The Walpurgis Night.
It was during his Italian travels in 1831 that Mendelssohn composed the music to Goethe’s poem “The First Walpurgis Night.” His letters throw much and interesting light upon the composition and his ideas while writing it. In a letter written at Rome, Feb. 22, 1831, he says:—
“Listen and wonder! Since I left Vienna I have partly composed Goethe’s ‘First Walpurgis Night,’ but have not yet had courage to write it down. The composition has now assumed a form and become a grand cantata, with full orchestra, and may turn out well. At the opening there are songs of spring, etc., and plenty others of the same kind. Afterwards, when the watchmen with their ‘Gabeln, und Zacken, und Eulen,’ make a great noise, the fairy frolics begin, and you know that I have a particular foible for them; the sacrificial Druids then appear with their trombones in C major, when the watchmen come in again in alarm; and here I mean to introduce a light, mysterious, tripping chorus, and lastly to conclude with a grand sacrificial hymn. Do you not think that this might develop into a new style of cantata? I have an instrumental introduction as a matter of course, and the effect of the whole is spirited.”
On the 27th of April ensuing he refers to it again:—
“I must however return to my witches, so you must forgive my not writing any more to-day. This whole letter seems to hover in uncertainty, or rather I do so in my ‘Walpurgis Night,’ whether I am to introduce the big drum or not. ‘Zacken, Gabeln, und wilde Klapperstöcke’ seem to force me to the big drum, but moderation dissuades me. I certainly am the only person who ever composed for the scene on the Brocken without employing a piccolo-flute, but I can’t help regretting the big drum; and before I can receive Fanny’s[30] advice, the ‘Walpurgis Night’ will be finished and packed up.”
On his way back to Germany he writes from Milan, July 13, 1831, to the artist and operatic director, Eduard Devrient:—
“I have been writing a large composition that perhaps will one day make some effect,—‘The First Walpurgis Night’ of Goethe. I began it simply because it pleased and excited me; I did not think of any performance. But now that it is finished, I see that it is well suited for a large concert piece, and in my first subscription concert in Berlin you shall sing the bearded Druid,—the chorus sung by ——, kindly assisted by ——. I have written the part of the Druid into your throstle (by permission), and you will have to sing it out again.”
It was several years before the “Walpurgis Night” was publicly performed, and meanwhile it underwent several changes. On the 28th of November, 1842, he writes to his mother:—
“I am really anxious to make the ‘Walpurgis Night’ into a symphony-cantata, for which it was originally intended, but did not become so from want of courage on my part.”
On the 11th of December of the same year he writes her:—