with musical men and matters in both, will best be able to solve my -doubts and to answer a question of so much importance to me. You have -given me such constant proofs of your kindness and readiness to oblige, -that I feel confident you will not discontinue your friendly assistance, -but once more give me the benefit of your advice. - -I have yet to thank you for the second book of your splendid “Studies.” -They are the finest pieces of music I have become acquainted with for a -long time,--as instructive and useful to the player as they are -gratifying to the hearer. Might you not feel disposed to publish a third -book? You know what service you would be rendering all lovers of music. -With best regards to Mrs. Moscheles, I have the honor to remain, - -Yours most respectfully and truly, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -In answer to this and the preceding letter from Mendelssohn’s father, -Moscheles advises Felix to begin his projected tour with a visit to -London. - - * * * * * - -BERLIN, March 26, 1829. - -DEAR SIR,--I sincerely thank you for your kind letter of the 23d of last -month, which has quite settled my plans. I shall follow your advice and -go to London first. Do not take it amiss if I now recall your kind -offers and take you at your word. If I am indiscreet, you have but your -own kindness and friendliness to blame; and so I trust you will make -allowances for my boldness, and will moreover grant my requests. Your -description of London is so attractive, and the way you meet my wishes -so friendly, that it is no wonder I made up my mind at once. - -According to your advice, I have made inquiries about the boats between -Hamburg and London. The first sails on the 4th of April, and after that, -one every week. It will be impossible for me to leave by the first or -second, as I have hitherto not been able to make any preparations. - -I have been very busy lately conducting, for the benefit of a charitable -institution, two performances of Sebastian Bach’s Passion according to -Saint Matthew, with the aid of the Sing-Akademie and the Royal Band; and -now the public is loud in its demands for a third performance, which, -however, is quite out of the question. - -The whole thing has so interfered with the completion of some of my own -compositions, and with various business, that I shall require at least a -fortnight to prepare for my departure; then I want to stay a few days in -Hamburg, so I shall leave only by the third steamer, on the 18th of -April, due in London on the 20th. If all goes well, I leave Berlin on -the 10th of April, arrive in Hamburg on the 12th, and shall call upon -you at your house on the 20th. You cannot fancy how delighted I am at -the prospect of seeing you in the midst of your own happy surroundings -and in the brilliant position you occupy, and how anxious I am too to -hear your latest compositions, especially the new symphony you speak of. - -Paganini is here; he gives his last concert on Saturday, and then goes -direct to London, where I believe he will meet with immense success, for -his never-erring execution is beyond conception. You ask too much if you -expect me to give a description of his playing. It would take up the -whole letter; for he is so original, so unique, that it would require an -exhaustive analysis to convey an impression of his style. - -Now, to my great requests; I put them, trusting to your kind indulgence. -Can you really take rooms for me, as you suggest in your letter? -Anything would be welcome, however small, if in your neighborhood. If -so, please let Klingemann know; he would have time to send me the -address to Berlin. Secondly, I want your advice as to whether I should -really bring the scores of some of my compositions, and if so, which -would be the best to select? I was thinking of my Overture to “A -Midsummer Night’s Dream;” do you think that suitable? And if I pack -manuscripts in my portmanteau, shall I be able to pass the custom-house -without difficulty? In that case I would bring several of my -compositions, and submit them to your judgment previous to making a -selection. - -I by no means expect you to answer all my questions yourself, for I know -how precious every single moment of your time in London is; but if you -will give Klingemann the desired information and your decisions on the -above, you will again oblige me, and add one more claim to my sincere -gratitude. - -Please give my best compliments to Mrs. Moscheles, and believe me - -Yours most sincerely, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Moscheles writes to say that he has secured rooms for Mendelssohn at No. -203 Great Portland Street, Oxford Street. He urges him to bring with him -for performance in London some of his compositions, more especially his -Overture to “A Midsummer Night’s Dream,” and his sixteen-part Cantata, -“Hora est,” and adds that he will encounter no difficulty at the -custom-house. - -On the 21st of April Mendelssohn arrived in London; on the 23d Moscheles -notes in his diary, “I took him a round of calls to introduce him to -Chappell, Cramer, Collard, etc.;” and then follow daily memoranda, -recording pleasant hours spent in and out of Moscheles’s house. The -following note refers to Mendelssohn’s offers of assistance in copying -out a Fantasia for pianoforte and orchestra, “Strains of the Scottish -Bards,” which Moscheles had just written and dedicated to Sir Walter -Scott (Op. 80),--a composition which had been put on the programme of -Moscheles’s concert announced for the 7th of May. - - * * * * * - -LONDON, April 25, 1829. - -Might I request you, dear Mr. Moscheles, to send me by bearer the -promised part of your Fantasia to copy? I hope to have some time to -spare to-day and to-morrow morning, and will endeavor to distinguish -myself to the best of my ability by putting large heads to my notes and -being generally correct, so that I may frequently be allowed to assist -you; and if you are satisfied with my copying, I trust you will prove it -by giving me further orders. I only beg you will send me some sheets of -music paper, as I do not know your size and have none by me. - -I regret that Professor Rosen,[1] who has just called on me, has -reckoned on my coming to dinner to-day, and I must therefore request you -to apologize for my absence to Mrs. Moscheles. At any rate, I shall be -with you on Saturday at about eight o’clock, as you have allowed me to -do so. - -Your respectfully devoted - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -THURSDAY. - -DEAR MRS. MOSCHELES,--I regret that I am engaged for dinner and evening, -and see no possibility of getting off, however much I should like it. -But I trust you will let me call as soon as I have moved into my -Portland Street quarters (I am doing so to-day), and ask when I may come -instead. I am much obliged to Mr. Moscheles for desiring to see some of -my new things; and if he will promise to let me know when he has had -enough of them, I will one of these days bring a cab-full of manuscript -and play you all to sleep. - -Excuse this hasty line of - -Your migrating - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -During the following months they spent many pleasant hours together. -Mendelssohn brought the “cab-full;” and amongst other compositions it -contained his sacred Cantata on a Chorale in A minor, a Chorus in -sixteen parts (“Hora est”), and a stringed Quartet in A minor; and -Moscheles finds in the works of the young composer “a solid substratum -of study, and the rarest and most promising of natural gifts.” He soon -became a favorite in all circles of London society, always welcome as an -artist and as a genial companion. His Overture to “A Midsummer Night’s -Dream” was performed, and met with an enthusiastic reception. - -What he writes of his Double Concerto is so bright that we quote his own -words:-- - - * * * * * - -“Yesterday Moscheles and I had a first trial of my Double Concerto in E -in Clementi’s piano-manufactory. Mrs. Moscheles and Mr. Collard were our -audience. It was great fun; no one has an idea how Moscheles and I -coquetted together on the piano,--how the one constantly imitated the -other, and how sweet we were. Moscheles plays the last movement with -wonderful brilliancy; the runs drop from his fingers like magic. When it -was over, all said it was a pity that we had made no cadenza; so I at -once hit upon a passage in the first part of the last _tutti_ where the -orchestra has a pause, and Moscheles had _nolens volens_ to comply and -compose a grand cadenza. We now deliberated, amid a thousand jokes, -whether the small last solo should remain in its place, since of course -the people would applaud the cadenza. ‘We must have a bit of _tutti_ -between the cadenza and the solo,’ said I. ‘How long are they to clap -their hands?’ asked Moscheles. ‘Ten minutes, I dare say,’ said I. -Moscheles beat me down to five. I promised to supply a _tutti_; and so -we took the measure, embroidered, turned, and padded, put in sleeves _à -la_ Mameluke, and at last with our mutual tailoring produced a brilliant -concerto. We shall have another rehearsal to-day; it will be quite a -picnic, for Moscheles brings the cadenza, and I the _tutti_.”[2] - - * * * * * - -In the summer of this year Moscheles made a concert tour through -Denmark, whilst Mendelssohn took a trip to Scotland with Klingemann. -There, after the multifarious duties and pleasures of a London season, -he sought fresh strength and energy; there, also, he conceived the germs -of two great works, subsequently to be matured, the Scotch Symphony and -the Overture to “The Isles of Fingal.” Towards the end of November he -returned to Berlin, in time for the celebration of his parents’ silver -wedding. - - * * * * * - -JAN. 6, 1830. - -DEAR MADAM,--I hardly know how to ask your pardon for my sins, for I -have a load of them on my conscience; yet were I to trouble you with a -string of excuses, you might think that a new sin. To be sure, my -writing thus late is unpardonable, considering all the kindness and -friendliness you showed me in the spring; but it is true also that these -last few days have been the only quiet ones since we parted. First, -there was our Highland tour in anything but favorable weather, with bad -roads, worse conveyances, still worse inns and landlords, and the -richest and most picturesque scenery,--all of which so entirely -engrossed us that we could not collect our thoughts for even a single -day. Then I returned to London; and just as I was finishing some work, -and getting through all manner of business before starting for the -Netherlands to meet my father, I had the misfortune to be thrown out of -a gig, and was obliged to be six weeks in bed and two months in my room. -At last I was able to travel home; but my injured foot, which was very -weak, made the journey both painful and dangerous, and I felt so -prostrate when I did reach home, that I was condemned to another -imprisonment of several weeks. A few days ago we celebrated the silver -wedding of my parents, for which I was obliged to finish some work;[3] -so you see I had a most busy and varied time of it, the happiest and the -most disagreeable days of my life following each other in rapid -succession. Of course I feel rather upset by all this. Witness this -careless, confused letter; yet I would not put off writing lest I should -add to my sins. - -And now I do not know how to thank you and Mr. Moscheles, for words -cannot sufficiently express my gratitude. You know what it is to visit a -foreign land for the first time, and to be a stranger among strangers. -This feeling, perhaps the most terrible of all others, I have been -spared through your kindness, and it is you who have lessened the -painful weight of my first separation from my family. If England has -made a favorable impression upon me, it is to you I chiefly owe it; and -now that I have got over the most difficult part of my tour, I augur -favorably for the remainder. I am not going to thank you for each -individual act of kindness, or for all the trouble you took about -me,--if I did, there would be no end of it; but I may say to you and to -Mr. Moscheles that I appreciate from my heart your friendly feelings -towards me, and the kindness with which you received me, making all -things easy that were difficult to a foreigner. As long as I remember my -first entrance into the wide world, so long shall I also remember your -goodness. I do not know when I may be so fortunate as to say all this to -you instead of writing it down in these formal and cold characters, but -I do hope for the pleasure of another meeting before long, and for the -continuance of those friendly feelings, for which I shall ever remain - -Yours gratefully, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Three days later he writes:-- - - * * * * * - -BERLIN, Jan. 9, 1830. - -DEAR MR. MOSCHELES,--I have written to Mrs. Moscheles and asked -forgiveness for my long silence. Allow me to refer to that letter, and -to hope that the reasons therein detailed may plead for me with you; at -the same time I cannot refrain from assuring you personally how truly I -feel myself indebted to you, and how grateful I am for all the kindness -you have shown me. You received me in London in a way I could never have -expected, and gave me proofs of confidence and friendship which I shall -never cease to be proud of. If hitherto I had looked up to you with -admiration, how much more so now, when on closer acquaintance I had the -happiness to find in you an example fit, in every respect, to be -followed by any artist! You know best yourself the value of a kind -reception in a strange country, and the immense advantage of an -introduction through you, especially in England. If that country made a -most favorable and lasting impression on me, since, for the first time -far away from home and friends, I could spend such happy hours, it is -you I have to thank, to you I shall always be grateful. Might I but have -some opportunity of proving how deeply I feel my obligation! I hope I -may soon meet you again in some corner of the world, and find such -glorious new pieces of music as I have this time. The Symphony is quite -present to my mind, and I can play some of it by heart, especially the -first and third movements; but that is very insufficient, and I look -forward with impatience to the publication of this masterpiece. Will you -not soon give it to the public? You must yourself know how surely you -can reckon on a brilliant success and on the admiration and warmest -sympathy of every musician. For my part, I should be truly happy to see -the score published, and I am convinced that in this feeling I should be -joined by all who love music. Will you not soon let a second one follow? -Maybe you are at work on one already; it would be truly delightful if -you gave us more pieces in the same spirit, imbued with such earnestness -and depth; all real lovers of music here would hail them with pleasure. - -I mean to leave for Italy as soon as my foot will permit me to travel, -and request your permission to write to you occasionally on music and -musicians; should your time allow of your sending me a few words, you -know how much pleasure it would give me. - -With best wishes for your welfare and happiness, and trusting you will -preserve a kind remembrance of me, I remain - -Yours most sincerely, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -In the spring of 1830 Mendelssohn started on his continental tour. His -first station was Weimar, where, at the urgent request of Goethe, he -spent a memorable fortnight in the house of that “Pole-star of poets,” -as Mendelssohn had described him, when, as a boy of thirteen, he first -was privileged to be a guest at his house. - -Leaving Weimar, he proceeded to Munich and Vienna, and from there to -Italy. On his return he visited Switzerland and several of the German -musical centres; and after a short stay in Paris, he once more crossed -the Channel, arriving in London in April, 1832. His visit was marked by -the most kindly intercourse with his old friends. Speaking of these, he -says in a letter to his parents:[4]-- - - * * * * * - -“I wish I could describe how happy I am to find myself here again, where -everything is so congenial to my taste, and how glad to meet with so -much kindness from my old friends. With Klingemann, Rosen, and Moscheles -I feel as much at home as if we had never been separated. They are the -centre to which I am constantly gravitating. We meet every day, and I -feel thoroughly happy to be with such good and earnest people and such -true friends, in whose company I can show myself just as I am, without -reserve. The kindness of Moscheles and his wife to me is really -touching, and I value it in proportion to my warm and ever-growing -attachment to them both.” - - * * * * * - -During this stay in London he played for the first time his G minor -Concerto at the Philharmonic. In Moscheles’s concert he conducted his -Overture to “A Midsummer Night’s Dream,” which he had carefully revised, -and the Overture to “The Isles of Fingal,” recently written at Rome. - -Moscheles’s birthday was on the 30th of May, and Mendelssohn’s -congratulations on the occasion of his anniversary took the shape of a -drawing humorously illustrating some of his friend’s works. “The -writing,” he says, “is in Emily’s hand; the poem, by Klingemann; the -design invented, and the ink-blots executed, by Felix Mendelssohn -Bartholdy.” In his design we find “the young Berliner” (meaning himself) -practising a piece that Moscheles had dedicated to him. Further on, -“Respect” for the drums, that for once in the way are in tune; the “Blue -Devils,” that stand for melancholy; “The Last Rose of Summer,” on which -Moscheles had written Variations; the “Demons” refer to one of -Moscheles’s “Studies.” Next, Moscheles is conducting his Symphony. The -Scotchman with his bagpipes illustrates the “Anticipations of Scotland,” -a piece dedicated to Sir Walter Scott. The stirring theme of the -“Alexander Variations” is supposed to bring about the Fall of Paris; and -finally, the popular song “Au Clair de la Lune” comes in as being the -theme of some brilliant Variations. In the centre of the paper we -read:-- - -[Illustration: 3. Mendelssohn’s Congratulations to Moscheles on the -Latter’s Birthday. (See page 20.)] - - “Hail to the man who upward strives - Ever in happy unconcern; - Whom neither blame nor praise contrives - From his own nature’s path to turn.”[5] - -Mendelssohn spent two months in London, during which time many notes -passed between him and the Moscheleses relating to their respective -plans and engagements. We translate one of these as showing his -attachment to his old master, Professor Zelter, and the simple feeling -that prompted him to turn to his friends in his bereavement. - - * * * * * - -MAY 15, 1832. - -DEAR MRS. MOSCHELES,--If you are quite alone at dinner and in the -evening, I should much like to come to you. I have just heard of the -death of my old master. Please send a line in answer to your - -F. M. B. - - * * * * * - -The next letter is written soon after Mendelssohn’s return to Berlin. - - * * * * * - -BERLIN, July 25, 1832. - -DEAR MRS. MOSCHELES,--Pity this is not a note, and the servant waiting -below to carry it to you in an instant, instead of a letter travelling -by post, steam, and water, in such a matter-of-fact and business-like -way, whereas what I have to say is anything but business-like! I merely -long for a chat with you,--a little innocent abuse of the world in -general, and a special attack upon phrenology; a weak-fingered pupil, -down below in Moscheles’s study, playing all the while a slow presto, -and being suddenly startled by a few brilliant notes from another hand -to relieve her dulness;--in short, I want to go to Chester Place;[6] for -if I wish to talk to you, it is you I want to hear and not myself. Now, -all these wishes are vain; but why have you strictly forbidden me to -thank you ever so little? For that is what I really want to do, but dare -not, feeling that you would laugh at me; and after all, there is no way -of showing gratitude for happy days. When you look back upon them they -are already past and gone, and while they last, you think all the -pleasure they bring merely natural; for I _did_ think it natural that -you and Moscheles should show me all the love and kindness I could -possibly wish for. I never thought it might be otherwise; whilst now I -do sometimes feel that it was a piece of good fortune, and not a matter -of course. All this seems stupid; but if you only knew how strange I -have felt these last few weeks, and how unsettled is all I say and -think! When I left you on Friday night to go on board the steamer, I -pictured to myself how very much changed I should find our house and the -whole family,--two years’ absence, married sisters, and so on; but I -arrive, and after the first two days, there we are as comfortably and -cosily settled as though there had been neither journey, absence, nor -change of any kind. I cannot conceive having ever been away; and did I -not think of the dear friends I have made meanwhile, I might fancy that -I had been but listening to a graphic description of the things and -events which I have really witnessed. That, however, would not hold good -long, for every step brings some fresh recollection of my journey, which -I dreamily pursue, while my thoughts are straying far away; then I am -suddenly back again amongst parents and sisters, and with every word -they say and every step we take in the garden,[7] another recollection -from _before_ the journey starts up, and stands as vividly before me as -though I had never been away, so that events of all shades get -hopelessly mixed and entangled till I am quite bewildered. Whether all -this will eventually subside or not, I cannot tell; but for the moment I -feel as if I were in a maze and didn’t know which way to turn. The past -and present are so interwoven that I have still to learn that the past -is past. Well, never mind: it was more than a dream; and a tangible -proof is this letter which, poor as it is, I write and forward to you. -You have sometimes forgiven me when I was quite unbearable, and excused -me on the score of my so-called genius. To be sure, it was nothing of -the kind; but what matters, “if only the heart is black,” as the beadle -says. (Klingemann must tell you that story if you don’t know it.[8]) - -Only fancy, I have not been able to compose a note since my arrival! -That is the cause of my troubles, I think; for if I could but settle -down again to work, all would be right. Haven’t you got some German or -English words for a song which I might compose? Of course for a voice -down to C and up to F,[9] and I could play the accompaniment in 1833 on -the Erard, with the “slow presto” coming up from below. But I think I -could not even write a song just now. Who can sing the praises of the -spring when shivering with cold in July,--when the green leaves drop, -flowers die, and fruit perishes in summer? For such is the case here. We -have fires; the rain pours down in torrents; ague, cholera, and the last -decision of the German Diet are the topics of the day; and I, who have -played my part at the Guildhall,[10] am compelled to be guarded and -conciliatory lest I should be considered too radical. To-day the -cholera is announced again, although not by desire. This Russian gift -will, I suppose, settle down amongst us, and not leave us again in a -hurry. I am glad there are no quarantine laws, as there were, or else -the communications between Hamburg and Berlin might be cut off, and that -would be inconvenient to me for certain reasons; though when I first -mentioned to your sister in Hamburg that you or Moscheles might possibly -come here, I suddenly fell into disgrace. She looked at me very angrily, -and asked what was to be got in Berlin, and who took any interest in -music _there_. I named myself, but found little favor in her eyes: I was -detestable, growing more and more so, the very type of a “Berliner,” she -thought; next I became a stranger, then yet more, a strange musician; -and lastly she turned severely polite. But I changed the subject, -remembering your good advice to try and win her favor; so I said that, -after all, it was not likely you would go to Berlin, and that quite -reconciled her. Secretly, however, I say come--do come! We shall do -everything to make Berlin as agreeable to you as it _can_ be made; and -if Moscheles were to tell me that you intended coming on the 1st of -October, I should begin this very day to think of that date with joy. -The “Schnellpost-coupé” has just room for two, and it is such easy and -comfortable travelling. You should really make up your mind to come. I -will not tease you any more to-day, but will only beg you will let me -know when you go to Hamburg, that I may write you a letter in sixteen -parts, with every part singing out, “Come, do come!” - -Of course, I know all the attractions Hamburg has for you, and how -difficult it will be for you to tear yourself away. Nothing can be more -delightful than your father’s new house, looking out, as it does, upon -the “Alsterbassin,” and the city steeples,--all the rooms so bright and -cheerful, amply furnished, and yet not crowded, and no comfort wanting -that the most fastidious Londoner could want; besides which, the owner, -the rooms, the furniture, and, above all, the large music-room, plainly -show how anxiously you are expected. No doubt, then, you will find -everything charming and comfortable; but although we have no fine view -and no comforts to offer, we should one and all rejoice to see you, and -that, indeed, is the main point. - -By the by, Madame Belleville is here, and has met with but little -success. She intended giving a concert, and the bills announced that Mr. -Oury, her husband, was going to assist her; but the Berlin people would -not be attracted, so she gave it up, and performed at the theatre -between two comedies. People said there was no soul in her playing, so I -preferred not hearing her; for what a Berliner calls playing without -soul must be desperately cold. Take it all in all, I am _blasé_ with -regard to Hummel’s Septet and Herz’s Variations, and the public was -quite right to be _blasé_ too. Then, again, the “Lovely City” (see -Moscheles’s unpublished correspondence) is plain, into the bargain, and -so I prefer Madame Blahetka. Dear me! how badly I’ve behaved to her, -never saying good-by! Do apologize for me; but, above all, take my part -if your sister calls me disagreeable and abuses me for what I said about -Berlin. Tell her it was from sheer selfishness I spoke, and that I -chiefly thought of my own pleasure in wishing to see you both and the -children again,--in fact, say that I’m an egotist, for I am, and do want -you to come. My love to Emily and Serena, and may you and Moscheles be -as well and as happy as I wish you to be! - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -At the close of the London season the Moscheleses went to Hamburg on a -visit to Mrs. Moscheles’s relatives. The following letter was written on -Mendelssohn’s hearing of their arrival:-- - - * * * * * - -BERLIN, Aug. 10, 1832. - -DEAR MOSCHELES,-- - -_1st Motto_: “Tell it none but the wise.” -_2d Motto_: “Worrying pays.” - -_Old Play._ - -Therefore I write to you now, for if it pays to worry, worry I will till -it would move a stone; and you--tell it none, not even your friends, but -come to Berlin. Now look here, since I have your letter from Hamburg I -am doubly convinced that come you must, were it but to spend a few days -with us here; we will make so much of you! Yesterday I made a thorough -inspection of my rooms, and I found that they would suit you splendidly; -nowhere else shall you be permitted to take up your quarters than in the -Green-score Hotel, Leipzigerstrasse, No. 3,--that is to say, in my room. -It faces the street, but it is very quiet and pleasant, and as large as -your whole house in Norton Street; and the bedroom next to it is of the -same size. I should move a story higher, where another room could be -also cleared for servants or any one you choose to bring; a piano awaits -you; the stove acts well; in short, you see I am cut out for a -house-agent. I really do not exaggerate; you should be comfortably -quartered, and all would be well, were not the principal point--your -coming--still unsettled. So settle that, and when you do come, let it be -to our house; we will have a merry time of it. I should like to send you -a fugue in fifteen parts, and the subject of each part should be, “Come -to Berlin.” True, the country about here is not fine, our theatrical -cast not good, no singers worth speaking of, of either sex, but still -one can have music. - -A thousand thanks for your kind assistance in reference to the -“Piano-Songs;”[11] had already heard from Simrock that you had written -to him, and I quite reproach myself for having added one more to the -innumerable claims upon your time in London. I cannot sufficiently -admire your getting through all you do, with such method and precision; -but then, that is just what makes you the “lady patroness” of all -musicians who come to London, and it must seem quite hackneyed to you -when one of them attempts to thank you for your kindness. Nevertheless, -I do so, and thank you with all my heart. You would oblige me by sending -me a copy of the “Piano-Songs,” as you say you could do so. My father -has commissioned his correspondent, Mr. Giermann, to pay you without -delay the sum you were so kind as to disburse for me; and now once more -accept my best thanks for all the trouble you have taken. The work will -certainly go through at least twenty editions, and with the proceeds I -shall buy the house No. 2 Chester Place[12] and a seat in the House of -Commons, and become a Radical by profession. Between this and that, -however, I hope we shall meet, for possibly a single edition may prove -sufficient. But what is that allusion to the gravel-pits and the -beautiful city? Do you take me for a _damoiseau_, a shepherd, or maybe a -sheep? Do you think that I would not hear Madame Belleville because she -is not a Bellevue, or because of the wide sleeves she wears? I was not -influenced by any such reasons, although I must admit that there are -certain faces that cannot possibly belong to an artist, and are so icily -chilling that the mere sight of them sends me to freezing-point. But -why should I hear those Variations by Herz for the thirtieth time? They -give me as little pleasure as rope-dancers or acrobats: for with them at -least there is the barbarous attraction that one is in constant dread of -seeing them break their necks, though they do not do so, after all; but -the piano-tumblers do not as much as risk their lives, only our ears; -and that, I for one will not countenance. I only wish it were not my lot -to be constantly told that the public demand that kind of thing I, too, -am one of the public, and demand the very reverse. And then she played -in the interval between two plays; that, again, I cannot stand. First -the curtain rises and I see all India and the Pariahs, and palm-trees -and cactuses, and villany and bloodshed, and I must cry bitterly. Then -the curtain rises and I see Madame Belleville at the pianoforte, playing -a concerto in some minor key, and then I have to applaud violently; and -finally they give me “An Hour at the Potsdam Gate,” and I am expected to -laugh. No, it cannot be done, and there are my reasons why I do not -deserve your scolding. I stopped at home because I felt happiest in my -own room, or with my friends, or in the garden, which, by the way, is -beautiful this year. If you do not believe it, come and see for -yourself; that is the conclusion I always arrive at. - -I am working on the Morning Service for Novello, but it does not flow -naturally; so far a lot of counterpoint and canons, and nothing more. -It suddenly crosses my mind that one Sunday evening you did not send me -away when I awoke you from a nap at eleven o’clock P.M., but assured me -you were not thinking of going to bed yet. That was not right of you; -but it also recalls to my mind the Bach pieces we played together, and -that leads me to tell you that I have come across a whole book of -unknown compositions of the same kind, and that Breitkopf and Härtel are -going to publish them. There are heavenly things amongst them that I -know will delight you. - -Here I have found dreadful gaps; some of the best beloved are missing. I -cannot describe to you the feeling of sadness that comes over me when I -enter the Academy; it is as though something were wanting in the -building, as if it had changed its aspect since those who made it so -bright and dear to me are no longer there. Thus the remaining friends -are doubly dear, and thus I say, “Come,” or rather, “Come, all of you!” -for if you come, your people cannot remain in Hamburg, but _must_ -accompany you; it is but a short journey. You can fancy the loads of -kind messages I have to give you and your wife from all my friends, and -how they rejoice at the prospect of seeing you here. Above all, I beg of -you both not to say a word about this letter to your friends of the -Jungfernstieg or the Esplanade; the walls have ears, and if it once got -known how selfish I am I should never be able to show myself in Hamburg -again. - -I meant to write you a short letter, but you know, when we began -chatting of an evening, I never noticed how much too late it was getting -till your faces grew ceremonious; and as unfortunately I cannot see you -now, I must be warned by the paper, and conclude. Farewell, and remember -kindly yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Sept. 3, 1832. - -DEAR MOSCHELES,--Excuse my long silence; I was very unwell at the time I -received your last letter, suffering acutely from a musician’s -complaint, the ear-ache. I meant to write every day, and was always -prevented, till at last I am reminded, by Mr. Moore’s leaving, how -heavily I am in your wife’s debt, not having even as much as thanked her -for her last letter. Now I feel I must not write to her without also -answering your question as fully as I can. Excuse me if I do this in a -few words; a proper letter shall follow as soon as I have shaken off -that dreadful fit of depression which has been weighing on me for the -last few weeks; then only shall I be able to think again pleasantly of -pleasant things. Just now I am passing through one of those periodical -attacks when I see all the world in pale gray tints, and when I despair -of all things, especially of myself. So for to-day, nothing but -calculations. - -Concerning the concert, I have made inquiries of those in a position to -know, and, taking the lowest average, it seems to me you can rely on -taking at least one hundred Louis d’or, as I am told that even a -tolerably well-attended concert produces that amount, and you can reckon -on the presence of the Court, which usually sends twenty Louis d’or to -artists of high standing. The time when you ought to give your concert -coincides with our Art Exhibition, when Berlin is fullest; it would be -the first grand concert of the year, and they say that receipts -amounting to one hundred Louis d’or may be expected, and even -guaranteed. The cost of the large hall of the theatre is forty Louis -d’or, all included (bills, porterage, etc.). The room in the -Sing-Akademie is little more than half that sum, but it seems that the -Court does not care to go there. The concert-room of the theatre ranks -highest, and is considered the most aristocratic; so, at any rate, it -would be more advisable for you to take that. All agree on that point. -If you deduct forty Louis d’or from the total receipts, there remain, -say, sixty Louis d’or. There is no doubt that this is amply sufficient -to cover the expenses of posting from Hamburg to Berlin and back, and of -making a fortnight’s stay with your whole family at the hotel here; and -I would not enter into so much detail had not Neukomm mentioned -yesterday that when he told you he estimated the net receipts at sixty -Friedrich d’or, you thought there would be a risk in undertaking the -journey. Let me show you, then, that two post-horses, including fee to -post-boy, make one thaler per German mile; so the journey there and -back, a distance of thirty-nine miles, and a night’s quarters, would -come to a little more than one hundred thalers. How you could manage to -spend the balance, namely, two hundred thalers, in a fortnight, I cannot -see, unless you organized a popular _fête_ on a small scale; that, -however, probably not forming part of your programme, and your hotel -expenses certainly not amounting to more than eight to ten thalers per -day, your outlay would surely be covered. According to my estimate, you -would have a surplus. To be sure, I admit, unforeseen circumstances -might interfere with my calculations; but on the other hand the receipts -may be far greater than I have assumed, and at any rate I, for one, have -no doubt that your travelling and hotel expenses will be amply covered. - -I need not tell you that I give the Berliners credit for sufficient -musical taste to expect a crowded concert-room, nor need I say what my -wishes on the subject are. The time to come would be between the end of -this month and the end of October. The Art Exhibition is then open, and -that draws many people to Berlin, and altogether it is the height of our -season and the pleasantest time coming. - -Now, whatever you decide, let me know without delay, so that in case you -do not come, I may leave off rejoicing at the prospect, and that if you -choose the better course,--better for us,--I may prepare everything for -you to the best of my abilities. In that case I should beg of you to let -me know the day of your arrival, date of the concert, etc., and I could -get through all the preliminaries, the engagements to singers, and so -on, before you were here. But all this is quite understood. - -Could you not be induced to accept my offer concerning the use of my -rooms? They are large and cheerful enough. I wish you would; but I fear, -from what Neukomm said, that the whole plan is already abandoned. Well, -I cannot press a matter very strongly that concerns me so closely. I -must not be selfish, but wish you to do what seems best to you. - -Good-by; remember kindly yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -Under the same date Mendelssohn writes to Mrs. Moscheles:-- - - * * * * * - -BERLIN, Sept. 3, 1832. - -DEAR MRS. MOSCHELES,--That I should have not sooner answered all the -pleasant and friendly things you wrote, proves me quite a hardened -sinner; but I need scarcely say how happy and grateful I am to receive a -letter from you. All else concerning myself is as uncongenial as the -“gathering mists.” There are times when I should prefer being a -carpenter or a turner, when all things look at me askance, and gladness -and happiness are so far removed as to seem like words of a foreign -tongue, that must be translated before I can make them my own. Such -times I have experienced in their dullest shape for the last few weeks. -I feel unspeakably dull. And why, you will ask, write all this to me? -Because Neukomm last night treated me to a most beautiful lecture that -did me no good, and proposed all manner of excellent remedies, which I -am not inclined to apply; preached to my conscience, which I can do just -as well myself; and lastly asked why I had not yet answered your letter. -Because I am in a ferocious mood, said I. But he would have it that one -should always write according to one’s mood, and that, far from taking -it amiss, you would think it the proper thing to do. So it is upon his -responsibility I write; and should you be angry, I am a better prophet -than he, for I wanted to wait for a more favorable opportunity to send -you a cheerful letter, whilst he maintained that the tone mattered -little to you. - -As for your journey to Berlin, I have written Moscheles a thorough -business letter, telling him how matters stand, according to _my_ notion -and that of others. I will not repeat my request and wish on that score; -it might appear selfishness and presumption, both of which I am so -thoroughly averse to, that I would avoid even the semblance thereof. If -you, however, say your sister has half pardoned me because you are not -likely to come here, that is but poor comfort, and I would much rather -it were the reverse. You could pacify your sister on your return, and I -would give you _carte-blanche_ to tell her the most awful things about -me, to paint me as black as any negro, for then we should have had you -here, and what would all else matter after that? - -If Klingemann flirts, he is only doing the correct thing, and wisely -too; what else are we born for? But if he gets married, I shall laugh -myself to death; only fancy Klingemann a married man! But you predict -it, and I know you can always tell by people’s faces what they are going -to say or to do,--if I wanted bread at dinner, you used to say in an -undertone, “Some bread for Mr. Mendelssohn;” and perhaps your -matrimonial forecast might be equally true. But, on the other hand, I -too am a prophet in matrimonial matters, and maintain exactly the -reverse. Klingemann is, and will ever be, a Knight of the Order of -Bachelors, and so shall I.[13] Who knows but we may both wish to marry -thirty years hence? But then no girl will care to have us. Pray cut this -prophecy out of the letter before you burn it, and keep it carefully; in -thirty years we shall know whether it proves correct or not. - -You want to know how the dresses pleased? But don’t you remember it was -you who chose them? And need I assure you that they play a prominent -part on all festive occasions, and are much admired and coveted? -Moreover, a professor of chemistry expressed his astonishment at the -color of my mother’s shawl, scarcely crediting that so beautiful a brown -could be chemically obtained. Now, whether everything has been cut -right, and according to the latest fashion, I cannot tell; and that is -one reason why you should come, just to enlighten me. But, oh! how I -should like you to lecture me as you used to do! For how to overcome -these fits of intense depression, I really do not know. - -Excuse this stupid letter--it reflects the state of my mind--and give my -love to all around you. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Sept. 17, 1832. - -MY DEAR MOSCHELES,--Excuse my not having answered your letter of the 7th -before; I was waiting until I should have something definite to -communicate in reference to that plan of yours which I have so much at -heart. It was only last night I received some information myself. - -First, let me remind you that your wife promised me a good scolding in -answer to my crotchety letter and my splenetic mood. I have been keeping -savage all this while on purpose, and am still waiting in vain for that -most radical of cures. At first I thought that sort of condition was -best treated homœopathically, but I find that nothing of the kind does -me any good. You see you will have to come yourselves, after all. And -that leads me to the following historical particulars. - -When I got your letter, I went to Count Redern, the present Director and -Autocrat of all dramas and operas, to sound him as you desired. I am on -a tolerable footing with him, which means that we esteem one another at -a distance. But the noble Count was not to be got at; it was just the -time of the manœuvres, and our man of business rode off every morning -and received nobody; besides, for that day, a grand extra morning -performance was announced for two o’clock, to which all the officers -from the camp at Templower Berg were bidden. The civilians--that low -set--were only admitted to the pit-boxes, all other seats being occupied -by the military. The new opera of “Cortez” was performed, and the sons -of Mars applauded mightily; the whole staff was on the alert, and there -was no chance of talking to anybody until yesterday, when I at last -succeeded in catching the Count. I gave him to understand that you were -not disinclined to take Berlin on your way, and to arrange a concert -with the authorities of the Opera House, but that you could only remain -for a few days. He seemed greatly pleased, as well he might be, and no -thanks to him. He said that during your former stay you had given a -concert with the Directors of the Opera, and requested me to ask in his -name whether the same terms as those stipulated on that occasion, -namely, one third of the total receipts, would meet your views. He also -proposed one half of the net receipts; but as these much depend on the -expenses incurred, which can be made to attain a considerable figure, I -advised the other arrangement, especially as the Opera House holds -nearly two thousand persons. I begged him to ascertain from the books -the exact terms of the former arrangement and let me have them in -writing. This document was not completed until last night, and I forward -it to you now. It is certain that you can expect good receipts, these -however depending more or less on the piece to be acted, and on the -general support given by the managers of the theatre. The authorities -are always ready with the finest promises; but until the day of your -concert is actually fixed, you can expect nothing definite from them. - -Now, as you intend going to Dresden or Leipzig, you would actually have -to go out of your way to avoid Berlin, and you surely would not treat us -so unkindly. And if you care in the least for Serena’s pleasure, you -must bring her here and let her play with my little nephew Sebastian. -Don’t imagine that I am forming plans for a matrimonial alliance in that -direction; but my nephew is certainly an amiable and well-informed young -man of two years of age, whom Serena will love in spite of his paleness -and delicacy, for looks of that kind are considered interesting. And -then, how happy my two married sisters will be to receive your wife in -their homes! How much we will do in honor of you, and how much more for -love of you, all that I need not tell you. Come and judge for yourself. - -I trust you do not object to my having spoken to Redern without your -special instructions. I represented the whole affair, not as a proposal -coming from you, but as my own idea and private communication. If you -would let me know that you are coming, everything could be so settled -that you might arrive on the day itself, if you chose, and leave after -the concert. At that, however, I should take offence! - -My piano has not yet arrived; I think Erard has forwarded it _viâ_ the -Equator, or has done something or other, Heaven knows what! Milder tells -me her concert is to come off towards the end of October with Neukomm’s -“Septuor,” and a Symphony of his, and some songs of his, and a lot more -things of his. - -Well, Meyerbeer is formally invested with his title. Were there not a -distance of several German miles between a Court Kapellmeister and a -real Kapellmeister, it might vex me. The addition of the little word -“Court,” however, indicates that he has nothing to do, and that again -proves the extreme modesty of our nobility; for whenever the word -“Court” is put in conjunction with a title, it means that the recipient -has the distinction only, not the office, and that he is expected -henceforth to rest and be thankful. If they were to make a Court -composer of me to-morrow, I should be bound not to write another note as -long as I live. I am very glad that Lindenau remembers me kindly. How -wicked of me not to have written to him! I really mean to do so -shortly, but then you know I am a Court correspondent. - -There, I have answered your questions, and now I can give full vent to -my wrath and ask you whether you think that I belong to the great -brotherhood of grumblers and ought to join their order. Do you presume -to laugh at me and my troubles? Imaginary or real, they are intensely -worrying; and if, on the one hand, I have had two years of pleasure such -as is rarely enjoyed, I have had my full share of misery since. You say -I ought to put all that into music. Yes, if it were but so kind as to -let itself be put; but it whirls and twirls and shuffles about, and is -gone before I can catch it. I hope great things from your wife’s -scolding, but it has not come yet. I am reading Lord Byron, but he does -not seem to do me any good. In short, I do not know what to do. But -never mind; good-by. - -Yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Sept. 26, 1832. - -DEAR MOSCHELES! - -[Illustration: musical notation] - -That’s a flourish of trumpets joyfully announcing that you have at last -consented to come. It is too delightful to think that we are going to -see you and have you here; and what spirits the bare thought puts me -in, I need not say. A few lines are enough for to-day; all that is good, -the very best, is to come in a fortnight. _Tromba da capo._ - -In fact, I only write that you may answer and let me know exactly what I -am to do for you here. First, have you quite decided to stay in a hotel -(my offer does not seem acceptable to you), and should I not rather take -rooms for you by the week? To do so, I ought to know the day of your -arrival, and what accommodation you require. Secondly, you speak of -putting yourself on good terms with the singers. Have you any special -wish that I can communicate to Count Redern in reference to performers -or programme? What do you say to having your Symphony performed? but -then the whole orchestra should be on the stage, and you should conduct. -Thirdly, I will see Count Redern to-day and let him know the good news -that you have decided on coming. He must have the newspaper -advertisements inserted, and I shall recall to his memory the -“appropriate and interesting piece” to be performed. Fourthly, you say: -“What piano? that is the question!” I answer: “There be none of Beauty’s -daughters with a magic like Erard’s.” Now, my instrument left Hamburg a -week ago. I expect it every minute; and as you have already played upon -it at your concert in London, I should take it as a great kindness and a -good omen if you would inaugurate it here in public. That the instrument -is good, you know; so pray say, “Yes.” But if perchance you would -rather not, then there is my youngest sister’s new piano that is to -arrive to-morrow or the day after,--a “Graf,” which they write wonders -about from Vienna. She sends you word that it would be conferring the -greatest favor on her, on the piano, and on Mr. Graf, if you would be -the first to play upon it in public here. In addition to this, I know -for a certainty that all the Berlin pianoforte-makers will besiege your -door and go down on their knees to you. There are pear-shaped -instruments; there are some with three legs; some with a pedal for -transposing and with a small writing-desk inside; some with four -strings, others with only one; giraffe or pocket size; black, white, and -green. You will have the trouble and toil of selection, so you will have -full scope for reflection. Where then is the question? - -Now I understand what you say about Music and the great brotherhood of -grumblers. Much obliged, but I am not composing at all, and am living -much as an asparagus does; I am very comfortable doing nothing. When you -come I shall feel quite ashamed at not having anything new to show you; -upon my word, I shall not know what to say if you ask me what I have -been doing ever since I came here. But, hush! I turn over the paper, and -there I encounter the threatening figure of Mrs. Moscheles. Scold, but -listen! Do you think that mine is a sort of drawing-room melancholy such -as grown-up spoilt children indulge in? Don’t you know that I only -wrote so stupidly because I was so stupid? But pardon me, I shall come -round again, and by the time you arrive all melancholy will have -vanished. You will find neither a discontented creature nor a spoilt -child in me, and certainly not a genius; nothing but high spirits will -greet you; and, to show that you are not angry, you must at once accept -an invitation to a _fête_ to be held in my rooms in honor of Moscheles. -Several ladies have already promised to come; we will have music, and it -will be grand. - -A happy meeting then,--but you, O Moscheles, let me have one more answer -by letter, and soon after a much nicer one by word of mouth. - -Yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -In a later letter dated Oct. 2, 1832, Mendelssohn recommends the Hôtel -de Rome in Berlin. The particulars he gives of the route he advises are -characteristic of the mode of travelling in those days. - -The journey from Hamburg to Berlin, he says, would take about -thirty-four hours. The rooms to be engaged at a hotel are discussed with -as much careful insight as the road to be traversed; and then -Mendelssohn concludes as follows:-- - - * * * * * - -Count Redern is--a Count, and has gone to his estates, whence he does -not return till the 23d. I have not yet been able to catch Arnim, who -acts for him during his absence and has been conducting affairs all the -summer, but hope to do so to-morrow, when I shall urge upon him to fix -the concert no later than the 12th, as you desire. - -And now enough of letters, and a happy meeting to all. Love to the -children. They shall have sweets, although Emily[14] does prefer Moritz -Schlesinger to me. Excuse these hurried lines. - -Yours, - -FELIX M. B. - - * * * * * - -Moscheles left Hamburg with his family on the 6th of October, at seven -A.M., and arrived the next evening in Berlin, making the journey in -thirty-five hours. “Mendelssohn soon joined us at the Hôtel St. -Petersburg,” he writes, “and complains of being frequently subject to -fits of depression.” No further mention of such moods is, however, made -in the diary. On the contrary, the twelve days of the stay in Berlin are -marked by the brightest and liveliest incidents, both social and -musical. The “Erard” had at last safely reached its destination; and, -Pegasus-like, nobly bore the two friends in willing response to their -artistic touch. “The _fête_ shall be very grand,” Mendelssohn had -written, “and we will have music.” And so it was; only that instead of -one _fête_ there were several. The “Hymn of Praise” and some selections -from the “Son and Stranger” were performed and admirably rendered by -some of the principal singers of the day. Improvisations followed; and -no programme was complete without the name of the cherished master, -Beethoven. - -Moscheles’s concert was a brilliant success, the house crowded, and the -public enthusiastic; the third part of the receipts, Moscheles’s share, -was three hundred and one thalers. He left Berlin on the 19th of -October. “We dined with Felix at Jagor’s,” he says; “and when we wanted -to say good-by--he had disappeared! At half-past two we were wending our -way through a somewhat English fog towards Leipzig, where we arrived -next day at noon.” There, as in Weimar, Frankfurt, and Cologne, -Moscheles played in public or at Court. - -On the eve of his departure from Berlin, Mendelssohn presented a most -interesting and valuable gift to Moscheles, in the shape of one of those -musical sketch-books in which Beethoven was in the habit of jotting down -his inspirations as they came to him. These pages, eighty-eight in -number, contain chiefly the first ideas for his grand Mass; their -appearance can only be described as chaotic, and they are a puzzle even -to the initiated. Over one of them the inkstand has been upset; and the -master’s sleeve, or whatever he may have had at hand, has evidently made -short work of the offending pigment. Another page--besprinkled with a -few bars here, and a word or two of the Latin text there--is headed: -“Vivace. Applaudite amici.” The illustration on the next page is a -fac-simile of the dedication on the fly-leaf. - -In a letter dated November, 1832, Mrs. Moscheles mentions to Mendelssohn -that she hears the Philharmonic Society intends commissioning him to -write three compositions for one hundred guineas; it is to this that his -answer in the following letter refers. She gives him full particulars of -her husband’s artistic activity, and such news about personal friends as -would interest him, and winds up by saying: “Moscheles has just waked -from his siesta by the comfortable fireside. You must look upon these -pages as if they reflected his dream; for his thoughts, awake or asleep, -are constantly with you.” - - * * * * * - -BERLIN, Jan. 17, 1833. - -DEAR MRS. MOSCHELES,--How good and kind of you to give me such graphic -details! I felt quite happy and cheerful as the fireside, Moscheles’s -siesta, and the whole establishment, snug and cosy as it is, rose before -my eyes. I rejoice like a child at the thought of next spring, of my -dignity as a godfather, of green England, and of a thousand things -besides. My melancholy is beginning to vanish. I have again taken a -lively interest in music and musicians, and have composed some trifles -here and there; they are bad, it is true, but they give promise of -better things,--in fact, the fog seems lifting, and I again see the - -[Illustration: 4. Fac-simile of Mendelssohn’s Dedication to Moscheles -upon the Fly-leaf of Beethoven’s Musical Sketch-Book. (See page 48.)] - -light. Whether I shall be able, after all, to bring some creditable work -with me to London, Heaven only knows; but I trust I may, for I would -like to figure not only as a godfather, but also as a musician. The -former, however, comes first and foremost. I will make the most serious -face possible, and bring the very best wishes and all the happiness I -can gather together to lay down as a gift at the christening. - -And so Moscheles is busy again? Klingemann mentioned a Septet,[15] and I -hailed it with delight. What instruments is it for? In what key? Is it -fair or dark? He must let me know all about it. And will other honest -people be able to play it; or will it be again for his own private use, -like the last movement of his Concerto in E flat, which all amateurs -stumble over and sigh at without ever being able to master it? Do let me -hear all about this Septet; for I am longing to know, and almost envy -those who can watch its gradual progress. - -I am most truly grateful to the Directors of the Philharmonic for -setting me to work for them at the very time I felt so low-spirited and -cross-grained. Their invitation to write something came most -opportunely. But you don’t say whether Moscheles, too, is to compose for -them. Will he accept, and what will he write? I will bring my Symphony -completed, and possibly another piece, but scarcely a third one. - -Do not for a moment think that I am put out about the Cologne affair. I -have enjoyed a good many of the same kind in Berlin that were at first -rather bitter to swallow. I know what it is to be a great man amongst -the Berliners, now that I am on the eve of my third concert. In the case -of my first I had the greatest difficulty to make them accept the whole -of the receipts. I played my Symphony in D minor, my Concerto, and a -Sonata of Beethoven’s, and conducted the “Midsummer Night’s Dream.” It -was crowded, and people were enthusiastic; that is, “heavenly” and -“divine” were used much like “pretty well” in ordinary language. And now -you should have heard how polite the very people became who had been so -obstructive before; how “my noble heart,” “my philanthropic views,” “my -only reward,”--really it deserved to be put into the newspapers. If they -had met me kindly at the outset, that would have given me pleasure; now -their flow of words is simply a nuisance, and so is the whole place with -its sham enthusiasm. - -At the second concert we had “Meeresstille.” I played a Concerto of -Sebastian Bach’s, a Sonata of Beethoven’s, and my Capriccio in B minor. -Madame Milder sang some Scenas by Gluck, and the concert began with a -Symphony by Berger. This I put into the programme to please him; but he -found its success so short of his expectations, and its execution so -bad, that it was only by dint of great exertion that I escaped a -complete quarrel with him. At the third concert there will be my -Overture to the “Isles of Fingal,” the “Walpurgisnacht,” a Concerto of -Beethoven’s, and a Sonata of Weber’s for pianoforte and clarinet, with -Bärmann of Munich,--and therewith an end to the honor and pleasure. -Excuse all these lengthy details, but indeed there is not much else to -report in the way of music. Bärmann has lately given a concert, and -enchanted us all (I mean all of us who live in the Leipzigerstrasse, and -all Berlin besides). Lafont is shortly expected; Meyerbeer, too. -Mademoiselle Schneider has appeared, and with moderate success. Her -father is a Kapellmeister, her brother a singer, her uncle a government -official, her aunt the wife of the father of the waiting-woman of some -princess. That kind of thing is necessary in Berlin. Count Redern has -lately taken me under his wing, saying that something might be made of -me; so he would patronize me and get me a libretto by Scribe. Heaven -grant it may be a good one! but I don’t believe it. Besides, we are on -the road to improvement,--going to have telegraphs like you! By the by, -the two Elsslers--whom they call here “the Telegräfinnen”--are going to -London. Should they bring letters to you, and should you have to receive -them also, it would make me die with laughter; but present I must be. -What will your John say,--he who thought Schröder-Devrient not a lady? -And how is Mademoiselle Blahetka? and is Madame Belleville again in -London? Spontini wants to sell his instrument for no less than sixteen -hundred thalers. If you see Erard, and wish to return him _one_ -compliment for ever so many, do tell him that my piano is excellent, and -that I am delighted with it; for that is the truth. - -And now, dear Moscheles, I answer your outside postscript in the same -way. Write soon again, and let me hear at full length from you. The -Sing-Akademie has not yet chosen a director, and there is as much gossip -about it as ever. The Valentins are here for the winter; I see but -little of them, as I scarcely go out. Thank you for your list of the -Philharmonic concerts. I shall be glad if I can come to the last four; -quite out of the question to hear them all. But when is the christening -to be? When am I to be a witness to the solemn act? That is the -question. - -And now I send very best love to all Chester Place, wishing everybody -joy and happiness and music, and all that’s good in this new year in -which we mean to meet again. Until then, and ever, your - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Feb. 27, 1833. - -DEAR MOSCHELES,--Here they are, wind instruments and fiddles, for the -son and heir must not be kept waiting till I come,--he must have a -cradle song with drums and trumpets and janissary music; fiddles alone -are not nearly lively enough. May every happiness and joy and - -[Illustration: 5. Fac-simile of the Drawing in Mendelssohn’s Letter of -Feb. 27, 1833. (See page 54.)] - -blessing attend the little stranger; may he be prosperous, may he do -well whatever he does, and may it fare well with him in the world! - -So he is to be called Felix, is he? How nice and kind of you to make him -my godchild _in formâ_! The first present his godfather makes him is the -above entire orchestra; it is to accompany him through life,--the -trumpets when he wishes to become famous, the flutes when he falls in -love, the cymbals[16] when he grows a beard; the pianoforte explains -itself; and should people ever play him false, as will happen to the -best of us, there stand the kettledrums and the big drum in the -background. - -Dear me! but I am ever so happy when I think of your happiness, and of -the time when I shall have my full share of it. By the end of April, at -the latest, I intend to be in London, and then we will duly name the -boy, and introduce him to the world at large. It will be grand! - -To your Septet I look forward with no small pleasure. Klingemann has -written out eleven notes of it for me, and those I like ever so much. - -[Illustration: musical notation] - -I can quite imagine what a bright, lively finale they would make. He -also gave me a good description and analysis of the Andante in B flat; -but, after all, it will be still better to hear it. Do not expect too -much from the compositions I shall bring with me. You will be sure to -find frequent traces of moodiness, which I can only shake off slowly and -by dint of an effort. I often feel as if I had never composed at all, -and had to learn everything over again; now, however, I have got into -better trim, and my last things will sound better. - -Nice it was, too, that your last letter really found me, as you said it -should, alone and in the quiet of my room, composing to my heart’s -content; and now I only wish that my letter may find you at home on a -quiet evening, with your dear ones well and happy around you. We will -see whether I am as lucky at wishing as you were. I am in a hurry and -must end. I had but half an hour for my letter, and that beautiful -picture has taken up all my time; besides, I have nothing further to say -but this: I wish you joy now and hereafter, and may we soon meet again. -My friends here send their kindest remembrances and congratulations. -They are all well but my father, who suffers constantly from his eyes, -and is in consequence much depressed; this reacts upon us, and we pray -that there may soon be a change for the better. My sister and I just now -make a great deal of music, every Sunday morning with accompaniment; and -I have just received from the bookbinders a big grass-green volume of -“Moscheles,” and next time we are going to play your Trio. Farewell, -farewell, and remain happy. - -Yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Feb. 27, 1833. - -DEAR MRS. MOSCHELES,--Although I can send you but a few lines to-day, I -want to offer you my congratulations, and tell you that I enter heart -and soul into your joy at the happy event. How pleased I am to think I -shall soon see the little stranger, and that he will bear my name! Do -wait till I come, that I may accept your first invitation, and be -present in person at the christening. I shall certainly hurry as much as -I can, and arrive as soon as possible. I am glad, too, that the new -arrival is a boy. He must become a musician; and may all such things as -we wish to do and cannot attain be reserved for him! Or if not, it -matters little, for he will become a good man, and that is the main -point. To be sure, I see already how his two grown-up sisters, Misses -Emily and Serena, will tyrannize over him when he is about fourteen -years old. He will have to put up with a good deal,--his arms will be -voted too long, his coat too short, and his voice wretched. But -presently he will become a man and patronize them, doing them many a -good turn, making himself generally useful, and submitting to the -boredom of many an evening party as their chaperon. I dare say you have -somewhat (or should I say greatly) resented my epistolary shortcomings; -but do pardon me this once, and I promise to improve, particularly in -London, where I can be my own postman and improvise my questions and -answers; but I will reform, anyhow. - -Kindest messages from my sisters and parents. We all rejoice at the -birth of the son. - -I must now begin the last movement of my Symphony;[17] it gets into my -fingers, spoils my letters, and takes up my time. Excuse, therefore, -these hasty lines; how they are meant, you know. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, March 17, 1833. - -DEAR MRS. MOSCHELES,--I hope you may not be at home when this letter -arrives, and that the future Felix is playing with a rattle or screaming -lustily in English, which means that I trust you and the new member of -the family are as well as I could possibly wish. Klingemann gave an -excellent report in his last letter; and so all I can say once more is, -I congratulate you with all my heart. - -I can’t help thinking that such an important event, such a change in the -equilibrium of the whole family and surroundings, such an increase of -happiness as well as of cares, must work quite a transformation; and I -shall soon come and find out for myself whether I am right. But if you -do not let me hear that I am mistaken (maybe with a scolding for not -writing, or rather for my last bad letter, or with a slight satire on my -genius, or something of that kind), I shall feel shy in Chester Place on -my first London evening, and timid if I am asked to play to you. Do you -happen to be engaged on the 21st of April? If not, I should like to come -to you with Klingemann, who is going to call for me, as I fully intend -being in London on the 20th. A “Schnellpost” is just driving past, and -reminds me that I shall soon sit inside one. Strange to say, since I -have begun to work hard, and have become convinced that Berlin society -is an awful monster, I should like to remain here some time longer. I -feel comfortable, and find it rather difficult to set out travelling -again. All the morning there is a constant knocking at my door, but I do -not open, and am happy to think what bores I may have escaped, unknown -to myself. But when the evening comes and I go round to my parents and -we all join in the liveliest discussion and the maddest laughter, then -indeed we have a splendid time, and one feels quite reluctant to shorten -such hours, not knowing when they shall recur again. - -But why write any more? We will talk it all over. I shall have an answer -quicker; or rather, it is for me to answer, as I own that you have -heaped coals of fire upon my head. I am writing to-day to Moscheles to -ask him a favor. I want him to send me one of the many testimonials -which, all the year round, he is called upon to give. (It might be -lithographed _à la_ Smart.) The brothers Ganz, violin and violoncello, -wish, after being at Paris, to go to London for the season, if there is -a certainty, or at least a chance, of their paying their travelling and -other expenses; that is what they want to ask you about, dear Moscheles, -and I volunteered to write to you, as my father did for me three years -ago. But I have clean forgotten the matter for the last few weeks, and -entreat you to send me a few lines for them by return of post; but pray -let it be by the very next return, as they are dreadfully offended and -have left off bowing to me. And they are quite right, after all, as the -time is drawing near. - -A most gentlemanly Russian called on me some few days ago, and told me a -good deal about Madame Belleville. I wish you could have heard him, dear -Mrs. Moscheles. The Russians seem to be more thoroughbred than our -Hamburgers. She cannot succeed with them, much as she tries; _she_ -would, but _they_ won’t, and all my gentleman had to say about her -pretensions and affectation seemed incredible. Anybody passing for -affected in Moscow or Petersburg must be so indeed; _that_ even the -Berlin people allow. - -The other day I heard a Berlin pianist play the worst variations on the -“God save” that I have - -[Illustration: musical notation] - -[Illustration: 6. The “Cradle Song.” (See page 69)] - -ever listened to, and that is speaking volumes. The man had great -technical ability and good fingers; and yet his performance was hollow -and lifeless, and his banging about made me feel miserable. Where in all -the world has our Berlin good taste hidden itself? Then again, I have -lately heard the “Zauberflöte,”--the best performance, I believe, to be -met with nowadays. It is evident that each individual is doing his -utmost, that they one and all love the music, and that the only thing -wanting is an _ensemble_, which I fear will not be met with in Berlin, -as long as sand is sand and the Spree a river. That made me rather -melancholy last autumn; but now I look upon things more brightly, and -think of the coming spring with its return of warmth and verdure,--that -is the best opera one can see and hear. _Au revoir_, then, in the -spring. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -The spring came, and brought Mendelssohn to London, where he arrived on -the 25th of April, 1833. He at once set to work to compose, jointly with -Moscheles, a grand Fantasia for two pianofortes and orchestra, which -they could bring out as a novelty at the concert announced by the latter -for the 1st of May. The theme selected was the “Gipsies’ March” from -Weber’s “Preciosa;” each took his share in the composition of the -Variations, and both combined to link them together. The manuscript -score in the two handwritings, with its erasures and additions, its -stitchings and patchings, seems to evoke the image of the collaborators, -as they worked, thoroughly enjoying the incidents in this joint -production. - -Moscheles has a few words of graphic description in his diary: “I will -make a variation in minor, which shall growl below in the bass,” -exclaimed Felix; “will you do a brilliant one in major in the treble?” -And so it was settled that the Introduction as well as the first and -second Variations should fall to the lot of Mendelssohn; the third and -fourth, with the connecting Tutti, to that of Moscheles. “We wished to -share in the Finale; so he began with the Allegro movement, which I -broke in upon with a ‘piu lento.’ On the night of the concert all went -well; not a soul observed that the duet had been merely sketched, and -that each of us was allowed to improvise in his own solo, until at -certain passages agreed on, we met again in due harmony.” - -In a letter bearing a later date, Moscheles says: “It is quite amusing -to see how people want to find out by which of us this or that -variation, this passage in the treble or that modulation in the bass, is -written. It is just the intimate fusion of two musical minds that I -like; and I tell them that an ice _à la tutti frutti_ should not be -analyzed otherwise than by dissolving it in one’s mouth, and that one -should be satisfied with the flavor it leaves behind.” - -[Illustration: 7. First Page of the Original Draft of Mendelssohn’s -“Melodies” (Songs without Words). The original in possession of Felix -Moscheles. (See page 66.)] - -The next note is interesting as having reference to the first book of -the “Songs without Words:” - - * * * * * - -LONDON, in my Club, May 16, 1833. - -This morning I again forgot to mention, my dear Moscheles, what I have -often intended asking and have as often forgotten,--how matters stand in -reference to that publication of mine, and whether there has been any -practical result. I have an appointment with V. Novello to-morrow -morning; and if he has only sixpence to give me as my share, I would -rather not broach the subject. So please leave word at my house whether -you think I should mention the matter, or whether it had better rest in -eternal oblivion. I return home to-morrow at eleven o’clock to know -which way you decide. The saying is: “Merit has its crown;” so I -scarcely expect I shall get as much as half a crown. - -Yours, - -F. MENDELSSOHN. - - * * * * * - -At Mendelssohn’s request to find a publisher for the work, then called -“Melodies for the Pianoforte,” Moscheles had made arrangements with the -firm of Novello, according to which the composer was to receive a -royalty on each copy sold. From the books of that eminent firm, we -gather that the work was published in 1832, and that on the 11th of -June, 1833, Mendelssohn received £4 16_s._ 0_d._, forty-eight copies -being sold. In 1836, four years after the publication, only one hundred -and fourteen copies had been disposed of. In 1837 Mendelssohn sold the -copyright of the first and third books of “Songs without Words,” three -Preludes and Fugues for the organ, and three Chorales for female voices, -for £35, to Messrs. Novello. We are indebted to Messrs. Littleton of -that firm for the original Assignment, which we reproduce.[18] The -titlepage is a fac-simile of the manuscript in the possession of Felix -Moscheles.[19] - -During this stay Mendelssohn conducted his Symphony in A major (the -Italian) for the first time, at one of the Philharmonic concerts. At No. -3 Chester Place he was a constant visitor, ever bright and welcome in a -circle which included Hummel, Malibran, Paganini, Rubini, -Schröder-Devrient, Cramer, etc. On the 17th of May he left for -Düsseldorf, to conduct the Musical Festival on the 28th. From there he -writes:-- - - * * * * * - -DÜSSELDORF, May 31, 1833. - -DEAR MRS. MOSCHELES,--_Meâ culpâ_; but I have been more besieged than -ever. I have dropped down on my bed at night unable to write or think, -and scarcely able to speak. That sounds touching, but is true, -nevertheless; so do not be too angry with me. - -This is the first day of leisure, and I write to say that, please God, I -shall be back in town on - -[Illustration: 8. Fac-simile of Assignment to Mr. Novello.] - -Wednesday the 5th, ready to christen, play, conduct, and even to be a -“genius.” - -All else verbally. So farewell till we meet. - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Mendelssohn came, this time with his father, christened, played, and -conducted, and otherwise kept his word. His first present to his -godchild was an autograph album, which he inaugurated with the two -pencil drawings reproduced here. The first represents the house in which -the Moscheleses lived,--No. 3 Chester Place, Regent’s Park. Moscheles -himself is supposed to be looking out of the window of his -dressing-room. The second is a view taken in the Regent’s Park close to -the house. Musically, too, he consecrated the album by a composition, -the well-known Cradle Song in B flat, written for the occasion.[20] - -In the course of years the pages of the little book have been covered -with souvenirs from the pens and pencils of such friends as were not -unworthy of inscribing their names next to that of the “genius” -godfather; it is doubly valued by its possessor, for the interesting -autographs it contains, and for the pleasant echoes of the past which it -awakens. - -On the occasion of a visit to the Portsmouth Dockyard, Mendelssohn’s -father met with an accident, injuring his leg, and at first there seemed -some cause for anxiety. This, however, was soon removed, and nothing -but patience was required to insure complete recovery. Much music too -must have been prescribed, for we find Mendelssohn and Moscheles -constantly at the piano in the patient’s room. Amongst other works a -collection of Johann Sebastian Bach’s Fugues, which Mendelssohn had -brought with him, was perused and studied with the greatest interest. - -The note upon the next page accompanied a certain Fugue which -Mendelssohn had copied out for Moscheles; he is supposed to hold the pen -for some of the inmates of the Zoölogical Gardens, which he and -Moscheles had visited in the afternoon. - -On one occasion he sent the humorous invitation we reproduce.[21] On -another occasion he insisted on having a regular card of invitation, -which he filled in as given in our illustration.[22] - -Notwithstanding the numerous calls upon his time, Mendelssohn found -leisure to make a pianoforte duet arrangement of Moscheles’s Septet. -Speaking of this in a subsequent letter, Moscheles says: “I have -recopied your arrangement of my Septet, and treated several passages -more freely than you, with your usual discretion, had done; at the same -time I have taken your hint, and added twelve new bars in the first part -and altered two towards the end.” - -Of the many notes that passed between Great Portland Street and Chester -Place, we transcribe a few. - -[Illustration: 9. Fac-simile of Note from the Zoölogical Gardens. (See -page 70.)] - - * * * * * - -DEAR MRS. MOSCHELES,-- - - -BOOK I.--ON HEALTH. - -I trust you are quite well, even better than you were last night. My -father is well, and I have slept nine hours and am tired. - - -BOOK II.--ON SHOPPING. - -My father requests you to let him come to-day or to-morrow morning, to -arrange when he may go out with you, according to your kind promise and -Stone’s prescription (to walk). This note is business-like; you must -give me a verbal answer to Book I. - -Yours, - -F. M. - - * * * * * - -103 GREAT PORTLAND STREET, June 20, 1833. - -DEAR MRS. MOSCHELES,--I am very sorry I could not be with you yesterday -evening, all the more as I am sure you again thought you had read in my -face that I had made up my mind not to go. This time it was not so, -however; but the check-taker would on no account let me pass without a -ticket. I gave your name; he could not fetch you. I beckoned and called, -and as I could not catch your eye, I waited and thought you might pass -in my direction; but the cruel Cerberus in livery intimated to me that I -had better retire to Portland Street, and that is what I did.... - - * * * * * - -In another note he says:-- - - * * * * * - -Here is my verbal answer--Oh dear! how unlucky, we can’t come! You see, -we are giving a dinner ourselves to-day. I have just ordered fish and -lobster for five,--that is, salmon,--and so I must present our regrets. - - * * * * * - -103 GREAT PORTLAND STREET, July 17, 1833. - -With best thanks I return the books you lent me, namely, Nathan, two -volumes of Zschokke, the last volume of “Phantasie-Stücke,” and the -musical paper; so please destroy whatever acknowledgment of these you -may have. Please give bearer the address of that faithless laundress, -with whom I should be in a rage if she were not under your immediate -patronage. - -Best love to Moscheles. - -FELIX MENDELSSOHN BARTHOLDY. - -P. S. So far I have not yet learned to tie that cravat (I practised -yesterday before the looking-glass); but it is beautiful all the same. - - * * * * * - -On the 29th of August Mendelssohn left London; and after a short stay in -Berlin, he proceeded to Düsseldorf to assume his new duties as -“Musikdirector.” He had accepted this position for three years, at a -salary of six hundred thalers per annum, with three months’ leave of -absence. - -The original score of his Overture to the “Isles of Fingal” he gave to -Moscheles. We reproduce - -[Illustration: 10. Fac-simile of Humorous Note. (See page 70.)] - -the first page of it. On perusing it some fifty years after it was -written, Gounod made the note at the foot.[23] - - * * * * * - -SEPT. 13, 1833. - -DEAR MRS. MOSCHELES,--Here is Berlin, September 13, and my father once -more safely lodged in the Leipzigerstrasse, and feeling quite well. I -should write you a long and detailed letter, if I did not wish to send a -few words without delay from this place, which we reached yesterday, and -which I must leave again the day after to-morrow; you can fancy how the -whole day is spent in the family circle, with neither time nor -inclination for letter-writing. But to look back upon the anxious days I -have gone through, to remember all the kindness shown me, to feel that I -am relieved of a great responsibility, and to think of those who -assisted me in bearing its weight,--_that_ I have both leisure and -inclination to do, and that is the purport of this letter. Here all are -well and cheerful, and send their best love. My father was unlucky -enough to tread a nail into his foot, as we were visiting my uncle’s -place on the Rhine, on the very day the steamer brought us the -Dirichlets.[24] So he was laid up again for several days, and had to -perform the whole journey to Berlin stretched out in the coupé. This -little accident caused him more depression than his serious illness in -London, so that he felt excessively impatient to see his own home again, -and almost despaired of it. This, and in particular our necessarily slow -progress, with so many inns and nights’ lodgings, made the whole journey -most irksome, and my own impatience became the greater for having to -conceal it. But at last I felt happy indeed, as we drove into the -well-known courtyard, and the journey was safely over. The foot was but -slightly injured, and to-day my father is allowed to walk about. - -Excuse haste. I shall write properly from Düsseldorf, where I must be in -a few days. And now farewell to you both. My love to Felix, Emily, and -Serena. Wish I could send her two carnations. Pray give them to her in -my name. - -Wishing you all happiness, I am yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -DÜSSELDORF, Nov. 25, 1833. - -DEAR MRS. MOSCHELES,--Should this piece of paper have turned red by the -time Klingemann arrives, it will but reflect my blushes. But when once a -man has become callous, he is no longer amenable to kindness and -friendliness; callous he remains, and keeps on sinning to his heart’s -content. And that, I am sorry to say, is my case. And this does not even -pretend to be the answer to your most kind letter, but my own act of -accusation, bearing witness that I really received your letter, and -nevertheless remained deaf and dumb, - -[Illustration: 11. Card of Invitation filled in by Mendelssohn. (See -page 70.)] - -and that you would be quite justified in not even reading all this. The -truth is, that since I have got used to this place, I feel quite at home -and settled in it. I am working a good deal for myself and for the outer -world, and that, in other words, means that I am happy. This I ought to -have described to you at full length, but could not (perhaps Klingemann -can do so verbally), and so kept silent; but towards Christmas I mean to -send you some new compositions and a letter as well, and then Moscheles -must give me his opinion of the music, according to his promise. He will -by that time have conducted my Overture in F, and will report about it, -so that I shall have a letter in spite of my sins. Now, that is being -hardened indeed! Better change the subject. - -Herewith is the book of Songs formally made over to you, your heirs, -executors, and assigns; if Klingemann doesn’t give it up, he is worse -than a _gazzo-ladro_. I do intend sending you a proper book of -manuscript songs at Christmas; but you won’t believe me, so I’ll set -about writing it first. - -And how about Moscheles’s four-hand Sonata? - -After all, this is but a note, and I ought to conclude by saying: “I am -truly sorry I cannot dine with you this day week, because I have a -previous engagement at Mrs. Anderson’s.” - -All love to Emily and Serena, and every good wish for your welfare. -Should little Felix show his content by saying “Ba!” or otherwise prove -his friendly disposition, you must tell him about his godfather, and -give him his love. Now farewell, and fare ever well. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -DÜSSELDORF, Feb. 7, 1834. - -MY DEAR FRIEND,--Pardon my long silence; I know how guilty I am, but I -reckon on your indulgence. I am so deeply buried in my work and papers, -that even now I think I should not have emerged from them, were it not -that a special circumstance obliges me to write to you. So let me pass -over the last four months and all my excuses into the bargain, -remembering what a dear old friend you are, and how ready to forgive. - -Thus encouraged, I fancy myself in Chester Place, and wish you -“Good-evening.” What I have to say is this: I have ventured to dedicate -to you, without asking your permission, a piece which is to appear at -Simrock’s, and which I am very fond of. But that is not what I was going -to say. I had thought how nice it would be if you met with it during one -of your trips to Germany; but now my Rondo Brillant is just finished, -and I have the very greatest desire to dedicate that also to you: but I -do not venture to do it without your special permission, for I am well -aware that it is not the correct thing to ask leave to dedicate two -pieces at once; and perhaps you will think it rather an odd proceeding -on my part, but I cannot help it, I have set my mind upon it. - -[Illustration: 12. First Page of the Original Score of Mendelssohn’s -Overture to the “Isles of Fingal,” given to Moscheles. On perusing it -fifty years later, Gounod made the note appended. (See page 77.)] - -In general, I am not very partial to dedications, and have seldom made -any; but in this case they are to convey a meaning, inasmuch as, not -having been able to send you a letter for a long while, I wanted at -least to let you have some of the work I have been doing. Write me a -line on the subject, as the Rondo is to appear in Leipzig too; and once -you have written that line you may feel inclined to add another, or -perhaps a few more, as you did in your last kind letter, for which I -have not even thanked you yet. - -Klingemann is not prodigal of words, so that I have heard but little of -London friends, and particularly little of those in Chester Place. What -do you all look like? What can Felix say? Does Serena remember her -humble servant with the carnations? And how fares the Sonata for four -hands? Do tell me all about that and your other work. I would ask Mrs. -Moscheles to let me know all about it, but I feel she must be so angry -with me that I don’t think I can summon courage to write to her. The -last of your compositions I heard of was the Impromptu for Mary -Alexander, and since then I am sure you have produced all manner of -delightful things. My own poverty in shaping new forms for the -pianoforte once more struck me most forcibly whilst writing the Rondo. -It is there I get into difficulties and have to toil and labor, and I am -afraid you will notice that such was the case. Still, there are things -in it which I believe are not bad, and some parts that I really like; -but how I am to set about writing a calm and quiet piece (as you advised -me last spring), I really do not know. All that passes through my head -in the shape of pianoforte music is about as calm and quiet as -Cheapside; and when I sit down to the piano and compel myself to start -improvising ever so quietly, it is of no use,--by degrees I fall back -into the old ways. - -My new Scena,[25] however, which I am writing for the Philharmonic, -will, I am afraid, be only too tame. But so much self-criticism is no -good; so I stick to my work, and that means, in plain language, that I -am well and happy. - -I feel particularly comfortable in this place, having just as much -official occupation as I want and like, and plenty of time to myself. -When I do not feel inclined to compose, there is the conducting and -rehearsing, and it is quite a pleasure to see how well and brightly -things go; and then the place is so charmingly diminutive that you can -always fancy yourself in your own room; and yet it is complete in its -way. There is an opera, a choral society, an orchestra, church music, a -public, and even a small opposition; it is simply delightful. I have -joined a society formed for the improvement of our stage, and we are now -rehearsing the “Wasserträger.” It is quite touching to see with what -eagerness and appetite the singers pounce upon every hint, and what -trouble they will take if anybody will be at the pains of teaching -them; how they strain every nerve and really make our performances as -perfect as can be imagined considering the means at our disposal. Last -December I gave “Don Juan” (it was the first time I conducted an opera -in public), and I can assure you many things went better and with more -precision than I have heard them at some of the large and famous -theatres, because from first to last every one concerned went in for it -heart and soul; well, we had twenty rehearsals. The lessee of the -theatre had, however, thought fit to raise the prices on account of the -heavy expenses; and when, at the first performance of “Don Juan,” the -curtain rose, the malcontent section of the public called for Signor -Derossi like mad, and made a tremendous disturbance; after five minutes, -order was restored, we began and went through the first act splendidly, -constantly accompanied by applause; but lo and behold! as the curtain -rises for the second act, the uproar breaks out afresh, with redoubled -vigor and persistence. Well, I felt inclined to hand the whole concern -over to the devil,--never did I conduct under such trying circumstances. -I countermanded the opera which was announced for the next night, and -declared I would have nothing more to do with the whole theatre; four -days later I allowed myself to be talked over, gave a second performance -of “Don Juan,” was received with hurrahs and a threefold flourish of -trumpets, and now the “Wasserträger” is to follow. The opposition -consists mainly of beerhouse keepers and waiters; in fact, by four -o’clock P.M., half Düsseldorf is intoxicated. Anybody wanting to see me -must call between eight and nine in the morning; it is quite useless -attempting to do any kind of business in the afternoon. - -Now, what do you think of such a discreditable state of things, and can -you have anything more to say to such boors as we are? - -By the by, Mr. Spring of Moscow is quite destroying my peace of mind. He -would have it that he knew you very well, and I would not believe him on -any account; at last he showed me a manuscript note of invitation from -Chester Place, and I had to give in, but still I cannot digest him;--a -pity that at his age, and with as little talent as he seems to have, he -should be obliged to give concerts and make money. - -Blagrove was here. I took him to our Choral Society, where we were just -rehearsing the choruses from “Alexander’s Feast;” our performance -produced the most excellent effect on him,--it sent him to sleep. - -Can you not send me one or the other of your new things (a copy or -whatever you like)? The gentleman who takes charge of this returns -shortly, and would, I am sure, be the bearer of your parcel. So, if you -have anything, please send it to Klingemann’s, and it shall be called -for. - -I hear from my mother that the “Gipsies’ March,” or rather the “April -Variations,” are out. Is that the case; and if so, could I have a copy -of them? I hope you have done a good deal of patching and polishing to -my part,--you know, I am thinking of those restless passages of mine. -The whole of the last number wants repairing or lining with a warm -melody; it was too thin. The first variation, too, I hope you have -turned inside out and padded. Don’t I speak as if I were Musikdirector -Schneider? And can’t you send me one of Mori’s annual gems? But I must -really take courage and another little sheet of paper and write to your -wife, for I haven’t half done. Good-by--till we meet on the next page. - -Your - -F. MENDELSSOHN. - - * * * * * - -DÜSSELDORF, Feb. 7, 1834. - -DEAR MRS. MOSCHELES,--It is only after having given two hours to writing -to Moscheles, that I venture on the letter to you. Never have I so -richly deserved a scolding as now; I say deserved, for I may not get it, -you have so often let me off. What, as compared with my other -delinquencies, are such trifling peccadilloes as talking German at -dinner, not carving at the Stones’, having threadbare coat-buttons, and -not paying compliments _à la_ Hummel? But does it perhaps give you -satisfaction to hear that I have a very bad conscience, or that I have -some kind of feeling like a naughty child about to confess, or that -Klingemann too has given up writing to me? To speak seriously, there are -many minutes in the course of each day when I think of your dear home, -wishing I were there, and enjoying the recollections of the time I have -spent in it. That much you must believe; but whether out of such -thoughts grows a letter or not, depends more or less upon chance. I am -sorry to say I shall not be going to England this spring. I mean to have -a good spell of work, and have something to show for it before I stir -from here. You can hardly imagine how much better and brighter I feel -for the last two months’ work, and how much easier I get on with it; so -I must keep it up, and get into full swing. My birthday just came in -time to remind me how necessary this was. Of my life here, I have -already written a good deal to Moscheles. The other day we gave “Egmont” -with Beethoven’s music. I doubly enjoyed it, for I hadn’t heard anything -of his for a long time. - -By the by, you are rather opposed to Goethe in some things; so I -recommend you to read a newly published correspondence between him and -Zelter, in which you will find plenty of matter to confirm your opinion; -and yet I should vigorously oppose you, and stand up for my old favorite -as formerly. Do you know the chorus on Lord Byron, which occurs in the -second part of “Faust” and begins with “Nicht allein”? Should you not -know it, pray read it at once, for I believe it will please - -[Illustration: 13. Chester Place. From a Drawing made by Mendelssohn in -an autograph album given by him to his godchild. (See page 69.)] - -you. Just now English tea-time is coming on, and with it I feel all my -fear vanishing. To-day there is a _grand déjeuner dansant_,--of all the -hateful Berlin institutions the one I hate the most. A nice set they -are! They meet at half-past eleven A.M., and spend their time eating and -drinking until one o’clock next morning. There are few things so -unsightly in my eyes, whether it is done in broad daylight, which is one -way; or whether the shutters are closed at midday, and the chandeliers -lighted, as they do at Court in Berlin. Besides, there has been dancing -for the last fortnight, usually up to five o’clock in the morning, with -Prince Frederick taking the lead, giving as many balls and accepting as -many invitations as possible. I have been saved all these splendors by a -bad cold, which has confined me to my room for more than a week. I am -getting over it now; but it will serve as an excuse for keeping aloof -until the end of the Carnival. So you see that we too are metropolitan -to the best of our abilities; and if this page of mine has not made you -feel quite Berlinese or Bœotian, an account of all our dinner-parties, I -am sure, would. - -I wanted to send you some new songs, but must again put it off, as I -have a great deal to prepare for this parcel. I should like to know, -too, how you are getting on with your singing,--whether you practise -sometimes, and follow the wise rules of your wise professor.[26] You -want to know whether I am rapidly degenerating here, and whether I -stand in awe of any one as I did of you with regard to elegance, or -rather neatness? Madame Hübner, whom you must have seen at Berlin, does -sometimes take me to task, and sees at a glance, on my entering a room, -some shortcoming which it might take me six months to notice; but she is -not as good a Mentor as you, so that I fear you will find me quite run -wild, should I venture again out of my backwoods; and as for my capacity -for tying a cravat with taste, that will be a thing of the past. But -when we meet, you will find me as willing a pupil as ever. - -Love to Emily and Serena and to my little godson. The little man cannot -yet understand it, but never mind. Adieu then, and be well and happy. - -Ever your - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -On the 12th of February, 1834, Moscheles writes:-- - - * * * * * - -I have read and studied your Overture (“Melusine”) with ever-growing -interest; and let me say, in the fewest of words, that it is a splendid -work. It is marked by vigorous and spirited conception, unity, and -originality. Thus impressed, I proceeded to the first rehearsal, after -having gone through it privately with Mori. But it was not an easy -matter to moderate the orchestra in the _piano_ parts; especially at the -outset they would make a desperate plunge, and the trumpets were -somewhat surprised at having to fall in with their 7th on C. I winced -and groaned, and made them begin again three times. The contrasting -storms went as if Neptune held the sceptre; but when the voices of the -Sirens were to disarm that boisterous ruler, I had to call for _piano, -piano! piano!_ at the top of my voice, bending down to the ground, _à -la_ Beethoven,[27] and in vain trying to restrain the ferocious violins -and basses. However, at a second reading things went better. The work -was studied with the liveliest interest, and received with the fullest -appreciation. I hope to bring out the lights and shades still better at -the performance. You have given the horns and trumpets, alternately, the - -[Illustration: musical notation] - -which they rendered splendidly with stopping and damping. - -After yours I had Berlioz’s Overture, “Les Francs Juges,” to conduct. We -were all curious to know what the result of French genius would be. I -say French, for so far no other country but France has recognized -Berlioz as a genius. But, oh! what a rattling of brass, fit for the -Porte Saint-Martin! What cruel, wicked scoring! as if to prove that our -ancestors were no better than pedants! And, oh! again, for the contrast -of the middle subject, that would console us with a vaudeville melody, -such as you could not hear to more advantage in “L’Ours et le Pacha,” or -the “Viennese in Berlin.” Then the mystic element,--a progression of -screeching harmonies, unintelligible to all but the March cats! To show -that something terrible is agitating the fevered brain of the composer, -an apoplectic stroke of the big drum shakes to shivers the efforts of -the whole orchestra, as also the auditory nerves of the assembled -audience.... - -Our “Gipsies’ March” is out,--in London at Cramer’s, in Paris at -Schlesinger’s, in Leipzig at Kistner’s. Kistner has sent a copy in our -name to Frau von Goethe, to whom we have dedicated the piece. You -approve of that dedication to her, don’t you? Your half-share of the -proceeds is, eight Napoleons from Schlesinger, eight Louis d’or from -Kistner, and fifteen to twenty pounds from Cramer. - -I will carefully keep the account; so, if you want money, draw on your -banker and friend, - -I. MOSCHELES. - - * * * * * - -DÜSSELDORF, April, 1834. - -MY DEAR MOSCHELES,--I cannot tell you how much pleasure those letters -from you and from your wife gave me. I don’t think the post ever put me -in such high spirits before. I certainly never felt so happy and elated -for days together - -[Illustration: 14. Regent’s Park. From a Sketch made by Mendelssohn in -an autograph album given by him to his godchild. (See page 69.)] - -as I did after getting them. You know how often I am beset by grievous -misgivings, how I cannot do anything to my satisfaction, and how, when -such doubts lay hold of me, I fancy the whole world must be aware of my -shortcomings, even more than I am myself, and must overlook the very -existence of my works. But such kind and friendly words as you have -written about my Overture give me greater pleasure than anything that I -could hear after completing a composition. This I know for a certainty: -you might have sent me three of the finest Russian orders or titles for -the Overture without giving me one hour’s happiness such as I have had -from your letter. Do you really know how kind and amiable you were? -Because, if you do, I need not attempt to thank you. - -But now let me say how grateful I am for all the trouble you have taken -with my Overture. It is quite a painful feeling to have a piece -performed and not to be present, not to know what succeeded and what -went wrong; but when _you_ are conducting I really feel less nervous -than if I were there myself, for no one can take more interest in his -own works than you do in those of others, and then you can hear and take -note of a hundred things that the composer, preoccupied as he is, has no -time or mind for. - -I had already heard from Klingemann what a true friend you had been to -my Overture, and now your description puts it all so visibly before me. -After reading your letter, I took up the score, and played it straight -through from beginning to end, and felt that I liked it better than -before. - -By the way, you complain of the difficulty in getting the _pianos_ -observed; and as I was playing the piece over again, it struck me that -that was really my fault. It is easily remedied, for the whole thing, I -believe, is due to the marks of expression; if you have those altered in -the parts, it will be set right at once. First, everything should be -marked one degree weaker; that is, where there is a _p_ in the wind -instruments, it should be _pp_; instead of _mf_, _piano_; instead of -_f_, _mf_. The _pp_ alone might remain, as I particularly dislike _ppp_. -The _sf_’s, however, should be everywhere struck out, as they really are -quite wrong, no abrupt accent being meant, but a gradual swelling of the -tone, which is sufficiently indicated by the [Illustration: crescendo]. -The same again wherever the - -[Illustration: musical notation] - -etc. recurs; in all such passages the _sf_’s should be done away with; -and in the strings as well: for instance, at the very opening, and where -the trumpets first come in, it should be _pp_; the _f_’s should simply -disappear. Klingemann would, I am sure, oblige me by making these -alterations in the score, a copyist would transfer them to the parts, -and then the whole thing would sound twice as mermaidish. - -What you say of Berlioz’s Overture I thoroughly agree with. It is a -chaotic, prosaic piece, and yet more humanly conceived than some of his -others. I always felt inclined to say with Faust,-- - - “He ran around, he ran about, - His thirst in puddles laving; - He gnawed and scratched the house throughout, - But nothing cured his raving; - And driven at last, in open day, - He ran into the kitchen.” - -For his orchestration is such a frightful muddle, such an incongruous -mess, that one ought to wash one’s hands after handling one of his -scores. Besides, it really is a shame to set nothing but murder, misery, -and wailing to music; even if it were well done, it would simply give us -a record of atrocities. At first he made me quite melancholy, because -his judgments on others are so clever, so cool, and correct, he seems so -thoroughly sensible, and yet he does not perceive that his own works are -such rubbishy nonsense. I am very glad to hear what you say about the -“Gipsy Variations;” but do tell me whether you are not treating me much -too liberally, for I never in my life should have dreamed of such high -terms as now fall to my share alone. The E flat for the horns and -trumpets I put down trusting to luck, and hoping that Providence would -show the players some way to do it; if they have new contrivances for -it, so much the better. - -You sent me word not to let Mori have anything more gratis, on account -of his indiscretion; I am doubly sorry for this, as I have just -presented him with a manuscript, to make up for having kept him waiting -six months for the Rondo. I did not like the idea of his having to -pardon any shortcoming of mine, so I thought it the best way out of the -difficulty, and now, although regretting the circumstance, I must of -course keep my word; but for the future I will act upon your hint. That -piece for Fanny Stone I should of all things like to write, but how am I -to compose something easy? Well, I will set about it, and do my best to -avoid octaves and broken chords; then there will be no ornamental -passages at all, for you know I never write any others. No, but really I -will look out seriously for a piece that I can dedicate to her. - -But now I must write a few lines to your wife and beg her soon to let me -have more of such good news about my dear Master Felix and Miss Serena -and the grown-up young lady. - - * * * * * - -I suppress my thanks to you, dear Mrs. Moscheles, for all the kind -things you say; I only wish I could now and then write something which -would give you real pleasure, and that I could believe myself worthy of -doing so. - -I have just had a letter from my sister in Berlin. She tells me you had -written all about the Overture to my father, and had given him immense -pleasure; and there again I must particularly thank you, for you know -how pleasant it is to have one’s praises sung to one’s parents. - -I do wish I could once more call Emily “Du,” but this spring I shan’t be -able to get away; in fact, I shall probably not travel at all, but buy a -horse, and ride and swim and work all through the summer. Next spring, -when, please God, I once more knock at the door of No. 3 Chester Place, -I shall speak English and say, “You;” that will appear less strange to -me than the formal “Sie.” Then, when I return some day a long time -hence, I shall sit and play at _écarté_ whilst she dances, and shall -notice Mr. Stone or some other young man extremely attentive to her. To -be sure, he will have to be very cautious about it, for fear of losing -your good graces. And then Felix will show me the score of his first -Symphony and play it with Serena. By that time I shall be a _vieux -garçon_ or a _ci-devant jeune homme_,--but this isn’t a pleasant -subject; better drop it; it was really you who put me on to it by your -artful allusions to the better things awaiting me, and by your remarks -about the _soirée_ at the Taylors’, and about Mrs. Handley, who, by the -side of her husband, must look like a white mouse by the side of a black -tom-cat, or like a duet for clarinet and double bassoon, or kid gloves -and a Warsaw dressing-gown, or vanilla ice next to roast beef, etc. You -see at a glance that I am still a warm admirer of hers, or I should not -compare her to such nice things, but rather to Maraschino ice, or a -hautboy. I returned last night from a trip to Cologne, where I had to -play at a charity concert, and where your description of the Cologne -public and Cologne musicians, so dear to you, was most vividly brought -back to my mind. I would rather live in any village than there; and much -as I like Düsseldorf, I do not believe I could live for even a couple of -months at Cologne. - -I am taking regular lessons in water-colors now with one of our artists, -and work most enthusiastically for several hours every Sunday morning. -Shall I send you a sketch? And what country is it to represent? -Switzerland or Italy? In the foreground I shall introduce a girl with a -green apron and a carnation, to ingratiate myself with Serena. I only -wish I had more leisure, but just now all my time is taken up by the -rehearsals of the “Wasserträger.” - -By the by, do you know a book by Thomas Moore[28] on religion? It has -lately appeared; it is said to have gone through at least seventy -editions, and to extinguish all Protestants, Dissenters, nations, and -nationality. It is read here by all the Orthodox Catholics, and praised -highly. - -I have lately read Shakspeare’s “King John” for the first time. I do -assure you it is downright heavenly, like everything else of his. But -now I must end at once, or I shall begin talking about Goethe and -Zelter’s letters, which I did not like much. You are of a different -opinion, so my letter might become not only long, but tedious, which it -is already; besides, the paper obliges me to conclude. Should Emily or -Serena ask after me, or the baby be in good humor and crow, and should -that American prodigy be so completely “finished” that not one finger -remains untrained, or should some lady--thank Heaven--put off her lesson -or not come, then, and that as soon as possible, let me have a few lines -telling me that Chester Place is flourishing. - -Once more thanks, and farewell. - -FELIX M. B. - - * * * * * - -DÜSSELDORF, May 11, 1834. - -DEAR MRS. MOSCHELES,--On the very day I received your dear kind letter -and the beautiful present, I was going to answer at full length, and -with best thanks, but there arrived at the same time the news of my -mother’s dangerous illness. To-day there is excellent news, thank God! -My mother has been walking in the garden, and is quite herself, and of -course so am I; and in this happy mood, when a great load has been taken -off my mind, and I can breathe more freely, I sit down at once to write -and thank you. - -Not being able to cross over to you this year, I do hope and trust you -will let me have a few lines now and then; for while I read them I am in -Chester Place, I follow your descriptions, live through it all with you, -rejoice at Lord Burghersh’s absence from the party, make remarks about -Miss Masson’s delicate form of “couching her refusal,” abuse Masoni for -that Beethoven Sonata, and admire Miss Use’s beauty, although I know it -only by hearsay. - -And how grateful I am to you, dear Moscheles, for doing my Rondo the -honor of playing it at your concert! You may believe that I fully -appreciate it, and feel greatly flattered; and now, if anybody abuses it -ever so much, I shall still love the piece and hold it in high -consideration. Please write me word if you like the accompaniments, or -if you find fault with any part of them. I may perhaps write something -of the kind in the course of this year, and should like to avoid former -faults. - -The cravat, however, dear Mrs. Moscheles, I put on at once, and, so -adorned, went out for a ride. You must know I have bought a nice bay -horse, and it gives me immense pleasure. When I went to the Hübners’ in -the evening, Madame Hübner asked if that cravat was English too. I gave -her your message, and she reciprocated it very sincerely. But you have -not told me what composition I am to write in the time saved by this -cravat which does not require tying. It is to you I shall owe the spare -time, and you ought to say how I am to employ it. Shall I write -pianoforte pieces, songs, or what else? - -And so the people at the Philharmonic did not like my “Melusine”? Never -mind; that won’t kill me. I felt sorry when you told me, and at once -played the Overture through, to see if I too should dislike it; but it -pleased me, and so there is no great harm done. Or do you think it would -make you receive me less amiably at my next visit? That would be a pity, -and I should much regret it; but I hope it won’t be the case. And -perhaps it will be liked somewhere else, or I can write another one -which will have more success. The first desideratum is to see a thing -take shape and form on paper; and if, besides, I am fortunate enough to -get such kind words about it as those I had from you and Moscheles, it -_has_ been well received, and I may go on quietly doing more work. I -cannot understand your news that Moscheles’s new Concerto met with the -same reception. I thought it as clear as sunshine that _that_ must -please the public, when played by him. But when is it to be published, -that I may pounce upon it? Pray do excuse these disconnected sentences. -Ries, the violin-player, is here (you remember his playing in -Moscheles’s Trio at Berlin); he is going to give a concert to-morrow, -and so I have been constantly interrupted by all sorts of people -employed in the arrangements, and have to rehearse every day, in -consequence of which my poor bay has not left its stable for the last -three days (this, you see, is the principal subject on which my mind -turns). - -At Whitsuntide I must go to Aix-la-Chapelle to the musical festival, and -am not the least inclined for it, since they perform pieces which my -musical conscience revolts at; but go I must, for a quiet life, as the -people of this place will have it that Ries and I are pope and -anti-pope; and, Ries happening to conduct, they fancy me jaundiced with -vexation, and think that I shall not go. But they are mistaken; I sip my -“Maitrank,”--an excellent drink made of hock, aromatic herbs, and -sugar,--and mean to go. This reminds me of Siboni. Oh, Siboni! how can -you presume seriously to bring out your recipes for salad-mixing? And is -De Vrught there too? And what sort of a figure does he cut at a dinner -in Chester Place? Stop! By the by, have you heard of a Mademoiselle -Meyer who has gone with her father from here to London to play the -piano? She must, some time or other, pass in review before Moscheles, -and I should like above all things to hear of her doings in London. The -father _would_ set me up here as his daughter’s rival, and has tried to -abuse and vex me in every way, and, finding that I took no notice, is -going to try what he can do in London. - -Lovely weather we have had for some time, and there is every temptation -to be perfectly idle, saunter about all day, and become a candidate for -the title of Inspector of Nightingales, which they have conferred on an -old lounger of this place. Warm days, and so delightfully long, and I -have already begun my Oratorio, which is the reason I cannot go to the -Westminster Abbey Festival, but must keep to my work. I have - -[Illustration: 15. “Mailied,” in Letter of May 15, 1834, to Mrs. -Moscheles. (See page 107.)] - -written a few Capriccios for the pianoforte (or Fantasias, or----) that -I like very well, but an abominable _Étude_. This morning, for the first -time after a long interval, a song has come to me; and such a present is -at all times refreshing. I really must write it down for you, although I -am sorry to say it is not at all suited for your voice, but rather for a -tenor. You need not even play it; yet I write it down for you all the -same. Moscheles can hum the melody to himself. - -[Illustration: musical notation] - -[Illustration: musical notation] - -[Illustration: musical notation] - - Dein Reiz is aus der Maassen - Gleichwie der Pfauen Art, - Wenn Du gehst auf der Strassen, - Gar oft ich Deiner wart’ - Gar oft ich Deiner wart’. - Ob ich gleich viel muss stehn - - Im Regen und im Schnee, - Im Regen und im Schnee, - Kein Müh soll mich verdriessen, - Wenn ich Dich Herzlieb seh’, - Wenn ich Dich Herzlieb seh’, - Wenn ich Dich Herzlieb seh’,. - - (Aus dem Wunderhorn.) - - - * * * * * - -MAY 14. - -This letter was begun three days ago, and I have not yet been able to -finish it. Ries has left again. We played Beethoven’s grand Sonata in A -minor, dedicated to Kreutzer, at his concert, and that by heart, which -was great fun. I do not know whether I told Moscheles that the scores of -my three overtures, “Midsummer Night’s Dream,” “Meeresstille,” and -“Isles of Fingal,” will appear in a few days at Breitkopf & Härtel’s, -which makes me unspeakably proud. As soon as they are to be had, they -shall be presented to you, and I only wish I could have again dedicated -them to you, my dear Moscheles; but as that wouldn’t do, my friends at -home wished me to inscribe them to the Crown Prince, who has shown -himself extremely gracious to me this last autumn. For my own part, I -was thinking of the Philharmonic, and so it is undecided. A knotty -point, you see. - -And do you know, dear Mrs. Moscheles, that Varnhagen is going to be -married again,--six months after his inconsolable book about his -wife,--and that to my cousin Marianna Saaling. A young musician has just -been here with an atrocious Fugue for me to look through; also another -native genius who feels an impulse to write Chorales, enough to make one -turn yellow with impatience; and yet he has written Chorales ever since -I came here, the last always worse than the one before it; and as we go -on being vexed with one another, there are some lovely scenes, he not -being able to understand that I still find his compositions bad, and I -that he has not improved them. I am, however, the very type of a good -Cantor, and preach so much to the point that it is great fun to hear me. -The lilies of the valley are out; how pleased I should be to send -Serena some! But even without them, may she live and prosper, and Emily -and Felix as well. And how about Emily’s tune? Now there is an end to my -paper; indeed, I have talked nonsense enough. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -DÜSSELDORF, June 26, 1834. - -YOU AMIABLE COUPLE IN CHESTER PLACE!--Let me thank you a thousand times -for that nice, good, kind letter that you have treated me to again; they -are high days and holidays for me when I receive your letters, and can -read them over and over again. If you, my dear Moscheles, thank me for -the Rondo, I must thank you for thanking me; but I still maintain you -are too indulgent. The other day, Dr. Frank, whom you know, came to -Düsseldorf, and I wished to show him something of my A major Symphony. -Not having it here, I began writing out the Andante again, and in so -doing I came across so many _errata_ that I got interested and wrote out -the Minuet and Finale too, but with many necessary alterations; and -whenever such occurred I thought of you, and of how you never said a -word of blame, although you must have seen it all much better and -plainer than I do now. The first movement I have not written down, -because, if once I begin with that, I am afraid I shall have to alter -the entire subject, beginning with the fourth bar,--and that means -pretty nearly the whole first piece,--and I have no time for that just -now. The dominant in the fourth bar strikes me as quite disagreeable; I -think it should be the seventh (A-G). But many thanks to you and the -Philharmonic for playing so much of my music. I am sure I am delighted, -if only the public does not grumble! - -And what do you say to their hissing little Herz? Why, that implies a -high degree of culture! Has he consoled himself with guineas and pupils, -or was it too crushing? You are particularly silent on the subject; and -yet it is true, and Moritz Schlesinger will not be slow to triumph. -Well, if he will only abstain from writing Variations for four hands, -or, if that is too much to ask, if he will only avoid winding up with -those Rondos that are so frightfully vulgar that I am ashamed to play -them to decent people, then, for aught I care, let him be made King of -the Belgians, or rather Semiquaver King, just as one says “Fire-King.” -After all, I like him; he certainly is a characteristic figure of these -times, of the year 1834; and as Art should be a mirror reflecting the -character of the times,--as Hegel or some one else probably says -somewhere,--he certainly does reflect most truly all salons and -vanities, and a little yearning, and a deal of yawning, and kid gloves, -and musk, a scent I abhor. If in his latter days he should take to the -Romantic and write melancholy music, or to the Classical and give us -fugues,--and I should not be surprised if he did,--Berlioz can compose -a new symphony on him, “De la Vie d’un Artiste,” which I am sure will be -better than the first. - -Stop; by the by, a few hours after my last letter was posted I altered -the beginning of my “Wunderhornlied,” although I had not noticed the -resemblance, and simply because I did not like it; and now comes your -remark about the reminiscence, which is very striking. Who in the wide -world will believe that I altered it before? You, for one, I hope. -Anyhow, there is the date upon it, and the following beginning:-- - -[Illustration: musical notation] - -What do I think of Vrught? I really have heard him too little to -judge,--only once, and then he sang a song in two verses: the first -quite simply and in his natural voice, so that I thought him the -greatest singer I had ever heard,--it was truly beautiful; but in the -second verse it was all shakes and skipping about, and I quickly changed -my mind. Since then he has not behaved very well to me; but, for my -part, I have no objection to giving him a copy of my Scena, only I do -not think I can do so on account of the Philharmonic. - -There is a passage in your letter, dear Mrs. Moscheles, that I protest I -am mightily offended at. You say I declare that your letters are -agreeable to me; and _that_ I am sure I have never _declared_, because -it is simply a fact. Besides, “agreeable” is not the right word: I am -really grateful for the pleasure they give me. Then you say, too, I am -not to care for public and critics; and that is just as bad. Am I not by -trade an anti-public-caring musician, and an anti-critic-caring one into -the bargain? What is Hecuba to me, and what the press (I mean the press -that depresses)? And if this very day I had an idea for an Overture to -Lord Eldon, in the form of a canon _alla rovescia_, or of a double fugue -with a _cantus firmus_, write it I would, although I knew it could never -become popular; how much more the lovely Melusina,--a very different -subject! Only it certainly would be annoying if one never had a chance -of hearing one’s things performed; but as you say that is not to be -feared, let us wish the public and critics long life and happiness,--and -me too,--and let me live to go to England next year. - -Oh, Seigneur de Fahl, you live in my rooms! If rooms could speak, what -stuff they would tell me next year, or what would they have told you! -But I hope he is not going to remain in London, for if I could not have -my rooms in No. 103 Great Portland Street it would put me out very much, -since I lived there through so much of sweet and so much of bitter,--a -whole chapter of my life. - -Yes, certainly, my horse is more attractive than all the young ladies I -knew in Berlin, it is so glossy and brown; then it looks so healthy and -so very good-natured (and good-nature, every one knows, is not exactly -what the Berlinese are noted for). However, I do not forswear marriage, -for my father has prophesied that I shall never marry. There certainly -is little hope of it just now, but I shall lose no opportunity of -getting myself placed; and surely, if Varnhagen has succeeded twice, why -should I not finally meet with some girl who would take me? - -From Frau von Goethe I have a very kind letter, in which she sends me so -many thanks for the Variations that I feel I ought to forward the -greater part of them to you, my dear Moscheles. - -Now let me write my message to Serena, and inform her that I shall pay -her a visit next year, and present her with a large nosegay of pinks; -and to Emily I will bring a brand-new tune, and teach it to her. Will -you have some mustard or an oil picture?--those are the only choice -productions of the place. And what am I to do in the mean while with my -Choir, and the Opera, and my horse? Well, there’s plenty of time to -think of that; so now good-night and _au revoir_! - -When Moscheles has a moment of leisure let him send me a line and his -best love. No more room to sign my name. - - * * * * * - -Moscheles gives Mendelssohn full particulars of the Birmingham Festival. -An Oratorio of the Chevalier Neukomm’s and an unusually large number of -the same composer’s works figured in the programme. “His style is -Haydn’s,” says Moscheles; “occasionally elevated and bordering on -Handel, but when you go into detail, you find many hackneyed modulations -and figures. For the higher development of Art he has not done much, but -in his ‘David’ there are numbers showing excellent workmanship and much -ability in the use of all the means at his disposal.” - -A Fantasia on the Organ he entitled “A Concert on a Lake, interrupted by -a Thunderstorm.” The poetical element was missing, and the introduction -of incidental thunderclaps and forked lightning on the organ only served -to show up the weakness of construction in the whole thing. - -Moscheles goes on to describe with enthusiasm the performance of the -“Messiah” and of some of the most effective Choruses selected from -“Israel in Egypt.” In speaking of the brass instruments, he says that -the ophicleide is a very useful addition to the orchestra in large -performances; “for,” he remarks, “just as you say of a steam-engine, it -has ten-horse power, so of this you can say, it has ten-trombone power.” - - * * * * * - -DÜSSELDORF, Dec. 25, 1834. - -DEAR MOSCHELES,--Upon my word, I cannot stand my own base ingratitude -any longer! I really must write at last. And why haven’t I done so for -the last two months? I really cannot say, and certainly cannot find an -excuse. The monkeys on the Orinoco, I recollect reading somewhere, do -not talk because they have nothing to say, and I suppose I was somewhat -of their kind; and then really I was at first in no mood for anything -and had plenty of time, and then I was in high spirits and had no time -at all,--in fact, I procrastinated. And now that I am about it, what in -the name of worry am I to write about from Düsseldorf to a Londoner, and -to such a one as you? Really this is such a mite of a place, where -nothing ever happens. I cannot possibly send you the news that the -Tories are in power. Never mind; I write that I may soon again hear from -you. It is just because your letters give me so much pleasure, and bring -your interesting life so vividly before me, that I would rather say -nothing about our petty provincial affairs. Whilst you are driving at -headlong speed, we are really driven like a herd of cattle. - -I have one fault to find with your letter. But for Klingemann, I should -not have known that you had composed an Overture to “Joan of Arc;” yet -you surely cannot doubt that that, of all news, would interest me most. -I congratulate you with all my heart if only on the choice of such an -excellent and serious subject. I long to hear the Overture itself, but -you are absolutely silent about it; in fact, I am quite in ignorance of -what you have composed lately, or what you have got in your mind. Please -give me full particulars of it,--in what key it is, how it is worked -out, and how scored. If possible, jot down a few notes for me. And have -you written nothing new for the piano? It would be quite a boon, for -there is great dearth in that line. - -Thanks for your description of the Festival; it is so graphic and -interesting that I could have fancied myself there: I hear Neukomm -extemporizing, and see Miss Rylands in the box. (Your account and your -wife’s must be taken together.) - -I quite agree with you in all you say about Neukomm’s music. Isn’t it -wonderful that a man of such taste and refinement should not be able to -transfer those qualities to his music? To say nothing of the fundamental -ideas of his compositions, the working out seems so careless and -commonplace. The Fantasia is probably an example of that kind of thing; -and had I come as the most favorably predisposed of listeners, the very -title would have scared me away. Then, again, that constant use of the -brass! As a matter of sheer calculation it should be sparingly employed, -let alone the question of Art! That’s where I admire Handel’s glorious -style; when he brings up his kettledrums and trumpets towards the end, -and thumps and batters about to his heart’s content, as if he meant to -knock you down--no mortal man can remain unmoved. I really believe it is -far better to imitate such work, than to overstrain the nerves of your -audience, who, after all, will at last get accustomed to Cayenne pepper. -There is Cherubini’s new Opera, “Ali Baba,” for instance, which I have -just been looking through. I was delighted with some parts, but in -others it grieved me to find him chiming in with that perverted new fad -of the Parisians, winding up pieces, in themselves calm and dignified, -with thunder-clap effects, scoring as if instruments were nothing and -effect everything, three or four trombones blasting away at you as if -the human ear could stand anything. Then the finales with their uncouth -harmonies, tearing and dashing about, enough to make an end of you. How -bright and sparkling, on the other hand, are some of the pieces in his -former manner; between Faniska and Lodoiska, for instance, and this -there really is as wide a difference as between a man and a -scarecrow,--no wonder the Opera was a failure. To an admirer of old -Cherubini’s it really is annoying that he should write such miserable -stuff, and not have the pluck to resist the so-called taste of the day -and of the public, (as if you and I were not part of the public, and -didn’t live in these times as well, and didn’t want music adapted to -_our_ digestive capacities!) As for those who are not admirers of old -Cherubini, they will not be satisfied anyhow, do what he may; for them -he is too much himself in “Ali Baba,” and after the first three notes -they spot their man and put him down as a “vieille perruque,” “rococo,” -etc. - -You will fancy I am in an all-devouring mood to-day; not at all,--I -really don’t know what made me so pugnacious; on the contrary, I am in a -most happy, peaceful frame of mind. It is Christmas Day; a fragrant odor -of black gingerbread, with which I was regaled at the Schadows’ last -night, pervades the room; all around are presents from home,--a lounging -jacket, writing materials, confectionery, cup and saucer, etc. In the -midst of such splendors I have been happy and cheerful all day long, and -now in the evening that wicked pen of mine runs away with me. -Düsseldorf, too, is not half as bad as I described it just now, and you -would not be slow to appreciate it if you heard the members of our -Choral Society sing their Sebastian Bach, true knights as they are. We -are soon going to perform the “Seasons,” and during Lent the “Messiah;” -in the last concert we had Weber’s “Lyre and Sword,” the first part of -“Judas Maccabæus,” and the “Sinfonia Eroica.” I am held in tremendous -respect here; but do you know, I think my ink has turned sour just now -because my horse bolted with me this afternoon and ran like mad right -through our Corso and half the town, straight to the stables. I kept my -seat, but I was in such a rage; and weren’t the people just delighted to -see the “Herr Musikdirector” racing along! And then really there are not -enough pretty girls here; after all, one doesn’t want to be composing -fugues and chorales all day long; but, upon my soul, I am getting so -frumpy and old-fashioned that I dread the thought of putting on a -dress-coat, and how I am to get on if I go to England next spring and -have to wear shoes, I know not. Well, it will all come right again if I -am really sufficiently advanced with my work in the spring to cross; and -if so, you know with what feelings I look forward to No. 3 Chester -Place. - -My Oratorio is making great progress. I am working at the second part, -and have just written a Chorus in F sharp minor (a lively chorus of -heathens) which I thoroughly relish myself and should so much like to -show you; in fact, I am ever so anxious to hear whether you are -satisfied with my new work. I have lately written some Fugues, Songs -without words and with words, and a few Studies, and should of all -things like to take a new Concerto for piano with me to London, but of -that I know nothing as yet. You once said it was time I should write a -quiet, sober piece for the pianoforte, after all those restless ones; -and that advice is always running in my head and stops me at the outset, -for as soon as I think of a pianoforte piece, away I career, and -scarcely am I off when I remember, “Moscheles said, etc.,” and there’s -an end to the piece. But never mind, I’ll get the better of it yet; and -if it turns out restless again, it will certainly not be for want of -good intentions. - -But now good-by, my dear Moscheles. When you have a leisure hour give me -good news and much of it. Remain my friend, as I am yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -With the following letter Mendelssohn sent a small, highly finished -water-color drawing of the Bridge of Sighs at Venice to Mrs. Moscheles, -which we reproduce. - - * * * * * - -DÜSSELDORF, Jan. 10, 1835. - -DEAR MRS. MOSCHELES,--I ought to be kneeling on peas to do penance, all -the time I am writing this letter, sinner that I am! And indeed, in my -innermost heart, I am really on peas, when I think of my long silence. -Such a shocking return for your kind letter after the Birmingham -Festival! The courier who is to take my long-promised sketch to you -leaves to-morrow, or I should scarcely have written to-day. The fact -that I write only to accompany the sketch, you must not look upon as an -aggravation of my offence, - -[Illustration: 16. The Bridge of Sighs. From a Water-Color Drawing by -Mendelssohn. (See page 122.)] - -but must interpret it favorably. You know, there are times when I feel -but a poor mortal, and avoid speaking or even thinking about myself. -Such tunes come upon me every now and then; and having no kind friend -here to turn to for sympathy, I suffer more than elsewhere. If just on a -day of that kind a letter reaches me like your last, I am carried into -the midst of your busy interesting life, and, comparing that with the -monotony of my own existence, I feel as if I could not write a word -about myself; in such times, to speak of myself and my work, depresses -me still more. Then I fancy I am but a nuisance, and don’t write to you. -So it has been hitherto; but to-day I turn over a new leaf, and must -present my water-color drawing to you, which I herewith do most -gracefully. My most solemn and impressive bow you must here picture to -yourself. - -The sketch, taken at Venice in October, 1830, represents the Bridge of -Sighs. Should it be out of drawing, you mustn’t set that down to me, but -fancy the Doge’s palace just tumbling down, and consequently leaning on -one side. The water is the _partie honteuse_. I have labored the whole -morning to make it a little clearer, but it only got muddier; so there, -again, imagine that the tide happens to be out, because then the water -throughout Venice gets thick and muddy, and might look as unattractive -as it does in my sketch. My sky, too, is rather murky; but a certain -Nicolaï of Berlin has just published a stupid book meant to prove that -there is nothing worth looking at in Italy,--that the country is devoid -of beauty, and the people dull and heavy, no _Weissbier_, no oranges, -and the sky no better than our own. If he speaks the truth, it would -make the color of my sky right. Should my drawing, with all its -shortcomings, find favor in your eyes, let me know, that I may make you -another; for I am improving, and my next will be better; I might paint -you a Swiss landscape, with meadows and houses, for nothing amuses me -more. And now if I could only carry this one to you myself, and then and -there alter it according to your suggestions! - -I shall be glad if I can get to you in the spring; though, much as I -desire it, I fear it will hardly be possible. I shall have done my work -by that time just as I planned it; but the question is, Ought I to begin -something fresh, and go on working quietly, or should I take a holiday? -However, one thing I do know, and that is, if I treat myself to a visit -to England this year, I will lead a very different life in London to -what I did before,--trying to keep as quiet and retired as I do here, -and not going into society unless really obliged to; but as to you, I -shall inundate you with as many visits as you can endure. Till then I -must work hard at my piano, for I fear I have lost ground a good deal. -The other day, however, in telling a friend how Moscheles and I used to -improvise together, and showing him some of the passages, I could have -given anything to start for London, once more to enjoy the same -pleasure; for not only do I play but little here myself, but I rarely -get to hear others. On the other hand, there are what I call good days, -and most enjoyable ones, when the work prospers, and I have a long -morning to myself in my own quiet room; then life is charming indeed. - -And pray, how do you all get on? Is there already some “miss” playing -her scales downstairs in Moscheles’s study, or is he allowed a little -leisure to compose and make music? Does little Felix cry very much? Has -Emily grown? Of her growing up, you know I stand in mortal fear. I was -going to send you another song to-day, but could not get on with it, -which annoys me; so you must even rest satisfied with this dull, -unmusical letter. And now farewell. May you all be happy and merry in -this new year! May it bring you every blessing, and to me a happy -meeting with you and Moscheles! All my belongings keep sending messages, -which I never give you, although my father is always mentioning your -kindness to him and his regard for you. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -DÜSSELDORF, Feb. 7, 1835. - -DEAR MOSCHELES, AND DEAR MRS. MOSCHELES,--I sent you two such stupid -letters the other day by the courier that I really must try if I can’t -put together a more sensible one to-day. I do feel sometimes as if all -the world of Philistines had got the better of me, and I were a -Philistine myself; at such times I cannot write, as I amply proved the -other day. - -To-day I composed a chorus for my Oratorio, and I am quite pleased with -it. So what better can I do in the evening than put my happy mood into -the shape of a letter to Chester Place, and send my best love to you -all? I heard too from Klingemann to-day, and that always makes me feel -holiday-like; and besides, it was so desperately foggy that I quite -fancied myself in England during my ride; and then for the last few -weeks the number of Philistines sitting on me has decreased; and -then--and then--spring is coming, and spring weather has come -already--so, after all, life is worth living. By the way, is there a -word in English for _Philister_? I don’t believe there is. Oh, land of -happiness! - -True, they may re-elect Mr. Fleming to a seat in Parliament; they may -sing “Lord God of Israel” to my “Ave,” which is much as if they sang -“The Old English Gentleman” to Lutzow’s “Jagd;” but for all that they -are not really Philisters. This is the place for the genuine article. - -If I had seen Mrs. Moscheles at that ball I went to last night, where -there were such quantities of tallow candles, and we had ham and -potatoes for supper, and the boards were sprinkled after the first -dance, not after the second (that would have been no use, the dust was -so thick that you could hardly see the people), and they danced down the -stove to the capital music of some worthy members of my band,--the whole -thing got up by the Commercial Club, commonly called “The -Parliament,”--and the ladies’ dresses--no, but these baffle -description--only, had I seen Mrs. Moscheles there, and she me, in my -best English cravat too, I should just have collapsed for very shame; -for on these occasions I positively cannot believe there is such a thing -in the whole place as a gentleman. Now, what I should like of all things -would be to go and enjoy myself at the fair; surely it could not be -ungenteeler, but undoubtedly jollier; only, you see my rank as -Musikdirector does not allow of my taking such liberties, a fact that -the Burgomaster himself has strongly impressed upon me. And then we have -the glorious rivalry between Düsseldorf and Elberfeld, which is twelve -miles off; Düsseldorf styling itself Athens, and dubbing Elberfeld Rio -de Janeiro or Augsburg. And then all the girls are plain; and that is -quite a misfortune, or at least a grievance. So I really associate only -with artists, and they are very good fellows. As for Immermann,[29] with -whom I used to be on friendly terms, he is completely immersed in -theatrical business, Uechtritz in æsthetics, and Grabbe in the -bottle,--three things I don’t much care for, least of all perhaps for -æsthetics. - -The other day I was asked to edit a musical review. I should have liked -to call out the firm that made the request; for nothing seems to me more -unsatisfactory or distasteful than a concern of that kind, in which you -have to suit other people’s pleasure and take all the annoyance to -yourself. The other day I received from a local composer some songs with -guitar accompaniment, for my opinion. The first began thus:-- - -[Illustration: musical notation] - -whereupon the voice comes in, and towards the end of the letter the man -asks me whether in my judgment Handel was really the great man he is -usually taken to be. Now, wouldn’t he do for the editor? What better -qualification for the post than that song and that question? - -But, to be serious again, my dear Moscheles, when you write tell me all -you can about your new Overture to Joan of Arc, of which I have so far -only been able to hear in a general way. Have you written anything -besides the Overture, and if so, what? Are we not to have a third book -of Studies? I do not believe there is in all Germany a single pianist, -worthy or unworthy of the name, who does not know the first two books, -and play them,--Heaven only knows how, to be sure,--and by publishing a -third, you would really be conferring a boon on all musical people. -Remember now, I want chapter and verse about everything you have been -writing. - -Among the new music you are constantly looking through, have you come -across anything good? I have not seen anything that I quite liked. A -book of Mazurkas by Chopin and a few new pieces of his are so mannered -that they are hard to stand. Heller, too, has written two books of Songs -that he had better have left unwritten. I so wish I could admire it all; -but it is really so little to my taste, that I cannot. A few things -there are, too, by some Berliners and Leipzigers, who would like to -begin where Beethoven left off. They can “clear their throats” as he -does, and “cough his cough,” and that is just all. To me it is like -riding across the fields after the rain; on horseback they can dash -along splendidly, even if they do get splashed, but when they try to -walk, they get stuck fast in the mud. I have heard “Gustave III.” by -Auber; in that kind of opera the music is fast becoming of secondary -importance,--a good thing too. Yesterday I read in a French paper that -Bellini is gazetted Knight of the Légion d’Honneur; Louise Vernet, whom -I once upon a time admired so much, marries Delaroche the artist; and -Urhan has written pianoforte pieces he calls “Lettres à Elle.” But I -dare say you know all that, as well as the good news that the “Œuvres -complètes de Moscheles” are about to appear at Schlesinger’s. - -There, I am at the end of my paper just as I was going to begin in good -earnest; it is quite as well, for I have nothing new to say, but only -something old,--namely, my love to you all, and my longing to be with -you once more. Well, next May I shall probably give one of my awkward -knocks at your door. For the present, good-by; best love to Emily, -Serena, and Felix, who I am sure speaks French by this time, or at any -rate soon will. And now enough,--too much perhaps. - -Ever yours, - -FELIX M. B. - - * * * * * - -Moscheles sent Mendelssohn his Overture to Joan of Arc; and two Songs on -words by Uhland, “The Smith” and “In Autumn.” - - * * * * * - -DÜSSELDORF, March 25, 1835. - -MY DEAR MOSCHELES,--A thousand thanks for your kindness in sending me -the two Songs and the Overture, and for the nice letter which came with -them. It is too good of you. In your busy life, with so many demands on -your time, you actually copy out music for me, and take pleasure in -giving me pleasure! The mere sight of the parcel gladdened my very -heart; and now that I have the contents, I long to hear the whole -Overture, instead of having to fancy the single parts linked together. -Now I have a clearer conception of the whole work, and am particularly -delighted with the French March in the middle,--which, I am sure, must -have a capital effect,--then the theme in minor at the end, and indeed -the whole idea and conception. The Allegro Spiritoso is, I suppose, the -principal section of the work; at least I cannot fancy it otherwise. And -what about the end? Do you finish in minor with the Funeral March, or -are “all standards slowly lowered at the king’s command”? The beginning -of the minor March which you have written out for me is so fine that I -long to know its conclusion. The March, I suppose, comes in towards the -end; the trombones in answer to the muted Quartet must have a splendid -effect. - -You have given me nearly as much pleasure by the two Songs. They are so -intrinsically German, not a bit French or English, never aiming at -effect, and therefore producing the most agreeable effect upon me; for I -cannot say how glad I am that you, in the midst of all your successes, -have not lost the taste or love for such small, unobtrusive, beautiful -songs. There is something truly artistic and truly German in that,--just -what I delight to find in you. I like the Song in B major best, -particularly the charming close, where the voice descends from F sharp -while the accompaniment keeps on hammering away. So, too, the _piano_ to -the words “black forge” is delightful. In the Song in F, I particularly -like the recurrence of the subject creeping in through the accompaniment -at the words, “Ah, those were lovely dreams!” But will you allow me to -mention a trifling matter with which I do not quite agree? There are a -few _nuances_ in the declamation,--or whatever else I may call it,--just -at the beginning, to the words, “Yonder at the garden entrance,” where -the quiet fall of the melody appears out of keeping, and where, -musically speaking, the two half-bars seem to drag somewhat. I fancy it -would sound livelier if they were omitted, and the melody went on -without delay, so that, in the following bars, the words would not be -dwelt upon at such length. Thus the word “glad” would get into the first -bar, and the word “chords” into the second. This is still more striking -at the word “soul,” in B major, where I feel confident the melody should -go on without rest, as the verse goes on,--the word “again” belonging to -“dost thou know,” according to the meaning of the text. So, also, I was -struck by the long pause preceding the words “look around,” the -accompaniment going on to A major, and then by the spinning out of the -words “around them.” I fancy you might leave out one or two bars -altogether. - -But when I remember that I am writing to you, Moscheles, and that from -me to you all this is very presumptuous, I am half afraid you will be -offended--but no, I don’t mean that either, for I know you would not -take offence at my straight-forwardness. If I tell you honestly where I -think you have been less successful, it shows you that I am sincere -where I appreciate, and that I thank you for all the rest. - -What you say about Berlioz’s Symphony is literally true, I am sure; only -I must add that the whole thing seems to me so dreadfully slow,--and -what could be worse? A piece of music may be a piece of uncouth, crazy, -barefaced impudence, and still have some “go” about it and be amusing; -but this is simply insipid and altogether without life. - -Some studies of Hiller’s I saw the other day I could not bring myself to -like, either; which I am sorry for, because I am fond of him, and -believe he has talent. But Paris, no doubt, is bad soil. - -This page is to be devoted to my thanks for your kind letter, dear Mrs. -Moscheles. You know how much I like London; so your pressing me to come -is doubly kind. But I am sorry to say your letter arrived after I had -decided to give up that pleasure this year. Klingemann will have told -you so; and I need not add how sorry I am. Having, however, made up my -mind to live and labor in Germany whilst I can, I could not refuse the -conductorship of the Rhenish Musical Festival without materially -injuring my position here; and as the Festival is held in June,--by -which time I could not get back,--my favorite scheme has fallen to the -ground. When I may take it up again I cannot say, but I trust it may be -soon. Till then I must give up the extempore Fantasias for two -performers, and the slow prestos, and the sugar-kaleidoscope, and the -“Fall of Paris” knock. To lose all that for the sake of serious business -is horrid; but how to help it? - -There is an end of the paper, my dear Moscheles. Kindly accept the -Overtures, and give me your opinion on them. The first has remained -pretty nearly as it was; the two others are much altered. Let me hear -all about your Concerto in C minor soon; I look forward to it with -pleasure and impatience. - -I must bid farewell, for to-day, to No. 3 Chester Place. Love to the -children and the whole house. - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -BERLIN, Aug. 13, 1835. - -MY DEAR MOSCHELES,--I do not know how to thank you for your kind letter; -it gave me the greatest pleasure, and I should certainly have answered -it sooner; only, I really had neither mood nor leisure to write. You -know my mother was taken very ill in Düsseldorf, and recovered but -slowly, and she could only undertake the journey here with the greatest -caution, I accompanying her. My anxiety, both before the journey and on -the road, was so great that I could not collect my thoughts for -anything, and I did not feel relieved till both parents once more -settled down comfortably at home to their old habits. Now, thank God, -all traces of past fatigues are fast disappearing, and they are so well, -or rather so much better than before, that I breathe freely again. -Anyhow, I should have written to you shortly, but to London; for I had -no idea you were going to Hamburg so soon, and the news of your arrival -quite took me by surprise; but now I should like to know all about your -past and future movements. That you should think of going to St. -Petersburg, I more or less expected, confident as I am that you would be -worshipped there and overwhelmed with kindness. But how long do you mean -to stay? When to start? To be sure, you return to England. And then I -want to hear something of the past; for, capital as your lines about -Aloys Schmidt and Benedict are, there must be something too to say about -new publications by others; and above all I want full particulars of -your own compositions, what pieces you are planning, and how your -concert went off. Do write about it all when you have a leisure hour; -you know what pleasure it gives me. Your last letter I showed my -parents, and they fully appreciated your kind words. My father will add -a few lines to these. - -Your description of Aloys Schmidt’s tallow-candle _soirée_ and the -conversation on sevenths was so graphic that I really could smell the -tallow, hear the quartet, taste the green tea, feel the oppressive -dulness,--in fact, it is as if all my senses had had their share in the -proceedings. What you say of Liszt’s harmonies is depressing. I had seen -the thing at Düsseldorf, and put it aside with indifference because it -simply seemed very stupid to me; but if that sort of stuff is noticed, -and even admired, it is really provoking. But is that the case? I cannot -believe that impartial people can take pleasure in discords or be in any -way interested in them: whether a few reporters puff the piece or not, -matters little; their articles will leave no more traces than the -composition. What annoys me is that there is so little to throw into the -other side of the balance; for what our Reissiger & Co. compose, though -different, is just as shallow, and what Heller and Berlioz write is not -music either, and even old Cherubini’s “Ali Baba” is dreadfully poor and -borders on Auber. That is very sad. - -But what is the use of grumbling about bad music? As if it could ever -take the lead, even if all the world were to sing it; as if there were -no good music left! All such things, however, make me feel the -obligation of working hard and of exerting myself to put into shape to -the best of my abilities that which I fancy to be music. I do feel -sometimes as if I should never succeed; and to-day I am quite -dissatisfied with my work, and should just like to write my Oratorio -over again from beginning to end. But I am quite decided to bring it out -at Frankfurt next winter, and at the Düsseldorf Musical Festival at -Whitsuntide; so I must finish it now. Besides, I think I have worked too -long at it; at least, I am quite impatient to get to other things, so it -is evidently high time to end. I have got to recopy the whole score, and -make a good many alterations and additions,--rather a heavy piece of -work that often tires me. In the course of the winter I am going to -write a Symphony in A minor, and get my “Walpurgisnacht” ready for -publication. - -And what about the next book of “Studies”? I am quite longing for it, -and so are all pianoforte-players. I wish you would let us have it soon. -Don’t you mean to do so? And how about the Sonata for four hands? - -You know that I am going to spend next winter in Leipzig to conduct the -Abonnement Concerts. I have only engaged myself from Michaelmas to -Easter. I’m a little afraid of it, and can’t fancy a residence there -agreeable. My plans for next spring, after the Musical Festival, rather -point towards the South than towards England. So I must trust to chance -for bringing us together, and that is perhaps better than all planning -for the future. Good-by. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - -My address for the present is Berlin; and from next September, Breitkopf -& Härtel, Leipzig. Use it often. - - * * * * * - -At the close of the season Moscheles went to Hamburg with his family, -from which place he announces to Mendelssohn his intention of visiting -Leipzig for the purpose of seeing his mother, who was coming from Prague -to meet him. He also speaks of his intention to give a concert in -Leipzig. - - * * * * * - -LEIPZIG, Sept 5, 1835. - -MY DEAR MOSCHELES,--I hope and trust nothing may occur to prevent our -once more spending a few happy days together. Your concert is being -arranged, and so I shall have the twofold pleasure of seeing you and -hearing your more important new works, and I need not tell you how much -I shall enjoy that. - -Your search after flowers in the arid regions of modern composition -makes me quite melancholy. It is so disheartening to see how colorless -the heroes of our day are. Sometimes it makes me feel inclined to think -too indulgently of myself; at other times again the very reverse, and I -feel thoroughly discouraged. Who is Mr. Elkamp who is writing a “Saint -Paul”? Have you seen anything of his, and has it any merit or not? - -If the Hamburgers look upon your appearance as an _intermezzo_ between -Chopin and Kalkbrenner, let them go to Jericho. I would soon put things -into plain language, and ask them whether they consider the joint an -_intermezzo_ between mixed pickles, hashes, and fish patties, or whether -it is not rather the other way. A comparison of that kind would, I -believe, be most likely to come home to them. Kalkbrenner is the little -fish patty. - -Have you heard or seen anything of Lindenau the violinist? The last time -I heard him, in Düsseldorf, I was exceedingly pleased with his playing. -If you meet him, please remember me kindly to him, and ask whether he -would come and play here. Good violinists seem to be scarce, and I -should be glad if he would let us hear him soon. I am not quite clear as -to the state of musical matters here. There seems to be plenty of music -performed; but how much for the love of the thing, remains to be seen. -That is, however, a vast subject, and we must discuss it accordingly, -and rediscuss it, and say wise things about it; and may all that come to -pass soon! - -Just now Hauser comes in, and I tell him of my beautiful joke on -Kalkbrenner; but he will have it that K. is more like an indigestible -sausage, and I am to tell you so with his best love. Your kind offer of -services reminds me of a favor you can do me on your way here. -Klingemann wrote me the other day that he had had some money from you -for me, and that you have a balance in my favor from Novello’s payments -for the “Melodies.” If you could let my father have this on your way -through Berlin, you would oblige me. Excuse my troubling you. I must -end, or my letter won’t be in time. Pardon these hurried, -good-for-nothing lines. Be sure you bring all your newest compositions -with you; mind you do, it will be such a treat for me. And now, best -love to wife and children, and good-by. Forget not - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -On the 1st of October Moscheles arrived in Leipzig; there, as -prearranged, he met his mother. The ten days passed in her company and -in musical and friendly intercourse with Mendelssohn are amongst the -happiest recorded in the diary. On the 2d of October he says: “I passed -the evening with Felix; his friend Schleinitz, a lawyer, came in; he has -a lovely tenor, and sang some of Felix’s songs.[30] Then Felix and I -played my ‘Hommage à Handel’ for two performers; all my Studies he knows -by heart, and he plays them beautifully.” - -_October 3._--“Rehearsal for the first Subscription Concert of the -season. Mendelssohn appeared for the first time at the head of the -Leipzig orchestra. He conducted with befitting dignity, exercising -authority without pedantry, and was most cordially seconded by the -members of the orchestra.” - -In addition to Moscheles’s diary we have his letters written from -Leipzig to his wife, who, with her children, had remained in Hamburg on -a visit to her relatives.[31] Moscheles writes of meeting “a retiring -but interesting young man, Robert Schumann,” and of “the admirable and -unaffected playing of Clara Wieck,” afterwards Madame Schumann. He shows -us Mendelssohn’s study, with “the bookcase,--a perfect storehouse of -musical scores;” the writing-table, on which he notices the silver -inkstand presented to Mendelssohn by the Philharmonic Society; the -engravings on the wall; a delightful litter of scores and other music on -the piano; “still,” he says, “cleanliness and neatness prevailing -everywhere.” Then again we follow the two friends to the keyboard of the -Erard, which stands in the middle of the room. They play, together and -alternately, their latest compositions: some “Songs without Words,” -Moscheles’s Concertos (Fantastique and Pathétique), and Mendelssohn’s -Overture, “Calm Sea and Prosperous Voyage.” “Last night,” says -Moscheles, “we played my Overture and his Octet together; it went -swimmingly, and when we parted he lent me his cloak, for fear I should -catch cold after so many hot notes. This morning he was rewarded with an -extra piece of that cake my mother brought from Prague for us.” - -The above-mentioned cake, originally intended for the expectant family -in Hamburg, was destined to be sacrificed to the appetites of a small -party of belated travellers. Moscheles, Mendelssohn, and his sister -Madame Dirichlet with her family, had travelled together from Leipzig to -Berlin, and on arriving at half-past one o’clock in the morning they had -found the Mendelssohn house in deep slumbers and the larder closed; it -was there the cake met its pleasant fate. “Pleasanter still,” says -Moscheles, “was the awaking next morning. The meeting with the -Mendelssohn family was quite touching; we embraced all round, and -Felix’s happiness and overflowing spirits were quite childlike. As for -myself, I was received as affectionately as if I belonged to the -family.” - -Though at first reluctant to delay his return to Hamburg, Moscheles -finally yielded to the kindly pressure of his friends and remained with -them. - -Of his concert Moscheles wrote a glowing account; Mendelssohn indorses -it in the following letter:-- - - * * * * * - -LEIPZIG, Oct. 11, 1835. - -I cannot forego the pleasure, dear Mrs. Moscheles, of sending you an -account of the events of the last two days, although necessarily a short -one, as I am beset by professional and non-professional visitors. It has -really been too delightful, and such a pity you were not here to enjoy -the treat Moscheles gave us all. Those two days were indeed thoroughly -musical ones, with everybody full of excitement and genuine enthusiasm. - -Let me begin with the concert of the day before yesterday; you know the -programme, and you also know how Moscheles plays. Well, then, directly -after his “Concerto Fantastique” the shouts of applause began, and the -noise lasted throughout the evening, and continued at yesterday’s -rehearsal, so that this evening’s concert promises to be one of the most -glorious, the Leipzig people being half crazed. Besides, you know, the -room was the most crowded we have had for years; but what pleased me -most was the intense interest and delight which pervaded the audience. - -When we got to the end of our duet,--and it did go well, I assure -you,--the most deafening acclamations broke forth, so that we played the -last eight or ten bars without anybody, not even ourselves, being able -to hear whether we did it correctly; nor did they leave off clapping and -cheering till they had us out again, to perform a second duet--of -graceful bows. And now you may fancy how madly they went on after -Moscheles’s “extempore playing.” It is true he produced some things -bordering on witchcraft, which to this day I have not been able to -understand, although he pretends they were nothing; but it was quite -delightful to see how excited and appreciative the audience were. An -English lady, rather blue, wanted to be introduced, and gave vent to -her enthusiasm, whilst a score of Leipzig ladies of all colors waited -for her to make room. (And here is the proper place to inform you that -Moscheles was struck on two separate occasions by the beauty of a -Leipzig lady, and each time informed me of the fact, in a discreet -whisper; whereupon I threatened to let you know, which I hereby do.) -Well, then, the Leipzig ladies came to the balustrade of the orchestra, -and Moscheles made them a bow; then came the dignitaries of this place; -then one or other of the art critics, who gave detailed reasons for -their praise; and lastly the committee of our concerts (consisting of -twelve gentlemen--not one lady), to beg that they might hear the -Overture to “Joan of Arc” once more at this evening’s concert. A work of -that kind has too many novel and striking points to be at once -understood by band and audience, so that we look forward with delight to -its repetition to-day. They have now played it four days in succession, -and it will go to perfection; even at yesterday’s rehearsal it seemed -like a new piece, and fresh beauties were brought out. The duet, too, -has to be repeated _by desire_; and as Moscheles had already promised to -play his Concerto in G minor (“Blue Devils”),[32] we shall, I think, -have a splendid night of it. - -Let me just add that at yesterday’s rehearsal Moscheles played his -Concerto in a more masterly manner than I believe I have ever heard him -play before, which is saying a great deal; the unanimous applause which -followed must have given him some pleasure. It was the last piece of the -rehearsal; the Overture had been played beautifully, and now we all--the -unoccupied--formed a large circle around him. Mademoiselle Grabau, our -_prima donna_, turned over the pages, the other singers standing close -by; a Kammerherr,[33] who had expressly come from a distant place in the -country, and who fancied himself a good pianist, kept his eyes fixed on -Moscheles’s fingers; the band exerted itself to the utmost, and -Moscheles played quite wonderfully and delighted everybody. I only wish -you and he could have seen the smiles and nods of the band and the -audience, their secret looks of astonishment, and the unutterable -surprise of the Kammerherr. Accustomed as Moscheles is to such -demonstrations, he must have been struck by this outburst. As to myself, -I cannot sufficiently tell you how I am enjoying his visit. Alas! it is -coming to an end, as he is returning to you the day after to-morrow; but -it was a happy time, long to be remembered, and always with delight. - -I am again interrupted, and I expect Moscheles in an hour to take me to -his mother’s, where I am to play; so I am obliged to conclude, leaving -him to give you verbally all the Leipzig news, which I should have -preferred to do myself in this letter, if the Hamburg mail didn’t leave -at ten o’clock. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Mendelssohn again writes to Mrs. Moscheles:-- - - * * * * * - -If you want to be angry with Moscheles for giving us another day, you -must be angry with all the inmates of the Leipzigerstrasse No. 3; for -they are all at fault. He wanted to proceed at once, although he only -arrived last night, or rather this morning at half-past one o’clock; but -we all bent the knee of persuasion, in addition to which the police -would not deliver his passport. Then, again, you will have him in -Hamburg, Holland, and London, whereas we shall have to part to-morrow, -probably for a long time. In a word, I for one begged and prayed to my -heart’s content; put yourself in my place, you would have done the same. -Moscheles, on his return, will give you all our cordial messages; it is -post-time. I close, and trust you will not frown on - -Yours sincerely, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Moscheles remained three days with the Mendelssohns. To none did he give -greater pleasure than to the elder Mendelssohn, who, afflicted as he was -with partial blindness, derived the keenest enjoyment from music. On the -last evening of - -[Illustration: 17. Fac-simile of Diploma given to Mendelssohn by the -University of Leipzig. March 20, 1836.] - -Moscheles’s stay, he and Mendelssohn were improvising together; as the -hour of departure approaches, the latter suddenly breaks in with the -familiar bugle-call of the post-chaise. Moscheles answers with a solemn -valedictory Andante; again he is interrupted by the warning notes of the -bugle, and pressing forward, the two performers end with a _brillant_ -Finale. These days were amongst the last that Mendelssohn’s father was -destined to enjoy. A heavy blow was in store for the Mendelssohn family -and the wide circle of their friends. Abraham Mendelssohn died quite -suddenly on the 19th of November. - - * * * * * - -BERLIN, Nov. 25, 1835. - -MY DEAR FRIEND,--We have lost my father. He breathed his last tranquilly -and peacefully on the 19th, in the morning, at half-past ten o’clock. He -had long since wished it might be so, and God has heard him. May He give -us strength to live on without him, and bear up under a loss we can -scarcely realize! My mother and sisters are well; my mother an example -to all, looking at the future with courage and fortitude. It was owing -to you that I saw my father the last time, and for that I thank you. The -remembrance of those two happy days is like a blessing that I shall -carry through life. You knew him, and can judge how, with him, light and -happiness have gone from me. I will strive to live as he would have -wished me to live, had he been amongst us. To your wife my father was -always sincerely attached, and grateful for all her kindness to him and -to us all. She, too, has lost a friend, and so have all those who knew -him well. - -I must return to Leipzig in a few days, and do my best to get through my -duties there. - -Good-by. - -Yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -On his return to Leipzig he resumed his work with untiring energy; on -the 22d of May of the following year (1836) he conducted the first -performance of his Oratorio, “Saint Paul,” at the Düsseldorf Festival; -he next went to Frankfurt to take the direction of the Saint Cecilia -Choir, in place of his friend Schelble, who was incapacitated through -illness. Here he first met that other Cecilia who was henceforth to -become his guiding star, and who was eventually to exchange her name for -his. They were engaged on the 9th of September, Mendelssohn’s mother -communicating the welcome news to the Moscheles family. - - * * * * * - -FRANKFURT, July 20, 1836. - -MY DEAR FRIEND,--It is an age since I wrote to you last; but it was a -monotonous age, and I was not in a mood to write about it or anything -else. Besides, you know that however much time passes without your -hearing from me, there is not a day that does not in some way or other -bring me nearer to you or remind me of your friendship, your work, and -your life so beneficial to us all. I have not yet thanked you for that -good kind letter of yours which reached me through Klingemann at the -Music Festival, with your congratulations on its success. How the -Oratorio went off you have heard long ago. There was much that pleased -me at the performance, and much that dissatisfied me; and even now I am -at work on certain parts of the pianoforte arrangement, which is to -appear shortly, and on the orchestral score, so much is there that -completely fails to express my idea,--in fact, does not even come near -it. You have often advised me not to alter so much, and I am quite aware -of the disadvantages of so doing; but if, on the one hand, I have been -fortunate enough to render my idea in some parts of my work, and have no -desire to change those, I cannot help striving, on the other hand, to -render my idea in other parts, and, if possible, throughout. - -But the task begins to weigh heavily upon me, as I am gradually more and -more attracted by other work, and I wish I could look back upon the -Oratorio as finally completed. Well, I hope in two months, at the -outside, to send you the P. F. arrangement. But where will you be then? -What a thing it is to be separated by land and sea! I hear a great deal -about you and your work through people coming from London, and I read -about it in the musical papers; besides, you write occasionally, and so -does Klingemann; but if I compare all that with our meeting in Leipzig, -or with those days in England, when it was a matter of course that I -should know how you spent every morning and afternoon, then -letter-writing does appear a very poor substitute. I suppose you will be -going to the seaside on the English coast. I, too, am ordered -sea-bathing, and shall have to swallow the bitter pill of a regular -cure, and go in about a fortnight to Scheveningen, or rather to the -Hague, where I can live quietly away from the bathing community, and -drive out every morning to the sea for my ablutions. In the first days -of September, when the Subscription Concerts begin, I must be back in -Leipzig. - -I wish I could finish a few Symphonies and that sort of thing in the -course of the year, and more still I long to write an Opera; but of that -I am afraid there is not the least prospect. I am looking in vain -throughout all Germany and elsewhere for some one to help me realize -this and other musical plans, and I despair of finding him. It is really -absurd to think that in all Germany one should not be able to meet with -a man who knows the stage and writes tolerable verses; and yet I -positively believe there is none to be found. Altogether, this is a -queer country. Much as I love it, I hate it in certain respects. Look at -the musical men of this place, for instance; their doings are quite -shameful. Considering the size and importance of the town, there is -really a fair muster of excellent musicians, men of reputation and -talent, who might do good work, and who, one would think, would do it -willingly; so far that is the good side of Germany, but the fact is, -they do nothing, and it were better they did not live together, and -grumble, and complain, or brood over their grievances till it’s enough -to give one the blues. Ries is by this time in England, I suppose; he -considers he does not meet with due appreciation, and finds fault with -the musicians, and yet does nothing to improve them. Aloys Schmidt takes -his ease in the country, sighs over mankind in general,--a poor race at -the best, full of envy and malice,--forgetting all the while that he, -too, belongs to it. Hiller is here just now. People discuss wildly -whether he is a great pianoforte-player or not, but they don’t go to -hear him, and fancy that makes their judgment all the more impartial; so -he, too, is leaving for Italy. The only man who succeeds is Guhr, who -knows least and isn’t good for much; but he has a will of his own, and -enforces it _bon gré, mal gré_, and the whole town lives in fear of him. -But all that is bad, and the German Diet should interfere; for where so -many musicians congregate in one place, they ought to be forced by the -authorities to give us the benefit of a little music, and not only their -philosophical views about it. - -What have you been composing, and what are your plans for the autumn? I -am anxious, too, to know how you have treated your scoring of the Bach -Concerto. Taubert has, I suppose, been drowned in the whirl of pianists, -and was little noticed. It could scarcely have been otherwise; I always -thought he had not much talent. Thalberg, whom you portray so admirably, -I should like to hear again; he must have developed wonderfully. - -And do you know that my Oratorio is to be published in London, at -Novello’s, and that his letter about it dropped from the skies into my -hands the other day? And do you know, also, that Rossini, with Pixis, -Francilla, the Swedish composer Lindblad, and the Polish straw-fiddler -Gusikow, have all been through Frankfurt? But I must leave off writing -and chatting. Good-by; best love to wife and children, and don’t forget - -Yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -On the 14th of August Moscheles writes:-- - - * * * * * - -MY DEAR FELIX,--You ask me about my scoring of the Bach Concerto. Well, -it seemed to me that one might give it a kind of new varnish, by doing -for it what Mozart had done with such perfect taste for the “Messiah,” -when he added wind-instruments to the score. Only, fully aware as I was -of the poverty of my pen as compared with that of the master, I -naturally hesitated. If now, however, I have followed the great example -before me, the worst that can be said of me is that I am but a poor -imitator; and consoling myself with that reflection, I wrote Parts for -one Flute, two Clarinets, two Bassoons, and two Corni. I mainly intended -this wind-accompaniment to take the same position in the Concerto which -is taken by the organ in the performance of a Mass. - -Hauser kept his promise very punctually, and sent me two more of Bach’s -Concertos,--one for three, and one for two pianofortes. I will shortly -let you know what I already possess of Bach’s concert-music; perhaps you -can help me to complete my collection. My thirst for more of his work is -simply unquenchable. - -Of the pianoforte-players, Thalberg is really the most interesting. -Sound and genuine in his style of playing, he does not seem to seek -after effect, however much he may do so in reality. In his combinations, -capricious and fantasia-like as they are, all follows and develops -itself so naturally that one easily overlooks the lack of unity and a -certain Italian mannerism. In 1826 I gave him some instruction; and at -that time already I became aware that he would little need me to do -great things,--_sans comparaison_, like a certain Berlin youth, who soon -threw aside all leading-strings, and donned the purple. - -I find that at my age my fingers require to practise most carefully the -exercises of former years, in order to keep pace with the times. I can -manage to preserve them pliable and elastic, but I cannot make them any -longer than they are; and that is just the road that modern pianists, -like Chopin, Thalberg, etc., have taken, in order to develop their -technique. To play your music, I have also to stretch my fingers to the -fullest extent; but there they obey more naturally, because the -mechanical construction of your passages is of secondary importance, as -compared to the spirit which dictates them. - - * * * * * - -Moscheles, in thanking Mendelssohn for his last letter, says:-- - - * * * * * - -“It is with so much pleasure I see your handwriting, your ideas and -views have so much charm for me (although I occasionally think they may -yet ripen to full maturity), I so fully recognize your genius, and am -personally so much attached to you, that the word ‘friendship’ but -inadequately expresses my feelings. Similarly, it is a source of -happiness to me to know that your thoughts are often with me, aware, as -I am, how constantly you are surrounded by an admiring circle of -friends.” - - * * * * * - -In reference to the preparations for a performance of “Saint Paul” in -England, he says:-- - - * * * * * - -“I am glad to find that all promises well for your Oratorio in England. -Novello, Sir George Smart, and the whole profession are looking forward -to its production with sympathy and interest. Like Hercules, you have -throttled Envy while still in the cradle. - -“Klingemann, Smart, and Novello are busy directing Mr. Ball, the -translator. I have offered to correct the proofs, but have not yet -received them.” - - * * * * * - -SPEIER, April 6, 1837. - -MY DEAR FRIEND,--Forgive my not having written for so long; the fact -that it is a week since I was married, and that this is my first letter -to a friend, must be my excuse. I need not tell you, and could not, if I -tried, how the events of last year have added new prospects of happiness -to my life, how all that is good has become doubly dear to me, all that -is bad easier to put up with, how happy were the last months, how -heavenly the last days! Looking back to the past and planning for the -future, my thoughts have often reverted to you in friendship and -affection, and to the happy hours spent with you. Believe me, I am truly -grateful to you and your wife, and can never forget how many kindnesses -you have at all times heaped on me. I have heard about you, both from -Schumann and Bennett, but more particularly from Klingemann, who in his -last letter describes some of your _soirées_, and your playing of -Scarlatti, Handel, and Bach. It must have been delightful and what is -more delightful still, he drops a word about new “Studies” that you are -going to play on one of these evenings. So you have at last written -some; you cannot fancy how impatient I am to get them, what a treat it -will be to me, and how refreshing to have something new to study. For -really the piano music of the present day is such that I cannot make up -my mind to play it through more than once; it is so desperately empty -and poor that I usually get tired of it on the first page. I positively -dislike Thalberg’s work as regards the composition; and the good piano -passages seem to me of no earthly use, so little soul is there in them. -I could no more play his music than I could ever make up my mind to play -a note of Kalkbrenner’s; it goes against my nature, and I should feel -mean if I attempted such fingerwork with a serious face. Chopin’s new -things, too, I don’t quite like, and that is provoking. So, you see, it -is doubly pleasant to think of the old “Studies” and to look forward to -new ones. When shall we have them, and will there be more than one book? - -Your wife, I suppose, I had better not address, for I am sure she is -dreadfully angry; and, to say the truth, I am rather afraid of her. -Nevertheless I do address her, for I want to speak of _my_ wife, and say -I hope she will not visit my sins upon her; on the contrary, she must be -ready to like her and to love her a little when she becomes acquainted -with her; and truly my dear Cécile deserves it, and I think I need not -make any appeal to your wife, but simply introduce her and say, “This -is Cécile,”--the rest will follow naturally. And do you know, it is -quite possible I may bring her to you soon. I have had an invitation -from Birmingham to conduct my “Saint Paul” at the Festival, and feel -much inclined to accept. If I come, it may be in the autumn, or perhaps -sooner, about the middle of August. But shall you be in England then? -That is usually the time when you are away; it would be too great a pity -if we weren’t to meet. I cannot ask you to let me know about your -plans,--for such a correspondent as I am can beg for pardon, but not for -an answer; so send me word through Klingemann. But if you have leisure, -and are disposed to treat me to a few lines, please address, all through -the summer, care of M. T. Herz, Frankfurt. - -If we meet this year, as I do hope we shall, I shall have several new -things to show you. I have worked a good deal lately, and mean to be -still more industrious. I shall send your wife a new book of Songs which -is to appear in a few days, as soon as I get it. - -And now good-by, my dear, dear friend; best love to your wife, and to -the children if they haven’t forgotten me and the carnations. If you see -Klingemann tell him that I will shortly write to him, perhaps from -Strassburg, where I am going to-morrow, from there to Freiburg and Bâle, -and so back to Frankfurt. And now that I must end, I feel as if -everything yet remained to be said. Forget not - -Yours, - -F. MENDELSSOHN BARTHOLDY. - - * * * * * - -In September of this year Mendelssohn went to Birmingham, where he -conducted the Festival. To their mutual regret Mendelssohn and Moscheles -did not meet in England on that occasion, as the latter had left London -for Germany at the close of the season. - - * * * * * - -LEIPZIG, Dec. 12, 1837. - -MY DEAR MOSCHELES,--I cannot say I feel much of a correspondent to-day, -so engrossed am I with the new life around and within me. This year, -with all it has brought me, has been the happiest of my existence, and I -daily appreciate the blessings it has bestowed. For the last week I have -been installed with my Cécile in our own new quarters, everything has -been made neat and comfortable, we have already had eight Subscription -Concerts, and a performance of the Messiah in the Church, and I have a -variety of work in my head and some on paper. So, you see, my -occupations are much the same as usual, and the pressure from without at -times greater. And yet nothing now upsets or troubles me, because my -home is so happy and peaceful. So I trust you will forgive my long -silence, if you ever resented it. - -Of late I have spent some of my happiest hours with your new “Studies,” -the first proofs of which Kistner sent me. I had already got the -engraver to send me whatever he could just spare, a sheet at a time; -that gave me but a very superficial acquaintance with them, but I was -too impatient to wait. Now I have had to return my copy, after -correcting a number of mistakes, to Kistner, who is over-anxious about -the work, and still delays its ultimate appearance. However, I have had -the whole thing in my hands for a day, and have enjoyed it thoroughly; -as soon as I have a copy to myself, I intend practising my piano -properly, and mastering the Studies, for it is a long time since I had -any piano music I wanted to play over and over again; so you can fancy -how I enjoy something new, to which I can give my whole heart. - -I cannot go into details, not having a copy before me; but this much I -know, that my greatest favorites begin at “Contradiction.” The whole -piece in D flat major is so bright, and towards the end positively makes -me laugh when it goes into D major and the whole story is repeated first -in D major and then in D flat minor. And then the last bar _fff_ is -glorious. Quite your own self is that tender one in G major, just as if -I heard you talk and play. But my greatest favorite is the “Nursery -Tale,” so graceful and sprightly; above all, I like the part where the -deep bass notes double the melody, as if a big bassoon or some other -growler of an instrument came in; and then the first transition to B -major and the return to E flat and the very last bars _leggiero_,--all -that has fixed itself once for all in my mind. How very much I like the -“Bacchanali,” “Terpsichore,” and in fact all of them, you can imagine. I -am particularly struck by the difference between these and your former -Studies;--not that I love the old ones less, but the new ones are for -quite a different class of players, far in advance of the former; here -the technical difficulties have become of secondary importance, and the -intrinsic merits of the work have to be brought out. Once more a -thousand thanks, and may you give us many more of the same kind! - -Did you hear anything good in the musical line during your stay in -Hamburg last summer? Our concerts led to my becoming acquainted with -some of the musical men there, but they were not much to speak of. In -fact, there is a lack of good new musical productions everywhere, and -that tells on our concerts here. - -This winter Clara Novello is giving us a fresh start, the public -cordially greeting her as a new and most welcome acquisition. She makes -_la pluie et le beau temps_. But where are we to get a new Symphony -from? May I address your wife quite at the bottom of this page, and -write down a Song for her? - - * * * * * - -DEC. 12, 1837. - -DEAR MRS. MOSCHELES,--Though I don’t know whether you still care for me -or my Songs, yet, - -[Illustration: musical notation - -18. “Im Kahn.” Fac-simile from Letter of Dec. 12, 1837. (See page -163.)] - -from old habit, I have written this one down for you, whether you sing -it or not; but I do wish you would. What a pity we missed each other -this time in England! I could not get it into my head that we were -really not to meet; and yet, with every day of my stay in London, the -fact was painfully evident. My wife wishes to write herself to thank you -for your kind words. It was dreadful to have to leave her in Germany. It -would have been my greatest joy to show her England properly; but so -much is certain, I have made up my mind not to leave her again at -Düsseldorf when I have to go to Rotterdam. It was too abominable. - -I have only this corner left to bid you good-by, and to beg for a sign -of life and friendship when your time permits.[34] May we soon have a -happy meeting! - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -On the 23d of December Moscheles writes:-- - - * * * * * - -Your letter of the 12th broke in on me like a ray of sunshine piercing -an autumn fog. Were I subject to the blues, like so many sufferers in -this fog-ridden city, your cheerful lines would have set me up for any -length of time. - -Your appreciation of my “Studies” gives me much pleasure. I did not feel -called upon to aim at popularity with the general public, nor did I -venture to believe that my work addressed itself to the more restricted -circle of connoisseurs. That you, of all the Select, should welcome me -with a Bravo, strengthens my faith in myself. Delighted I am, too, to -find that you, with your master eye, should at once have hit on the -passages that seem to me my more successful inspirations. - -We cannot get over our regrets to have missed you in London and -Birmingham; your triumphs in the latter place are being echoed all over -England. Your “Saint Paul,” your pianoforte Concerto, and your -performances on the organ, one and all, are unreservedly praised. I am -glad to see that your Oratorio is announced by the Sacred Harmonic -Society as “the popular Oratorio.” We so-called Directors of the -Philharmonic Society are thirsting for something new in the line of -Symphonies or Overtures. It is as hopeless a task to satisfy the wishes -of the Society as it was in times gone by for the Danaïdes to fill their -tub. Some would have us supply them with half a dozen posthumous -Symphonies of Beethoven, complete or fragmentary; others want a place -found on the programme for every attempt at composition made by native -talent. - -You have promised us your A major Symphony in its new shape, and we mean -to keep you to your word, and hope you will not let us wait long. It is -a great favorite of mine, and I feel as if I were going to meet a -beautiful girl in a new dress, and were wondering whether that would -make me admire her more than before. _Nous verrons, nous entendrons._ -In the mean while I hold in safe keeping my Beauty attired as I first -knew her (the original score), and remain faithful to her. - -Liszt writes from Milan that several of his compositions are to be -published in London, and that he intends dedicating one of them to me. -May my fingers grow by then! He wishes to become better known in this -country, as he proposes coming here shortly. - -The “Gazette Musicale” exalts Berlioz’s Requiem above all music of all -times. A new vista, it says, is opened! You know I am not a believer in -this genius; tell me whether anything of his has been to your taste. -Good-by; if my letter is welcome, reward me by soon letting me have one -in return. - -Ever your friend, - -I. MOSCHELES. - - * * * * * - -BERLIN, June 26, 1838. - -MY DEAR FRIEND,--I want your advice. You know that five years ago Erard -presented me with one of his grand pianos. I took it first to Berlin, -then to Düsseldorf, and lastly to Leipzig. Owing to such frequent -shiftings, and possibly to some bad treatment, it is not fit for use in -public, and not even to be depended on at home. In answer to my inquiry -Erard suggests that I should send it to England to be repaired. I have -ascertained that the Saxon Custom-house would allow it to be returned -free of duty. Erard, on his side, has obtained the same leave in -England; but the carriage there and back would come to a hundred and -thirty odd thalers, and as that is about half what a new piano would -cost me here, the question arises, Can I really expect a substantial -improvement from the repairs? Give me your candid opinion on this. - -You know I shall have to play in public occasionally in the course of -the winter; and for that purpose, as well as for music at home, I want -an instrument with a perfectly even and precise touch, responding freely -and fully to my wants and wishes. The tone has retained its original -power and beauty, and I should indeed be happy if the defective parts of -the mechanism could be repaired. That, you see, is just the question; -and as I am sure that similar cases must have come under your notice, I -write to you for advice. If it could be done, I should think no -sacrifice too great to preserve an instrument with such a splendid tone. -As it is, however, I cannot use it at all; and last winter I had to play -on borrowed pianos,--and very poor ones too. I ought to apologize for -troubling you; but you alone know exactly what I desire and expect to -find in a piano, and so to your judgment I appeal. - -I suppose you know, through Hensel, that we are staying at my mother’s, -and are spending delightful days with her and my sisters. I cannot say -that my visit to Cologne was quite pleasant this time. You see I have -lost the taste for anything I cannot share with my wife. I get to feel -so restless and impatient that I am always calculating the day and hour -of my return, and can think of nothing else. - -We shall go back to Leipzig in August. And you,--where are you going -this summer? When shall we see you in Germany? All those who like good -music are longing for you. And what are you composing? I am working on a -Symphony in B flat.[35] I have gone forward a step since last year, and -could I but have the benefit of your opinion on my work occasionally, I -should get along more rapidly. I have composed a few new Quartets for -string instruments, a Sonata with violin and one with violoncello, -besides a few trifles not published in England that I am waiting for an -opportunity to send you. - -Good-by, and best love to you all. I do hope the day may not be too far -distant when I can introduce my Cécile to your wife. Pray tell her so. -Fanny and I are making much music together; the day after to-morrow we -are going to do my new Psalm in E flat. Her playing is more masterly -than ever. Good-by once more, my dear friend, and may we soon meet -again. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Moscheles and his wife communicated on the subject of the piano with Mr. -Erard, who at once expressed his readiness to present Mendelssohn with a -new instrument. Writing to Mendelssohn on the subject, Moscheles says:-- - - * * * * * - -“I shall choose an instrument for you myself, not omitting to bear in -mind your favorite _arpeggio_ passages, through which the melody seems -to push its way. In other words, I shall test the piano with this -passage from your Concerto,-- - -[Illustration: musical notation] - - * * * * * - -BERLIN, July 11, 1838. - -MY DEAR FRIEND,--I enclose the certificate for Mr. Hogarth, addressed to -you as you desire; also a few lines to him, which please forward with -the enclosure when you have obliged me by reading and revising it and -putting it into good English. I am afraid my English is very rusty; and -as with you, such certificates are very frequently printed and -published, I would rather no blunders were allowed to go forth to the -world. So please turn them out one and all. I not only request you, but -I hereby authorize you, to correct and to alter any and every thing, and -to endow me with the right ideas expressed in an elegant style. “From,” -“by,” “while,” have become so many unknown quantities to me; and I feel -as nervous when I meet with them as I always do in the presence of -distinguished strangers. Nor do I know whether I have said too little or -too much. In the first case, put a few sforzandos; if it is the other -way, soften a little. In fact, lend me a helping hand, as you have so -often done before. Let us hope that, after all that, Mr. Hogarth’s -purpose may be served. How much I am indebted to you for the great -service you have done me about the piano! But can I really accept it -without further ceremony? I can’t help feeling a doubt, though on the -other hand I have the greatest desire to do so, as I am sadly in want of -a good instrument. Would it not be meeting the difficulty half-way if I -sent my piano to be repaired? For, after all, it might be possible to -put it into good condition; and that would be to our mutual advantage. -If the result was unsatisfactory I might still accept the kind offer of -a new one. How would that do, my dear Moscheles? To be sure, I should -rely on your judgment as to the completeness of the result. Or do you -think I should simply accept the new one, taking Erard at his -word,--such as I have it from Mrs. Moscheles,--and refer to her letter, -in writing to him about it? Somehow or other I don’t seem to find the -right way of putting it to him; so I am just waiting till I hear from -you. You know you are my helper and adviser; may you never get tired of -the office! - -So you are going to remain in England all through the summer. What a -pity that it was last year, not this, that I had to be there! When I do -not find you at home, it seems just as if I had not been to London at -all. - -I am surprised to hear of Döhler’s being lionized. His playing only -interested me the first time; afterwards he seemed to me very cold and -calculating, and rather dull. What very different stuff Liszt and Chopin -are made of! Why has Chopin never been to England? He has more soul in -his little finger than all Döhler has from top to toe,--at least so it -seemed to me. And Spontini!--do tell me all about him. I should so like -to see what figure he cuts in London. Does he listen to music properly? -Does he sometimes play himself, or does he there too give himself the -airs of a big idol who may now and then devour a musician, but otherwise -never moves a muscle? And does he deck himself out with all his -decorations? How was Bennett’s new Concerto, of which he writes to me, -received at the Philharmonic? And how did Mrs. Shaw sing? You know she -is coming to Leipzig this year; just give me a line or two about her. -Miss Novello has had a marvellous success here. And now good-by. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Moscheles writes:-- - - * * * * * - -“Bennett’s F minor Concerto is an excellent piece of work, and was -received very warmly at the Philharmonic; that he has taken you for his -model is, however, evident throughout. I have also made acquaintance -with Henselt’s Studies, and find them very interesting and useful, -although in style and form not varied enough. Anyhow, I prefer even the -romantic sighs of love-warbling composers to the aggressive audacity of -those torturers of harmony who would take the universe by storm. -Chopin’s Studies have much charm for me, although there is a good deal -in them that appears unscholarlike to me. I like the new set better than -the former ones; so far I have never had an opportunity of hearing him -play.” - - * * * * * - -LEIPZIG, Oct. 28, 1838. - -MY DEAR FRIEND,--Bennett brought me your very kind letter last week. A -thousand thanks for it; a thousand thanks, too, for always being so true -a friend, and occasionally telling me so. A letter from you fortifies me -for weeks; and what you write about yourself and others is so much to -the point, so absolutely yourself, that I can almost hear you talking, -and myself saying how right you are, and how much I like listening to -you. Were I but a little milder, and a little more impartial, and a -little cleverer, and a little more of a good many other things, I might -also have as clear a judgment as you; but I am so easily put out, and I -get so impatient, where you appreciate what is good for its own sake, -and look on what is bad as capable of improvement. - -I am so glad to hear you are at work, and of all things composing a -Concerto. What key is it in? What form? How difficult? When shall we get -it? Tell me all about it. Have you composed anything lately; and if so, -what? As for me, those troublesome measles have quite thrown me back, as -you thought they would. Even now, my eyes are not quite the thing, and I -am still so sensitive that the least exertion knocks me up. With all -that, my room-door is always on the move, like a toll-bar or a baker’s -door; and three weeks’ enforced captivity and idleness have put -everything into such confusion that I do not see my way out of all the -work that has accumulated. I had intended publishing several things at -this time, instead of which here I am correcting parts, marking tempos, -and attending to the long list of _odiosa_ that are always sure to take -a dire revenge on the man who dares neglect them. I have written three -new violin Quartets that I wish I could show you, because I am pleased -with them myself, and should so like to have your opinion. A new -Symphony, too, I hope to finish soon. My Serenade, and the other -pianoforte piece in B minor,[36] you will perhaps come across; if so, -you must be indulgent, and look at them through those friendly -spectacles of yours. - -And now I have an urgent request in reference to my piano. You ask how I -am satisfied with it; and beyond that question I have heard nothing -whatever of it since it left Hamburg. I wrote to Erard, thanking him for -his kind intention, as communicated by you, and saying how pleased I was -at the prospect of having a new piano. The old one left Hamburg on the -10th of August, but I have not yet had a line from Erard, no notice of -its arrival,--in fact, nothing. I should be much obliged if you would -let me know by return of post how matters stand,--whether I shall get -the old one back or a new one, when it is to leave London, and so on. -Meanwhile I have to make shift with a miserable old thing that goes out -on hire, and tough work it is. - -We have quite an English congress here just now. Mrs. Shaw has made many -friends by her beautiful singing, and the public is looking forward with -great interest to Bennett’s new things. Clara Novello has been here too, -and gave a concert which was well attended. On this occasion all manner -of artistic rivalries and petty bickerings came to light, that would -much better have remained in the dark. No, really, when these dear -musicians begin to abuse one another, and to indulge in invective and -backbiting, I could forswear all music, or rather all musicians. It does -make me feel just like a cobbler; and yet it seems to be the fashion. I -used to think it was only the way with the hacks of the profession; but -the others are no better, and it takes a decent fellow with decent -principles to resist the pernicious influence. Well, on the other hand, -all this serves to show up what is good; and, by way of contrast, one -doubly appreciates good art, good artists, letters from you, and--after -all, this world of ours is not so bad. - -Farewell, my dear friend; love from me and my wife to yours. How I wish -we could soon be all together! Love to the children too. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Moscheles, in speaking of a “Concerto Pastorale” which he is composing, -says:-- - - * * * * * - -“You can fancy how careful I had to be lest I should run my humble craft -on to that mighty rock, the ‘Sinfonia Pastorale,’ and be dashed to -pieces. But you know there are buildings of various dimensions; and if -you cannot erect churches, you must be content to build chapels. So I -made the venture. - -“In my Concerto, the movements are as follows: the Andantino con moto, -3-8 time, is descriptive of holiday-making and rural festivity. The -whole village is rejoicing; all, from the farmer to the laborer, have -donned their Sunday attire. Next comes an Allegretto in F major, 2-4 -time. The rustic piper fills the air with joyous strains; the village -beauty and her swain are rapt in dreams of coming bliss. After that, the -Adagio. The church bells are calling the congregation to their -devotions, and the bride and bridegroom to the fulfilment of their -wishes. The ceremony is over, their destinies are linked, and they are -greeted by the distant echoes of the Allegretto. It grows livelier as it -bursts forth in D major, inviting to harmless merrymaking. Finally, a -whirlwind of octaves sets lads and lasses skipping and dancing in -boisterous glee. The newly married couple go through a dance of honor -with due decorum, and the rural _fête_ is brought to a happy close.” - - * * * * * - -DEC. 10, 1838. - -A thousand thanks, my dear friend, for your kind letter and all the -trouble you have taken about the piano,--in fact, for all the love and -kindness you always show me. To you alone I am indebted for that -instrument, or rather you and your wife, who put the matter before Erard -with so much tact and diplomacy; and it is only now, since I enjoy the -happiness of playing on an instrument so full and rich in tone, that I -realize how hard I should have found it to accustom myself to any other. -So you see, my dear friend, how much I am in your debt. It is just as -usual. “Thank you,” is all I can say; but you know how much more I feel. - -But now to the most important part of your letter,--that which refers to -Weimar. Upon my word, it is not an easy matter to give you a proper -answer to your questions. When I think of your life in London, your -independent position at the head of the musical profession, and your -never-ceasing activity in public, and then again of Weimar, with its -petty Court, and its still pettier “Hofmarschall” and “Intendanz” that -superintend nothing,--when I think of the littleness that pervades -everything, it would be madness to advise you to go. When I remember, on -the other hand, your telling me that you had never wished to remain all -your life in England, but rather to return to your own country and -devote yourself to your art and your friends (and I believe that in your -place I should feel as you do); and when I take into account that in -Germany one town is about as good as another,--all small but -sociable,--that the appointment is one of the best of its kind, that to -you it would be an acquisition to have an orchestra at your disposal, to -us to have a man like you in Hummel’s place, and secure a musician of -your standing for Germany,--then I cannot help being in favor of Weimar. -As far as I know, social resources are very limited there. The Court -circle is the best, not to say the only one; there you still meet with -intelligence and culture,--a relic of former days,--but that, too, is on -the decline, and whether your wife would like it seems to me very -doubtful. On the other hand, the orchestra is said to be excellent, and -the singers at the Opera good; the Grand Duchess is a stanch friend to -anybody she once likes, and with that, fairly musical herself; not very -much to do, but enough opportunity to do much good,--just what would -suit you. It is very difficult to put it impartially. You see it would -be glorious to have a musician like you amongst us, giving his best work -to Germany; but it seems so selfish to press you. Yet not to press you -is decidedly too unselfish. Would it not be best for you to come over -and look into the whole matter yourself? In a week you would get a clear -insight into everything,--town, society, and orchestra; could make your -own conditions, or take theirs into consideration,--in a word, you could -thoroughly sift the matter. Couldn’t you manage that? It would be a -great gain if only for the present you did not send an absolute refusal. -Do write to me soon about it, for it touches me very much. - -Thanks for so kindly giving me the outlines of your new Concerto; but -now I am ever so desirous to know the whole. Where is it going to be -published? If not here, I hope you will send me over a copy soon. How I -should like to play a manuscript of yours; that would be a real treat! - -I have been rather lazy of late. From the measles I dropped straight -into so much conducting that I could scarcely do anything else, save -take an occasional rest. Still, I have composed a new Sonata for the -piano and violoncello and three violin Quartets, which are shortly to -appear. As soon as these four things are out I shall send them to you, -and hope you will give me your candid opinion; but mind you criticise, -and tell me what should have been otherwise, and what I ought to have -done better. You are getting too indulgent and too kindly appreciative -of my work. Enough for to-day; best love to wife and children. Ever -remain the true friends that you are, and write soon to - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -I forgot to ask another favor of you. F. David, the leader of our -orchestra, intends going to London next March, and wishes to play in -public, if possible at the Philharmonic. Can you and will you help him -to that end? I promised to ask you; and as he is a most excellent -player, one of the very best we have in Germany, and as, besides, his -compositions will give you pleasure,--for they are effective and -brilliant, and yet well conceived and worked out,--and as he is also my -very dear friend, I trust you may help him and oblige me. - - * * * * * - -LEIPZIG, Jan. 13, 1839. - -MY DEAR FRIEND,--I write to-day to ask two favors of you. You once -kindly offered to interest yourself on behalf of my compositions in -England, and to use your influence to place them more advantageously -than I could (or than they deserve). I should never have thought of -accepting that kind offer, were it not for a particular case in which I -cannot help asking for your assistance. The Overture for two performers -which I forward to you was to have appeared simultaneously at Simrock’s, -in Bonn, and at Mori’s, in London; the date fixed for publication was -approaching, when, the day before yesterday, I got a letter from Mori, -in which he expresses himself in his usual curious way,--so much so, -that it makes it impossible for me to send him the piece. Now, I should -be much vexed if this were to prevent its publication in England, and so -I write to ask whether you can put it into the hands of some other -English firm, not Mori; I do not much mind on what terms. When you look -it over you will see that it is a former work numbered “Op. 24,” written -originally for wind instruments. I wanted it published because I thought -it would give some people pleasure, and because it is easy and there are -parts in it I like. If you find you can oblige me, please have it called -“Duet for Two Performers” (not Overture), and put on the titlepage -“Arranged from Op. 24.” I must ask you, too, to let me hear from you as -soon as possible, as I have written to Bonn to stop the publication till -I can receive and forward your answer (on account of the title). Pardon -my troubling you. It really does seem rather strong, my coming to you -with such a request, but you know it is your own fault if I treat you so -unceremoniously. I should prefer not to have Novello for the publisher, -but to Mori on no account would I give it. Rather than that, it should -not appear in England at all: not that I am at all angry with him; he is -too peculiar, and for all that he still remains what he was, “My dear -Sir.” - -My second request is in reference to David, about whom I wrote in my -last long letter; an answer would much oblige him. He has written to his -sister Mrs. Dulcken, asking whether she advises him to go to London in -March for six or eight weeks, whether he would get an opportunity of -playing his new Concerto at the Philharmonic, and what she thinks of his -prospects, etc. But to this he has had no answer as yet. I had asked you -to use your influence with the Directors of the Philharmonic, his talent -being really remarkable both as regards his playing and his -compositions; and in addition he is my very dear friend, and I feel you -will be happy to know such a genuine German musician. As the time is -approaching and he would have some preparations to make, I should be -much obliged if you would give him a few words on the subject. Besides -which I should much like a series of answers to my long letter, -especially in reference to the Weimar plan. But no more bothering -to-day; there has been quite enough of it in this letter. Give the -kindest of messages from me to your wife, and ditto special ones from -Cécile; love to the children, and an extra piece of pudding to Felix. - -Do you know, I have been wishing and planning to go to London for four -weeks in April (in May I must be back on the Rhine). It would be a very -foolish thing to do, but none the less delightful; and how well I could -bring my wife! As I say, I have the greatest desire, but I am afraid -that that is all it will come to. Now, good-by! I wrote a dreadfully -long letter to Klingemann, and he answered in quite a little tiny one; -but give him my best love all the same. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -On the 29th of January, 1839, Moscheles writes: - - * * * * * - -“Herewith you receive the youngest child of my fancies, my ‘Concerto -Pastorale.’ It has not yet seen the light of the musical world, and it -is still a question whether it is destined to take a place in the goodly -company of similar productions. So, in the mean while, I leave it under -your kind care; in your hands it is bound to thrive.” - - * * * * * - -Moscheles sold the copyright of Mendelssohn’s Op. 24, mentioned in the -preceding letter, to Messrs. Addison & Beale for twenty guineas. He says -he has taken the liberty of altering some notes in the arrangement, so -that nothing should stand in the way of its becoming popular with the -young ladies. - -David played his new Concerto at the Philharmonic on the 18th of March, -and met with the most brilliant success. There, as in other concerts -and musical gatherings, the purity of his style and his masterly -execution were warmly appreciated. - -All that Mendelssohn had written about his personal and artistic -qualities was fully endorsed by Moscheles and his circle of friends. He -soon became a favorite in Chester Place; and the foundation was laid for -that friendship which was firmly cemented in later years, when he and -Moscheles were colleagues at the Leipzig Conservatorio for nearly a -quarter of a century. - - * * * * * - -LEIPZIG, Feb. 27, 1839. - -MY DEAR FRIEND,-- ...Your kind letter of the 18th crossed mine on the -road, and told me the disagreeable tale of the measles. How trying for -all of you, especially for your dear wife! And yet it is better to go -through it in your early days than to wait till you are a sedate and -sober married couple like ourselves, who ought to be educating their -children and conducting Oratorios, and have to lie in bed instead. -However, I am thankful to say that we are out of the wood, and out of -the maze of concerts too, and I’m at my own work again, and there I -always feel like a fish in the water. - -But now comes the letter with the “Concerto Pastorale” (hear, -hear!).[37] - -The bells of the above church are just ringing: F sharp, G sharp, D -sharp, and D sharp, F sharp, G sharp. - -[Illustration: 19. Fac-simile from Letter of Feb. 27, 1839. (See page -182.)] - -My dear Moscheles, let me thank you a thousand times for being so good -and kind to me, and for the great pleasure you give me by intrusting -your work to me. I hardly know what to thank you most for; I think, for -sending it at all. But then there is your letting me have the -manuscript, and then, again, all the enjoyment I derive from it. Since -it came, not a day has passed without my playing it two or three times -running, and each time with increased pleasure. I am quite aware I must -hear it with orchestra before I can take it in completely, and that will -be to-morrow fortnight at the concert for the benefit of the Orchestra -Pension Fund. We always keep a choice morsel for that occasion; so, -directly I heard of it, I announced the “Concerto Pastorale,” and the -news was received with enthusiastic cheers. Now, I have to study -desperately to get it up by that time, for it is as difficult as six -others put together; and what is more, the difficulties must not be -noticeable, it must all sound as fresh and light and airy as if -everything went by itself. So that is what I am grinding at. So far it -goes wretchedly: the end of the Adagio is specially troublesome, and -won’t come out at all as it should; and that most delightful two-part -Dance-subject sounds as if the girl were dancing on three legs and her -young man on one,--not quite your intention, I presume. At the -beginning, too, I sometimes hit C in the bass and then for a change G in -the treble, and that would scarcely edify you. With all this, I am -hopeful; for everything lies so conveniently for the fingers, that it is -their fault if it does not come right, and they have really improved -since the day before yesterday, and I do think I know how it ought to be -played, and that is the great thing. How delightful that unexpected -introduction of the bagpipes and the tender flute at the end of the -Adagio, and the 3-8 time coolly stepping in! In fact, thanks and thanks -again. I should not stop if I weren’t obliged to; but here comes No. 3, -my Overture in C major, for which you found the right place with the -right men (Cramer & Addison). I am quite ashamed of myself for having -troubled you, but grateful too, and glad, for your managing all so well; -that dedication to Miss Stone is a trump card, and then your writing to -Simrock yourself. It is really too much kindness, my dear Moscheles; -believe me, I thoroughly appreciate it, and feel deeply how much I am -indebted to you. - -You get this letter through David, who leaves for London with Bennett -the day after to-morrow. Let me most warmly recommend him to you. He is -as sympathetic, straightforward, and honest a man as ever was, a -first-rate artist, and one of the few who love Art for its own sake, -come what may. Please give him a kind reception,--he deserves it,--and -assist him with your advice. Besides, if you wish to hear all about me -and mine, nobody can better give you chapter and verse than he. We meet -daily. I seldom make music without him, and what I compose he generally -hears first. I wish you would let him play some of my new Quatuors to -you; there are one or two amongst them I am pleased with myself, and I -should like to know that I am right, and that you too are satisfied with -them. - -Chappell’s Opera is as yet in the clouds. He was here, and took back -various messages from me to Planché (and others); that is two months -ago, and I have not had a syllable from him. I suggested some -alterations in the text, which he approved of, and promised to submit to -Planché; in the mean while nothing can be done. - -I have composed several Songs, and have begun a Psalm and a new -pianoforte Trio. Think of that old duet for Clarinet and Corno di -Bassetto coming to the surface again! Dear me! what an old sin of mine -that is,--with perhaps some touches of virtue, if I recollect right! It -may be the one in D flat or that in A flat major; for I wrote two for -the Bärmanns, and they played them beautifully and _con amore_. Well, I -thought these old pieces were dead and buried, and now they suddenly -turn up again at Moritz Schlesinger’s. Not much to boast of,--this -reappearance in his salons, from all I hear; but I suppose the old Duets -are doomed to haunt the place in punishment of their sins. - -Dreyschock is a young pianist from Prague, who must have practised like -mad for several years, thus acquiring remarkable technical qualities -and incredible powers of endurance, as for instance in his octave -passages; but he is quite devoid of taste and musical culture. He plays -some pieces so admirably that you fancy yourself in presence of a great -artist, but immediately afterwards something else so poorly that you -have to change your mind. The question is, Will he improve? Such as he -is, he won’t go far; but he has fine means at his disposal, if he will -only use them; and I hope and trust he may. - -If in that performance of my Psalm at the Academy, they got into trouble -with the Quintet it is lucky I was not there; for that is my favorite -movement, and false notes make me savage. - -Our concert season will close on the 21st instead of the 15th of March, -as intended; and that obliges me, much to my regret, to abandon the idea -of going to England this spring. I have to be in Düsseldorf early in -May, at Whitsuntide, to conduct the Festival; so I must once more -postpone the pleasure of introducing my wife to you and yours. -Afterwards I shall probably spend a few months on the Rhine and then -return here. What are your plans for the summer? - -Another request: Let Cramer & Addison (or rather Addison & Beale) know -that I will draw the money for the Overture about the middle of May. I -would not trouble you, but they have to be advised in advance. Really my -whole letter is made up of nothing but so many requests and so many -thanks! - -I wish the devil himself (or, for a change, ten thousand of them) would -take the English custom of putting everything into the papers. Now, I am -supposed to have written to the Philharmonic that I know of no German -singer to compare with Miss Novello or Miss Shaw; the story is making -the rounds of the German papers, the journalists repeating it _a -piacere_. You can just fancy what a precious darling the German singers -think me under the circumstances; and all that, when I never wrote -anything of the kind. And now, my paper is full; so good-by! Take my -thanks, preserve me your friendship, and--one more request--write soon; -your letters do make me so happy. Kindest remembrances from self and -wife to you and your wife, and may she ever remain the true and kind -friend she is! Love to the children. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, April 4, 1839. - -MY DEAR FRIEND,--How happy I was to get your “Concerto Pastorale,” you -know by my last letter. If I did not write about it again, it was -because, though I had played it and got acquainted with it to a certain -extent, I had yet many technical difficulties to master, and much more -to study, before I could arrive at a free enjoyment of the work. And so -it remained until I rehearsed it with orchestra, when for the first time -I heard it properly, and began to understand it. Since then it has, if -possible, grown still dearer to me; and I am sure it will become one of -my favorites amongst your works. Every time I play it I like it better -and better. We had two regular orchestral rehearsals, repeating the -whole piece, as well as single movements. And so, when the evening came, -it went very well and correctly, and you would have been -satisfied,--that is, with the orchestra, not with me, I am afraid; for -that night I was the victim of a dreadful cold (which, by the way, I -have not got rid of yet), and at one time--it was just at the beginning -of the Solo in the Adagio--a spasmodic fit of coughing threatened to -bring me to a dead stop. So my playing was not as spirited as I should -have liked it to be; but I got through it pretty correctly, excepting -the octave passage,--some parts coming out better than they had ever -done whilst I was studying them. The public applauded tremendously, and -entered into the spirit of the work with more sympathy and feeling than -I should have given them credit for. You know I am not generally an -admirer of the public; but this time they did try to get at the meaning -of the piece, and some of them had really arrived at a right conclusion -and understanding. A desire was expressed on all sides to hear it again. -But unluckily, this is just the end of our concert season; and now comes -the annual fair, and our unmusical time, and I shall not play again here -till next autumn. How long can I keep the parts? When will you want them -in London? And now, my dear friend, once more a thousand thanks for the -pleasure you have given us all; thanks for the fine composition you have -contributed to our concerts; thanks in particular for having intrusted -it to me. - -We recently played a most remarkable and interesting Symphony by Franz -Schubert. It is without doubt one of the best works we have lately -heard. Throughout bright, fascinating, and original, it stands quite at -the head of his instrumental works. Spohr’s Symphony, which we performed -before, I suppose you will give in the Philharmonic. Lachner’s I liked -but little; the others liked it less. David can tell you all about -these. I have written a new Theatre-Overture[38] that has been quite a -source of pleasure to me; also a Psalm (again _vide_ David); some Songs -without words (according to the “Hegira” of David), some with words; and -now a Trio in D, and a Symphony in B, of which I will tell you more when -they are finished. - -Good-by, etc., - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -In the following lines Moscheles introduces the well-known writer and -musical critic. Henry F. Chorley:-- - - * * * * * - -LONDON, Aug. 17, 1839. - -MY DEAR FRIEND,--The bearer of these lines, Henry F. Chorley, is an -excellent and highly cultivated young man; he is on the staff of the -“Athenæum,” and has made himself a name as an author and as an -enthusiastic lover of music, not only appreciating what is good, but -discriminating between the good and the trivial. Above all, he has, for -a long time past, been welcome at my house as a true and genial friend. -He has an intimate acquaintance and full sympathy with you and your -work. In a very exhaustive article published in the “Quarterly Review,” -he has characteristically portrayed the most eminent pianists and -composers; the sketch he draws of you there, is worthy of his subject. - - * * * * * - -LEIPZIG, Nov. 30, 1839. - -MY DEAR FRIEND,--I cannot understand why I so seldom write to you; for I -thoroughly enjoy it when I do, and only wonder why I did not settle down -to it before. What with the many visitors, and all kinds of -business,--requests and behests that would really come more -appropriately ten years hence than now, when I do not feel at all like -settling down to a life of business,--I lose my head, and just do -everything excepting that which gives me pleasure and which I ought to -do. Well, you must be indulgent. Your letters make me happy for days to -come, and I read them over and over again, and am grateful for your -never-failing friendship and kindness. And how wonderful it all seems -when I think of those days in Berlin when I first saw you, and you -stretched out the hand of kindly encouragement to me, whilst the _dii -minorum gentium_ and all manner of little imps were making most horrible -faces at me; and when I remember how, through all changes, you have -never varied in your friendship and forbearance, and are now just what -you were then, and how, after all, I am much the same as I was! To be -sure, since then we have both become _paterfamilias_. By this time your -daughter must be styled “Miss,” whereas mine only came into the world on -the 2d of October; and whilst your boy is already playing his scales, -mine is playing at nothing at all, not even at horse. - -Your Paris letter gave me much pleasure, although what it describes is -anything but pleasant. What a curious state of things seems to prevail -there! To say the truth, I never felt very sympathetically disposed -towards it; and all I have lately heard, through you and others, does -not tend to improve my opinion. Vanity and outward show nowhere seem to -play so prominent a part; and the fact that people do not pose only for -stars, decorations, and stiff neckties, but for high art, and for souls -replete with enthusiasm, does not mend matters. When I read your -description of the _soirée_ at Kalkbrenner’s, I see and hear it all. -That anxiety to shine at the pianoforte, that greed for a poor little -round of applause, the shallowness that underlies it all and is as -pretentious as if such petty exhibitions were events of world-wide -importance! To read about it is more than enough for me. After all, I -prefer the German Philistine, with his nightcap and tobacco; although I -am not the one to stand up in his defence, especially since the events -in Hanover, which I followed with great interest, and which, I am sorry -to say, do not reflect much credit on the German fatherland. So, on the -whole, there is not much to be proud of on either side; and one cannot -help being doubly grateful for that Art which has a life of its own far -away from everything,--a solitude to which we can fly and be happy. - -And now I want to know what you are writing. Chorley told me so much -about some new “Studies;” when shall I get to see and play them? And so -you are really going to dedicate your “Concerto Pastorale” to me? I -don’t know how to set about telling you what pleasure it gives me, and -how honored I feel to have my name associated with one of your works. -Let me confess to you that you have fulfilled a long-standing wish of -mine; for the C minor Capriccio appeared in Germany without my name, and -now I am doubly happy to be identified with so important a work of -yours. I will at once set to practising again, so as to do it more -justice. It is curious how often I look through heaps of new music -without feeling any inclination to practise, and then when I come across -a piece that is really good, one that I must play, and can play with -pleasure, I feel as if I had suddenly found a new set of fingers (some -training they require, to be sure). - -I want to write a new Concerto, but so far it is swimming about in my -head in a shapeless condition. A new Oratorio, too, I have begun; but -how it’s to end, and what is to come in the middle, Heaven only knows. -My Trio I should so like to show you; it has grown quite dear to me, and -I am confident there are things in it you would be satisfied with. Could -I but bring you over here for a day or two, and play it to you, and have -your criticisms and your advice as to what I should alter and what I -might do better another time, then there would be a chance of my -learning something; but at a distance, and by letter, it isn’t half the -same thing. The publishers are pressing me to let them have it, and I -want to do so; I only wish I could just once play it to you before. - -As for the Opera for Chappell, I am sorry to say it is as much in the -clouds as ever: the old trouble about the libretto! What is the use of -beginning so important a work, with the absolute conviction that I could -not make anything decent of it? Chorley, who has promised me his -assistance, is a truly good fellow, for whose acquaintance I owe you -many thanks; one seldom meets a man so highly cultivated, and at the -same time so simple and natural. Remember me very kindly to him. I mean -to write to him, and should have done so already if I did not feel the -awkwardness of using that language which he writes so delightfully, and -which I somewhat ill-treat. He seems to have been much pleased with our -concerts; and in fact we might really do something grand if there were -just a little more money to spend. That blessed money pulls us up at -every step, and we don’t get on half as well as we should like to. On -the one hand stand the Philistines who believe that Leipzig is Paris, -and everything perfection, and that if our musicians were not starved it -would no longer be Leipzig; on the other hand stand the musicians,--or -rather they _run_ as soon as they see a chance, and I even back them up -with letters to help them out of their misery. A pretty business it -would have been if you had kept our David! I should once for all have -stuck in the mud, and should never have got on to decent orchestra legs -again. His violin alone is worth ten good ones; and with that he is such -a musician! Besides, really now, he leads quite an agreeable life here, -and is petted and beloved by the public. No, him we positively cannot -spare. Miss Meerti, who sends her kind regards, has won golden opinions -here. She has a sympathetic and beautiful voice, and is a nice, amiable -girl besides; she is quite a favorite with us, and is now going to -Dresden, where she is invited to sing at Court. - -I will make this letter a double one, and will enclose an old German -ballad, in order to keep up the practice of sending a song to your wife. -Excuse the postage. - -Acting on your advice, I sent the “Study” to Schlesinger, though I -cannot bear the fellow. He and Fétis make a pair, from whom may the gods -preserve those they love! But then, to be sure, your name -counterbalances a thousand or so of their calibre; and whatever you do, -or wherever you go, there I follow with pleasure. I did not answer -Schlesinger’s letter of last summer, because he had been rather too -aggravating, and I wanted to leave him in peace, so that he might leave -me in peace. However, thanks to your letter, I am now more mildly -disposed; and after all, one publisher is as good as another. But I must -say I do not think I shall ever get on well with this one. I declined to -give anything to Pott in furtherance of his scheme; nor would you have -done so, had you known all their doings and dealings in Germany with -regard to monuments. They speculate on the names of great men in order -to make themselves great names; they do a deal of trumpeting in the -papers, and treat us to ever so much bad music with the real trumpets. -If they will honor Handel in Halle, Mozart in Frankfurt and Salzburg, -and Beethoven in Bonn, by founding good orchestras and performing their -works properly and intelligently, I am their man. But I don’t care for -their stones and blocks as long as their orchestras are only -stumbling-blocks; nor for their Conservatorios in which there is nothing -worth conserving. My present hobby is the improvement of our poor -orchestra. After no end of letter-writing, soliciting, and importuning, -I have succeeded in getting their salaries raised by five hundred -thalers; and before I leave them I mean to get them double that amount. -If that is granted, I won’t mind their setting a monument to Sebastian -Bach in front of the Saint Thomas school; but first, mind you, the -grant. You see I am a regular small-beer Leipziger. But really you would -be touched if you could see and hear for yourself how my good fellows -put heart and soul into their work, and strive to do their best. - -I am very glad you improved your acquaintance and friendship with -Chopin. He is certainly the most gifted of them all, and his playing has -real charm. They say Liszt is coming here, and I should be very glad; -for notwithstanding his unpalatable contributions to the papers, I am -fully impressed both by his playing and by his striking personality. -Berlioz’s programme, that you send me, is a very silly production. I -wish I could see any pluck or originality in it, but to me it seems -simply vapid and insipid. Has not Onslow written anything new? And old -Cherubini? There is a man for you! I have got his “Abencerrages,” and am -again and again enjoying his sparkling fire, his clever and unexpected -transitions, and the neatness and grace with which he writes. I am truly -grateful to the fine old gentleman. It is all so free, so bold and -bright. - -Now I must end, my dear, dear friend. I have been jumbling everything -together, and chatting - -[Illustration: musical notation - -20. “Des Hirten Winterlied.” In Letter of Nov. 18, 1840, to Mrs. -Moscheles. (See page 217.)] - -away as if I were sitting next to you by the piano. Would it were so! -But for that I may have to wait some time; so, meanwhile, write to me -and let me know what you are doing and what composing; and above all, -tell me that you are my friend, as I am yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, March 21, 1840. - -Beginning of Spring. - -MY DEAR FRIEND,--Those kind letters of yours and your wife’s came -yesterday, and a most agreeable surprise they were. A thousand thanks. -You cannot imagine how refreshing it is to me to get a letter from you. -Besides all that is new and interesting in it, there is so much that -comes straight from the heart, so much that is thoroughly Moscheles, -that I quite fancy I hear you. And, do you know, one of the invigorating -effects of your letters is the desire they give me to go to England, -whereas, in truth, I fight rather shy of the journey. I don’t know how -it is, but when I read your letter urging me to go to Birmingham, I am -seized with the desire to be off. There is my wife, too, who is in favor -of the journey, and who, this time, would like to accompany me; and that -sets me to thinking that we might do worse than bring our wives -together, and let them become friends; and then--and then--I long for -the steamer and for the perfume of British coal, and I put in the -daintiest touches to complete the pleasant picture. I wonder whether it -is to be realized. - -What you tell me about the Philharmonic and Lord Burghersh, I must say, -does not particularly attract me; that the society should be losing -ground, as you say, I most sincerely regret. It was so flourishing when -I knew it, and had such a halo of glory round it, that I could not -believe the evil I hear of it on all sides; but since you confirm such -reports, they must be true. - -Your remarks on Spohr’s C minor Symphony, I indorse word for word; and -without knowing his historical Symphony, one feels how correct and fair -your analysis of it must be, just as one can judge of the likeness of a -portrait without knowing the subject.[39] But what an unlucky idea the -whole thing is! After all, a joke is out of place in a serious -orchestra. This leads me to a request that I meant to make long ago. -Would you not let us have your own Symphony in C[40] for one of our -concerts? I am sure it would be appreciated on all sides, and why should -you withhold such a work from the public? For this winter it would be -too late, as our last concert takes place on Thursday; but it might come -as an opening feature of the concert season next autumn, if you are -agreeable. - -We have had an interesting musical time of it, this winter: Dreyschock, -Prume, Madame Pleyel, Hiller, Ernst, and now, to wind up, Liszt. Our -Subscription Concerts and the six Quartet evenings were more crowded -than ever; and with their close the time has come when one longs for -home music and no concerts. Liszt has been here for the last six days. -He has given one concert, and announces another for next Tuesday; after -which he goes to Dresden and to Paris, where he means to play; -afterwards to London for the season, and then to Russia to spend the -winter. His playing, which is quite masterly, and his subtle musical -feeling, that finds its way to the very tips of his fingers, truly -delighted me. His rapidity and suppleness, above all, his playing at -sight, his memory, and his thorough musical insight, are qualities quite -unique in their way, and that I have never seen surpassed. With all -that, you find in him, when once you have penetrated beneath the surface -of modern French polish, a good fellow and a true artist, whom you can’t -help liking even if you disagree with him. The only thing that he seems -to me to want is true talent for composition, I mean really original -ideas. The things he played to me struck me as very incomplete, even -when judged from his own point of view, which, to my mind, is not the -right one. And, if I am not mistaken, that explains why Thalberg would -meet with more success in many places,--England, for instance. He, in -his way, is just perfect; he plays the pieces he has mastered, and -there he stops: whereas Liszt’s whole performance is as unpremeditated, -as wild and impetuous, as you would expect of a genius; but then I miss -those genuinely original ideas which I naturally expect from a genius. A -mere pianist he is not, nor does he give himself out as such; and that -perhaps makes him appear less perfect than others whose talent cannot be -compared with his. We are together the greater part of the day, and seem -to be mutually attracted. His appreciation of you, and the cordial way -in which he expresses it, have drawn me still nearer to him. It is a -pity that he should be saddled with a manager and a secretary who, -between them, succeeded in so thoroughly mismanaging things that the -public were furious, and we had the greatest trouble to smooth matters -to some extent for the second concert. The advertisements and subsequent -modifications, the prices and the programme,--in fact, everything that -Liszt himself did not do was objectionable; and consequently the mildest -of Leipzigers were in a rage. By this time, however, they seem to have -calmed down again. - -A thousand thanks for your kind offer about my Trio. I need not trouble -you again about its publication, as it is to appear at Ewer & Co.’s; but -your offer to look through the proof-sheets is too tempting to refuse, -however indiscreet my acceptance may be. So I have told Ewer to send you -the proofs, and am sincerely obliged to you. They asked me for an -arrangement for the flute instead of the violin, and I suggested that -they should publish only the Andante and Scherzo in this form, under the -title “Andante et Rondo (tiré de l’œuvre 49,” etc.); because the first -and last movements appear too heavy and substantial for such an -arrangement. However, I have left the decision in their hands. What do -you advise? I have told them to consult you on any question which might -arise. That, too, you must excuse; but, above all, let me soon know what -you think of the work itself. - -You know how highly I value your remarks, and how much at all times I -learn from them. For that self-same reason I wish I could show you a new -Psalm I have just written, and a Symphony I have begun. Well, perhaps -that may be next autumn. - -And now good-by. Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, July 2, 1840. - -DEAR MRS. MOSCHELES,--I should have thanked you for your kind and -friendly letter by return of post, had I been able to say anything -certain about my visit to England. But that is so far impossible. What -with constant conducting and preparing for public performances, I have -lately been so knocked up that the doctor seriously advises me to take a -few months’ rest before the beginning of our busy season in October. -You can fancy that I shall only do so if necessity compels me; so one -day I am quite resolved to go to England, and the next, I feel obliged -to abandon the idea. To-day I leave for Mecklenburg, where, for some -time past, I have promised to conduct a festival; and until we see what -effect that has on my health, I cannot make any further plans. Should I, -after that, feel strong enough to stand the fatigue of an English music -festival, nothing shall detain me, and come I will. I shall let you know -the when as soon as I can clearly see my way out of the ifs and buts.... - -And now farewell to you and yours; and to Moscheles, especially, the -most cordial and hearty messages I can think of. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, Aug. 8, 1840. - -DEAR MRS. MOSCHELES,--Hurrah! I’m coming. I cannot give you a date; for -if I bring my wife[41] (as I hope and trust to do), I shall start in -about a fortnight, whereas, if I come alone, I shall be in London on the -8th of September, remain for the Festival, and return immediately after -it. In the latter case I should have to abandon the long-cherished plan -of introducing my wife to the country of my predilection and the dear -friends I have there. - -I fully rely upon your remaining in England and going to Birmingham as -you promised. What a delightful trip we could make of it! What a -pleasure to see Moscheles again, and to hear him! And then, all his new -compositions which I shall really get to know and enjoy, whereas -hitherto I have had to be satisfied with a kind of a sort of a -description, or half a bar here and there doled out to me by some friend -just fresh from London. We’ll have a regular feast of music. I, for one, -am hungrier and thirstier for it than ever. And my godson, and the two -charming young ladies, now grown to the dignity of real “misses,”--I -shall have to renew my friendship with them, or rather take it up where -we left it; and possibly Emily may have some dim recollection of former -pianoforte lessons, and Serena of certain carnations. I shall expect my -godson to remember having met me at St. Pancras Church,[42] and to call -me by my name. Of myself I can only say, you will find me a hopeless -case. Whatever talent I might have shown for speaking the English -language or behaving like a gentleman, has been lost in the atmosphere -of German petty provincialism. In some things you will find me -unchanged, but won’t it annoy you all the more that I have not improved? -Well, all that crosses my mind occasionally; but then I console myself -with the thought that you will be pleased to see an old friend, whether -he is improved or not, cleverer or less clever, and will give him, as of -old, your friendship and your indulgence. How glad that friend, on _his_ -part, is at the idea of soon finding himself in your family again, it -needs no words to assure you. May we meet in health and happiness, and -may you be as kindly disposed as ever to - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -On the 18th of September Mendelssohn arrived in London. Mrs. Moscheles -writes of him to her relatives in Hamburg:-- - -“Our dear Mendelssohn--I cannot call him otherwise--arrived at four -o’clock, was with us at seven, just the same warm and genial friend as -of old; bright, cordial, and hearty,--in a word, the type of a true man. -Klingemann and Chorley joined him here at dinner; and in the evening -Felix junior had such a tremendous romp with his godfather, that the -whole house shook. One can scarcely realize that the man who was -presently improvising in his grandest style, was the same as the Felix -senior, the king of games and romps.” - - * * * * * - -On the 20th of September Mendelssohn and Moscheles went to Birmingham. -From there the latter writes:-- - -[Illustration: 21. Birmingham. From a Pen Drawing by Mendelssohn. (See -page 209.)] - -“Whilst all Birmingham was congratulating itself on having the -heaven-born composer within its walls, and on the privilege of hearing -him conduct his latest work, he, in the midst of a thousand duties, -found leisure to make for the children a pen-and-ink sketch of the city, -with its town hall, its houses, smoky chimneys, and all.”[43] - - * * * * * - -Further on Moscheles describes the performance of Mendelssohn’s “Hymn of -Praise,” and ends with the words:-- - - * * * * * - -“A powerful Fugue next breaks in triumphantly, the majestic tone of the -organ resounds, and a double set of kettledrums marks the rhythm, much -as a throbbing pulse marks the course of the life-blood through a man’s -veins. Then follows a Chorale of such dignity, that involuntarily the -whole audience rose from their seats as is usually done only during the -‘Hallelujah.’ Afterwards, when the hall was emptied, he played for three -quarters of an hour on the organ, before a small circle of friends, just -as if he had neither been hearing nor conducting music, but as if his -day’s work was only then beginning.” - - * * * * * - -After a short stay in London, Mendelssohn, Moscheles, and Chorley -started together for Leipzig. On the eve of his departure Mendelssohn -made a pen-and-ink sketch in Mrs. Moscheles’s album, full of pleasant -allusions to their stay in Birmingham. On the left he draws the Stork -Hotel, in which they had taken up their quarters; and next to it a pair -of scissors which he had presented to Mrs. Moscheles, and which are -drawn stalking vaingloriously along and towering over the Town Hall, of -Festival memories. Then comes the Bread-and-Butter Pudding, his favorite -dish, the recipe of which he was carrying home with him. - -Further on, the cravat which Mrs. Moscheles had given him. He was in the -habit of protesting that he had never been able to master the art of -adjusting his cravat, and that not until Mrs. Moscheles pronounced the -magic words, “Pin it up,” was a flood of light thrown on the subject. -Above the cravat the steamer stands in readiness for the morrow; below, -the mail-coach and the luggage,--amongst the latter, a certain umbrella -belonging to Moscheles, which Mendelssohn had unfortunately lost, is -conspicuous.[44] - -They started on the 3d of October; and their adventures by sea and land -are recorded in a humorous letter penned by the trio of friends, -Mendelssohn adding a little sketch of the pitching boat he had every -reason to remember.[45] - -During his ten days’ stay in Leipzig, Moscheles writes frequent letters -to his wife. The following note of invitation Mendelssohn enclosed in -one of them:-- - -[Illustration: 22. An Album Sketch by Mendelssohn. (See page 210.)] - - +----------------------------------------------------------------+ - | MRS. MOSCHELES | - | | - | is respectfully invited to a musical evening party to be given | - | on Monday, the 19th of October, at 6 o’clock precisely, in the | - | rooms of the Gewandhaus, by | - | | - | FELIX MENDELSSOHN BARTHOLDY, | - | | - | there to hear his 42d Psalm, with Orchestra, his Overture to | - | “Fingal’s Cave,” and Moscheles’s Overture to “Joan of Arc.” | - | Moscheles, the “Father of Pianists” (as Fink calls him in the | - | “Musical Gazette”), will play his G minor Concerto, as also | - | Bach’s Triple Concerto, with Madame Schumann and Dr. F. | - | Mendelssohn Bartholdy, in addition to which he will perform | - | some of his characteristic Studies. | - | | - | * * * | - | | - | It is requested that this paper be presented at the doors; | - | should, however, this request not be complied with, Professor | - | Moscheles will have to proceed to London in order to receive | - | that applause which here can but be incomplete. | - | | - | _An answer by return of post will oblige._ | - +----------------------------------------------------------------+ - -The “musical evening party” turned out a most brilliant one. Moscheles -describes the bright and festive scene, and the charming way in which -Mr. and Mrs. Mendelssohn received their three hundred guests. The chorus -of one hundred and forty voices was most effective, and the Gewandhaus -orchestra was never heard to better advantage. - -After a short visit to his mother in Prague, Moscheles hurried back to -London, reluctantly foregoing the pleasure he had promised himself of -once more shaking hands with his friends before leaving Germany. - - * * * * * - -LEIPZIG, Nov. 18, 1840. - -DEAR MRS. MOSCHELES,--I fancy Moscheles once more comfortably installed -by your “fireside” (this can’t be expressed in German); so now I must -write and send greetings, and say how often and with what heartfelt -gratitude I remember our late meeting. After our parting there followed -some pleasant days, which Moscheles’s and Chorley’s letters have long -ago described to you. Now, however, that Moscheles has left us by train, -and Chorley by _Schnellpost_, a quiet time has set in, with scarcely -anything to describe,--for happiness itself is indescribable; and, -indeed, I ought neither to form a wish nor to express a regret, when I -enjoy, as I do at present, health and contentment with my wife and -children, and have plenty of work to do; yet I must say we were truly -sorry on receiving Moscheles’s letter, definitely putting off his return -to us. He had become quite a member of the family during his short stay, -and as such we parted from him. He seemed to be in most friendly -sympathy with my wife; such feelings are generally mutual, and I know -she took to him the very first day. But when will my prophecy be -fulfilled, that you too will love my Cécile, and feel at home and -intimate with her? Not this next spring, I fear; and whether Moscheles -is so favorably impressed with Germany that he wishes soon to repeat his -visit, that too remains to be seen; but I hope he did feel - -[Illustration: 23. Fac-simile from the Joint Letter from Ostend. (See -page 210; also, explanation in the List of Illustrations.)] - -what we all had at heart,--what every one of us would have liked to show -in word and deed, if the very showing and saying had not been our weak -point, though he will nowhere find it more strongly developed,--the most -heartfelt reverence and love for himself and his work, and the most -sincere gratitude for the immense enjoyment he has procured us. It is -still our daily talk; and even little Carl[46] never passes a day -without asking Papa, “How does my uncle Mosche_n_es play?” Then I try to -imitate it with my fists in A flat, six-eight time as well as I can, but -the result is miserable. Now comes a song.[47] ... - -I will give the pen to my wife, and only add love to the dear children, -to whom pray remember me. This letter is for Moscheles too. How glad I -was to hear of his successes in Prague, I need not say. I trust he -thinks of us as we do of him, and that we may soon hear of his safe -arrival. Farewell, dear Mrs. Moscheles. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, March 14, 1841. - -DEAR MOSCHELES,--Just as I was sitting down to answer your kindest of -letters (dated the 9th inst.), in comes bright No. 2, with its graphic -account of the Taylor evening, and its other capital and vivid -descriptions. David must take you my answer to both, and my very best -thanks for the pleasure they have given me. He leaves to-morrow. There -is no need once more to recommend him, his wife, and their little -daughter to you and yours. You know and appreciate him and his art -already, and are sure to contribute more than your share towards making -his stay agreeable. Mind you don’t get too fond of him, and keep him -there altogether; we Germans could not allow that, for men and musicians -of his stamp are not as thickly sown out here as you might fancy. So -make as much of him as you like, but send him back well preserved -afterwards. - -And now to return to your two delightful letters. The first contained -the enclosures from Broadley and instructions in reference to the German -publication; they shall be punctually carried out. Please ask him to -mention on the titlepage of the English edition that Simrock of Bonn is -the German publisher. May I beg you to communicate this to him without -delay? Make my excuses to him (and yourself) for not having sent the -short prelude. I would gladly do so; but really, with the best will in -the world, I could not write a short prelude to suit that piece without -altering the whole form and giving it a pretentious coloring, which it -should not have. I would rather leave it to the organist to tumble his -fingers about at random, making it long or short as he likes, and as -rich or poor as he can afford. - -I do wish I could hear your Psalm. You know how much I should enjoy it. -But how could I venture to make suggestions, or even to _think_ them, -when I am so full of the beauties I find in your work, and so thankful, -as we all have reason to be, for what you give us in so full a measure? -At any rate, you know that I, for one, feel deeply grateful for the -bright products of your art; and I trust you will always let me have the -new things you write, and particularly that you will not let me wait -long for the Psalm and the two new “Studies.” - -According to your kind permission, I have put together a book of your -Songs, selected from the ten you sent me through Dr. Becker. Kistner -required six for a book; so I chose the following: “Stumme Liebe,” by -Probald; “Der Schmidt,” by Uhland; “Zuversicht,” by the Countess Hahn; -“Das Reh,” by Uhland; “Im Herbst,” by Uhland; “Sakontala,” by -Klingemann. The keys certainly follow in the maddest of ways,--F major, -B major, and so on anyhow; but I have always found that not a soul -thanks you for the loveliest sequence in keys, and that it is rather a -change from slow to fast, from serious to lively, that is particularly -in demand. So pray excuse this fricassee of sharps and flats. - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, March 14, 1841. - -DEAR MRS. MOSCHELES,--What a delightful letter of yours that was I -received the day before yesterday, written beside the singing tea-urn, -and taking me straight to Chester Place! By rights, my thanks ought to -come in the shape of a song on one of these pages; but I cannot manage -it to-day, and you must take these unmusical, prosaic, dry thanks for -your musical, bright, poetical letter. For now, when our season is -drawing to a close, you know from experience how hard-driven a man -is,--and, to keep up the usual distinction, a musician into the bargain. -Since January we are having an uninterrupted succession of musical -doings, besides which the Leipzigers are so very sociable that at this -time one is scarcely ever allowed a quiet evening at home. Our own house -has become a lively centre too. Sophy Horsley has arrived, seems to feel -at home with us, and is already making friends with my wife; and now we -invite our friends, and they return the compliment. We speak German, -French, and English, all in one breath; and all the while the orchestra -is fiddling, trumpeting, and drumming every day, whilst one is expected -to sit an hour and a half at supper, and sing four-part songs to a -roast-beef accompaniment. - -The only thing I regret in your charming letter is that you should have -countenanced the strange attempts at making comparisons between Spohr -and myself, or the petty cock-fights in which, for some inconceivable -reason and much to my regret, we have been pitted against each other in -England. I never had the slightest idea of such competition or rivalry. -You may laugh at me, or possibly be vexed, at my taking up such a silly -matter so seriously. But there is something serious at the bottom of it; -and this pretended antagonism, imagined and started by Heaven knows -whom, can in no way serve either of us, but must rather be detrimental -to both. Besides, never could I appear as the opponent of a master of -Spohr’s standing, whose greatness is so firmly established; for, even as -a boy, I had the greatest esteem for him in every respect, and, with my -riper years, this feeling has in no way been weakened. - -And so the Philharmonic Society seems tumbling to pieces. Oh dear! oh -dear! how sad that is! It is true they have worried me a good deal of -late; still I have a sort of affection for the old familiar institution, -and hope they may yet conceive the brilliant idea of appointing -Moscheles as sole conductor; that would be the infallible remedy to save -them (see Chorley’s MS. receipts). - -And how are your children? Does Emily keep up her playing? Does she -compose? And does Felix drop down all of a heap in his popular character -of the dead man? We are all right, thank goodness! My wife has been in -such good health all this time that I cannot be sufficiently thankful. -There is, however, much to manage and arrange with three little soprano -singers in the house, and that is why she returns your kind messages -through me. Sophy desires her very best love, and repeats it three -times, emphasizing alternately each of the three words; and I say, -should you ever feel inclined to write such another truly charming -letter by the side of the tea-urn, so enjoyable to your distant friends, -drawing them into your family circle, then think of - -Yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -JUNE 15, 1841. - -MY DEAR FRIEND,--How shall I thank you for those two beautiful “Studies” -you sent me! I cannot tell you how much I have found in them to enjoy -and to admire, and how grateful I am that you should select me as the -first to send them to, in advance of the whole musical world, that takes -so lively an interest in all you write. That is truly kind of you. - -To tell the truth, it is the one in D minor that is my favorite, -particularly in that modulation on the seventh, after the long F -[Illustration: musical notation], and the return to D minor, passing -through C and E flat. But then there is that lively one in F major, -which I love more and more each time I play it. And - -[Illustration] - -[Illustration: musical notation - -24. Stage Arrangements at Berlin. Fac-simile of Drawing by Mendelssohn. -(See explanation in the List of Illustrations.)] - -finally, they are both so truly Moscheles that it is hard to choose! -Well, there they are, both of them; so there is no necessity to make a -choice. - -Will you allow me an observation,--the only one that occurred to me? -There is something in the last two bars of the D minor Study, the end of -which I otherwise like so much, that sounds strange to my ear. The long -rest on the seventh, and then the F in the melody (half a bar before the -last) gives to that passage a melodious coloring that does not seem to -me quite in keeping with the general character of the Study. I think -some simpler, bolder final chord would be more in harmony with the -whole. It is a trifling objection, you see, and perhaps I am altogether -wrong; so excuse the liberty and set me right. - -It does strut along so splendidly, that D minor Study; and I can play it -pretty well already too. The one in F I cannot manage at all yet, -although I have tried hard. - -Your putting at the head of them the words “Without characteristic -names,” is, I can see, an allusion to my pert remarks in Gotha. Well, -you must pardon them, as well as all others in the past, and possibly in -the future. Let me thank you too, my dear friend, in my wife’s name and -in my own, for the dedication of your Songs. It is a kind gift we shall -ever value. - -You will have heard that I am going for a year to Berlin. I could not -refuse, but fully intend to return at the end of the time. I would -rather be here than there. To be sure, I am to rejoice in the title of -Kapellmeister, to get a lot of money, and to have no special duties, -either at the theatre or elsewhere,--in fact, to be quite my own master; -but with all that, I don’t quite like it. I shall be there in about ten -days; and as soon as I can tell you more about it, you shall hear from -me. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -In June, 1842, Mendelssohn once more returned to London, this time -accompanied by his wife; and so at last Mrs. Moscheles had the -opportunity, to which she had been looking forward so long, of making -Cécile Mendelssohn’s acquaintance, and of welcoming her to England. They -met, as might be expected, fully disposed to indorse the bond of -friendship that united their husbands. Sympathetically attracted to one -another at the outset, they soon exchanged the more formal mode of -address for the affectionate “Du,” therein following the example of -their husbands, who, years ago, had in the same way taken the pledge of -brotherhood. Their friendship continued and remained unchanged until the -premature death of Cécile Mendelssohn. - -On the 13th of June Mendelssohn conducted his A minor Symphony for the -first time in the Philharmonic. He played with Moscheles in a concert -arranged by the latter for the benefit of - -[Illustration: musical notation - -25. Fac-simile from a Letter written in July, 1842.] - -the sufferers from the Hamburg fire,--a venture which was eminently -successful, the net receipts amounting to £650. Sophocles’s “Antigone” -was performed in Moscheles’s house, Mendelssohn being at the piano; the -choir, however, it appears, did not prove equal to the occasion. It was -during this stay that Mendelssohn spent the pleasant hours with Queen -Victoria and Prince Albert, of which he gives so graphic a description -in his letters to his mother. - - * * * * * - -BERLIN, Oct 8, 1842. - -DEAR MRS. MOSCHELES,--I returned three days ago, and will not delay -writing you a letter on this broad sheet of paper. What it will contain, -you guess; but I write it in fear and trembling, for my mother assures -me she has it from you yourself that you intended leaving Hamburg at the -beginning of October, to return to England, without stopping at either -Leipzig or Berlin. That would really be too bad! But I cannot quite -believe it, and so venture to write you a regular letter of -invitation:-- - - * * * * * - -Mr. Felix Mendelssohn Bartholdy presents his compliments to Mr. and Mrs. -Moscheles, and is simply craving for Mr. and Mrs. Moscheles’s visit to -Berlin for at least a fortnight. The country, music, and that sort of -thing, in and about Berlin, are, to be sure, not worthy to be placed -before them; if, however, a most hearty welcome can make the sandy soil -appear fruitful, and the musicians inspired, nothing shall be neglected -to produce the desired effect. The whole population of No. 3 -Leipzigerstrasse joins in this most humble invitation. _Dinner on the -table at three o’clock._ _Il y aura un violon._ - - * * * * * - -I wish you would say “Yes,” and come. Wouldn’t we enjoy it! - -But, joking apart, dear Mrs. Moscheles, and you, my dear friend, should -you still be in Hamburg, and these lines reach you there, then do not -break our hearts by passing us by. Had I but known a little sooner when -I should be here again, I should have written ere this; but we returned -only four days ago from Switzerland and the South of Germany. Everything -was uncertain, as it is still. However, here we are, and shall certainly -remain for the next fortnight, so I say again, Come! If I could only -send you a starling trained to say, Come! Come! True, my dear Moscheles, -I should have nothing newer to show you in the way of compositions than -the Song without Words in A major, which you had to hear but too often -last spring. What with eating, drinking, walking, sketching, enjoying -myself, and not caring for the morrow, I have not been able to write -anything new. You, I am sure, will have all the more new and interesting -things to show me. But even supposing we made no music at all, how -delightful would it be to spend - -[Illustration: 26. MENDELSSOHN. - -A BUST MODELLED FROM LIFE BY PROFESSOR RIETSCHEL] - -some time together in Germany! We should see and hear much more of one -another, in peace and quietness, than we could in the rush of a London -season, crowded as you are there with work, and I with leisure. You -would meet Klingemann too; we are daily expecting him; he must have been -in Hanover for some time already. Once more, to wind up, Come! - -Now that our wanderings are concluded, we doubly feel what a happy -summer we have spent, what English comfort we have enjoyed, what -happiness and what never-to-be-forgotten kindness we have experienced. -It was delightful indeed! And then, on our return home, we could not -help saying that in the whole five months in which we wandered over land -and sea, by steam or on muleback, across roads and rocks, we could not -remember one unpleasant moment, not one dull day, but that we had been -enabled to enjoy everything in undisturbed delight and health. Then I -felt as though we never could be thankful enough, and ought never to -pray for anything but a continuance of such happiness. From first to -last we have felt deeply grateful for the mercies showered upon us, the -remembrance of which will never leave us as long as we live. In -Switzerland--oh, well, of that I could talk for whole evenings, till you -were thoroughly tired of my long stories, as dull and dry as the -incidents they would describe were lively and bright. Then came a -delightful fortnight with the Souchays at Frankfurt, then Leipzig and -the first Subscription Concert. They flattered themselves you would have -come to it, dear Moscheles; for David told me they had specially invited -you. Hauptmann’s first Mass was performed at St. Thomas’s Church; then -we had three new violin Quartets by Schumann, the first of which most -particularly delighted me. Madame Schumann played Weber’s Concertstück, -and some Thalberg, as beautifully and with as much fire as ever. Here I -found all well,--that is, music excepted, which, Heaven knows, is -anything but well. They are performing “William Tell” for the wedding -festivities, curtailed into three acts, and they call it “the composer’s -arrangement for the Parisian stage,” and are racking their brains to -discover whether Rossini had any call to write operas or not. The -_Weissbier_, the cabs, cakes, and officials are wonderful here, but not -much besides. - -I have requested an audience of the King, with a view to obtaining his -most gracious permission to depart; but what with the wedding, his -journey, etc., I have not yet been received. Should I be more successful -next week, I hope to be in my well-known Leipzig home in another -fortnight; but it must be with a really good grace that he allows me to -retire, for I love him too well, and owe him too much, to let it be -otherwise. - -Oh, how my pen has run away with me! I dare not touch the next page, -which Cécile wants. So let me add, on this one, love to the children, -and my wishes for your welfare, but, above all, the wish for an early -and happy meeting. - -Ever your - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, Nov. 18, 1842. - -MY DEAREST FRIEND,--How busy I have been lately you may gather from the -fact of my only answering your delightful letter of the 20th to-day. But -my chief reason for delay was that I wished to answer with due care and -full consideration that part of it which mentions your intention of -returning to Germany. This is a matter of so much importance to all of -us, and I am so immensely delighted at the prospect, that at first I -could not bring myself to think of it quietly and impartially. Now I -have looked at it in every light, and of nothing else will I write -to-day. If you really mean to leave England,--and from what you say I -can no longer doubt you are in earnest,--this is the best time you could -select, particularly if you thought of giving Berlin the preference. It -appears to me that just now, when the King is so unmistakably anxious to -secure for his capital artists of great reputation, a mere hint from you -would suffice to elicit the most acceptable offers from that quarter. -Such a hint is necessary, as, without it, nobody would believe, any more -than I did at first, that you are really inclined to give up your -position in England. Now, you have the very man in London to whom you -might casually drop a word. You are on a confidential footing with him; -and whilst, on the one hand, he has the warmest friendship and esteem -for you, on the other, his suggestions and counsels have the greatest -weight with the King of Prussia. Of course, I mean Bunsen.[48] If you -were to speak to him, mentioning in a general way your intention of -returning to Germany, I am sure a few words would suffice, and he would -do his very best to secure to the King and to Berlin the honor of -possessing you,--for as an honor any town of Germany you may select will -look upon it. That, perhaps, you do not know; but then I do, most -positively. To be sure, there is no official position--I mean no regular -programme of musical duties--suitable for you, any more than there is -for me, or for any musician whose heart is in his work; so my departure -from Berlin would leave no place vacant for another to occupy. The very -fact that no such place exists is the cause of my hesitating so long. - -Now, however, it is decided that I am to have nothing to do with the -Berlin public, but only with the King, whose qualities of head and heart -I value so highly that they weigh heavier in the scale than half a dozen -Berlin publics. Whether I am there or not, an excellent and honorable -position would be open to you. But just think how delightful it would be -if I did return, and we lived in the same place and saw our old dreams, -that seemed so unattainable, actually realized! But that is a picture I -will not attempt to draw in this letter. That I may have to return to -Berlin, you see from the above. Probably it may be next year. - -But suppose, now, that the thing you thought feasible in Berlin should -take shape in Leipzig! Not that I should think of offering you the post -I have held here, merely as conductor of the Subscription Concerts; but -there is every reason to believe that that office may be supplemented by -the directorship of a musical school, which will probably be started -within the next twelvemonth. Might not a combination of that kind suit -you? The salary would scarcely be more than twelve hundred thalers, to -begin with; but I have no doubt things would soon improve all round. The -King of Saxony will probably grant the funds requisite for founding the -institution; and considering the influential and central position of -Leipzig, I am confident that excellent results might be anticipated. The -principal outlines of the scheme are to be settled before the end of the -year. I am bound up with it, heart and soul. But then the first and most -important question arises, Who is to be at the head of it? Now, just see -how all difficulties would be at once solved if, in answer to that -question, we could put your name! Regular lessons there would be -scarcely any to give,--only the general supervision of the whole -institution to undertake. You would have Hauptmann (who is at the head -of the St. Thomas choir), David, Becker, etc., to work with you; and -there would be the twenty Subscription Concerts to conduct. - -Now, what do you think of it? Just turn it over in your mind, and let me -know the result soon, very soon. I fancy these will not be the only -letters we shall exchange on the subject. The matter is of importance, -not only to yourself but to all Germany; and the former consideration, -you know, would be quite enough for me. - -So now give me your views as candidly as I have given you mine; and let -me thank you a thousand times, and tell you how proud I am of being -taken into your confidence. I do hope and trust we Germans shall get you -back amongst us. - -If you do not like to mention the matter to Bunsen, I am quite ready to -look about for another opening. But Bunsen is the right man, I am -certain. However, first of all, let us see what you think of the two -different plans. - -Kindest remembrances to your wife. I will try to fit an orchestral dress -on to the Broadley piece; and if I succeed, will send it to you without -delay. For the present, I am still without books or music, and have -composed nothing but a Sonata for piano and cello. However, the boxes -arrived yesterday; to-morrow we unpack them, and then we will set to -work in good earnest. - -Remain ever my friend, as I am yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -The above-mentioned scheme concerning the establishment of a -Conservatorio in Leipzig was carried out in March of the following year. -The other plan, that of living and working together in the same city, -was ardently pursued by the two friends, until it was realized in the -autumn of 1846, when Moscheles left London to accept an appointment as -professor at the Conservatorio of Leipzig. The next letters show the -friendly spirit in which Mendelssohn worked to bring about the result, -and the solicitude with which he entered into every detail that might -smooth the path for Moscheles and make his new home attractive. -Moscheles, on the other hand, did not hesitate to abandon the brilliant -and more lucrative position he occupied in London, in order to devote -himself, by the side of his friend, to what he believed to be the -highest and truest aims of Art. - - * * * * * - -LEIPZIG, Jan. 16, 1843. - -MY DEAR FRIEND,--I have to thank you and your wife for three very kind -letters; excuse my not having done so before. At a time like that which -we have passed through, when one feels completely unhinged and cannot -regain one’s peace of mind, when all seems dark and hopeless, it is but -gradually one can attempt to return to one’s occupations, even to the -pleasantest of them.[49] - -During the first days of darkness not even music, or the thought of -music, could afford me any consolation; but my old love for it soon -returned, and now my little study, with its view on to the fields and -far beyond, is a refuge, in which I gather fresh strength, and can -sometimes feel more cheerful. Any attempt to divert my thoughts into -another channel only tends to increase my sorrow, and leaves me more -depressed than before. I am sure you will forgive my not having written -sooner; you may read between the lines that I really could not have done -so, and that even now I find it difficult to take up the pen. - -The Scena for Mr. Broadley accompanies this letter. I have thrown in a -Fugue, and fancy it is the best piece of the whole. It is the -gingerbreadnut they give into the bargain at the sweet-stuff shop. The -idea of it occurred to me in happier days, and I then scored the first -three pieces; the fourth I had commenced when the great trouble came -upon us, and I had to leave everything for weeks just where it was. Now -I have finished it, and beg you to give it with my regards to Mr. -Broadley. Perhaps I may write and enclose a line to him, besides. Thanks -for your kind offer about publishers in England. Under other -circumstances I would have accepted, as I have so often done before; but -just now I need not trouble you, having every reason to be satisfied -with my present publishers. - -The transaction with Addison and Benedict was of quite a different -nature. Benedict told me last spring they wished to have my Symphony; -that was all that was said about it. So I wrote to them offering it on -the same terms as the former one. They certainly had given me a better -price than the other publishers, either at that time or since. They -thought it too much, and so I gave the piece to my ordinary publishers -at the ordinary price, and therewith the matter ended. Lately, Benedict -wrote me one of the kindest letters imaginable, that truly delighted and -touched me, and in which I only regretted one thing,--that towards the -end he mentions this long-forgotten incident. But the beginning is so -kind and good that it would take a hundred such allusions to business -transactions to outweigh the impression of his affectionate words. Tell -him that, with my best love. And now I have not yet thanked you for your -very kind and valuable present to Carl.[50] I was going to say you had -given me more pleasure than him, because I so thoroughly enjoy these -bright and graceful combinations; but the boy is so much in love with -the music, and is so proud of his present from Uncle Moscheles, that -nothing can surpass his delight,--in fact, you have started him on his -musical career, for every morning after breakfast he insists on my -teaching him his notes. And the other day, when he had to write to his -godfather Bendemann, and Cécile asked what she was to put for him to -copy, he said, “I have got notes from Uncle Moscheles;” which he wrote -somewhat in this style:-- - -[Illustration] - -But, for all the crookedness of his letters, he feels just as happy and -grateful as you or I would. Why, _our_ letters are quite as crippled, if -we compare them and their words to the sense they should convey. - -I postpone saying anything in reference to the chief subject of our last -letters till I am in a fresher and brighter mood. But I should like to -know soon if you have really spoken to Bunsen, and what he said. The -King of Prussia, I know, does not confine himself to native talent. -Proposals would certainly not be expected _from_ you, but would be made -_to_ you, whether coming from here or elsewhere. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, April 15, 1843. - -MY DEAR FRIEND,--Thanks for your letter of March 10, which was anything -but a dry business memorandum, as it announced itself, but one of those -kind and friendly letters which I always most heartily welcome. But -now, do tell me what can have given you the idea that I was appointed -Director of the Leipzig Music School, and that “all plans of our living -together in Germany would vanish into thin air,” etc. I am not -appointed, and I am as anxious to have you here as ever, and confidently -trust our plans will not prove castles in the air. You must have taken -some newspaper paragraph for gospel truth; and you know that in my -opinion they have been known to fall very short of that. These are -really the facts:-- - -Three years ago I endeavored to found a music-school in Leipzig; and -after endless interviews and exchanges of letters with some prominent -men here, and also with the King, I felt, on my return from Berlin, that -there was no time to be lost, and that it was a case of now or never. My -engagements in Berlin did not allow of my accepting a permanent -appointment here; but I took the matter in hand last November, and, -having got the necessary funds, the school was opened, and I engaged to -act as one of the teachers during the time I should remain here. I wrote -to you then, and expressed my ardent desire to see you eventually at the -head of the institution. Nothing has changed my desire since; only, what -was then a long-cherished plan became four weeks ago a reality, and -promises to bear good fruit. - -Now, if we could only persuade you to come! Whether I am here or not, -it would be equally desirable to have you at the head of the -institution. So far the Board of Directors is composed of only five -gentlemen, none of whom are musicians. The six teachers are subordinate -to them, but amongst themselves they are on an equal footing. But I -believe that later on, when the institution develops, as seems very -likely to be the case, a change will be necessary, and a musical man -will have to join the Directors, or even to take the lead independently. -And that is the position which, in connection with the Subscription -Concerts, would be worthy of your acceptance. The difficulty is to get -them to make you a definite proposal, both from a business and a musical -point of view. No doubt, they would all like to have you here; but -liking and wishing and thinking alone will not do it; and how absolutely -necessary it is to come to a clear understanding in such matters, I -should have learnt during the course of my negotiations in Berlin, had I -not already been aware of the fact. - -Have you received an offer from Prague to take the directorship of the -Conservatorium there? Spohr’s name was mentioned in connection with it, -and so was yours. That he was asked, and that he refused, I know for a -fact. I am anxious to hear whether there is any foundation for the rumor -connecting your name with it. - -I do not know what the appointment is like, but am enough of a patriot -to wish that you lived in Germany rather than in England. The paper is -at an end, so good-by. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, April 30, 1843. - -MY DEAR FRIEND,--Our last letters crossed on the road. A thousand thanks -for yours that I received a few days ago. You know what heartfelt -pleasure it gives me every time I see that well-known handwriting of -yours on the address, and how grateful I am to you for writing to me, -overwhelmed as you are by every kind of claim on your time. It would -certainly be better if we need never correspond, and could exchange -ideas verbally from one end of the year to the other, and that in -Germany too! That is a prospect I am less than ever inclined to give up; -only, I don’t quite see my way to the where and the how. So, in the mean -while, accept my thanks for the letter. The terms at our music school -are two hundred thalers per annum; the cost of living here, at all -decently, would amount at least to two hundred thalers. Young -Englishmen, who usually live rather better, would probably require from -two hundred and fifty to three hundred thalers,--say fifty or sixty -pounds per annum. - -The school has made a fair start; new pupils are almost daily joining, -and the number of lessons and of teachers has had to be considerably -increased. There are already thirty odd pupils, twelve of whom are -instructed free of charge, and some of them are very promising. - -We are afflicted, however, with two veritable maladies, which I mean to -fight with all my might as long as I have anything to do with the -institution. First, the Directors want to enlarge and to expand,--build -houses and hire rooms,--whilst I maintain that for the next ten years -the two large rooms that we have, and in which instruction can be given -simultaneously, are quite sufficient. And then the pupils all want to -compose and to theorize, whilst I believe that the principal thing that -can and ought to be taught is sound practical work,--sound playing and -keeping time, sound knowledge of sound music, etc. Out of that, all -other knowledge grows of itself; and what is beyond is not a matter of -teaching, but must come as a gift from above. Don’t you agree with me? -That I am not the man to turn art into mere mechanism, I need not say. -But whither am I wandering? I have got into chatting instead of writing -the two lines I intended. So now good-by. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -In a letter of the 5th of April, 1844, Moscheles communicates to -Mendelssohn the desire of the Handel Society, that Mendelssohn should -prepare a new edition of the “Messiah.” Moscheles had announced a -concert for the 1st of June; and, in view of Mendelssohn’s expected -visit to England, he writes to ask him whether he is inclined to play on -that occasion some new piece of his own composition for two performers. -“Have you got anything of that kind amongst your manuscripts,” he says; -“or, if not, might not Jupiter evolve something Minerva-like from his -fertile brain?” - - * * * * * - -LEIPZIG, April 12, 1844. - -MY DEAREST FRIEND,--A thousand thanks for that dear, kind letter of -yours, that I received (with the one from the Handel Society) just as I -was leaving Berlin. Several weeks must elapse before I can knock at your -door, as I shall be travelling slowly, and stopping at various places. -But I will not postpone thanking you for your letter, and telling you -how much pleasure it has given me. If you knew how deeply rooted is my -heart-felt regard, how warm my admiration for you and your music, there -would be no need to say how delighted I am that you will allow me to -play at your concert and to appear in public by your side. But I know -you are too unassuming ever to listen to anything of the kind; and the -fact is, when it is put into words it really does not look genuine. So I -had better write nothing more about it,--only this much, that I am at -all times truly happy to make music with you, whether in public or in -private. In whatever way you can use me, I am at your service. Let me -write out parts, or collect tickets, or do anything else. If you can -turn me to account, you will make me truly happy and grateful. - -I do not think I have anything ready for two pianofortes. There are -those Variations on a theme in B flat; I like them very well in a room, -but they are not at all suited for public performance. What I should -like best would be to write something new by that time; but time is -short. Could not we play something on the organ, or even improvise -together, or write ourselves a four-hand Fugue for the organ? Well, as I -said before, you decide as to the what and how, and I am ready. At the -latest, I shall be in London by the first week in May. - -I have the greatest desire to accept the very gratifying offer of the -Handel Society; but I have written to Macfarren to say that I cannot -give a definite answer until I have had an opportunity of verbal -communication. There can be no objection, I suppose, to the delay. Some -of the editorial duties (especially preparing the Introduction) I doubt -if I should be able to undertake; and that makes a verbal understanding -desirable. - -Thank you for correcting the proofs of my “Book of Songs;” thank you for -the invitation to play at your concert; in fact, thank you for all these -twenty years that I have known you, and in which you have shown me -nothing but kindness. - -Ever yours, - -FELIX M. - -[Illustration: 27. Mendelssohn’s Congratulations to Moscheles, May 30, -1844. (See page 245.)] - -Mendelssohn had been requested by the Handel Society to prepare an -edition of the Oratorio “Israel in Egypt.” Later on, a difficulty arose -in reference to the notation. Moscheles says, in a letter to -Mendelssohn: “A meeting was convened to discuss the subject; and after a -lively debate it was decided that the only way to put before the public -that notation which you saw in the original manuscript, and which you -wish to adopt, would be to publish a fac-simile of it. But that, to be -sure, would be out of keeping with the three works already published by -the Society.” - -On the 8th of May Mendelssohn came to London, where he was as -enthusiastically received as ever, whether he appeared before the public -as a composer, a conductor, or a pianist. In Moscheles’s concert he -played, with him and Thalberg, Bach’s Triple Concerto; in which his -performance, and especially his improvisation of the Cadenza, is -described as simply miraculous. On another occasion he played -Moscheles’s “Hommage à Handel,” for two performers, with the composer; -at the Philharmonic he conducted for the first time his -“Walpurgisnacht.” - -As on former occasions, he was a constant and welcome guest in Chester -Place. In celebration of Moscheles’s birthday, he drew a second page of -illustrations, referring to Moscheles’s works, as a sequel to the one he -made in 1832. “The writing,” he says, “is again Emily’s; the poem, -Klingemann’s; the design is again invented and the ink-blots omitted by -Felix Mendelssohn Bartholdy.” Amongst the various humorous allusions to -Moscheles’s works, we find his song “Silent Love,” represented by a -padlock closing the composer’s mouth. The “March of intellect, -Miss-understanding,” allude to the “Harmonized Scales” written by -Moscheles for his youngest daughter, Clara. The “Scène champêtre” -illustrates the “Concerto Pastorale.” “Les Roses et les épines de la -dédication” show us Moscheles presenting his Concerto to Mendelssohn, -who is bowing and profusely thanking, quite unconscious of the difficult -passage which is lying in wait for him behind his back. The following is -the translation of the lines in the centre of the page:-- - - “On and still on, the journey went, - Yet has he kept us all in view-- - Working in age with youth’s content, - In living--fresh, in loving--true.”[51] - -Mendelssohn left London on the 10th of July; two months later he and -Moscheles met in Frankfurt. Another drawing illustrates an amusing -incident at a concert that Moscheles gave in that city. It is described -in a letter from Moscheles’s daughter Emily:--[52] - - * * * * * - -“The room, long before the concert began, was crammed full, and still -the people were coming. ‘What will the Frankfurters say when they find -no seats?’ said Mendelssohn to Rosenhain. ‘Let us try to hire some -chairs. Come along!’ Off they were, but it was no easy matter to get -chairs; for, it being the time of the fair, there were none to spare in -the crowded hotels. At last they found four dozen in a small inn. ‘These -must be sent immediately,’ says Mendelssohn. ‘But who is to pay?’ -inquires the landlord. ‘A great artist, Moscheles, who is giving a -concert. It is all right; your money is safe.’ ‘Stop a minute!’ says the -canny landlord; ‘those great artists often give concerts, pocket the -money, and then disappear. I must have something down.’ Mendelssohn and -Rosenhain empty their pockets, which happen to be poorly filled. The -landlord, however, is satisfied, and they hurry off to the concert-room -with an instalment of chairs inside and outside their cab, the rest -following. - -“Another little incident that pleased Mendelssohn mightily, was a -certain C far down in the bass, which my father unexpectedly put in as -he was playing his A flat Study. ‘That took me by surprise,’ he said; -‘it has a splendid effect, and ought not to be forgotten. I must put it -down at once in Mrs. Moscheles’s album.’ He did so, drawing at the same -time the cab, Rosenhain, himself, chairs, and all, but only half a -horse. ‘I can’t draw that by heart,’ he said.” - - * * * * * - -FRANKFURT, March 7, 1845. - -MY DEAR FRIEND,--It really was too kind of you to sit down and have a -talk with me on paper, in the good old style. Now I will just leave -everything to take care of itself till I have returned your chat and -thanked you for your never-varying kindness to me. What you say of -musicians and their doings in England, is certainly far from -satisfactory; but where are doings ever satisfactory? Our inner life it -is that is worth living; but then that is a very different thing to our -outer doings,--something very much better. Conducting and getting up -public performances is all very well in its way; but the result, even -for the public, does not go far. A little better, a little worse, what -does it matter? How soon it is forgotten! And what is it but our inner -life, our calm and peaceful moments, that act and react on all this, -that impel us and lead us onwards, taking all that public business in -tow, and dragging it here and there, whichever way it should go? - -That is the language of a Philistine (you will say), of a domestic -animal, or a snail. And yet there is some truth in it; and one book of -your “Studies” has had more influence on the public and on art than I -don’t know how many morning and evening concerts in I don’t know how -many years. - -Do you see what I am driving at? I should so much like to get that -four-hand Sonata of yours, or some four-hand Studies, or, for that, some -two-hand ones, or whatever else you might send. But, to be sure, your -season is beginning; and how little time is left you for composing and -for your own - -[Illustration: 28. Incidents of a Concert at Frankfurt. A Pen Drawing by -Mendelssohn. (See page 246.)] - -self, I know full well. But don’t let the English Misses make you forget -the German Misses, and their necessary adjuncts the Misters, who are -waiting for that four-hand Sonata. - -As for your feeling hurt by anything the Directors of the Philharmonic -may have decided upon amongst themselves, I can only say you do them too -much honor; their counsels can scarcely pretend to such distinction. On -the contrary, I must confess that after I saw more of them last year, my -good opinion was very much shaken, and my belief, too, in the future -prospects of the Society. I very much doubt whether anything important -can be expected of it; although, to be sure, the end will not come as -long as the public opens its purse-strings. But the fact of the matter -is, there are some very indifferent representatives of the musical -profession that want to take the lead, and are allowed to do so; and the -consequence is, as usual, that misunderstandings arise, intrigues -follow, and the main object to be pursued is neglected. _C’est tout -comme chez nous._ Do not ask where the _nous_ is. It is everywhere. Just -the old thing,--the inner life I was speaking of on the other page: _da -capo del segno fino al_ [Illustration: segno symbol] _e poi_. - -I regret the difficulty with the Handel Society, but I cannot alter my -views on the subject. On less important points I am ready to give way; -as, for instance, in reference to the accidentals,--although there, too, -I prefer the old method, on account of the long bars. But I cannot -possibly introduce my marks of expression into a score of Handel’s, nor -my tempi, nor anything else, unless it is to be made perfectly clear -what is mine and what Handel’s; and as he has put his pianos and fortes -and his figured basses where he thought them necessary, I must either -omit them or leave the public in doubt as to which is his marking and -which mine. It would be no great trouble to any one who agrees with my -marking, to have it copied from the pianoforte arrangement into the -score. On the other hand, it would be no slight evil if the edition did -not clearly distinguish between Handel’s and the editor’s views. I must -say that the interest I take in the Society is entirely dependent on the -decision in reference to this point. The edition of the “Anthems” was so -unsatisfactory, on account of the new marking, that I would never use it -for the purposes of a public performance. I wish to know, above all -things, what is Handel’s and what is not. This desire the Council shared -with me last year; but now the opposite views seem to prevail, and if -they are adopted, I for one (and a good many with me, I believe) will -much prefer the old edition, with its incorrect notes, to the new one -with its various conceptions and consequent marking. All that I have -written to Macfarren. I trust you are not angry with me for speaking out -so plainly. My opinion is so intimately connected with what I have held -to be right, all my life, that I could not possibly alter it. - -We have had little music here lately. But one great treat was the -performance, at a private house, of Cherubini’s second Requiem, in D -minor. They had given it six months’ study, and it went accordingly. -André has just sent the original score of Mozart’s C major Symphony -(“Jupiter”) for my perusal. I must write out something from it for you -that will amuse you. Eleven bars before the end, it formerly stood -thus:-- - -[Illustration: musical notation] - -The whole repetition of the theme he has written on an inserted leaf; -the above passage is struck out, and only comes in three bars before the -end. Isn’t it a happy alteration? The repetition of the seven bars is -one of the passages in that Symphony I love best. - -But here our gossip must end. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -“Israel in Egypt” was eventually edited by Mendelssohn, appearing in -1845-1846. On the titlepage and in the preface he most carefully guards -against any possible misconception, and says: “The editor is alone -responsible for the directions of ‘piano’ and ‘forte,’ and other marks -of expression; for all such descriptions of the movements as stand -within brackets (those which are not so placed being the only -indications for which the original manuscripts furnish authority); for -the suggestion of the tempi according to Maelzel’s metronome; and for -the figuring of the organ part. The adaptation of the instrumental parts -for the pianoforte, intended as an accompaniment to the voices in the -absence of the orchestra, is by the editor; for this, also, he alone is -responsible.” - - * * * * * - -FRANKFURT, April 12, 1845. - -MY DEAR FRIEND,--You must have been as delighted at the news of -Klingemann’s engagement and the prospect of his being married soon, as I -was. No, not quite so much; for when the news came, I danced about the -room for fully five minutes, to the astonishment of Cécile, who thought -I was out of my senses. Well, it has been a pet wish of mine for ever so -long, and now that it is about to be realized I can scarcely believe it. -I had given up all hopes of its coming to pass, and now that it has come -I am doubly glad. It seems, too, so desirable and excellent a match that -I feel sure it must bring happiness. - -With us, thank Heaven, all is well. Cécile is in good health and -spirits, the children are flourishing, spring is approaching; what more -can mortal man desire? - -You complain of the musical shortcomings in your part of the world. -Well, things are not brilliant here; yet, for all that, one does -occasionally get to hear something good. Add to that the balmy air of -spring, the piano, and some sheets of music paper, and, after all, life -is bearable. - -Your old and very affectionate friend, - -FELIX M. B. - - * * * * * - -BERLIN, Nov. 13, 1845. - -MY DEAR FRIEND,--There is a rumor afloat in Leipzig, and I have met with -it more than once since my return, that you might possibly take up your -abode there, and devote yourself chiefly to the Conservatorio, thus -carrying out, to the advantage of the Leipzigers, your old plan of -settling in Germany. I must say I did not put much faith in the report. -The difference between London and Leipzig is so great that I could -scarcely fancy you would ever make up your mind to leave the former for -the latter. But the other day I heard it asserted positively at an -evening party that you had said you were disposed to settle in Leipzig. -Some one had the news from Hamburg. Unlikely as it seems, I cannot help -writing to ask whether there possibly might be some foundation for the -rumor, and, secondly, whether I could do anything to convert such -possibility into a certainty. I need not tell you how anxious I am to -know, and how important the matter is, not only to me, but to all true -lovers of music in Germany. So pray write as soon as possible how it -really stands, and tell me point blank what steps should be taken to -persuade you, if you are to be persuaded at all; or if you are only -thinking of it in a general way and as a possible contingency, then just -give me an outline of your ideas in an equally general way. - -Nothing would be better and simpler, to be sure, if you really were -inclined to decide for Leipzig, than to go straight there and to settle -all details personally. But for the present, my only question is whether -there is any truth at all in the report, or whether it is all idle talk, -such as often gets about, without any foundation whatever. I believe, if -you wrote to say there was a remote chance, the Leipzig Town Council -would petition you in a body, the burgomaster at their head. Of my -personal joy I say nothing to-day. I merely write as a Leipziger. When I -heard the report the other day, I was suddenly seized with patriotic -feelings for Leipzig, and I said to myself, “If I could but do something -to bring this about!” - -Good-by. I have been here for the last three weeks, to conduct -performances of my “Athalie,” “Œdipus,” and some other things. - -Yours ever, - -F. M. - - * * * * * - -Moscheles writes: - - * * * * * - -NOV. 28, 1845. - -MY DEAR FRIEND,--As in the times of the Greeks the household gods were -enthroned in every house and were surrounded by love and reverence, so -you too have a special shrine devoted to you in Chester Place,--in our -hearts rather and in our daily thoughts of you and yours.... Now let me -first thank you for the cordial and hearty words you write on the -prospects of my settling in Germany. My wishes in that direction are -ever present,--smouldering embers that your friendly intervention, your -influence, and, above all, the sacred spark of your genius, may kindle -into a bright flame. Your questions remind me of those you put to me as -we were walking arm in arm along the wide streets of London; they were -the same, and now as then I have the same answer to give: Yes--yes--yes! -I have grown indifferent to the so-called attractions of the great -world; the taste of the day does not suit me, and I do not care to make -any concessions to it, whether in public or in private life. What I -aspire to, is an appropriate sphere of musical activity, interesting -surroundings, you by my side, and finally Germany. - -The position of head teacher of the pianoforte at the Leipzig -Conservatorio would be very acceptable to me; and I readily assume that -you are the Director of the whole establishment, and that I could work -in the same spirit that, from your first appearance in Leipzig, you -infused into the art life of that musical centre. - - * * * * * - -LEIPZIG, Dec. 20, 1845. - -MY DEAR FRIEND,--I most gladly take up the pen to-day; for I believe and -trust that this letter may be instrumental in bringing about the -realization of a wish which we Leipzigers, and more especially I -personally, have long had at heart, remote as seemed the possibility of -its fulfilment. - -Yesterday I learned that the Directors of the Conservatorio were about -to write to you officially. Their offers, which will be in your hands in -a few days, will at least prove to you how fully they appreciate the -desirability of securing you and your services for Leipzig. I hear they -have based their proposals on the suggestions you made in your letter to -me, and which I submitted to them on my return. The salary they offer -you is more than double that of any other professor; they agree to the -leave of absence, and, in fact, accede to one and all of your wishes. -When you come to consider that they are ready to draw to the fullest -extent on the means at their disposal, and further, that it would be -hard to find elsewhere so influential and independent a position, I -trust you will be disposed to accept their proposals. I feel all the -more confident of the result, knowing, as I do, your ideas on the state -of things here as compared with that in England, and remembering how -much in earnest you were when we last talked the subject over. - -The sum which is to be offered to you (if my information is correct) is -small, according to English notions, but not so, measured by a German -standard. Nor is it small when you take into consideration that it -represents a fixed salary for only two or three lessons daily, and when -you make allowance for the time of ten weeks’ leave of absence; so that, -if you choose to give two or three private lessons besides, you will be -in a more remunerative position than most musical men in this country, -and yet not have to give more than four or five lessons daily. That -would be light work for you, accustomed as you are to the incredible -exertions of London life. You would have leisure enough, and to spare; -and what splendid fruit that might bear for art and for your friends! I -cannot for a moment doubt that, under the circumstances, you will -appreciate the change; and I must say that, from what I hear of the -petty doings over there, and from what I experienced myself eighteen -months ago, I can fully understand that every year brings you fresh -cause for dissatisfaction, and a growing desire to turn your back on it -all. And, really, the position you are asked to occupy is not unworthy -of your acceptance. - -One point I must answer, to correct a misapprehension: I am not, and -never shall be, the Director of the school. I stand in precisely the -same kind of position that it is hoped you may occupy. The duties of my -department are the reading of compositions, etc.; and as I was one of -the founders of the school, and am acquainted with its weak points, I -lend a hand here and there until we are more firmly established. I look -upon it as an element of stability that we should have no musical -director placed in authority above the professors,--head masters, as we -call them. These--Hauptmann, Becker, David, and myself (may I soon be -able to add your name!)--form a committee of management on all musical -matters, subordinate to the Directors only, inasmuch as these select the -teachers, manage the business, and are generally the representatives of -the Institute. But all musical matters are submitted to the committee of -teachers, or to the special professor whom they may concern. So, for -instance, any question relating to harmony would be referred to -Hauptmann, whilst Becker would deal with what concerns the organ. The -Board of Directors consists exclusively of prominent -citizens,--non-musicians,--who give their services gratuitously. - -And now let me request that if there is anything you do not wish to -mention officially, you will inform me, and give me an opportunity of -contributing to the success of a negotiation which may prove more -fruitful in its results than any we have hitherto undertaken in the -interests of music. - -“I scarcely venture to hope, so much do I wish it,” says your wife; and -I, with a better right, echo her words,--for if you both only wish it -half as much as I do, I fancy I may venture to hope. - -And now, best thanks for your letter from Paris, that crossed mine on -the road; and my congratulations on your successes, and the dedication -at St. Cloud. As regards the Sonata[53] itself, it is of no use putting -the many questions about it which I am so anxious and impatient to have -answered; but I will make sure that Kistner lets me have the manuscript -without an hour’s delay. And just fancy, now, how grand it will be when -we get that kind of thing before all kings of the French! I do believe -the Leipzigers will get too proud; and yet I should be happy for their -sakes. You see I can write of nothing else to-day. Good-by; let me hear -from you soon. - -Ever yours, F. M. - - * * * * * - -The following letter is in answer to Moscheles’s question in reference -to the cost of living in Leipzig:-- - - * * * * * - -LEIPZIG, Jan. 17, 1846. - -MY DEAR FRIEND,--Your last letter, and that of your wife, gave me the -greatest pleasure, for they seem to hold out a promise that our wish to -have you here will be fulfilled. I do hope and trust we are not -mistaken. On the day that brings your consent I will drain my best -bottle of wine, and cap it with a cup of champagne. I hasten to answer -your questions, having duly consulted my wife and her account-books with -the following result: The price of a flat--consisting of seven or eight -rooms, with kitchen and appurtenances--varies from three hundred to -three hundred and fifty thalers.[54] For that sum it should be handsome -and cheerful; and as regards the situation, should leave nothing to be -desired. Servants would cost about one hundred to one hundred and ten -thalers per annum, all depending, to be sure, on what you require. Male -servants are not much in demand here, their wages varying from three to -twelve thalers per month. A good cook gets forty thalers a year; a -housemaid, thirty-two. If you add to these a lady’s-maid, who could sew -and make dresses, you would reach about the above-mentioned figure. -Should you require, in addition to these, a man-servant, that, to be -sure, would increase the expense; but living as others do here, I think -you would scarcely need one. Wood--that is, fuel for kitchen, stoves, -etc.--is dear, and may amount to one hundred and fifty or two hundred -thalers for a family of five, with servants. Rates and taxes are next to -nothing: eight or ten thalers a year would cover all. In a word, I think -you would live very well and comfortably on from eighteen hundred to -two thousand thalers. It is difficult to fix the terms for your lessons, -even approximatively, for there is no precedent in Leipzig to go by. -Madame Schumann-Wieck had two thalers, but at that price found only few -pupils, and those mostly among foreigners spending a short time here. I -think that would be different with you, and am confident that if you -chose to say one thaler and a half you would be overrun by applicants. -The same probably would be the case at two thalers. And so I return to -what I said in my last letter: I believe that, putting together the -salary from the Conservatorio and what you would make by private lessons -and the publication of compositions (even if you published ever so -little, but I trust it would be ever so much), your income would suffice -for your expenditure, and it would still be open to you to draw on your -capital or to leave it to bear interest. I do not think I have in any -way looked at things in too favorable a light in giving you these -estimates. I certainly made them after due consideration, and in -accordance with my experience of this place. - -Now I have but to add that I have no doubt your furniture will be -allowed to pass free of duty (in fact, I don’t mind making bold to -guarantee that at once); further, that I certainly have composed a -“Lauda Sion” for a church festival at Liege; and finally, that we are -all well, and thinking of you, and expecting with the greatest -impatience your next letter, which is to bring us the welcome news that -you are coming. - -Ever yours, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Moscheles writes:-- - - * * * * * - -LONDON, Jan. 26, 1846. - -A thousand thanks, my dear friend, for that kindest of letters. In its -way it is as complete as you are yourself in all your creations. Whether -at the Piano or the Organ, from the Song to the Oratorio, in Canon, -Fugue, or Symphony; with the pen (_vide_ certain birthday illustrations) -or with the brush on the Bridge of Sighs--always the same: bright, -gifted, and genial. I am only sorry that my warm appreciation of your -qualities gives me no great advantage over your other admirers; however, -in one respect I am in advance of them, and that is, in the thanks I owe -you. My answer to the Directors I enclose; please seal and deliver it. - - * * * * * - -On the 3d of February Moscheles writes:-- - - * * * * * - -“Elated as we were at the prospect before us, our spirits were further -raised by an unexpected invitation to conduct the Birmingham Festival -that I received the other day. Coupled with that, is the good news that -you have promised to take part in it, and to produce a new work of yours -on that occasion; so you can fancy that all is indeed sunshine to me.” - - * * * * * - -LEIPZIG, Feb. 11, 1846. - -Hurrah! your decision is taken, you are coming! Let every one of these -lines rejoice! A more welcome piece of news I have not received since I -have been here, and one that promises so rich a harvest for all of us. -There was a flutter of excitement, such as I have never witnessed in our -ranks, when I produced your letter at the Board meeting the other day. I -had kept it all to myself, to lay before the Directors on that occasion; -and when the time came, I announced that I had received your answer, and -here it was with your acceptance, black on white. They were for -answering at once; but as there were several of them, it took a few -days, so that you get their letter with mine to-day. Not only the leave -of absence for three months, but anything and everything you may desire, -will, I am sure, be agreed to. In fact, it is in everybody’s interest -that you should be made perfectly comfortable; and I do believe you will -be satisfied, and will not be unfavorably impressed by the difference -between the stirring metropolis and our petty provincialism. This much -is certain, that you can nowhere find better intentions, and a heartier -desire on all sides to make you feel at home, than here. Since the Fates -have decreed that you shall return to Germany, and since you cannot, in -this most excellent but somewhat peculiar country, hope to escape a -certain amount of gossip and twaddle, whichever place of abode you may -select, I think you will have no reason to regret your choice having -fallen on Leipzig, and I trust you will like it better and better every -year. - -My personal feelings I cannot adequately express. How could I tell you -what it is to me, when I think that you are really coming; that you are -going to live here for good, you and yours, and that what seemed a -castle in the air is about to become a tangible reality; that we shall -be together, not merely to run through the dissipations of a season, but -to enjoy an intimate and uninterrupted intercourse? I shall have a few -houses painted rose-color as soon as you really are within our walls. -But it needs not that; your arrival alone will give the whole place a -new complexion. But what is the use of my scribbling, when you are -coming, and we can thank you verbally? Not that that is necessary; you -know too well, without words, how overjoyed we are. Cécile will write a -few words for herself. - -Now, you must soon let me have a long, domestic, non-musical letter, -like my last one, so that we can arrange and settle various things for -you before you arrive. Isn’t it delightful that we have got to that -point already? - -Your second letter, with the Birmingham news, just comes too. They have -truly done well in securing you as a conductor; and how splendid it -would be if we could meet there! About my “Elijah,” however, I shall not -be able to decide - -[Illustration: 29. From a Cast of Mendelssohn’s Hand.] - -anything before the middle of next month. The fact is, my health -frequently leaves much to be desired; and all this conducting and -performing often fatigues me greatly. At such times I scarcely believe I -shall be strong enough to go through a musical festival again. If I -possibly can, I most certainly shall go; but as there is considerable -doubt of my being able to do so, I am doubly glad to know that the -matter is in your hands, feeling sure that thus all must go well. - -The letter to Jenny Lind I have sent to Berlin; and when I see her a few -weeks hence, I will put it strongly to her, but I scarcely believe she -will be at liberty to accept. It is wonderful how she is sought after on -all sides, and I believe her engagements are fully made up to the end of -the year. - -Beethoven’s “Ruins of Athens,” or rather my selections from that work, -would be appropriate, but they have not yet appeared in print. I believe -Ewer & Co. have the score and the copyright. Pischek, I trust, you will -be able to secure; he would be an important acquisition. More of all -that next time. For to-day, good-by. Once more, thanks and--hurrah! you -are coming! - -Ever yours, - -FELIX. - - * * * * * - -In reference to the “Sonate Symphonique,” Mendelssohn wrote to Messrs. -Stern & Co., publishers, in Berlin:-- - - * * * * * - -LEIPZIG, March 20, 1846. - -TO MESSRS. STERN & CO., _Music Publishers, Berlin_: - -GENTLEMEN,--Kapellmeister Taubert, who is leaving to-morrow for Berlin, -brings you the proofs of Moscheles’s Sonata. I have played it with him, -and have looked it carefully through without having discovered a single -fault, and am happy to find the work of my friend and teacher so -judiciously and correctly presented. I am - -Yours truly, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, April 20, 1846. - -MY DEAR FRIEND,--Many thanks for your last letter, which I received -yesterday. Although I dare say you have heard through Klingemann that I -hope to complete my Oratorio, I write myself to-day to tell you so. If -my health continues as satisfactory as it is at present, I feel -confident I can be ready in time, and will give some sheets to the -copyist within the next few days, with a view of forwarding them to you -without delay. Towards Whitsuntide I trust the chief pieces of the first -part and some of the second will be in your hands. That will be soon -enough, will it not? I am still undecided whether I shall have the parts -printed, as Mr. Moore desires. Why should they not be copied out just as -well? If, contrary to expectation, I should not have finished, I have -enough other manuscripts in readiness, so that I might, as Mr. Moore -suggests, conduct some other new piece of mine. My “Athalie,” for -instance, is now in England, and, if I am not mistaken, is being -translated by Bartholomew; so, if the worst comes to the worst, those -Choruses could be sung. But, as I said before, I trust that will not be -necessary; and if it is not otherwise decreed, I most surely mean to go -to Birmingham. How delightful to see you all again! Excuse my writing so -hurriedly; I am quite incapable of putting together a sensible -letter.--But just one more question: Is it not quite time that you -should give me your orders for Leipzig? That you will be here by next -autumn, I take for granted, and my wife and I ought to set about making -all the necessary preparations. So please let us know. - -Thanks for your kind and friendly words in reference to my work, and a -thousand thanks for that beautiful four-hand Sonata of yours, the proofs -of which I corrected and then got as a present into the bargain. I only -wish the time had come already for us to sit together at the piano and -play it. - -Best love to your wife and children from - -Yours ever, - -FELIX. - - * * * * * - -LEIPZIG, May 8, 1846. - -MY DEAR FRIEND,--In about a fortnight I hope to send you the score of -the first part of my Oratorio (with the exception of some of the Solo -numbers), that is to say, considerably more than one half of it. The -Choruses of the second part will, I trust, be in your hands in June, the -rest to follow early in July. I should much like Bartholomew to make the -translation, with Klingemann’s occasional advice. Could that be managed? -Then I absolutely require a first-rate high baritone. Can such a one be -found? And what I most require now is an answer to my last letter, -saying that you are all well and happy, and thinking of me. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, May 11, 1846. - -MY DEAR FRIEND,--I see by Mr. Moore’s letter, which you enclosed, that -he would rather have the parts printed. I have no objection; but the -question arises whether an English firm would be ready to publish them -under the conditions that Simrock agreed to; namely, that any -alterations I might think necessary should be made in the plates, even -if that necessitated new ones being engraved. Will you be so kind as to -talk this point over with Mr. Buxton, of Ewer & Co., to whom I should -best like to give the manuscript for publication. As there are so many -copies required for Birmingham (42 Sopranos, 20 Violins, etc.), I have -no doubt of his assent. - -Then there is another point on which I want your help, or at least your -advice. I mean the question of terms for the work (Choral edition, -etc.). What do you think I ought to ask for it in England? I wished Mr. -Buxton to make me an offer, as I had had some applications for the -copyright from other quarters; and whilst giving him the preference, I -should not like him to be the loser, or to lose myself by the -transaction. He, however, leaves the matter entirely in my hands, and -says he will be agreeable to whatever I propose. What do you think, in -justice to him and to myself, I ought to ask? Please give me your -advice; this matter ought to be settled before the parts are printed. -But now please let me have definite instructions by return of post -whether I am to send the score only, or a copy of the parts also. If, as -Mr. Moore desires, I am to send the latter, that will not prevent my -forwarding the score of the first part of the Oratorio to you in ten or -twelve days; so that the translation can be made from that, whilst the -parts can be copied from my manuscript. - -If after all there is no baritone to be got, the whole thing falls to -the ground and the Oratorio cannot be performed. Are neither Pischek, -Staudigl, or Oberhöfer _possible_, as the French say? The latter, I -believe, does not know English; so it rests with the two others. -Good-by. Don’t forget instructions about house-hunting in Leipzig. -Please copy the enclosed; it too concerns the Birmingham Festival. -Excuse trouble and haste. - -As ever yours, - -FELIX M. B. - -P. S. How would it be if I had the orchestra parts printed in Germany -and brought them over with me? The vocal parts, at any rate, would have -to be printed in England, on account of the English words. - - * * * * * - -Of the singers named, it was Staudigl who was eventually selected to -sing the part of Elijah at Birmingham. - -In answer to Mendelssohn’s question, what terms he should make for the -copyright of his Oratorio, Moscheles writes:-- - - * * * * * - -“I quite feel the responsibility of advising you in the matter; for if -fifty years hence it is said, ‘Mendelssohn received only so many pounds -sterling for this grandest of works, this inexhaustible mine of wealth -to the editor, and that at the suggestion of Moscheles,’ my ashes will -be disturbed in their rest. Well, well, you will nod your venerable -head, and say, ‘Never mind; Moscheles meant well.’ - -“You do not say what other offers you had, besides that from Buxton. I -think you will find him straightforward in his dealings, and ready to -recognize that the market value of your productions is constantly -increasing. So I should say you might ask £50 more than you did for the -‘Hymn of Praise.’ - -“One point to take into consideration is whether this work is richer -than the other in Solos, these being a better source of income to the -publisher than Choruses.” - - * * * * * - -Moscheles had probably forgotten the fact that Mendelssohn received only -£25 for his “Hymn of Praise” from Messrs. Novello. The same firm bought -the copyright of his “Elijah,” in June, 1847, for 250 guineas. - -It may be interesting to mention here some of the prices given for other -works of Mendelssohn by Messrs. Novello. For his music to Sophocles’s -“Antigone,” £30 10_s._; Duo for Piano and Violin in D, Op. 58, £12 -12_s._; “Walpurgisnacht,” £24; Music to “A Midsummer Night’s Dream” (not -including Overture), £47 5_s._; “Hear my Prayer, O Lord,” £4; Concerto -for Violin and Orchestra, Op. 64, £10 10_s._; Book 6 of “Songs without -Words,” Op. 67, £25; Trio in D minor for Piano, Violin, and Violoncello, -Op. 49, £10 10_s._; Trio in C minor for ditto, Op. 66, £20; Six Songs, -Op. 71, £20. - - * * * * * - -LEIPZIG, May 23, 1846. - -MY DEAR FRIEND,--As I am leaving this evening for the Rhine, and have -not yet heard from you in answer to my last letter, I send to-day a -complete copy of the first part of my “Elijah” to Messrs. Hüttner & Co., -Ewer’s correspondents in Hamburg, to be forwarded to you through Mr. -Buxton. I enclose also a copy of the words. This and the score please -place at once in Mr. Bartholomew’s hands, for the purposes of -translation. - -May you find something in my score to please you; and may you at least -recognize my good intentions, and reward them with your usual kindness -and friendship! - -Ever yours, - -FELIX. - - * * * * * - -The next letter refers to the following incident: Mendelssohn had -conducted the Philharmonic Concerts during the season of the preceding -year. On one occasion he arrived late at a rehearsal, owing to -unavoidable causes, and was so discourteously received by some of the -members of the orchestra that he laid down his baton and refused to -proceed. Some of the Directors who were present succeeded, not without -difficulty, in pacifying him; the offenders were requested to leave the -room, and he was finally persuaded to resume his office. - - * * * * * - -LEIPZIG, June 26, 1846. - -MY DEAR FRIEND,--The occasion of these lines is a passage in Mr. Moore’s -letter, in which he says: “Nearly the whole of the Philharmonic band are -engaged; a few only are left out, who made themselves unpleasant when -you were there.” - -Now, I strongly object to this restriction; and as I fancy you can -exercise your authority in the matter, I address my protest to you, and -beg you to communicate it to Mr. Moore. There is nothing I hate more -than the reviving of bygone disputes; it is bad enough that they should -have occurred. This one of the Philharmonic is, as far as I am -concerned, dead and buried, and must on no account have any influence on -the selection made for the Birmingham Festival. If men are to be -rejected because they are incompetent, that is not my business and I -have nothing to say in the matter; but if it is because “they made -themselves unpleasant when I was there,” I consider that an injustice, -against which I protest. Any further disturbance on the part of these -gentlemen, I am sure, is not to be feared. That at least is my belief, -shared probably by all concerned. So you will sincerely oblige me by -having the selection made exactly as if I were not coming to England. -The only consideration that can be shown me is not to take me into -consideration at all. You will do me a favor by putting this very -strongly to Mr. Moore, and requesting him to let the matter drop. If my -wishes are to be complied with, the incident must herewith end. Should -it be otherwise, I shall write another dozen letters in protest against -what I should consider a spirit of vindictiveness. Excuse all this. - -Ever yours, - -FELIX. - - * * * * * - -LEIPZIG, July 12, 1846. - -MY DEAR FRIEND,--In answer to your letter let me say without delay that -the last time I passed through Birmingham the touch of the organ -appeared to me so heavy that I could not venture to perform upon it in -public. If however it is materially improved, I shall be happy to play -one of my Sonatas; but I should not wish this to be announced before I -had tried the organ myself. - -With great pleasure, or rather with--Well, you know what it is to me to -sit at the piano with you, and it needs no words to assure you that I am -at all times ready. You decide, please, what it shall be; my head is -quite full of “Elijah” just now. The Double Concerto of Bach is -beautiful, but not brilliant; that of Mozart rather the other way. -Anyhow, I will bring the former. But I must really be excused as regards -playing a Solo. As it is, I feel the strain of conducting more than I -used, and am no longer capable of playing a Solo and conducting a new -piece of my own at the same concert. Some other instrumental number had -better be put on the programme; that seems to me more appropriate, too, -than having two pieces for the piano. Now, please let me know soon the -date fixed for the Festival, as Mr. Moore has not yet informed me; also -who is going to sing the Solos in my Oratorio. When “Saint Paul” was -performed in Birmingham, it was followed by a selection from Handel’s -Oratorios; I much disapproved of this, and trust it is not to be the -case this time. - -Please answer all these questions, and tell me the latest date you can -allow for my arrival; - -[Illustration: 30. Medallion of Mendelssohn. Modelled by Knauer, of -Leipzig, soon after the composer’s death, and presented to the Directors -of the Gewandhaus.] - -earlier I shall not be able to come, but I hope I may find time to -remain a little afterwards. In the course of next week I will send the -last part of the manuscript. - -It is not yet settled whether my wife goes with me, but I think she -will. - -With kindest messages, ever yours, - -FELIX M. B. - - * * * * * - -LEIPZIG, July 28, 1846. - -MY DEAR FRIEND,--Many thanks for your letter of the 18th, giving me the -dates of the Festival and of the rehearsals. Your and Mr. Moore’s former -letters had not stated these definitely; but now that I know them I can -make my plans accordingly, and will be in London on the 17th, in good -time for the rehearsal of the 20th. I should be glad if the Solos could -be rehearsed at the piano on the 19th. - -As the morning performances are to last three hours, the “Elijah,” which -according to my calculation takes two hours, will not be enough by -itself. But then I hope it can be so arranged that a whole piece, not a -selection, can be given in addition to it, in the same way as the -“Stabat Mater” stands on the programme for the first day. To be sure, it -must rest with the Committee whether they will give one or two pieces -before; but, however that may be, don’t let us have a ragout afterwards. -If there must be three hours, do pray arrange it so that a single piece -of three quarters of an hour’s duration be chosen. Besides, it would be -a pity to spoil a programme which, as a whole, has a certain look of -distinction about it. - -And now I hope and trust we may soon meet again. Best love to all. My -Cécile, I am sorry to say, will not be able to accompany me; too many -reasons stand in the way of her doing so. - -Yours ever, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Notwithstanding Moscheles’s efforts, Mendelssohn’s wishes were not -complied with. After the performance of the Oratorio, Mario sang an air -from Mozart’s “Davide penitente,” Grisi an air by Cimarosa, and the -concert ended with a Chorus by Handel. - - * * * * * - -LEIPZIG, Aug. 9, 1846. - -MY DEAR FRIEND,--Once more a line (as our letters have crossed) to say -that I hope to be in London on the 17th, travelling _viâ_ Ostend and -Dover. - -All else about Miss Bassano, etc., verbally. - -I have just gone through the orchestra parts of the Oratorio, and have -corrected a number of faults, whereby I hope to have saved you much -time. Good-by,--soon to meet. - -Yours ever, - -FELIX M. B. - - * * * * * - -On the 18th of August Mendelssohn arrived in London, and on the -following day a first rehearsal of the Solos was held at Chester Place. -The Oratorio was performed on the 28th of August. On the 29th Moscheles -wrote: “Your visit to Birmingham, and the production of your ‘Elijah,’ -have opened a new world of art to me; your work has made an impression -on my mind that can never be effaced. If I did not tell you so last -night, when so many were pressing forward to congratulate you, it was -because I fancied I felt more, and had more to say, than they. Besides, -I preferred writing, to tell you how deeply impressed I am; for if I do -so verbally, you will only give me the obsolete answer that dates from -your boyhood,--‘There is much room for improvement; give me your -advice,’ etc.,--and that, from you to me, is out of place. Improve, -correct, as much as you think right; tell me why and wherefore you make -this or that alteration; let me learn from you, and gratefully -acknowledge that it is so. You might well put Beethoven’s motto,[55] -‘Man, help thyself!’ on your coat of arms; for God has endowed you with -rare gifts, that permit you to approach Him in the true spirit of -devotion and reverence.” - - * * * * * - -HOBART PLACE, EATON SQUARE, Aug. 29, 1846. - -MY DEAR FRIEND,--Your letter, which I just receive, makes me truly -happy. Let me thank you cordially for the friendly sympathy and for the -indulgence with which you have listened to my music. Your kind words of -praise are more to me than words from any other quarter, and a great -deal more than I deserve, according to my own estimation. Thanks, -thanks! that is all I can say just now, although I should like to add so -much. But I will wait till we meet in a day or two, or perhaps till we -are taking some quiet stroll together round the city walls of Leipzig or -elsewhere. Thanks again, and may you ever preserve your friendship and -kind indulgence for me. - -Yours for ever and a day, - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -LEIPZIG, Oct. 8, 1846. - -MY DEAR FRIEND,--I hasten to answer your kind steamer letter, and to say -that I ordered the rooms in the “Blumenberg” a few days after my return, -according to the memorandum in my pocket-book, which your wife dictated. -I called once more at the hotel, on receiving your letter, and made sure -that all was prepared for your arrival on the 21st. The maid with the -requisite capacity for sewing is engaged, and we have been offered two -most eligible suites of rooms for you, which are now anxiously awaiting -your arrival. - -The main point, however, I want to answer, my dear Moscheles, is that -referring to your best mode of travelling. I must decidedly advise you -to take _Extrapost_, not only because it is far more convenient when you -are a party of five going so long a distance, but because I believe it -to be no more expensive, in fact rather less so, than the _Schnellpost_, -_Courier_, or any other means of conveyance, all necessitating your -travelling day and night. The only difficulty might be your not having a -carriage of your own,--that is, if, as I believe, you have not taken one -with you. But it just happens that my mother-in-law, who is here, -intends returning to Frankfurt towards the end of the month or early in -November, and wishes to take _Extrapost_. Now, if you could hire a -carriage, you would have the use of it one way, and my mother-in-law -would be glad to take it for the return journey. Thus the only -difficulty is overcome, and you would be obliging her into the bargain. -I have not the slightest doubt this mode of travelling would be far the -most convenient and agreeable for all of you, and therefore most -decidedly advise it in preference to any other. You know that if you -want to travel as quickly in Germany as you do in England, you must not -take _Extrapost_, but _Courier_-horses, which is expensive, although not -as compared to England. If however you do not care for such extra speed, -you give the postilion a tip of ten or twelve groschen, and you will do -the German mile in about three quarters of an hour. Leaving at seven -o’clock in the morning, you will be the first evening in Butlar, the -second in Weimar, where you will find very good accommodation in the -Erbprinz. Please let me know when you start, and about what time you -expect to be here, so that we may meet and welcome you on your arrival. - -Everybody here is rejoicing at the prospect of your coming, especially -the musicians, more especially those of the Conservatorio; but far ahead -of any of them, - -Yours, - -FELIX M. B. - - * * * * * - -Moscheles writes that he expects to arrive on the 21st of October, and -adds: “I go to Leipzig hopeful of the future, and filled with the most -pleasant expectations. On the one hand I look back to England and its -art-aspiring people with the warmest appreciation. On the other I -rejoice at the prospect of living amongst the cultivated and art-loving -citizens of Leipzig.” He arrived on the day fixed, when, as his diary -says, Mendelssohn received him with the affection of a brother, and -rendered him the services of a practised courier. The long-cherished -plan was realized, and Moscheles soon entered on his new duties at the -Conservatorio. - -Moscheles was soon comfortably settled in his new quarters in Gerhard’s -Garten,--a spot of historical interest. There the Battle of Leipzig was -once fiercely contested; now, however, it was peaceful and pleasant -enough to make an exceptionally charming place of abode. - -At the Conservatorio Moscheles entered on his new duties, which proved -as congenial to his taste as he had expected. The pleasures, too, of -daily musical and friendly intercourse with Mendelssohn he now enjoyed -to the fullest extent. - -On the 6th of January Moscheles writes: “It was a pleasant evening we -spent at the Mendelssohns’. Our Felix was invited too, and was -privileged to enjoy such music as usually falls to the lot of the -initiated only. Joachim, our favorite, was there also. Mendelssohn -played us some parts of his yet unpublished ‘Elijah,’ in which, since -its performance in Birmingham, he has made sundry alterations, to which -he attaches much importance; for instance, in those passages where the -widow seeks help of Elijah he has given much more prominence to the part -of the prophet.” - -_January 24._--“With David at Mendelssohn’s, who played and sang parts -of his ‘Elijah’ to us. Among the changes and additions he has made, I -was particularly struck by a Terzet in D major for two sopranos and one -alto. All seems now to combine to make this work as varied as it is -great.” - -_January 28._--“Mozart’s G minor Symphony at the Gewandhaus. Mendelssohn -took the time of the last movement more moderately than is usually done, -all chromatic modulations thus being brought out much more clearly than -I have been accustomed to hear them.” - -During a choir rehearsal of the “Elijah” in the Gewandhaus, Moscheles -took notes of some of Mendelssohn’s directions:-- - -“‘Out with the vowels! The h_ea_-thens. Who made the heavens and the -w_a_-ters.’ - -“No. 5. ‘Rather err on the side of vigor than on the side of -drowsiness.’ - -“No. 8. ‘From the very beginning the music must sound fresh--not only -towards the end.’ - -“No. 20. ‘I want to hear _Tone_,--what one might call _Music_.’” - -Mendelssohn’s last birthday, the 3d of February, 1847, was celebrated by -his friends in Gerhard’s Garten. Old and young had made festive -preparations for the occasion; in the Moscheleses’ drawing-room a stage -had been erected, and every scrap of domestic talent was enlisted to -entertain the hero of the day. Cécile Mendelssohn and her sister, Mrs. -Schunck, opened the proceedings with a comic dialogue between two -lady’s-maids, spoken in the Frankfurt dialect. Then the word -“Ge-wand-haus” was enacted as a charade. Joachim, adorned with an -eccentric wig, appeared as Paganini, and executed a brilliant -improvisation on the G-string (in German, _Ge_-Saite). The scene -between Pyramus and Thisbe in the “Midsummer Night’s Dream” followed and -stood for _Wand_ (wall). To illustrate the syllable _Haus_ (house), Mrs. -Moscheles had written a little domestic scene; and when, in the course -of this, Moscheles, dressed as a cook, made his appearance, Mendelssohn -burst into a truly Homeric fit of laughter. He was sitting in a large -wicker-work arm-chair; and as, in the fulness of his enjoyment, he -rocked to and fro, the chair joined in, bending and creaking in -sympathetic rhythms. It was not till after a long interval that the cook -could get a hearing. As a finale, the whole word was represented by the -combined juvenile forces of the two families, each of the children being -provided with some instrument, and Felix Moscheles wielding the -conductor’s baton. Joachim led with a toy-violin. Of however doubtful a -nature this musical treat may have been to Mendelssohn, he certainly -entered most fully into the spirit of the thing, and appreciated every -allusion to the real Gewandhaus; especially when Joachim made certain -remarks in imitation of the master himself, Mendelssohn started off -again, and the endurance of the sympathetic arm-chair was put to the -utmost test. - -After the performance, actors and public adjourned to the first floor, -occupied by the Schuncks. In the centre of the supper-table stood the -birthday cake, around which burned thirty-seven candles. At the foot of -each, Mrs. Moscheles had written a few words descriptive of the year it -represented,--from the cradle to the piano and the conductor’s desk; -from his first attempt at composition to “Saint Paul,” “Elijah,” and the -“Opera _in spe_.” In the centre stood the “Light of Life,” that was so -soon to fail! - -In the month of April of this year Mendelssohn visited England for the -last time. He conducted three performances of “Elijah” in Exeter Hall, -and was again active at the Philharmonic Concerts. On his return from -England, the news reached him of the death of his sister Fanny Hensel. -To her he had been linked throughout life by the closest musical -sympathy and affinity, and it was thought he never quite recovered from -the shock caused by her sudden death, rendered doubly painful by its -occurring during his absence from Berlin, and at one of her own musical -matinées. - -At this time Moscheles and his wife, who were making a short visit in -England, received the following letter from Mendelssohn:-- - - * * * * * - -BADEN-BADEN, June 9, 1847. - -MY DEAR MRS. MOSCHELES,--When I received your very kind letter, but -could not answer it at once in the hurry of the last London days, I -pictured to myself the pleasure of writing to you in a cheerful, -pleasant tone, from some favorite spot in Switzerland, perhaps with -illustrations or something of the sort. Now all that is changed. You -know the heavy affliction which has befallen us, and how our inward and -outward life has been shaken to its innermost depths, for a long, long -time to come, perhaps forever. I am sure you sympathized with us in our -irreparable loss, although you and Moscheles knew my sister but little. -You can fancy, however, what I feel,--I, to whom she seemed present at -all times, in every piece of music, and on all occasions, whether of -happiness or of sorrow. Indeed, such is the case with us all; words are -nothing at such a time; and yet I cannot speak of anything else. Forgive -me, then, if these lines contain little else than hearty thanks for the -letter above mentioned, which was another kindness added to the many -which followed every step of my last visit to London. - -We shall not go to Switzerland under the circumstances; for we could not -now derive any real pleasure from the journey, and probably I shall -return to the North sooner than I intended. I often feel irresistibly -drawn to Berlin, where my youngest sister is now all alone. My brother -has been here for the last week; and certainly nothing can do us so much -good as our walks in the woods, the secluded and regular life we are -leading here, and, above all, the hours we spend with the children. My -brother has brought his contingent of young people; and they, as well as -mine, are in excellent health and spirits, and delight everybody who -sees them. Cécile too is quite well, thank Heaven; however, deeply -afflicted. - -I hope to hear a favorable account of your visit to England, and trust -you will not remain too long; so that the Leipzigers, and, above all, -those pianoforte pupils of yours, may get their full share of that -instruction which they are thirsting for. The Londoners will, to be -sure, say the same thing; but you have spent so many years amongst them -that you must now do something for the German cockneys, or country -cousins, or whatever you may choose to call them, whose faults I know as -well as anybody, but who have also their good and admirable qualities, -provided one can get over their cockneyism and old-fashioned ways. But -that requires time, and it is for this reason I want you to come soon. -What! I hear you say, that I may lose no time in getting used to the -manners and customs of the natives? No, I answer; but to help us wage -war on the pigtail. - -Remember me kindly to all our dear English friends. I need not say that -this letter is meant for Moscheles as well. Heaven grant health to you -and yours! and remember kindly your - -FELIX MENDELSSOHN BARTHOLDY. - - * * * * * - -Of the numerous notes exchanged after Mendelssohn’s return we transcribe -only the following: - - * * * * * - -LEIPZIG, Oct. 7, 1847. - -_My dear Friend_,--As you kindly promised me your visit for to-morrow -afternoon, could you not make it convenient to stay and spend the -evening with us? And would not your wife, Mr. and Mrs. Roche, Serena, -Felix, and Clara join you then, and take tea with us? That arrangement -would give great pleasure to Cécile and the children. - -Now, I hope you all think as they do, and will say yes, and delight - -Yours (in the singular and plural), - -FELIX M. B. - - * * * * * - -This was the last note from the hand of Mendelssohn that Moscheles -received. The days that the two friends should spend together on earth -were numbered, but nothing foreboded the hour of separation that was so -soon to strike. In Moscheles’s diary we find daily memoranda of the -usual friendly intercourse with Mendelssohn. - -So on the 3d of October:--“In the afternoon we treated ourselves to some -Fugues and Gigues of Bach’s, and I was struck by Mendelssohn’s intimate -acquaintance with them. Then he gave us an imitation on the piano of a -certain Polka which had been inflicted on him daily by a band of street -musicians in Frankfurt. The trivial as well as the serious is food to -his mind, and his impressions on all sides are turned to account in his -compositions.” - -_October 5._--“I spent the whole afternoon with Mendelssohn. He was -pleased to see me, and we chatted confidentially on art and artists and -Leipzig affairs generally. He played me a manuscript Quartet for string -instruments in F minor, the four pieces of which are all in that sombre -key. The impassioned character of the whole seems to me in keeping with -his present frame of mind, shaken as he is to the heart’s core by the -loss of his sister.” - -_October 7._--“Mendelssohn called to fetch me for a walk. In spite of -the falling rain, we went to the Rosenthal, and time flew amid the most -interesting conversations.” - -_October 8._--“Examination of pupils for reception at the Conservatorio. -Mendelssohn, who took an active part in the proceedings, tested them in -thoroughbass and wrote out examples on the blackboard. Whilst they were -at work, he sketched the most delightful landscapes--ever a creative -genius!... Passed a most interesting afternoon and evening with -Mendelssohn. He played his Violoncello Sonata in D major with Rietz, and -the two Beethoven Sonatas, Op. 102; then my Sonate Symphonique with me.” - -On the following day, the 9th, another walk in the Rosenthal is recorded -in the diary. It was a day not to be forgotten. Mendelssohn had much to -tell of his last stay in England. He related the charming incidents of -his visit to Queen Victoria and Prince Albert, and spoke of many mutual -friends. At one o’clock he parted from the Moscheleses in the most -cheerful mood; but it was only a few hours later that he was attacked -by the illness from which he never recovered; and now followed days of -anxiety and suspense, broken only by hopes that were not to be realized. - -_November 3._--“Mendelssohn better in the morning. In the afternoon -another apoplectic stroke, depriving him of all consciousness. In the -evening Charlotte and I, Madame Frege, David, and Schleinitz remained in -the house till eleven o’clock.” - -“_Thursday, November 4._--Before the day dawned my Felix had been to -inquire, but could only bring us the most disheartening news.” - -The end was approaching. Moscheles’s own words best describe the -incidents of this, Mendelssohn’s last day. In the anteroom of the -death-chamber he wrote:[56]-- - -“Nature! demandest thou thy rights? Angels above, in heavenly spheres, -do ye claim your brother whom ye regard as your own, as one too high for -intercourse with us ordinary mortals? We still possess him, we still -cling to him; we hope, by God’s grace, to keep still longer amongst us -one who has ever shone upon us, a pattern of all that is noble and -beautiful, the glory of our century! To thee, O Creator, it is known why -Thou hast lodged those treasures of heart and soul in so frail a -tenement, that now threatens to dissolve! Can our prayers win from Thee -the life of our brother? What a glorious work hast Thou accomplished in -him! Thou hast shown us how high he may soar heavenwards, how near he -may approach Thee! Oh, suffer him to enjoy his earthly reward,--the -blessings of a husband and father, the ties of friendship, the homage of -the world!” - -“_Noon._--The doctors Hammer, Clarus, and Walther watch in turn by his -bedside. Schleinitz writes out a bulletin that gives no hope. Dr. Frege -and his wife and I are waiting anxiously near the sick-room. The doctors -say that if no fresh attack on the nerves or lungs supervenes, the -apparent calm may lead to a happy turn.... - -“_Midnight._--From two o’clock in the afternoon, at the hour when -another paralytic stroke was dreaded, he gradually began to sink; he lay -perfectly quiet, breathing heavily. In the evening we were all by turns -assembled around his bed, contemplating the peaceful, seraphic -expression on his countenance. The memory of that scene sank deeply into -our hearts. Cécile bore up with fortitude under the crushing weight of -her sorrow; she never wavered, never betrayed her struggle by a word. -The children had been sent to bed at nine o’clock. Paul Mendelssohn -stood transfixed with grief at the bedside of his dying brother. Madame -Dirichlet and the Schuncks were expected in vain,--Dr. Härtel had -travelled to Berlin to fetch them and Dr. Schönlein, but they could not -arrive in time to witness the closing scene. - -“From nine o’clock in the evening we expected every moment would be the -last; a light seemed to hover over his features, but the struggle for -life became feebler and fainter. Cécile, in floods of tears, kneeled at -his pillow; Paul Mendelssohn, David, Schleinitz, and I, in deep and -silent prayer, surrounded his death-bed. As his breathing gradually -became slower and slower, my mind involuntarily recurred to Beethoven’s -Funeral March, in the ‘Eroica Symphony,’--to that passage where he seems -to depict the hero, as he lies breathing his last, the sands of life -gradually running out: - -[Illustration: musical notation] - -“The suppressed sobs of the bystanders and my own hot tears recalled me -to the dread reality.... At twenty-four minutes past nine he expired -with a deep sigh. The doctor persuaded the widowed Cécile to leave the -room. I knelt down at the bedside, my prayers followed heavenwards the -soul of the departed, and I pressed one last kiss on that noble forehead -before it grew cold in the damp dew of death.” - - * * * * * - -Moscheles remained in Leipzig, henceforth looking upon the Music School -as on a precious heirloom, bequeathed to him by its founder; and during -a period of twenty-three years--that is, until but a few days before his -death in March, 1870--he labored with untiring energy and devotion to -instruct the rising generation of musicians, and to instil into their -minds those artistic convictions and principles that had always been -dear to him and to Mendelssohn. - - - - -INDEX. - - -Academy, at Berlin, sadness of its aspect, 31. - -Addison & Beale, Messrs., pay twenty guineas for a - copyright of Mendelssohn’s works, 181; - draw money from, 188. - -Addison and Benedict, transactions with, 237. - -“Alexander’s Feast,” choruses from, 88. - -Alexander, Mary, “Impromptu” for, 85; - good things in “Impromptu,” 85. - -Andante in B flat, description and analysis of, 58. - -“Anthems,” new edition of, unsatisfactory, 252. - -Arnim, conductor of musical affairs, 46. - -Art Exhibition, open at Berlin in October, 34. - -Art should be a mirror reflecting the character of the times, 112; - grateful for that which has a life of its own, 194. - -“Athalie,” translated by Bartholomew, 269. - -“Au Clair de la Lune,” popular song of, 20. - -Auber, his “Gustave III.,” 129. - -Aix-la-Chapelle, musical festival at, 103. - - -Bach, Johann Sebastian, his “Passion,” performance of, - for benefit of charitable institution, 8; - public loud in demand for third performance, 8; - pieces played together, 31; - similar compositions, 31; - his Concerto, 52; - Fugues of, 70; - monument to, 198; - Triple Concerto, 245. - -Ball, Mr., translator, 155. - -Bärmann, his enchanting concert, 53. - -Bassano, Miss, reference to, 278. - -“Becken,” its double meaning, 57. - -Becker, head-master of music school, 260. - -Beethoven, his musical sketch-book, ideas from, for grand Mass, 47; - chaotic appearance of its pages, 47; - a puzzle even to the initiated, 47; - description of, 47; - the cherished master, 47; - his Concerto and Sonata, 52; - his habit of conducting, 93; - motto, “Man, help thyself,” 279. - -Belleville, Madame, her success, 26; - not attractive to Berlin people, 26; - performs at the theatre between two comedies, 26; - her playing lacks soul, 26; - not a “Bellevue,” 29; - burlesque of her performance, 30; - reference to her performance, 53; - affectation of, 62. - -Bellini, gazetted Knight of the Légion d’ Honneur, 129. - -Bennett, his new Concerto, 170. - -Berger, Symphony by, 52; - its execution bad, 52; - dissatisfaction of, 52. - -Berlin, letter from, 201. - -Berlin Society, an awful monster, 61. - -“Berliners,” type of, 25; - their musical taste, 34. - -Berlinese, not exactly noted for good nature, 115. - -Berlioz, recognized as a genius by the French, 93; - his Overture, is prosaic and chaotic, 97; - his scores, a frightful muddle, an incongruous mess, 97; - his Symphony, 133. - -Biography of Mendelssohn and Moscheles, compiled chiefly from diaries, xii. - -Birmingham Festival, full particulars of, 115; - reference to, 122. - -Birmingham, invitation to, 201. - -Blagrove visits the Choral Society, 88. - -Blahetka, Madame, her superiority, 27. - -Blahetka, Mademoiselle, 53. - -“Blue Devils” stand for melancholy, 20; - first movement is styled “Malin-conico,” 144. - -“Blumenberg,” rooms ordered in, 280. - -Book of Songs, collection of, 219. - -Books, returned by Mendelssohn with thanks, 74. - -Breitkopf and Härtel publish book of unknown compositions, 31. - -Broadley, Mr., instructions in reference to German publication, 218; - Scena for, 236. - -Browning, tribute to Moscheles’s memory, 21. - -Bunsen, Prussian ambassador at St. James, 232; - his counsels have great weight, 232. - -Burghersh, Lord, and the Philharmonic, 202. - -Burton, Mr., desired to make an offer for the Oratorio, 271; - straightforward in his dealings, 272. - -Byron, Lord, is read by Mendelssohn, 42; - chorus on, in “Faust,” 90. - - -“Calm Sea, and Prosperous Voyage,” 141. - -Cantata, “Hora est,” 10; - on a Chorale in A minor, 12. - -Capriccios, or Fantasias for pianoforte, 107. - -Carnival, excuse for keeping aloof from, 91. - -Cécile, wife of Mendelssohn, 158. - -Cerberus, intimations from a, 73. - -Chappell, mention of, 11; - opera for, 195. - -Cheapside, calm and quiet of, 86. - -Cherubini, his new opera, “Ali Baba,” 119; - his Faniska and Lodoiska, difference between a man and a scarecrow, 119; - caters to depraved musical taste, 120; - his “Abencerrages,” 198; - his second Requiem in D minor, 253. - -Chester Place, two years’ absence from, 22; - changes there, 28; - maze of its associations, 22; - more than a dream, 22; - wish to be there, 22; - a constant visitor at, 66; - its brilliant circle, 66. - -Cholera, a Russian gift, 25. - -Chopin, his book of Mazurkas, 129; - at Hamburg, 138; - his new things not satisfactory, 156; - his Studies have much charm, 171. - -Choral Society, its performance, 120. - -Chorley, H. F., cultivated young man on the “Athenæum,” 192; - mention of, 194; - a truly good fellow, 195; - and Moscheles, 210; - letters from, 214. - -Chorus, “Hora est,” 12. - -City of Steeples, 85; - “Alsterbassin,” 26; - no comfort wanting in, 25. - -Clarus, Dr., attends Mendelssohn in his last sickness, 292. - -Collard, mention of, 11. - -Cologne, return from a trip to, 99; - its public, 100; - its musicians, 100; - intolerable as a residence, 100; - visit to, not pleasant, 166. - -“Come to Berlin,” fugue in fifteen parts, 28. - -Coming of the Spring the best opera, 63. - -Commercial Club, called “The Parliament,” 126. - -Composer, his mind preoccupied, 95. - -Composition, kind required, 102. - -Concert, money value of, 33; - best time for, 33; - hall expenses, etc., 33; - terms stipulated for, with directors of opera, 40. - -“Concerto Pastorale,” Moscheles refers to, 174; - letter accompanying, 182; - announcement of, 185; - dedication of, 194. - -“Cortez,” new opera of, 39; - sons of Mars applaud mightily, 39. - -“Court,” its meaning in conjunction with title, 41. - -Court in Berlin, 91. - -Cramer, mention of, 11, 66. - -Cravat, practice in tying, 74. - - -David, F., wishes to go to London, 178; - an excellent performer, his compositions brilliant, 178; - played his new Concerto at the Philharmonic, 180; - a favorite at Chester Place, 182; - colleague to Moscheles at Leipzig Conservatorio, 182; - Mendelssohn invokes a kind reception for, 186; - a fine musical critic, 187; - head-master of music school, 260. - -“De la Vie d’un Artiste,” new symphony for, 112. - -Denmark, visited by Moscheles, 13. - -Derossi, Signor, call for, 87; - opposition to, 87. - -“Der Schmidt,” by Uhland, 219. - -De Vrughtat Chester Place, 104. - -Devrient, Eduard, actor and writer on dramatic art, 4. - -Directors of the Philharmonic, 251. - -Dirichlet, professor of mathematics, etc., 77. - -Dirichlet, Madame, mention of, 141. - -Discourtesy at rehearsal, 274. - -Dispute with the Philharmonic, a dead and forgotten issue, 275. - -Döhler is lionized, 170. - -“Don Juan,” opera, theatrical success of, 86. - -Double Concerto in E in Clementi’s piano manufactory, 13. - -Dreyschock, a young pianist from Prague, 187, 203. - -Dresden, Moscheles’s visit to, 40. - -Düsseldorf, musical festival at, 66; - its pleasant impression on Mendelssohn, 81. - - -“Egmont,” performed with Beethoven’s music, 90. - -Elberfeld, village near Düsseldorf, 127. - -Eldon, Lord, overture to, 114. - -Elsslers, the, called the “Telegräfinnen,” 53. - -“Elijah,” copy of, placed in Bartholomew’s hands for translation, 274; - alterations of parts of, 283; - time taken for its performance, 277. - -Elkamp, Mr., writes a “Saint Paul,” 138. - -England, the impression it gives, 16; - regard of, for Moscheles, 17; - country makes a lasting impression on Mendelssohn, 17; - many years spent there, 288. - -English, Mendelssohn rusty in, 168. - -English, their custom of putting everything in the papers, 189. - -English comfort, the happiness of, 229. - -English Misses should not forestall German, 251. - -Envy, like Hercules, throttled in its cradle, 155. - -Erard, compliment from, 54; - offers to repair piano, 166; - presents Mendelssohn with new instrument, 166. - -“Eroica Symphony,” suggestive passage in, 293. - -Ewer & Co., Mendelssohn prefers to give manuscript to, 270. - -Exeter Hall, 286; - “Elijah” performed there, 286. - -Extracts, how made, x; - substance embodied in commentary, x; - subject-matter of, from the pen of Moscheles, x. - -“Extrapost,” slow transit of, 282. - - -“Fall of Paris,” and Alexandrian Variations, 20, 134. - -Family, transformation of, 60. - -Fantasie, “Gipsies’ March,” 63; - manuscript of, 63; - joint work of authors, 64; - the share of each, 64; - the intimate fusion of two musical minds, 64; - Moscheles’s letter on, 64. - -Fates, decree of, 265. - -Fétis, disagreeable qualities of, 197. - -First visit to a foreign land, 16. - -Fleming, Mr., re-elected to a seat in Parliament, 126. - -Foreigner, things difficult made easy to, 16. - -Francilla, mention of, 152. - -Frank, Dr., Mendelssohn wishes to show A major Symphony to, 111; - errors of, 111; - minuet and finale of, 111. - -Frankfurt, Oratorio to be brought out at, 137. - -Frege, Dr., waits anxiously near the sick-room, 292. - -Friendship, characteristics of Moscheles’s and Mendelssohn’s, ix. - - -Ganz Brothers desire to visit London and Paris, 62. - -“Gazette Musicale” exalts Berlioz’s Requiem, 165. - -Gerhard’s Garten, a spot of historical interest, 283. - -German Diet, allusion to, 24. - -Giermann, Mr., commissioned to pay for disbursements, 29. - -“Gipsies’ March,” “April Variations” of, 89. - -Goethe, the “Pole-star of poets,” 19; - correspondence with Zelter, 90. - -Goethe’s and Zelter’s letters, great merits of, 100. - -Goethe, Frau von, sends thanks for Variations, 115. - -Graban, Mademoiselle, “prima donna,” 145. - -Grabbe, immersed in the bottle, 128. - -Gratitude for happy days, way of showing, 22. - -Great composers, the way to honor them, 197. - -Green-Score Hotel, Leipzigerstrasse, 28. - -Guhr, the only man who succeeds, 151. - -Guildhall, meetings at, 24. - -Gusikow, mention of, 152. - - -Hamburg, letter in sixteen parts from, 25; - to Berlin, journey requires thirty-four hours, 45; - fire, sufferers from, 227. - -Hammer, Dr., watches Mendelssohn, 292. - -Hand-clapping, time of continuance, 13. - -Handel, his glorious style, 119. - -Handel Society desires a new edition of “Messiah,” 242; - its generous offer, 244; - request for Oratorio, 245; - difficulty with, 251. - -Handel’s Oratorios, selections from, 276. - -Handley, Mrs., Mendelssohn a warm admirer of, 99; - her appearance beside her husband, 99. - -Härtel, Dr., his effort for Mendelssohn, 292. - -Hauptmann, his first Mass performed at St. Thomas’s Church, 230; - head master of music school, 260. - -Hauser, beautiful joke of, 139; - sends Bach’s Concertos, 153. - -Health, book on, 73. - -Hegel lectures at Berlin University, 4. - -Hensel, painter, marries Mendelssohn’s eldest sister, 15. - -Henselt’s Studies, interest in, 171. - -Herz, hissed by the public, 112. - -Hiller, studies of, 133; - Paris, bad soil for, 133; - his merit as a pianoforte player, 151. - -Hogarth, Mr., certificate enclosed for, 168. - -“Hommage à Handel,” piece for two performers, 140, 245. - -Hôtel de Rome in Berlin, recommended, 45. - -House-hunting, instructions about, 271. - -Hübner, Madame, dress critic, 92; - asks if cravat is English, etc., 102. - -Hummel, Septet of, and Herz’s Variations, 26; - mention of, 66; - a good man needed to supersede him, 176. - -Hüttner & Co., Ewer’s correspondents in Hamburg, 273. - -“Hymn of Praise,” value of, 209, 272. - - -“Im Herbst,” by Uhland, 219. - -Immermann, poet and dramatist, 127; - his “Münchhausen,” and epic poem “Tristan and Isolde,” 127. - -“In Autumn,” a song and words by Uhland, 130, 131, 132. - -“Infelice,” inspires Mendelssohn’s praise as a popular song, 4; - Scena written for the Philharmonic, 86. - -“Israel in Egypt,” choruses selected from, 117, 245; - edited by Mendelssohn, 253. - -Italian mannerism of Thalberg, 153. - -Italian symphony, 60. - -Italy, visited by Mendelssohn, 18; - stupid book about, 123. - - -“Jagd,” Lutzow’s, 126. - -Jenny Lind, letter to, 267. - -Joachim, musical favorite, 283; - appears as Paganini, 284. - -“Joan of Arc,” overture to, 118; - begged to be repeated, 144. - -“Judas Maccabæus,” first part of, 120. - - -Kalkbrenner at Hamburg, 138; - the little fish patty, 139. - -Kammerherr, surprise and astonishment of, 145. - -Kistner sends “Gipsies’ March” to Frau von Goethe, 94; - anxious about new book of Studies, 159. - -Klingemann, Carl, a gifted poet, 4; - meeting with, 19; - fit to flirt but -not to marry, 37; - a Knight of the Order of Bachelors, 37; - becomes engaged in 1846, 37; - his Septet, 51; - writes out eleven notes of Septet, 57; - report in his last letter, 60; - goes to London, 61; - arrival of, 78; - not prodigal of words, 85; - will make alterations, 96; - his engagement and prospect of marriage, 254. - - -Lafont, expected at Berlin, 53. - -“Lauda Sion,” composed for church festival, 263. - -Leipzig, Rondo to appear at, 85; - Abonnement Concerts held at, 137; - its cultivated and art-loving citizens, 252; - cost of living there, 262; - Conservatorio, Moscheles enters upon his duties there, 283; - the pleasures of daily musical and friendly intercourse, 288. - -Leipzigers wish to secure Moscheles for direction of Conservatorio, 256; - large salary offered, 258; - a position influential and independent, 258. - -Leipzigerstrasse, Mendelssohn’s father safely lodged in, 77. - -“Les Francs Juges,” Overture by Berlioz, 93. - -Letters, passages in, not suppressed, ix. - -“Light of Life,” emblem of, 286. - -Lindblad, Swedish composer, 152. - -Lindenan, his kindly remembrance of Mendelssohn, 41; - pleased with him as violinist, 139. - -Liszt, his depressing harmonies, 136; - writes from Milan, 165; - and Chopin, difference of their genius, 170; - masterly execution and subtle musical feeling, 203; - lack of original ideas, 203; - more than a mere pianist, 204. - -Littleton, Messrs, manuscript of assignment, etc., 66. - -London, advantages for travel, as compared with Vienna, 7; - reception in, 17; - arrival in, 19; - the best way to make enjoyable, 128; - Mendelssohn’s triumphs there, 164; - life in, requires great exertions, 259. - -“Lord God of Israel,” may be sung to “Ave,” 126. - -“L’Ours et Pacha,” vaudeville melody in, 94. - -“Lovely City,” reference to, 26. - -“Lyre and Sword,” Weber’s, 120. - - -“Maitrank,” drink of hock, herbs, and sugar, 104. - -Malibran, mention of, 66. - -Manuscript, offers to bring a cab-full, 12. - -Matrimonial alliance, playful allusion to, 40. - -“Meeresstille,” 52. - -Meerti, Miss, has won golden opinions, 196; - goes to Dresden, and is invited to sing at Court, 196. - -“Melodies for the Pianoforte,” 65; - number of copies disposed of, 66. - -“Melusine,” Overture of, 92; - has vigorous spirit and conception, unity and originality, 92; - it is studied with Mori, 92; - piano parts of, 92; - the Philharmonic did not like it, 102. - -Mendelssohn, A., letter to Moscheles, 5; - invokes a welcome for his son, 5; - states the plans and purpose of his son’s travels and education, 5; - death of, 147. - -Mendelssohn, Carl, eldest son of composer, x; - supplies copy of Moscheles’s letters, x. - -Mendelssohn, Cécile, wife of Felix Mendelssohn Bartholdy, xiv; - carries her burden with dignity and resignation, xiv; - her care of his study, xiv; - admires his love of order, xiv; - his study her sanctuary, his music her secret treasure, xiv; - opens its door to Felix Moscheles, xv; - no sigh or murmur escapes her, xv; - bond of union between her and Mrs. Moscheles, 224. - -Mendelssohn, Felix, Bartholdy, his letters arranged by Ignaz Moscheles, ix; - manuscript book, ix; - his genial expression of personal feelings, ix; - letters of, addressed to Mrs. Moscheles, x; - incident truly characteristic of, xiv; - lively discussion with Rietz, David, and Moscheles, xiv; - the _aoristus primus_ of τὑπτω, xiv; - his death, xiv; - description of his study, xv; - busts of Goethe and Bach there, xv; - cultivates his natural gifts, 4; - attends lectures of Hegel, Ritter, etc., 4; - position as composer and pianist, 4; - seeks advice -from Moscheles at to best travel route, 5; - wishes to make a long stay in Italy and France, 6; - purpose to visit Vienna, Munich, London, 6; - seeks acquaintance of men eminent in art, 6; - completion of his compositions interfered with, 9; - seeks Klingemann’s address, 9; - arrival in London, 10; - favorite in London circles, 13; - welcomed as genial companion and artist, 13; - his sin of excuses, 14; - gratitude to Mrs. Moscheles, 14; - his Highland tour, 15; - returns to London, 15; - his injury by accident, 15; - celebrates the silver wedding of his parents, 15; - finishes “The Son and Stranger,” operetta, 15; - stops a fortnight at Weimar, invited to Goethe’s house, 18; - starts on his continental tour, 18; - writes “The Isles of Fingal” at Rome, 20; - his curiously illustrated drawing, 20; - excuses for, on score of genius, 24; - an egotist, 27; - his fits of depression, 32; - sees the whole world in pale gray tints, 32; - would sometimes rather be a carpenter or turner, 35; - feels unspeakably dull, 36; - color of his mother’s shawl, 38; - his splenetic mood, 38; - living much as an asparagus, 44; - his is not a drawing-room melancholy, 45; - wrote stupidly because stupid, 45; - not a “spoilt child,” etc., 45; - fête for Moscheles and grand music, 45; - his childlike joy, 48; - his interest in music and musicians, 48; - feels the fog lifting, 48; - his aspirations as godfather, 51; - his godchild, 57; - first present he makes to him, 57; - happy in the happiness of his friends, 57; - traces of moodiness in his compositions, 58; - enjoys the quiet of his room, 58; - suffering of his father, 58; - joins his sister in Sunday morning music, 58; - receives grass-green volume of Moscheles, 58; - congratulates Moscheles on his new-born son, 59; - allusion to the children of the family, 59; - his love of London, 60; - how he escapes bores, 61; - evening spent with his parents, 61; - first present to his godchild, 69; - his peculiar autograph album, 69; - Cradle Song in B flat, 69; - anxiety on account of accident to his father, 69, 77; - assumes the duties of Musik-director at Düsseldorf, 74; - feels quite at home, 81; - promise of new compositions, 81; - hard at work there, 81; - his poverty in shaping new forms, 85; - toils and labors with difficulties, 85; - his birthday celebrated, 90; - joy, ease, and success in work, 90; - is offered liberal terms for Gipsy Variations, 97; - his title of “Herr Musik-director,” 121; - his periods of monotony and depression, 123; - regard for his parents, 135; - his appearance at head of Leipzig orchestra, 140; - he is advised not to alter his work, 149; - misses Moscheles in England, 163; - his arrival in London, 208; - he cannot change the opinions of a lifetime, 252; - the prices paid for his works by Novello, 273; - his birthday celebrated at Gerhard’s Garten, 284; - description of parts in the performance, 285; - great affliction at his sister’s death, 287; - his last hours, 291; - the scene at his death, 291; - reflections of Moscheles on, 292. - -“Merit has its crown,” etc., 65. - -Meyer, Mademoiselle, gone to London, 104. - -Meyerbeer is invested with his title, 41. - -“Midsummer Night’s Dream,” performed with enthusiastic reception, 13. - -Milder, Madame, her concert, when to be given, 41; - sings Scenas by Gluck, 52. - -Moore, Mr., wishes to print Oratorio, 269. - -Mori, his indiscretion, 98; - presented with a manuscript, 98; - waiting for Rondo, 98. - -Morning Service, for Novello, working at, 30. - -Moscheles, Mrs. Charlotte, letters of Mendelssohn to, x; - is his guide and mentor in London society, x; - her “grandmotherly” advice, x; - she is still active in body and mind in her eighty-third year, x; - cherishes memories of the past, and joins in the joys of the present, x; - is heard with delight when she talks of Mendelssohn, x. - -Moscheles, Felix, comes into possession of Mendelssohn’s letters, ix; - manuscript book and index of his father, ix; - his use of the “Life of Moscheles,” edited by his wife, x; - his juvenile recollections and impressions of Mendelssohn, xi; - his godfather, and parents’ best friend, xi; - claims Mendelssohn’s attention and enjoys it, xi; - race with, across Regent’s Park, xi; - battle of snowballs, xi; - improvisation of a funeral march, xi; - his account of the drawing of the hatchet curve, xi; - “took a most lively interest in everything concerning me,” xi; - refuses to go to bed at the accustomed hour, xii; - his account of improvised playing of Mendelssohn and Moscheles, xii; - shows how they fraternized in perfect harmonies, xii; - “music-making in my father’s house,” xiii; - his mention of their motto, “Res severe est verum gaudium,” xiii; - refers to his own name and its significance, xiii; - his special privileges, hears Mendelssohn, Liszt, - the Schumanns, and Joachim, xiii; - pleasure of editing the correspondence, xv. - -Moscheles, Ignaz, engaged on a professional tour, 1; - gives instruction to Mendelssohn, 1; - recognizes the genius of the young composer, 1; - feels that he is sitting next to a master, 1; - is requested to give lessons, 1; - he is invited to dinner, 1; - “prince des pianistes,” 2; - invitation to visit “Akademie” and to a tea-circle, 2; - the friendship of teacher and pupil, its lasting character, 3; - his appreciation of youthful genius, 3; - he is senior of Mendelssohn by sixteen years, 3; - spends many happy hours with his friends, the Mendelssohns, 3; - his appreciation of, 3; - his mention in diary of Mendelssohn’s genius, 3; - his “Studies,” 4; - his acquaintance with musical men in London and Vienna, 7; - “Studies,” second book of, 7; - advises Mendelssohn to begin his tour with a visit to London, 8; - his description of London attractive, 8; - his new symphony, 9; - he secures rooms for Mendelssohn, 10; - his house, and the pleasant hours in, 11; - plays with wonderful brilliancy, 13; - at home with Mendelssohn, 19; - his wife’s kindness to Mendelssohn, 19; - his birthday celebrated, 20; - his visit to his sister, 25; - visit to Hamburg, 27; - has many claims upon his time in London, 28; - his twelve days stay in Berlin, 46; - success of his concert, 47; - goes from Berlin to Leipsig, 47; - plays in public at Frankfurt and Cologne, 47; - presented with a musical sketch-book, 47; - Concerto in E flat, 51; - his complete works, 130; - his overture to “Joan of Arc,” 130; - description of its parts by Mendelssohn, 131; - letters written to his wife, 141; - his Concerto Fantastique, 143; - visits his mother in Prague, 213; - leaves London, 235; - he is appointed professor at the Conservatorio of Leipzig, 236; - his birthday is celebrated, 245; - goes to Frankfurt, 246; - his wife wishes to live in Leipzig, 261; - last days he spent with Mendelssohn, 289; - his regard for the Music-School, 294. - -Mozart, his good taste, 152; - his C major Symphony, 253; - his “Davide penitente,” sung at festival, 278; - his G minor Symphony at the Gewandhaus, 284; - Mendelssohn’s directions in reference to the “Elijah,” 284. - -Music paper, sheets of, 11. - -“Musical Review,” Mendelssohn asked to edit, 128. - -Musical school, programme of, 233; - King of Saxony may grant funds for, 233; - that at Leipzig, its need of Moscheles, 239; - its plan of organization, 240; - cost of educating Englishmen in this school, 241; - the number of its pupils, 242; - fault in its organization, 242; - kind of instruction needed in, 242. - -Musicians, prominent ones unreservedly criticised, ix; - complaint of, 32; - their abuse of each other, 173; - their doings in England, 248. - - -Nathan, volume of, 74. - -Neukomm, his estimate of net receipts, 33, 35; - his beautiful lecture, 36; - preached to conscience, 36; - thinks one should only write according to one’s mood, 36; - large number of works in his programme, 116; - his style, that of Haydn bordering on Handel, 116; - has not done much for art, 116; - his “David” shows wonderful workmanship, 116; - lacks the poetical element in other of his works, 116; - his music and its qualities, 118. - -“Nicht allein,” chorus in second part of “Faust,” 90. - -Nicolai, his description of Italian scenery, 124. - -Nightingales, Inspector of, title conferred on an old lounger, 104. - -Novello, Miss, cordially greeted by the public, 160; - success marvellous, 170. - -Novello, V., appointment with, 65. - -“Nursery Tale,” his greatest favorite, 159. - - -Onslow, inquiries about, 198. - -Opera House holds nearly two thousand persons, 40. - -Orchestra Pension Fund, 185. - -Orinoco, allusion to, 117. - -Overtures, for two performers, 179; - description of parts, 179; - to appear at Simrock’s in Bonn, 179; - at Mori’s in London, 179. - - -Paganini gives a concert in Berlin, 9; - his never-erring execution, 9; - mention of, 66. - -Paris, short stay at, 19. - -“Phantasie-Stücke,” volume of, 74. - -Philharmonic, G minor Concerto played at the, 20; - the Society, its intentions toward Mendelssohn, 48; - Septet written for, 51; - list of concerts, 54. - -“Philister,” any word in English for? 126. - -Philistine, the German, with his nightcap, 194; - his language, 248. - -Philistines, the world of, 126. - -Phrenology, special attack upon, 22. - -Piano, its delay, and annoyance at, 41; - “there be none of Beauty’s daughters with a magic like Erard’s,” 43; - his own is inaugurated by Moscheles, 43; - a “Graf,” the wonder of Vienna, 44; - those of Berlin pianoforte-makers, 44; - pear-shaped instruments, 44; - giraffe, or pocket size, etc., 44. - -Pianos, the, in Mendelssohn’s Overture, difficulty - of getting them observed, 96. - -“Piano Songs,” thanks for assistance in reference to, 28; - twenty editions of, 29; - what may be bought with the proceeds, 29. - -Pixis, mention of, 152. - -Planché, messages sent to, 187. - -Porte Saint-Martin, rattling of brass fit for, 93. - -Portland Street, quarters of Mendelssohn at, 12. - -Prince, Crown, extremely gracious, 110. - -Prince Frederick, giving many balls, 91. - -Publication of letters, why delayed, ix. - -Pupils, examination of, 290. - - -“Quarterly Review,” portrayal of composers in, 192. - -Quartet in A minor, 12. - - -Redern, Count, director and autocrat of the drama, 39; - conference with, 41; - inserts advertisements, 43; - has gone to his estates, 45; - takes Mendelssohn under his wing, 53. - -Reissiger & Co., their compositions shallow, 136. - -Rhenish Musical Festival, 134. - -Rhine, journey by, 181; - leaving for, 273. - -Ries, violin player, 103; - Mendelssohn and he as pope and anti-pope, 104; - leaves Düsseldorf, 109. - -Rietz, plays Beethoven sonatas, 290. - -Ritter, lectures at Berlin University, 4. - -Rondo Brillant, dedication of, 82. - -Rosen, George, Consul-General, etc., 11. - -Rosen, Professor, Mendelssohn dines with him, 12; - meeting with, 19. - -Rosenhain empties his pockets, 247. - -Rosenthals, visit to the, 290. - -Rossini, mention of, 152. - -Rubini, mention of, 66. - -“Ruins of Athens,” selections from, 267. - -Russians, seem more thoroughbred than the Hamburgers, 62. - -Rylands, Miss, reference to, 118. - - -Saaling, Marianna, cousin of Mendelssohn, 110. - -Saint Cecilia Choir, directed by Mendelssohn, 148. - -“Saint Paul” performed in England, 154. - -“Sakontala,” by Klingemann, 219. - -Schleinitz, lawyer, friend of Mendelssohn, 140; - is Director of Leipzig Conservatorio, 140. - -Schlesinger, Moritz, not slow to triumph at hissing of Herz, 112; - may be King of the Belgians, or Fire-King, 112; - the “Study” is sent to him, 197. - -Schmidt, Aloys, takes his ease in the country, 151. - -Schneider, Mademoiselle, her success, 53. - -“Schnellpost-coupé,” comfortable travelling in, 25. - -Schröder-Devrient, mention of, 66. - -Schubert, Franz, Symphony of, 191. - -Schumann, Robert, mention of, 141; - quartets performed by, 230. - -Schumann-Wieck, Madame, her effort to obtain pupils, 263. - -Schunck, Mrs., takes part in comic dialogue, 284. - -Scotch Symphony and Overture, 14. - -Scotland, visit to, by Mendelssohn and Klingemann, 14. - -Scott, Sir Walter, dedication to, 11; - piece dedicated to, 20. - -“Seasons,” the performance of, 120. - -Septet, arrangement of, 70. - -Shakspeare, his “King John,” downright heavenly, like all else of his, 100. - -Shaw, Mrs., inquiries about her, 170; - makes many friends, 173. - -Shopping, Book on, 73. - -Siboni, recipes of, for salad mixing, 104. - -Simrock, of Bonn, German publisher, 218. - -Simrock’s, a piece to appear at, 82. - -“Sinfonia Eroica,” 120. - -“Sinfonia Pastorale,” allusion to, 174. - -Sing-Akademie, 54. - -Smart, George, interest in “Saint Paul,” 155. - -“Son and Stranger,” selections from, 47. - -Sonata, four-hand, Moscheles’s, 81. - -Sonate Symphonique, played at the court of King Louis Philippe, 262. - -Songs, new book of, 157. - -“Songs without Words,” reference to, 65, 191; - price of copyright, 66. - -Sophocles’ “Antigone,” performed at Moscheles’s house, 228. - -Souchays, at Frankfurt, 230. - -Spohr, his Symphony, 191; - and Mendelssohn, attempt to create antagonism between, 222. - -Spring, its balmy air makes life endurable, 255. - -Spring, Mr., cannot be “digested,” 88. - -St. Pancras, Church of, 207. - -Stage, society for improvement of, 86; - difficulty of writing verses for, 150. - -Staudigl sings the part of Elijah at Birmingham, 272. - -Stone, Fanny, piece dedicated to her, 98; - will compose something easy for, 98; - a trump card, 186. - -“Strains of the Scottish Bards,” a Fantasia, 11. - -“Stumme Liebe,” by Probald, 219. - -Subscription Concerts, 203; - plan to supplement the directorship of, 234. - -Swiss landscape, its meadows, houses, etc., 124. - -Switzerland, visits to, 19, 287; - things lovely and bright there, 229. - -Symphony, can play parts by heart, 18; - can reckon on a brilliant success, 18. - -Symphony in A major, 66. - - -Taubert has not much talent, 152. - -Taylors’, remarks about the soirée at, 99. - -Templower Berg, camp at, 39. - -Thalberg, musical merit, 151; - his style interesting and genuine, 153; - perfect in his way, 204; - visits Mendelssohn and goes to Mecklenburg, 206; - visits London for Festival, 206. - -“The Harmonized Scales,” for juvenile performers, 237. - -“The Last Rose of Summer,” variations on, 20. - -“The Old English Gentleman,” song of, 126. - -“The Smith,” a song, with words by Uhland, 130, 131, 132. - -Time, its judgments of critics and those criticised, ix. - -“Travels of an Irish Gentleman in Search of Religion,” - goes through seventy editions, 100; - praised by Orthodox and Catholics, 100. - - -Uechtritz, immersed in æsthetics, 128. - -Urban writes “Lettres à Elle,” 130. - -Use, Miss, her beauty, 102. - - -Valentins, the, at Berlin for the winter, 54. - -Vanity, its prominence among Parisian artists, 193. - -Variations, by Herz, for the thirtieth time, 30; - not more pleasant than rope-dancers or acrobats, 30; - endanger not necks, but ears, 30. - -Varnhagen, going to be married, 110. - -Vernet, Louise, marries Delaroche, the artist, 129. - -Victoria, Queen, visit to, 290. - -“Viennese in Berlin,” 94. - -Vrught, his natural and unnatural voice, 114. - - -“Walpurgisnacht,” 53. - -Walther, Dr., in attendance at the death of Mendelssohn, 292. - -“Wasserträger,” rehearsal of, 86. - -Water colors, taking lessons in, 100. - -Weber’s Sonata, 93. - -Weimar, referred to, 175; - court circle, 176; - its good points as a residence, 176; - Grand Duchess of, 177; - accommodations at, 282. - -Westminster Abbey Festival, unable to attend, 104. - -Wieck, Clara, her execution as an artist, 141. - -“William Tell,” performance of, 230. - -Woods, walks in, and their solace, 287. - -Work, pressure of, 66; - deeply buried in, 82. - -Wunderhornlied, Mendelssohn alters beginning of, 113. - - -“Zauberflöte,” best performance nowadays, 63. - -Zelter, Professor, Mendelssohn’s attachment for, 20; - death of, 20. - -Zoölogical Gardens, visit to, 70. - -Zschokke, volumes of, 74. - -University Press: John Wilson and Son, Cambridge. - - -FOOTNOTES: - - [1] F. Rosen, Professor of Sanscrit at the London University. He, - like Klingemann, was attached to the Hanoverian Embassy, and became - an intimate friend of Mendelssohn and Moscheles. His brother, Georg - Rosen, himself a distinguished Orientalist, and for many years - Consul-General for Prussia in Jerusalem, married Serena, the second - daughter of Moscheles. - - [2] The Mendelssohn Family, by Hensel, vol. i. p. 190. - - [3] The _work_ alluded to was the Operetta, “The Son and Stranger,” - in which every member of the family wished to take part. The painter - Hensel, who had married Mendelssohn’s eldest sister, being totally - unmusical, had the part of _one and the same note_ composed for him, - which even then he was not able to catch. - - [4] Mendelssohn’s Letters (Reisebriefe), vol. i. p. 357. - - [5] Accompanying this translation by Robert Browning was the following - tribute to the memory of Moscheles:-- - - Were my version but as true to the original as your father’s life - was to his noble ideal, it would be good indeed. As it is, accept - the best of - -Yours truly ever, - -ROBERT BROWNING. - - - - [6] Chester Place, No. 3, in the Regent’s Park, was the Moscheleses’ - residence. - - [7] The Mendelssohns’ house and garden, No. 3 Leipzigerstrasse, - Berlin, now form part of the building in which the Reichstag is held. - - [8] A certain beadle in a country church, being reprimanded by the - clergyman for appearing at a funeral in a scarlet waistcoat instead of - a black one, retorted, “What matters it, your Reverence, provided the - heart is black?” - - [9] The compass of Mrs. Moscheles’s voice. - - [10] Mendelssohn used to delight in attending meetings at the - Guildhall to hear Liberal speakers. - - [11] “Klavierlieder,” meaning the “Songs without Words.” On the copy - sent to Moscheles he had called them “Melodies.” - - [12] Moscheles lived at No. 3 Chester Place, Regent’s Park. - - [13] Mendelssohn became engaged in 1836, and Klingemann in 1845. - - [14] Emily, Moscheles’s eldest daughter, then six years old. She - married Mr. A. Roche, of London. - - [15] The Septet was written for the Philharmonic Society. - - [16] The German word “Becken” has the double meaning of “cymbals” and - “basin.” - - [17] The Italian Symphony. - - [18] See Illustration, No. 10. - - [19] See Illustration, No. 9. - - [20] See Illustrations, Nos. 15, 16, and 8, respectively. - - [21] See Illustration, No. 12. - - [22] See Illustration, No. 13. - - [23] See Illustration, No. 14. - - [24] The Dirichlets were his younger sister and her husband, a - professor of mathematics. - - [25] “Infelice.” - - [26] Meaning himself. - - [27] Alluding to Beethoven’s habit, in conducting, of crouching down - at a _pianissimo_ and flying up at a _forte_. - - [28] Travels of an Irish Gentleman in Search of a Religion. - - [29] Immermann the poet and dramatist. Amongst his best-known works - are “Münchhausen,” and the epic poem of “Tristan and Isolde.” - - [30] Schleinitz was a well-known figure in the musical world of - Leipzig. He was an intimate friend of Mendelssohn’s, and for - many years indefatigable in his work as Director of the Leipzig - Conservatorio. - - [31] See “Life of Moscheles,” vol. i. pp. 318 and following. - - [32] The first movement of the G minor Concerto is styled - “Malinconico.” - - [33] Court Chamberlain. - - [34] See Illustration, No. 23. - - [35] This Symphony, so often referred to in Mendelssohn’s letters of - this time, has either entirely disappeared or was converted into the - initial movement of the “Lobgesang.” - - [36] Rondo in B minor. - - [37] See Illustration, No. 24. - - [38] Overture to “Ruy Blas.” - - [39] The letter alluded to is not amongst the copies of Moscheles’s - letters in the possession of the editor. - - [40] Op. 81. - - [41] After all, Mrs. Mendelssohn was prevented from going to England. - - [42] St. Pancras was the church at which Mendelssohn stood godfather - to Felix Moscheles. - - [43] See Illustration, No. 21. - - [44] See Illustration, No. 22. - - [45] See Illustration, No. 23. - - [46] Little Carl was Mendelssohn’s eldest child. Moscheles used to - amuse him by playing a tune on the piano with his fists. - - [47] See Illustration, No. 20. - - [48] Bunsen was then the Prussian Ambassador accredited to the Court - of Saint James. - - [49] He had lost his mother on the 12th of December of the preceding - year. - - [50] The work alluded to, “The Harmonized Scales,” Op. 97, is a series - of fifty-nine pieces for a juvenile performer and his teacher; the - former playing the scales in various time and rhythm, the teacher - supporting him by a full accompaniment. - - [51] For the translation of these lines I am again indebted to Robert - Browning.--EDITOR. - - [52] See Illustration, No. 28. - - [53] The Sonate Symphonique for two performers (Op. 112), which - Moscheles, with his daughter Emily, had played at the Court of King - Louis Philippe, to whom the work was dedicated. - - [54] The thaler equals three shillings, or seventy-five cents. - - [55] This has reference to an incident which occurred when Moscheles, - then twenty years of age, was residing in Vienna. In 1824 Beethoven’s - “Fidelio” was produced, and Moscheles was commissioned to make - the pianoforte arrangement of that work. In his diaries of those - days we find various entries recording his visits to Beethoven. - The alterations suggested by the master were made with due care - and deference, and the completed arrangement was finally left at - Beethoven’s rooms. On the last page of the manuscript Moscheles had - written, “End, with the help of God.” When the manuscript was returned - four characteristic words had been added, in Beethoven’s bold and - all but illegible handwriting: “Mensch, hilf dir selber!” (Man, help - thyself!) - - [56] Translated in “Life of Moscheles.” - - - - - - - - - - -End of the Project Gutenberg EBook of Letters of Felix Mendelssohn to Ignaz -and Charlotte Moscheles, by Felix Mendelssohn - -*** END OF THIS PROJECT GUTENBERG EBOOK LETTERS OF FELIX MENDELSSOHN *** - -***** This file should be named 51750-0.txt or 51750-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/7/5/51750/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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