Famous composers and their works, Vol. 2

by Unknown

From a pencil drawing made by William Hensel.

Meanwhile Camacho was granted one unwilling hearing by Spontini, in the smaller theatre. Galled by the sneering remarks of the critics, Felix found the art atmosphere of Berlin more and more antipathetic. Entering the University of that city, he had less time for composition. How far he followed the course does not appear. He attended lectures of Hegel (one of whose courses was on music), and of Ritter, the great geographer. And he resumed his study of Italian classics, translating into German verse sonnets of Dante and others. There too he became a proficient in landscape drawing. Ten years later the University of Leipsic conferred on him the honorary degree of Doctor of Philosophy.

The life in the new house was very genial and active. Felix practised riding, swimming and other gymnastics with characteristic ardor "to the utmost"; for skating he could not bear the cold. And what a brilliant and élite society frequented those large rooms: Rahel Varnhagen, Bettina, Heine, Holtei, Lindblad, Marx, Humboldt, W. Müller, Hegel,—all famous then or afterwards! Young people were there "in troops." They had a little newspaper of their own, called in summer Garten-Zeitung, in winter Schnee-und Thee-Zeitung, edited by Felix and Marx, to which all comers were free to contribute; paper, ink and pens lay ready in the summer-houses. Graver heads, like Humboldt and Zelter, used the opportunity! "In all this brilliant interchange of art, science and literature," says Grove, "Felix, even at this early date, was the prominent figure. When he entered the room every one was anxious to speak to him. Women of double his age made love to him; and men, years afterwards, treasured every word that fell from his lips."

During the next winter, hearing a complaint that Bach seemed like an arithmetical exercise, Felix formed a choir of sixteen voices for the practice of the Passion Music at his house. That led to the public performance of the great neglected master-work a year later; and that to the "Bachgesellschaft" for the stately publication of all Bach's works, not yet completed. The little choir warmed to the heavenly music, and grew eager for its public performance, under Felix's own care, by the three to four hundred voices of the Singakademie, of which Zelter was Director. Besides the intrinsic difficulty of the music, there were two serious obstacles: the opposition of Zelter, and the apathy of the public. The first was overcome with the sanguine aid of his friend Devrient, the actor, who with him faced the lion in his den, and made him finally consent. The second melted to enthusiasm before the splendid success of the performance. Felix conducted the rehearsals without notes, knowing the music all by heart; the leading opera singers undertook the solos; the public flocked to the rehearsals; and on Wednesday, March 11, 1829, this greatest choral work of the great old master composer was introduced to the world for the first time since his death. A thousand people were turned away from the doors. Said Felix: "It was an actor and a Jew who restored this great Christian work to the people." That was the dawn of the Bach culture, which steadily if slowly gains ground in these our modern times.

In the midst of this excitement, his gifted, darling sister Fanny became engaged to William Hensel, the distinguished Berlin painter. Mendelssohn had reached the age of twenty. Not on the best terms with the musical world of Berlin, he yearned for more congenial air and stimulus. To improve himself in art and general culture, and "to make friends," he set out on his "grand tour." He arrived in London (April 21), where he was welcomed by his friends Klingemann (then secretary of legation there) and Moscheles. At the Philharmonic Concert, May 25, he conducted his C-minor Symphony, old John Cramer leading him to the piano, at which in those days, the conductor sat or stood. The applause was immense, and the Scherzo (which he had scored from his Octet, in place of the Minuet and Trio) was persistently encored against his wish. The London reception had "wiped out the sneers and misunderstandings of Berlin." Near the close of his life he spoke of it as "having lifted a stone from his heart." Indeed, the English, from that day to this, have been warm, even to the extreme of partiality, in their enthusiasm for the man and for his music. He took part in several other London concerts, was much petted in aristocratic circles, and disported himself in so many fashionable balls and gaieties, that the sober family at home became alarmed for him.

From London to Scotland, where he called upon Sir Walter, and stopped at the Hebrides, sending thence in a glowing letter to Fanny the first motive of the famous overture which he scored in Rome. Returning to London in September, he was confined to his room two months and could not go home to his sister Fanny's wedding. In December he found her with her artist husband installed in the Gartenhaus as studio, together with the Devrients. These, indeed every member of the family took part in the little comedy, Das Heimkehr aus der Fremde ("The Son and Stranger"), which Felix had composed for his parents' silver wedding. For Hensel, utterly unmusical, he wrote a part upon one note. That winter he composed his "Reformation Symphony." A chair of Music was founded expressly for him in the Berlin University, which he knew himself too well to accept.

In May, 1830, the "grand tour" was resumed. He reached Weimar on the 30th, spent a fortnight of close intercourse with Goethe, leading what he called a "heathenish life"; then several very interesting weeks in Munich. Then, through the Salzkammergut, to Vienna, where he found Haydn, Mozart and Beethoven ignored in favor of Hummel, Field, and Kalkbrenner; and where he passed a gay month with musicians, but managed to compose some serious things.

MENDELSSOHN'S SISTER.

Fanny Mendelssohn—from a pencil drawing made by her husband, William Hensel.