The Fifth Symphony, known as the “Symphony without trumpets and drums,” is scored for two violins, viola, violoncello, double-bass, flute, two oboes, two bassoons and two horns. It is dated 1816. Up to this point Schubert’s Symphonies show the influence of Haydn, Mozart and Beethoven. Now came the true Schubert style with the Sixth, the C-major Symphony, which is regarded as Schubert’s masterpiece. It is scored for two violins, viola, violoncello and double-bass; two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, and drums. This work was first performed in Vienna in 1828, but it was not heard in Paris and London until 1856. In 1842 Habeneck rehearsed it in Paris, but the Orchestra refused to play it; and when Mendelssohn put it into rehearsal in London the Philharmonic Orchestra laughed at the triplets in the last movement, and Mendelssohn, very indignant, withdrew it. Sir Augustus Manns, who introduced the work in England in 1856, remembers hearing at the end of the first movement the principal horn call out to one of the first violins: “Tom, have you been able to discover a tune yet?” “I have not,” was Tom’s reply.
The B-minor, the Unfinished, was written in 1822, before the C-major. The Unfinished we may note, was composed before Beethoven’s Ninth and the C-major Symphony after it.
Perhaps Mendelssohn’s most characteristic orchestral work is to be found in the Midsummer Night’s Dream music, the oratorio of Elijah and the Overture to Melusine. Of course, his Symphonies—the Reformation, which appeared in 1830, two years after Schubert’s C-major, the Italian in 1831 and the Scotch in 1842, contain beautiful work especially for the woodwind.
With his suave, graceful, sunny and charming melodies, it was only natural that Mendelssohn’s instrumentation should be delicate.
In the world of pictures we often turn from the deep, rich colors of Titian, Rembrandt and Velasquez to enjoy the softer hues of Chardin, Watteau and Fragonard. It is the same in music. Refreshing it is to turn from the dark, heavy colors of Beethoven, or the glowing hues of Weber and Wagner to the opalescent tints of delightful, fanciful, poetic Mendelssohn.
Mendelssohn’s life was happy from beginning to end; and this joy bubbles up in his music. The world gave him much; and he gave the world much in return.
Born in Hamburg in 1809, he spent his early years in Berlin, where his family removed. He had a childhood almost unparalleled in the annals of music for happiness. He conducted a little Orchestra in his father’s house every Sunday morning, where many of his early compositions were performed, among them the Overture to the Midsummer Night’s Dream, which he wrote when he was only seventeen. As pianist, organist, conductor and composer, Mendelssohn had one triumph after another. He made nine visits to London, where he stood next to Handel in popular affection.
In 1835 he became conductor of the Gewandhaus concerts in Leipzig and he established the Conservatory of Music in that city. He died in Leipzig in 1847.
Mendelssohn has suffered somewhat from the high position the English have given him in music; but he has a place that is quite his own. He followed in the footsteps of Weber rather than in those of Beethoven; and, though he has no tragic depths, he has given the world lyric compositions of great beauty and the greatest oratorios since Handel’s.
Mendelssohn sketched and painted well; he had a love for literature; he wrote charming letters; and he was altogether a delightful person.