Page:A Dictionary of Music and Musicians vol 2.djvu/295

MENDELSSOHN. his absence. The first of the series was on Oct. 1. Hiller conducted, and Felix supported his friend by playing his G minor Concerto. Two days afterwards, on Oct. 3, he writes a long communication to the town council of Leipzig, praying for an increase in the salaries of the town-orchestra for their services at the theatre. On Oct. 30 he joined Mad. Schumann and Hiller in the triple concerto of Bach; on Nov. 18 there was a special farewell concert at which he played his new Cello Sonata (op. 58), and which closed with his Octet, he and Gade taking the two viola parts; and by Nov. 25 he had left Leipzig 'with wife and children, and chairs and tables, and piano and everything,' and was in Berlin, settled in the old family house, now his own. On the 30th he conducted the first of the weekly subscription concerts, which he and Taubert directed alternately, and at which he often played. With all his aversion to the Berlin musicians he was obliged to acknowledge that, in some respects at least, the orchestra was good. 'What pleases me most,' he says to his old friend and confidant David, 'are the Basses, because they are what I am not so much accustomed to. The 8 cellos and 4 good double-basses give me sometimes great satisfaction with their big tone.' Then came performances of the Midsummer Night's Dream music, of Israel in Egypt, entertainments and dinners—which amused him notwithstanding all his dislike to aristocrats—and Fanny's Sunday performances. Once immersed in life and music, and freed from official correspondence and worries, he was quite himself. 'He is,' says his sister, 'indescribably dear, in the best of tempers, and quite splendid, as you know he can be in his best times. Every day he astonishes me, because such quiet intercourse as we are having is a novelty to me now, and he is so versatile, and so original and interesting on every subject, that one can never cease to wonder at it.' His favourite resort during his later Berlin life was the house of Professor Wichmann the sculptor, in the Hasenjäger (now Feilner) Strasse. Wichmann's wife was a peculiarly pleasant artistic person, and their circle included Magnus the painter, Taubert, Werder, Count Redern, and other distinguished people, many of them old friends of Mendelssohn's. There, in 1844, he first met Jenny Lind. The freedom of the life in this truly artistic set, the many excursions and other pleasures, delighted and soothed him greatly.

Christmas was kept royally at his house; he was lavish with presents, of which he gives Rebecka (then in Italy) a list. A very characteristic Christmas gift to a distant friend was the testimonial, dated Berlin, Dec. 17, 1843, which he sent to Sterndale Bennett for use in his contest for the professorship at Edinburgh, and which, as it does credit to both these great artists, and has never been published in any permanent form, we take leave to print entire, in his own English.

, Dec. 17, 1843. ,

I hear that you proclaimed yourself a Candidate for the musical Professorship at Edinburgh, and that a testimonial which I might send could possibly be of use to you with the Authorities at the University. Now while I think of writing such a testimonial for you I feel proud and ashamed at the same time—proud, because I think of all the honour you have done to your art your country, and yourself, and because it is on such a brother-artist that I am to give an opinion—and ashamed because I have always followed your career, your compositions, your successes, with so true an interest, that I feel as if it was my own cause, and as if I was myself the Candidate for such a place. But there is one point of view from which I might be excused in venturing to give still an opinion, while all good and true musicians are unanimous about the subject: perhaps the Council of the University might like to know what we German people think of you, how we consider you. And then, I may tell them, that if the prejudice which formerly prevailed in this country against the musical talent of your Country has now_ subsided, it is chiefly owing to you, to your compositions, to your personal residence in Germany. Your Overtures, your Concertos, your vocal as well as instrumental Compositions, are reckoned by our best and severest authorities amongst the first standard works of the present musical period. The public feel never tired in listening to, while the musicians feel never tired in performing, your Compositions; and since they took root in the minds of the true amateurs, my countrymen became aware that music is the same in England as in Germany, as everywhere; and so by your successes here you destroyed that prejudice which nobody could ever have destroyed but a true Genius. This is a service you have done to English as well as German musicians, and I am sure that your countrymen will not acknowledge it less readily than mine have already done.

Shall I still add, that the Science in your works is as great as their thoughts are elegant and fanciful—that we consider your performance on the Piano as masterly as your Conducting of an Orchestra? that all this is the general judgment of the best musicians here, as well as my own personal sincere opinion? Let me only add that I wish you success from my whole heart, and that I shall be truly happy to hear that you have met with it.

Always yours, sincerely and truly, . To

His exertions for his friend did not stop at this testimonial, but led him to write several long letters pressing his claims in the strongest terms, the drafts of which will be found in the 'green books' at Leipzig. The professorship, however, was not bestowed on Mr. Bennett.

The compositions of the winter were chiefly for the Cathedral, and include the fine setting of the 98th Psalm (op. 91) for 8-part choir and orchestra, for New Year's Day, 1844; the 2nd Psalm, for Christmas, with chorales and 'Sprüche,' and pieces 'before the Alleluja'; also the 100th Psalm, the 43rd ditto, and the 22nd, for Good Friday, for 8 voices, each with its 'Spruch' or anthem—and 7 psalm-tunes or chorales with trombones. At these great functions the church was so full that not even Fanny Hensel could get a place. The lovely solo and chorus, 'Hear my prayer,' for voices and organ, belongs to this time. It is dated Jan. 25, 1844, and was written for Mr. Bartholomew, the careful and laborious translator of his works into English, and sent to him in a letter dated Jan. 31. Also the duets