The influence which Mendelssohn exercised during two-thirds of the
19th century among the more conservative German musicians and in
England was nothing short of extraordinary. He undoubtedly gave great
impetus to the study of the classic masters, especially Bach, and his
romantic tendencies were so balanced and controlled as to gain a speedy
recognition for his music. Today, Mendelssohn the classicist is less
admired, and his music will live chiefly for its romantic qualities.
=Mendelssohn’s Life=.—Jakob Ludwig Felix Mendelssohn-Bartholdy[15] was
born at Hamburg, February 3, 1809. His father, a prosperous banker,
moved to Berlin in 1811. His first lessons in music were given him by
his mother, but he soon began to study the piano with Ludwig Berger, a
pupil of Clementi, and composition with Zelter. In 1820, he began to
compose systematically. In 1821, he made the acquaintance of Weber,
and his enthusiasm for the romantic composer lasted all his life. In
1824, he formed a life-long friendship with Moscheles, who gave him
piano lessons. Already he was remarkable for his improvisations and
for playing from scores. In 1825, a trip to Paris brought him into
contact with the celebrated musicians there. In this year he composed
his octet for strings, in which his individuality first asserted itself
strongly. In the following summer he wrote the overture to “A Midsummer
Night’s Dream,” a precocious evidence of originality. In 1827, he made
the first draft of his overture “A Calm Sea and a Prosperous Voyage,”
a further step into the realm of imagination. In 1829, he organized
the first performance of Bach’s “St. Matthew Passion” music since
the composer’s death. In this year a visit to England, where some of
his compositions were performed, was followed by a trip to Scotland,
the Hebrides and Wales, of which his impressions are recorded in the
“Hebrides” overture, the “Scotch” symphony and other works of later
years. He traveled much during the following years. In 1833, after
another visit to England, where his recently composed “Italian”
symphony was played, he conducted a musical festival at Düsseldorf, the
first of many similar engagements. During the next few years he was
constantly employed in conducting, playing and composing, especially
his oratorio “St. Paul.” In 1837, he married Miss Cécile Jeanrenaud.
From this time dates his second piano concerto in D minor, in which are
to be seen traces of Thalberg’s piano style. During the next few years
Mendelssohn lived at Leipzig. In 1843, he established a conservatory
at Leipzig, long the most celebrated in Europe. Schumann, and later
Moscheles, were among the teachers as well as Mendelssohn himself. In
1846, Mendelssohn’s oratorio “Elijah” was given a triumphant first
performance at Birmingham under the composer’s direction. In 1847,
he made his tenth visit to England for performances of “Elijah,” of
his completed “Midsummer Night’s Dream” music (composed in 1845), the
“Scotch” symphony and other works. The death of his sister, Fanny,
following soon after those of his parents, was so great a shock to
him that he went to Switzerland for a rest. He returned improved in
health, but could not consider commissions for new works from England,
Frankfort and Cologne. He was considering a trip to Vienna to hear
Jenny Lind sing in “Elijah” when he was taken suddenly ill and died,
November 4, 1847.
=Personal Traits=.—Mendelssohn is described as having an unusually
animated, winning personality. He was immensely fond of society, which
he could enjoy without detriment to his work. His letters describe
in detail his innumerable professional engagements, his round of
social festivities and his journeys with equal fidelity. Mendelssohn
was fond of out-of-door life, walking, riding and swimming; he also
greatly enjoyed dancing. One of his favorite relaxations was to sketch
from nature or paint in water-colors. Mendelssohn was a remarkable
pianist, of an unaffected type, not a virtuoso, yet his interpretations
were full of vigor, charm and a thoroughly musical spirit. His
improvisations were remarkable for their spontaneous invention,
brilliance and science displayed, and his cadenzas to Beethoven’s 4th
concerto and Mozart’s, in D minor, were striking examples of his skill.
Mendelssohn was also a remarkable organist, if English testimony is
to be credited. At all events, he did much to further the knowledge
of Bach’s organ works. Mendelssohn’s incessant activity undoubtedly
hastened his death; the amount that he compressed into his short life
was incredible.
=Compositions=.—The works most representative of Mendelssohn are the
“Scotch” and “Italian” symphonies, the overtures “A Calm Sea and a
Prosperous Voyage,” “A Midsummer Night’s Dream,” “The Hebrides,”
“Melusina,” “Ruy Blas”; the concertos and two smaller pieces for piano
and orchestra; the concerto for violin; the octet for strings; two
quintets and seven quartets; three quartets for piano and strings; two
trios; two sonatas for piano and ’cello; for the piano, six preludes
and fugues; three sonatas; the “Serious Variations”; six books of
“Songs Without Words”; many smaller pieces, including the “Capriccio,”
Op. 8; the “Rondo Capriccioso,” Op. 14; the Caprices, Op. 33; the
Scherzo à Capriccio and others; sonatas, preludes and fugues for organ;
the oratorios “St. Paul,” and “Elijah”; music to “A Midsummer Night’s
Dream,” to the dramas “Athalie,” “Antigone” and “Œdipus”; the cantata
“Walpurgis Night.” He also wrote a great deal of church music, psalms,
hymns, motets, and cantatas for various occasions, including the
“Lobgesang,” a symphony-cantata; many part-songs, duets and songs for
single voice with piano accompaniment.
[Illustration: FELIX MENDELSSOHN-BARTHOLDY.]
=Mendelssohn’s Tendencies=.—Although he wrote almost exclusively in the
conventional forms, Mendelssohn cannot be regarded as a continuator
of the classics. In form, thematic development, counterpoint,
part-writing, etc., he imitated the letter of classic example closely,
but could not attain the inner spirit. To some extent he followed Bach,
Handel, Mozart and Beethoven, but the chief source of his individuality
is the romanticism of Weber. His piano style is adapted from that of
Weber with some extensions of his own. Showered with praise as he was
during his lifetime, as the possessor of all the classic virtues, we
now admire him chiefly for his romanticism, timid and fastidious though
it appears by comparison with the genuine innovations of Berlioz,
Liszt and Wagner. In the light of the sturdy qualities of Brahms, his
classicism seems superficial. His style was too polished to admit
of real vigor. Nevertheless, Mendelssohn of the two symphonies, the
“Midsummer Night’s Dream,” “Melusina” and “Hebrides” overture, the
violin concerto, the piano concerto in G minor, the sonata for piano
and ’cello in D, the scherzo of the octet, the “Serious Variations,”
the Scherzo à Capriccio and some half a dozen of the “Songs Without
Words” shows us a delicate and charming individuality with the
refinement and decided perceptions of the poet, who regarded the
world with the eyes of a romanticist recording many impressions of
picturesqueness and grace, if seldom of strength.
=Mendelssohn’s Influence as an Artist=.—For a time, Mendelssohn’s
influence was unbounded. His symphonies and overtures were considered
worthy successors to those of Beethoven; his chamber-music was equally
valued; his oratorios were regarded as on a level with those of
Handel; his piano music, especially the “Songs Without Words,” were in
universal vogue. His orchestral style contained many novel features,
it is true, but his chamber-music was not written in the genuine
manner and is far inferior to that of the later master, Brahms. His
oratorios contain some notable choruses and airs, but on the whole are
only faint imitations of the real oratorio style. Still they sufficed
to form the foundation of an English school of composition in this
form. His piano music contains much that is trivial, but at its best
undoubtedly did something to prepare the way for the deeper romanticism
of Schumann, Chopin and Liszt. His songs also have far less variety of
mood and lyric inspiration than those of Schubert and Schumann, but
they too acted as prophets of the more vital creations to follow.
That this reverence for Mendelssohn was no mere infatuation of the
moment but a sober respect can best be judged from the diversity in
nationality and temperament of those who came under his influence:
Gade, the Norwegian; Sterndale Bennett, the English composer and
pianist; Hiller and Reinecke among the Germans, and Rubinstein from
Russia. These names constitute but a small proportion of Mendelssohn’s
disciples, his personality dominated musical England in every branch
of composition for many years; and English composers are only just
beginning to throw off the yoke of adherence to the traditional
oratorio form as exhibited in “St. Paul” and “Elijah.” Schumann admired
Mendelssohn without reserve and without a suggestion of jealousy,
although the tide of popular favor neglected him for his more easily
understood contemporary. Today, criticism has swung possibly too far in
the opposite direction, and Mendelssohn suffers from depreciation.