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was a diligent, accurate and versatile student, a finished master of the technique of composition and performance while yet but a boy, and on fire with ambition and inspiration. The analogy often drawn between him and Mozart is close and just, for they both developed with phenomenal rapidity and were strongly akin in stylistic gifts. His training gave him command of a wide range of musical literature, and his prompt enthusiasm for Bach and Beethoven indicated the vigor of his tastes. At 12 he fell under the fascination of Weber, and at 15 received lasting benefit from lessons from Moscheles. The variety of influences that touched him was indescribable, yet without affecting his spontaneity. In 1825 the Mendelssohn family first occupied the extensive mansion and park which became the rendezvous of musical and literary people for many years.

Mendelssohn*

In 1825, when 17, Mendelssohn revealed the charm and strength of his style by the quartet in B minor, the short opera Die Hochzeit des Camacho (performed in 1827 under Spontini), and the octet for strings, followed (1826) by the extraordinary Midsummer Night's Dream overture—these and many other works of this first period being exquisitely romantic. Though the opera was greeted with applause, it was immediately withdrawn by Spontini, his jealous opposition being the first of many checks to Mendelssohn's ambition that made him strongly dislike Berlin. In 1828, with a few select singers, he began the study of Bach's St. Matthew Passion which led to its triumphant revival by the Singakademie under his leadership exactly a century after its first performance at Leipsic. This achievement, notable as a factor in the general Bach revival, increased the jealousy of many Berlin musicians. Partly because of this, Mendelssohn gave up study at the university and set out upon a long tour, visiting in 1829 London and Scotland, in 1830 Munich, Vienna and all the chief Italian cities, especially Rome, and in 1831 Switzerland, Paris and London again. His activity was incessant and varied, including brilliant appearances as pianist or conductor, constant composition in many forms, from songs to symphonies, much serious study and thoughtful sight-seeing, and abundant social gayety. He thus widened his circle of friends, and enriched his imagination and spirit. As he was returning in 1832, Zelter died and he was pushed forward as a candidate for the leadership of the Singakademie, but was not elected—another source of bitterness toward Berlin. In 1833, however, he conducted the Lower Rhine Festival at Dusseldorf with such éclat that he was forthwith appointed town-musician

there. After another trip to England he took up his varied duties with eagerness, though he soon withdrew from the opera-direction. In 1835 he conducted the Lower Rhine Festival at Cologne. Just before this he