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introduced.” “ Not Miss Napier?” he jokingly inquired. and yellow teeth. Their names are Tsen, Ka-Pse-Hang, * Yes; Miss Napier.” Although the face of his dream- Hoans-Pa-Li, and Ko-Phare. They may change them, if lady was not the face of this Miss Napier, the coincidence

young men are smart. of the scarlet cloak and the name was striking.

HERE is a neat sample of a personal item from a local

journal in India : “ We are very glad to learn that the In bringing these detached observations to a close, let

marriage of Mr. Rughoonathdas Nadhowdas, a Kupola Bume resume their drift by saying that while on the one hand

nia merchant of Bombay, with Dhuncoorbal, the daughter the critics seem to me to have been fully justified in deny

of Shet Godhurdas Mooundas, and the widow of Luchmiing him the possession of many technical excellencies, they

chand Dhurumsey, was celebrated at Chinchpoogly. have been thrown into unwise antagonism which has made them overlook or undervalue the great qualities which OFFENBACH, apropos of the production of the “ Roi distinguished him; and that even on technical grounds Carotte,” is once more the subject of anecdotes in the petits their criticism has been so far defective that it failed to

journaux, some of which, though they may be of a certain recognize the supreme powers which insured his triumph commercial advantage to him in keeping bim before the in spite of all detects. For the reader of cultivated taste public, are not precisely calculated to raise him in public there is little in his works beyond the stirring of their opinion. At a rehearsal of one of his works he found, we emotions — but what a large exception ! We do not turn

are told, a violinist practi-ing in a corner of the orchestra over the pages in search of thought, delicate psychological by himself. “What is that man playing ?” he asked. “ Vioobservation, grace of style, charm of composition ; but we lin concerto, by Mendelssohn,” was the reply. “Oh, yes; I enjoy them like children at a play, laughing and crying at remember," said the maestro; “ I was afraid at first that it the images which pass before us. And this illustration

belonged to my opera.” As a further illustration of Offensuggests the explanation of how learned and thoughtful bach's “naïveté,” we are informed that on some one's asking men can have been almost as much delighted with the him whether he was not born at Bonn, he made answer : works as ignorant and juvenile readers; how Lord Jeffrey • No; it is Beethoven who was born at Bonn. I was born could have been so aitected by the presentation of Little at Frankfort." Nell, which most critical readers pronounce maudlin and unreal. Persons unfamiliar with theatrical representations, A French paper notices some passages in the corresconsequently unable to criticise the acting, are stirred by pondence between Mme. du Deffand and Voltaire which the suggestions of the scenes presented; and hence a great adapt themselves in a singular manner to the present circumphilosopher, poet, or man of science, may be found appraud- stances of France. It was 1760, three years after Rosbach; ing an actor whom every play-going apprentice despises as

the Seven Years' War was still in progress. The generals stagey and inartistic.

of Louis XV. were getting themselves beaten, and the public treasury was becoming empty. M. de Silhouette, Comptroller of Finance, spoke of reducing the king's personal expenses, and of levying new taxes. This attitude pleased

neither the court nor the taxable portion of the community. FOREIGN NOTES.

“We are daily threatened with terrible imposts," writes

Mme. du Deffand," but no one knows how to establish M. TOURGUÉNIEF, the novelist, is not dead, as was re

them.” To which Voltaire replies: “I would still rather ported a while since by the foreign papers. His necrolo

have revenues from France than from Prussia. It is our fate gists confounded him with his relative, Nikolai Tourguénief,

always to commit follies and to repair them. We hardly whose death was announced not long ago.

ever miss an opportunity of ruining ourselves and getting

ourselves thrashed; but at the end of a year nothing is to A new monthly paper called the American Settler has be seen of it. The industry of the nation makes good the been started in London. It is intended as a guide to Brit- blunders of the ministry. We have now no great geniuses in ish emigration to the United States. We have always sup- the fine arts, unless it be M. Lefranc de Pompignan and his posed the “ Alabama claim ” to be the “ American settler.“ brother the bishop; but we shall always have tradesmen M. CASANOVA, of the Hôtel Mirabeau, Paris, has had

and agriculturists. We have but to live, and all will go

well. soine of his rooms engaged by English people when the Emperor Napoleon's entry into Paris is decided on, so sure M. DE VILLEMESSANT has just published a characteristic are they he will return. Though the large towns are chiefly

anecdote of M. Alexandre Dumas. When the present edirepublican, the country is imperial.

tor of Figaro brought out his Grand Journal, the name of A Paris street scene: “ Dear lady,” said a child, expos

the great novelist still retained such a hold on the public

that he thought fit to place him at the head of his list of ing a toy for sale, “buy this.” • What is its price? "Judge yourself, madame ; I have eaten nothing to-day.'

contributors. Dumas proposed to furnish a novel in six

volumes, which was immediately accepted, but to begin This is dramatic enough to make the fortune of three Eng lish dramas of the period.

with, M. de Villemessant implored a few feuilletons. “I

have just what will suit you," said Dumas, a series of feuA REWARD of $10,000 has been offered, in the name of

ille'ons upon serpents. I have studied them half my lifeLady Franklin, for the whole of the journals or other rec

time, and know their habits intimately. Let me go to work, ords of the expedition of the “ Erebus” and “ Terror.” These

and I promise you we shall have an immense success.” Afrecords are believed to have been deposited near Point Vic

ter all" (writes M. de Villemessant), I thought he might do tory, on King William's Land, by the survivors of the expe

as well with serpents as any thing else, and knowing that dition in 1848.

money was his weakness, I asked him if he required any

thing in advance. Money!” cried Dumas, “ I have more FOURTEEN young Chinese, belonging to the noblest fam

than I know what to do with; and this for the first time in ilies of the Celestial Empire, have just arrived in Paris from

However, I had hardly returned to my office Canton, sent by the Emperor to be instructed at the


when I received the following note: “ Reçu quinze louis of the State. They are to be distributed between the col

à valoir sur ma copie. Poignée de main.'— A. D.” The leges Saint-Louis and Louis-le-Grand. Every year fourteen

next day comes a feuilleton with a note thus conceived : young men are to be sent to France.

« Mon cher ami, -Tu serais bien gentil de remettre au por

teur la somme de cent quatre-vingt-douze francs. - A. D.” Four Japanese princesses, relations of the Tycoon, are The same evening I received a despatch from Havre, saying, expected in Paris shortly, for the purpose of completing reçu de la présente faire porter 400 fr. à mon domitheir education. They are of great beauty, and have dig- cile, maison Frescati. Merci. A. Dumas." An hour afnified figures, perpendicular eyebrows, elegant flat noses, terwards came another despatch, "Mon bon camarade, c'est


my life.”

66 Au



six cents francs, et non quatre cents. Je t'aime. Feuilleton route. A. Dumas." The second feuilleton, announced by despatch, arrived the next morning, and contained just four lines by Dumas. It commenced : “I börrow from my good friend Benedict Revoil the following details about serpents,” &c. And at the end : “ In my next feuilleton I will give an account of the boa-constrictor, the most curious of all."

Mme. Rossini has commenced a very remarkable action against a gentleman from whom she claims fifty thousand francs damages, on the ground of his having sung or caused to be sung, at one or more private parties, compositions, as yet unpublished, by her late husband. M. Michotte, the defendant in the suit, had been intrusted by Mme. Rossini with a number of new pieces for voice and piano-forte formally bequeathed to her by the great composer. It was necessary to fit many of the vocal pieces with words; and this task was at M. Michotte's request undertaken and performed by M. Wilder. During the two sieges of Paris, M. Michotte, with Rossini's last productions in his possession, was in Belgium ; and at Louvain and elsewhere, he committed the offences charged against him by Rossini's widow. M. Michotte does not deny the allegation ; but he pleads that, so far from depreciating the pieces confided to him by introducing a few of them to the notice of connoisseurs at musical parties, he by that very course increased their saleable value. Of late years, he argues, what little Rossini did produce was not thought worthy of him by his admirers ; whereas last compositions are in his best style — a fact with which it was desirable that the musical world should be made acquainted.

You fear, you frankly add, “to find
In me too late the altered mind

That altering Time estranges.”
To this I make response that we,
As physiologists agree,

Must have septennial changes; This is a thing beyond control, And it were best upon the whole

To try and find out whether We could not, by some means, arrange This not-to-be-avoided change

So as to change together : But, had you asked me to allow

That you could ever grow Less amiable than you are now,

Emphatically — No.

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But to be serious — if you care
To know how I shall really bear

This much-discussed rejection,
I answer you. As feeling men
Behave, in best romances, when

You outrage their affection;
With all the ecstasy of woe,
By which, as melodramas show,

Despair is simulated;
Enforced by all the watery grief
Which hugest pocket-handkerchief

Has ever indicated;
And when, arrived so far, you say

In tragic accents, “Go,"
Then, Lydia, then – I still shall stay,

And firmly answer — No.



You ask me, Lydia, "whether I,
If you refuse my suit, shall die.”

(Now pray don't be offended ;)
Althongh the time be out of joint,
I should not to a bodkin's point

Resort, at once to mend it;
Nor, if your doubtful mood endure,
Attempt a final water-cure

Except against my wishes;
For I respectfully declino
To dignity the Serpentine

And make hors-d'oeuvres for fishes. But, if you ask me whether I

Composedly can go,
Without a look, without a sigh,

Why, then I answer - - No.

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“ You are assured,” you sadly say (If in this most considerate way

To treat my suit your will is), That I shall “ quickly find as fair Some new Ncæra's tangled hair

Some easier Amaryllis."
I cannot promise to be cold
If smiles are kind as yours of old

On lips of later beauties;
Nor can I hope to quite forget
The homage that is Nature's debt,

While man has social duties;
But, if you ask, do I prefer

To you I honor so
This highly hypothetic Her,

I answer plainly - No.

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Vol. I.]


[No. 10

ment with octave basses and full chords, of course stood in RECOLLECTIONS OF FELIX MENDELSSOHN

a much higher position. Such a gifted being was Felix, AND HIS FRIENDS.

even at that time; and in the duet between Florestan and

Leonora, which he accompanied, he astonished me in the BY DR. DORN, CAPELLMEISTER OF BERLIN.

passage “Du wieder nun in meinen Armen, o Gott!" by

the way in which he represented the violoncello and the I ,

contre-basso parts on the piano, playing them two octaves my legal studies in Berlin, when I first knew Felix apart. I afterwards asked him why he had chosen this Mendelssohn, then a lad of twelve years. One winter's striking way of rendering the passage, and he explained all experience showed me, that though I could get through my to me in the kindest manner. How many times since has college terms, I should never be able to pass all the neces- that duet been sung in Berlin to the piano-forte, but how sary law examinations, as I had so much musical business rarely has it been accompanied in such a manner! In the on my hands. At evening parties I was in constant request, winter of 1824–25 I was quite at home in the Mendelssohns' being fi und very useful, as I was at once a piano-forte- house; that is to say, I made my appearance there every player, an accompanyist, and a solo-singer- a rare combi- Sunday morning at the musical entertainments, and was nation in one individual, of which I can recall no other always invited to their evening parties, as a singer to be instances than Gustav Reichardt and Reissiger. Musical reckoned upon, and as one always ready to take a part in parties in Berlin at that time were at the height of their the dance. At the matinées I became by degrees personally glory, and attended only by ladies and gentlemen who acquainted with all the musicians of importance in Berlin. really loved music, and cultivated it as an art, and who Men, such as Lanska, who had instructed both Felix and were able upon emergency to perform whole operas or ora- his sister Fanny (Fanny Mendelssohn at this time played torios. Tea was handed round before the musical business more brilliantly than her brother Felix), Wollank (councilof the evening began, and we wound up with cold refresh- lor of justice, and the composer of many well-known songs), ments and quartet singing,

and Karl Friedrich Zelter, almost alone marked that heavy • One Friday, at the“ at home” evening of my old country- period of Berlin's musical history, during which time no man Abraham Friedländer, as I was in the midst of the creative talent of any importance appeared. Simultanewell-known duet of Spohr's between Faust and Röschen, ously, however, with the recall of Spontini from Paris, three with a talented young singer, a commotion arose in the stars arose, and the whole attention of the musical world anteroom, which was most unusual, for a profound silence was directed to the native genius of Berlin, in the persons always prevailed when any thing was going on. During the of Ludwig Berger, Bernhard Klein, and Felix Mendelssohn, pathetic air, “ Fort von hier auf schönere Auen,” my part- all in the different ages of life. ner whispered to me, “Felix has come ;” and when the I very seldom missed one of those interesting gatherings duet was finished, I made the acquaintance of Felix Men- at the Neue Promenade, where, besides the greater compodelssohn, then a lad twelve years old, residing with his sitions, which were henceforth studied under Berger's guidparents on the Neue Promenade, only a few steps from ance, the newest works of the wonderful boy Felix were Friedlander's house. He apologized for having interrupted regularly played over - mostly sets of symphonies for our song by his entrance, and offered to play the accom- stringed instruments with piano-forte accompaniment - by paniments for me; “ or shall we play them alternately ?” a small number selected from the royal chamber-musicians. he said

- a regular Mendelssohn way of putting the ques- Prof. Zelter, with whom Felix had studied counterpoint, tion, which, even twenty years later, he made use of to a was his most eager auditor, and at the same time his most stranger in a similar position. At that time it would have severe censor. More than once after the performance, I mybeen difficult to picture a more prepossessing exterior than self have heard Zelter call out in a loud voice to his pupil that of Felix Mendelssohn; though every one made use of that several alterations were necessary, whereupon, without the familiar - Du” in addressing him, yet it was very evi- saying a word, Felix would quietly fold up the score, and dent that even his most intimate acquaintances set a great before the next Sunday he would go over it, and then play value on his presence amongst them. He was rarely allowed the composition with the desired corrections. In these rooms to go to such large parties, but when he did do so, the also, before the family removed to Leipziger Strasse, a threemusic, and the con amore spirit with which it was carried act comic opera was performed, all the characters being apon, seemed to afford him real pleasure, and he, in his turn, portioned and the dialogue read out at the piano. The contributed largely to the enjoyment. People made a great

libretto for “ The Uncle from Boston" was written by deal of him, and Johanna Zimmermann, Friedländer's a young physician, Dr. Caspar, who afterwards became a niece, who had lost her husband while bathing in the Tyrol, famous man. Every one who came in contact with him had regularly persecuted the young fellow, so that he could something to relate of his wit, and I remember even now scarcely' escape from her attentions. Young as he was, he Holtei telling me, when I was at Riga, of the sparkling witeven then

accompanied singing in a manner only to be met ty farewell speech addressed by Caspar to the Councillor with amongst the older and more thorough musicians who Nernst, on the removal of the latter as postmaster-general possessed that especial gift. At Königsberg the orchestral from Berlin to Tilsit. He finished with®“ Depart, and the management of the piano was an unknown thing, and even peace of Tilsit be with you!” in Berlin I had as yet had no opportunity of admiring this Although the musical compositions of this “ American skill and facility in any one,

That man was considered a Uncle” pleased all the parties connected with it extremely, Very respectable musician who played from the printed copy the subject of it was nevertheless very weak. Dévrient, con amore, and thus helped the singer now and then; but and his fiancée, Therese Schlesinger, Johanna Zimmermann, he who was able to enrich the slender piano-forte acompani- the Doctors Andriessen and Dittmar, all took part in this

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opera. I was also a chorus-singer in it, and from one cir- weak points of his young friend; and that he thoroughly cumstance this evening will never be forgotten by me. knew how to appreciate the strongest side of MendelssohnWhen the opera was finished, there were the regular slices talents is shown in the words which he wrote for Felix to of bread and butter, with the usual addition of anchovies, set to music. A great many songs which Mendelssoho has cold meat, cheese, &c. Edward Rietz and myself were en- arranged have been quite as well, perhaps even better, set joying our portion, when Felix, who was going the round by other musicians, but no one has ever yet succeeded in of the room to thank all the singers personally, stopped be- surpassing a song of Mendelssohn's with Klingemann's fore us to ask how we were faring in the way of refreshment. words; it was like two hearts beating with one pulsation. I showed him my share of the spoil.

The capabilities of the youthful Secretary to the Embassy “ And which do you consider your dur?” (the leading, were certainly not equal to the composition of opera libreiprincipal subject) he asked; “and which is your comes ?tos; this was not, however, the field on which Felis err (the secondary theme.)

earned any laurels, even when master of his profession; inWell, of course I consider my bread and butter my deed they never bloomed for him at any time, as is shown dux."

by the production of his opera, “ The Wedding of Camacho," “ Oh, no," said he; a guest must always regard his bread written in the high tide of his youth. Klingemann was an and butter as only the comes.

eager supporter of the Berlin Musical Times, which ha Just as he had uttered this little sally, Zelter's voice re- been started in 1824. sounded through the room :

A great contrast in appearance with his colleague was Felix, come here."

the editor of this paper, A. B. Marx, who, although he had The old gentleman stood in the middle of the room with had a more thorough education, both as regards music and a brimming glass in his hand, and whilst every one was his profession as a lawyer, than either of the above-named listening intently, he said: “ Felix, you have hitherto only gentlemen, and far exceeded them in cutting sharpness of been an apprentice; from to-day you are an assistant, and intellect, yet, from his lack of polish and manner, his real now work on till you become a master.”

scientific and dialectic superiority did not have the happy Therewith he gave him a tap on the cheek, as if he were effect on those around that it would otherwise have done. dubbing him a knight, and then the whole party pressed for- He quickly interested himself about persons and things, an ! ward to congratulate the affected and astonished parents, as his sympathy once aroused, there could be no warmer ner well as Felix, who pressed his old master's hand warmly more skilful advocate than he. He soon gained a great inmore than once. This is one of those scenes that can fluence over Felix, which was often annoying to the elder never be effaced from one's memory.

It made such a pow

Mendelssohn; but he had his own good reasons for not erful impression on me that I wrote the following day to my abruptly breaking off the connection. Marx was the editor guardian to ask if I might become a pupil of Zelter's, and of the Musical Times, at that period the only critical organ, by his help rise to the higher grades. This permission I and therefore not to be despised, especially as it was sup>certainly received, but how different anticipation is to reali- ported by many gifted friends of the Mendelssohns. More'ty! Zelter was a whimsical old fellow, to whom it was all over, the elder Mendelssohn was very fond of contradict the same whether his pupils were young or old, gifted or ing, and of being contradicted; and in our Abbe (as he without talent, beginners or advanced. All were treated was called, after his initials A. B.) he found the right sort alike, except as in the case of Mendelssohn's private lessons, of opponent. when he really did instruct. I bore it for half a year, then Midway between Klingemann and Marx stood Dr. Franck; I could not put up with it any more, and so I went over to of Breslau, possessing much of the refinement of the former, Bernhard Klein, and never had reason to repent doing so. with more reserve of manner, and all the liveliness of con

With the removal of the Mendelssohn family from the Neue versation of the latter, with, however, less solidity. He bal Promenade to Leipziger Strasse, to the same house where a sound judgment in musical matters, and soon discovered our present Chamber of Deputies hold their sittings, the the weaknesses in Spontini's “ Cortez;" he wrote a stingin circle of their acquaintance was much extended, owing in a

article upon that opera in 1826, which was the signal for a great measure to Felix's increasing fame. Among the more complete rupture between Marx and Spontini; he had only intimate acquaintances may be reckoned Rietz, Klingemann, armed his party with spectacles, and had overlooked many Mirx, Franck, and Dévrient. Rietz, elder brother of the bright spots in the opera, rejecting the good with the bari. royal chapel-master at Dresden, was himself a member of Spontini afterwards led the whole opposition against Menthe royal orchestra, and Mendelssohn's instructor on the delssohn; and as previously there had been little affini:y violin. I may safely say that of all Felix's friends no one between two such different elements, any nearer approach loved him more enthusiastically than Rietz. He was a grave, was now rendered impossible. silent person, of a middle size and spare figure, endowed In 1849 I again met Franck; now, instead of the lifewith a large share of nose between two fiery eyes, and al- loving, exuberant man that he had been, a complete hypur ways dressed in a tail-coat. When the two friends were chondriac. He still took an eager interest in literature, and together, the idea was always suggested to me of Faust and was quite imbued with the Wagner mania, and sent me that Mephistopheles, though there was certainly little enough of composer's “ Nibelungen-Tetralogie.” What would Menthe diabolic in either of them. Robert and Bertram might delssohn have said to this, had he been alive at that tiine ? perhaps have been more suitable, but such a connection had Franck came to an untimely end soon afterwards in Lon not then been proclaimed by Scribe and Meyerbeer. Rietz's don; but these are paintul recollections, and the circle of artistic career was early cut short by the nerve of his third Felix's friends shall be concluded with the name of Dévrient, finger being injured during the performance of “ Olympia.” to the truth of whose interesting book about Mendelssolini, He died in 1832. Mendelssohn has dedicated his famous which has lately appeared, I can vouch. I had frequent i (ctett” to him.

opportunities of meeting Mendelssohn at the rooms of Klingemann, the son of the well-known composer of Johanna Zimmermann, the young widow previously meuplays, and manager of the theatre at Brunswick, made the tioned, who, although somewhat eccentric, possessed a most agreeable impression upon me of all Mendelssohn's thoroughly musical nature; so that Felix felt himself more intimate acquaintances. He was attached to the completely at his ease in that unconstrained artistic Hanoverian Embassy, and was therefore admitted to the atmosphere. His own home was, of course, much trihigher circles of society. Both his appearance and demean- quented by interesting and celebrated people, but the greator had something unailectedly aristocratic in them, and in his er portion of them were not musicians. Foreign musien whole manner to the ladies of the house he was vastly su- celebrities were, indeed, always hospitably received, but noprior to the other visitors. It always appeared to me that tive talent was very weakly represented. Although Feliu klingemann was most correct in his judgment of Felix. He was by no means insensible to praise, he was not at al did not worship him, and it never could have entered into blind as to whether it was given with discrimination or ihe 1:is head to rival him, for he did not compose; he was

Marx and he were at Dehn's rooms on one oconeit!«; insensible to the great qualities nor blind to the sion, I remember, and the first part of the evening we (n.ployed ourselves in all sorts of fools' tricks, such as cutting Whitsuntide. In short, I am an optimist. Remember me out figures with paper and apple-parings, until Felix got very warmly to Marschner, and thank him for his many up and, unasked, played on the old piano till long after kindnesses, and for the enjoyment he has afforded me by milnight a number of his own and other compositions. his beautiful compositions. I mean to write him a long muThis gave him more real satisfaction than on many an oc- sical letter as soon as I get to Munich. Farewell, and think casion at his parents' house, where, with a first-rate Broad- of me always kindly. Yours, &c., wood at his command, he had a large but very mixed audi


« FELIX MENDELSSOHN." ence. I well recollect a lady (Rahel Varnhagen) asking him for the A-Minor fugue of Bach's. “If I had played

That I have never ceased to do. some variations of Czerny's, it would have been all the

On the 13th of September, 1843, Robert Schumann same to her,” he remarked to me afterwards. Such an un- celebrated the birthday of his wife Clara. I appeared as congenial assembly was never to be found at Madame Zim- an unexpected guest at the breakfast-table, where, besides merinann's; there all participated equally, listening and

David and Grützmacher, I met Mendelssohn again after performing; and I have never heard Felix extemporize

thirteen years.

When we had partaken of a bountiful better than at this house, where he was conscious of being

repast, we had a succession of musical enjoyments. Schuthoroughly understood.

mann surprised his wife with a new trio, which was inBefore I left Berlin in March, 1828, I was present at the stantly tried, and Felix produced as his present “The first performance of the overture to the Midsummer Spring Song," and played it for the first time. This beauNight's Dream,” conducted by Mendelssohn himself, with a tiful piece is the pearl of the fifth book of his “Lieder ohne full orchestra, at his father's house. This work certainly

Worte,” which, as is well known, is dedicated to Madame contains the germ and bloom of all Mendelssohn's compo

Schumann. The little company was so enraptured with it sitions, and the grand chorus of St. Paul, “ Mache dir auf, that the composer had to repeat it twice. It was a worthy werde Licht," alone deserves to be put by its side.

conclusion to the celebration of the day. In May, 1830, Mendelssohn visited me in Leipzig, where

The next day I dined at Councillor Frege's, and again I was officiating as director of music, at what was then the

had the pleasure of meeting Mendelssohn, who even durTheatre Royal. He had just returned from London, and

ing the dessert placed himself at the piano and gave us having attained his one-and-twentieth year, was about to

some of his beautiful songs, which were sung with full commence his travels through Italy, to which we are in- appreciation by Livia Gerhardt, the celebrated singer. debted for that interesting collection of letters, which afford

My third and last day at Leipzig was devoted to my friend so deep an insight into a real poetic and musical nature. I

Petschke, who had assembled a little party in honor of invited him, with Marschner, who was then busy on his

Mendelssohn, who seemed to be as much at his ease as he latest work, “ The Templar and the Jewess,” to come to had formerly been as a young man in the house of Johanna my house the following evening, and I quickly asked a few

Zimmermann. Petschke had asked me to bring some of other celebrities to meet him; in spite of the party being

my own compositions with me, and I found some attentive of the ill-omened number of thirteen, we were most ani

listeners to my “ Schöffen von Paris.” Mendelssohn, howmated, and every thing went off admirably until the time ever, greatly surprised me by declaring he already knew arriveil for my grand finale. A present I had received one of the airs I had played, and seating himself at the same time back of some rare old wine of a celebrated vin- piano, went through ten or twelve bars, where certainly the tage, all covered with cobwebs and dust and dirt of half a harmonies of my air occurred, although I failed to recognize century, was to be brought forward on a certain sign from

where I had heard them before. “Why, you do not know me. The auspicious moment arrived, the maid put fresh your own composition again ? " said Mendelssohn; “ that is glasses on the table and disappeared, and I prepared the

the final chorus to The Magician and Monster.'” That was minds of my guests for the monstrous sight they were about

a melodrama for which I had written the music, and which to see by drawing an exaggerated picture of its horrors.

Mendelssohn had liked at the time, and of which now, In the midst of my flourishing address, the maid walked in, sixteen years later, he could remember chords that hari and placed on the table four brightly-scoured, shining bot

long since passed from my mind.

When I expresseri tles, exactly resembling those containing that agreeable vin astonishment at his memory, he said, in a very gratifying ordinaire called “ Kutscher;” mark, seal, label, all had dis

manner, " It is only good melodies we should endeavor to appeared, had fallen a sacrifice to the principle, “ Cleanli

retain.” ness is next to godliness.” My disgust can be well imagined.

I fear that the musical festival at Cologne, which gave Fortunately, our palates bore testimony to the excellency

rise to so much unpleasantness between the heads of the of the wine, and so my friend Kistner's honor was retrieved

various musical societies, also caused a coldness between On the 2d of June, 1830, I received the following letter

Mendelssohn and myself; I could not, in the interest of my from Mendelssohn, dated from Weimar:

party, approve of all the measures which were carried out,

and I fear my conduct was represented to him in a manne: “Dear Dorx, Herewith follows my symphony, very

calculated to wound. Unfortunately, I had neither time punctually, and still in time I hope to be copied out, stud

nor opportunity, during his twelve-hours' stay, to explain in ied, and performed by the day before yesterday. Serious

him the Cologne comedy of “party faction,” so I am afrai i ly, however, I am very sorry that I could not fulfil my that he parted from me with resentment in his heart, whi'' promise. You always declared you knew how it would be,

my admiration for his genius, profound knowledge, nobe but I can assure you I had quite made up my mind to do

striving, and great lovableness always remained the same. it, and the very first day of my arrival here I began the neces

On the 9th of November, 1847, five days after Mendel:sary corrections in the score, which soon became so numer

sohn's death, I directed the second winter concert it ous that I had to take away much of the old part, and to add

Cologne, and, amidst the universal sympathy and expreto the last portion. If the copyist recommended to me had

sion of the deepest grief, the solemn chorus from St. Pa.. kept his promise, you would even then have bad the sym

was introduced: “Behold, we reckon those happy who phony in time but he put me off from day to day, and here I have endured; for though the body die, yet will the soul have been fourteen instead of four days. It comes at last, you

live forever.” see, and perhaps you will look through it and communicate with Marschner as to the sufficiency of the abbrevia

THE INFLUENCE OF TRAVEL. tions in the last part; when you have had enough of it, which I am afraid will be very soon, will you kindly forward it to Madame Hensel. Perhaps it is as well for some We allow most entirely that the in lividual influence of reasons that the performance has been postponed, for it oc- travelled men is rapiilly decreasing ; but we assert in the curred to me afterwards that the choral part and the other strongest manner that the new habit of continuous travel Catholicisms would have a strange appearance in a theatre, is exercising, on this nation at all events, a wonderful inand that a Reformation song would not sound very well at fluence, which seems to us very good. In old times, a min


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