[6] This would make the romance open in the year 1833.
[7] Clara Benette, who plays such an important part in this romance, has been generally accepted as a sketch of Jenny Lind. The resemblances are not very close, however. At the time of the opening of the story she had not made her début, and she did not appear in England until 1847, the year of Mendelssohn's death. It is true, however, that she was an intimate friend of the composer and followed his advice explicitly, and that he was largely instrumental in introducing her to the English public. She also founded a musical scholarship in London in his memory.
[8] The idea that Laura Lemark was intended as a sketch of Taglioni, the danseuse, is altogether fanciful; except the fact that Taglioni in her old age taught deportment to ladies who desired to be presented at the English court, and that Laura did the same after she had retired, there is no resemblance between them.
[9] A tale, or romance.
[10] Music and Medicine.
[11] Tone poem.
[12] The Cecilia School at Lorbeerstadt is probably intended to represent the Conservatory at Leipsic, which Mendelssohn founded in 1843.
[13] It is generally accepted that Aronach is a portrait of Zelter, the friend of Goethe and teacher of Mendelssohn, who was for many years director of the Sing Akademie at Berlin. He was the first who inspired Mendelssohn with his love for John Sebastian Bach's music.
[14] There is no question but that Starwood Burney is intended for a portrait of Sterndale Bennett. Mendelssohn was his friend from boyhood, and aided him greatly with his suggestions, though it is doubtful whether Bennett ever studied with him. It was through Mendelssohn's influence that he brought out Bach's music in London. He was also a pupil of the Leipsic Conservatory.
[15] The Jubilee Overture, written in 1818 for the accession day of the King of Prussia.