Aix-la-Chapelle, 219;_Jenny Lind the artist, 1820-1851

J. Lind at, 220, 224

Albert Institute, the, at Windsor, 452

_Allgemeine Zeitung, Deutsche_, extract from, 416

“_Am Aarensee_,” Lindblad’s song, 145

_An den Sonnenschein_ (Schumann), 416, 421;

her last notes on earth, 424

Andersen, Hans Christian, 103;

“Story of my Life,” 103, 104;

letter from J. Lind, 107, 108;

greets her at Copenhagen, 163;

on her genius and character, 163;

an amusing story by, 186;

J. Lind’s friendship, 188, 189

“_Annotation-Book_” of J. Lind, 228

Argyll Lodge, Wimbledon, 450

Arnemann, Consul, 168;

entertains J. Lind at Nienstädten, 225

Arnemann, Mme., 165;

at Berlin, 189

Arnim, Frau Bettina, 132

AT HOME ONCE MORE, 148

_Athenæum_ Newspaper, the, 230, 285

_Auf Flügeln des Gesanges_ (Mendelssohn’s), 221, 263

Augsburg, visit to, 246

Austria, the Empress of, 250;

Emperor, 254

Bach Choir, the, 452

Balfe, Mr., Conductor at H.M.’s Theatre, 260, 280;

conductor on J. Lind’s first provincial tour, 301;

second tour, 339, 344

Barnum, Mr., in action, 405;

his proposals, 406;

generous conduct of, 407, 408, 441

Bates, Mr. (of Baring Brothers), 406

_Beatrice di Tenda_, Cadenza introduced into an Aria, 357

Beaumarchais, criticism on his libretto of _Le Nozze di Figaro_, 290

Beethoven, festival at Bonn in 1845, 155

Behrens, Miss, at Stockholm, 381

Belletti (barytone) supports J. Lind, 98;

at concert for Brompton Hospital, 333;

on tour with J. Lind, 337;

included in American tour, 406, 410;

in _Messiah_, 433;

in Ireland in 1859, 451

Bellini’s _I Puritani_, 327

Benedict, Sir Julius, the Composer, 138;

assists J. Lind in American arrangements, 406;

engaged as pianist, 406;

J. Lind’s estimation of, 409, 410

Bennett, Sterndale, 451

Berg, Herr, 30, 31, 32;

invited to England, 322;

a messenger from King Oscar I., 400

BERLIN, AT THE COURT OF, 115;

THE RETURN TO, 168;

subsequent visits to, 310, 415;

the New Opera House at, 121

Birch-Pfeiffer, Mme., 129;

a good teacher, 130, 131;

knowledge of “stage business,” 210;

Mendelssohn’s negotiations with her for a libretto, 210, 211;

her exertions to write an acceptable libretto, 212;

declines going on with it, 251;

on J. Lind’s mode of study, 361;

her daughter Minni, 397

Birmingham, 342

Blumm, Herr, 66;

meetings at Herr Blumm’s, 74;

on an excursion, 78

Bonde Palace, The, at Stockholm, 42, 91

Bournonville, on the _rôle_ of Alice, 37;

induces J. Lind to sing at Copenhagen, 101, 102;

incident, 104, 105

Brockhaus, Edouard, note-book of, 181

Brockhaus, Herr Heinrich, 146;

diary of, 154, 179

BROMPTON HOSPITAL, CONCERT FOR, 330, 333

Brühl Schloss, near Bonn, 152, 153, 155

Brunswick, 415

Brunton, Mme., 422

Buckingham Palace, 295;

Mme. Goldschmidt at, 451

Bunn, Mr. Alfred, lessee, Drury Lane, 134;

the Contract, 136, 137;

not signed by Mr. Bunn, 137, 165;

J. Lind’s fear of, 229;

fear dispelled, 273;

Mendelssohn’s letter as to Mr. Bunn, 256, 257;

the verdict in his favour, 318

Burnham Beeches, 278;

the Grotes’ cottage at, 368

_Burschenschaft Hannovera_ at Göttingen, 412

Büttner, Herr, 398

Bylandt, Count de, 285

_Cadenze_, 357

Cannes, Mme. Goldschmidt at, 452

Carl Johann (Bernadotte), King of Sweden, Jubilee of, 97;

death of, 106

Carlsruhe, 245

_Casta Diva_ (in the opera _Norma_), at Berlin, 127;

the F♯︎, 356

Catalani, Mme., 115;

death of, 394;

J. Lind on, 403

Chopin, in London, 324;

on J. Lind’s singing, 324;

on her piano passages, 324;

his own _matinées_, a flippant criticism on, 325;

at Mrs. Grote’s, 368

Chorley, Mr., introduced by Mendelssohn, 230;

pleasure in hearing J. Lind, 230, 231

Christmas Eve, a Swedish, 128

Clairville Cottage, 270, 273

College of Music, The Royal, 363, 452

Concert Room, first appearance in, 144;

first in England, 294–297

Concerts—

American, 406, 407;

proceeds of Charity Concert at New York, November, 1850, 445

IN THE PROVINCES, 298

Before the Queen, 294–297

CONTRACT WITH MR. LUMLEY, THE, 225;

provisions of, 235, 236;

second contract, 307

Copenhagen, 101–105;

again at, 160–167

Correspondence with Mendelssohn, 192–195; 204, 208–210; 211, 212; 217,

218; 223; 226, 227; 230; 232–235; 238–242; 243; 250–252; 256, 257

COURT OF BERLIN, AT THE, 115

Court Singer, J. Lind appointed Swedish, 58, 317;

sings as, at Coronation of Oscar I., 113;

at Lyric Concerts, as, 400, 401, 428–431

_Creation_, The, Haydn’s, 221, 246;

critical remarks on, 221

Croelius, Herr, 12;

discrimination of, 13;

portrait of, inscribed by J. Lind, 14

Darmstadt, J. Lind at, 160, 231–236

DAS FELDLAGER IN SCHLESIEN, 122, 129

DÉBUT, THE, AT THE NEW OPERA HOUSE (Berlin), 121;

AT VIENNA, 196

Début, in London, 265

——, reported, in Paris, 90

_Deh vieni, non tardar_ (Mozart’s _Figaro_), 419

Desideria, Queen, wife of Bernadotte, 66;

favours J. Lind, 98;

as Queen Dowager, 109, 110;

a bunch of forget-me-nots, 429

Devrient, Schrœder-, 115;

as Valentine, 190

Disraeli, Rt. Hon. B., on J. Lind, 334, 335

Dolby, Miss, duet with J. Lind, 180

Dresden, 111;

concert at, 415;

as Mme. Goldschmidt’s residence, 450

Düsseldorf, Mme. Goldschmidt in _Elijah_ at, 415

Echo Song, Norwegian, 194, 357, 432

Ed-Sollentuna, 8, 14

_Elijah_, Mendelssohn’s letter upon, 212;

first performance of, 233;

at Exeter Hall, 262, 452;

for foundation of Mendelssohn Scholarships, 340;

soprano part composed for J. Lind, 340

Elizabeth, Queen of Prussia, personal interest of, in J. Lind, 145, 146

Empress-Mother of Austria, the, 215

Ems, J. Lind at, 396

Erikson, Mme., 35;

letter from J. Lind, 173, 174

Ernst, H. W., on tour with Mr. and Mme. Goldschmidt, 451

_Euryanthe_, remarks on, 139, 140

Feilitzen, Mme. Lotten von (Lindblad’s daughter), 43

Fellborg, Anna Maria, mother of J. Lind. (_See_ Lind, Fru.)

Ferndal, Carl, organist and parish clerk at Ed-Sollentuna, 8, 14

FESTIVAL, LOWER RHINE MUSICAL, 217;

committee of, 219

_Figlia del Reggimento, La_, 151, 281–3

Forsberg, Herr, 15;

signs J. Lind’s first theatrical agreement, 18;

J. Lind’s letters to 71, 82, 453

Frankfort, 156–9, 228

Frederick William IV., rebuilds Berlin Opera House, 121;

recognition of J. Lind’s talent, 146;

causes her to sing to English Royal Guests, 152;

appoints J. Lind Kammersängerin, 311

French, Baroness and Miss French, 373, 374, 402, 425

FRIENDS IN ENGLAND, 366

Frith, Mr. (‘Reminiscences’), 407

_Frühlingslied_ (Mendelssohn), 181, 221

Fund, the Swedish (J. Lind’s American earnings), destination of, 408

——, the Nightingale, 451

——, the Turkish Refugee, 452

Fundin, Mina, friendship for J. Lind, 21, 22;

invited to meet J. Lind at Nienstädten, 225;

concert for benefit of, 317

Gade, Niels W., Herr, 163;

his Cantata _Comala_, 193

Garcia, Signor Manuel, 66;

first opinion of J. Lind, 67;

a further hearing, 68, 69;

on J. Lind in tragedy, 78;

J. Lind’s desire to be taught by him, 66

Gardoni, Signor, 260;

on tour in England with J. Lind, 301

GASTROLLEN, definition of the term, 122;

at Copenhagen, 161;

at Berlin, 169

Geibel, Dr. Emanuel, the poet, 199, 213

Geijer, Professor Erik Gustaf, 56;

influence of, on J. Lind, 56, 57;

his song for J. Lind, 57;

scholarships in his memory founded by Mme. Goldschmidt, 408

Geijer, Mme. Erik Gustaf, letter written after musical festival at

Aix-la-Chapelle, 222

Gewandhaus, the, at Leipzig, concerts, 178, 200, 201

Goldschmidt, Mme., artistic career, 451;

concert at Cannes, 452;

gift of mimicry, 453;

a severe critic, 453;

inner life, 454;

her dominant self, 456;

on her own performance of Alice, 266;

on flexibility of the larynx, 362;

objections to contortions of visage, 363;

singing beneficial to the chest, 363;

letter to the late Mr. Deacon, 363, 364;

Queen Marie of Hanover’s record, 414, 415

Goldschmidt, Mr. Otto, as accompanist, 449;

at Leipzig, 179;

concert for Brompton Hospital, 333;

at Hamburg accompanying J. Lind, 399;

the Lübeck ball, 411;

concert (Hamburg), 399;

American tour, 449;

marriage, 448, 450;

co-operation with madame, 451, 452;

_Ruth_, 452

Gothenburg, 38, 39

Göttingen, 412, 413

Grisi, Mme., J. Lind’s opinion of, 76, 77;

as Norma, 286;

secedes from H.M. Theatre, 231, 260;

generous words of, 285, 286

Grote, Mr. Joseph, entertains J. Lind, 387

Grote, Mrs., on first appearance of J. Lind before the Queen, 155;

on J. Lind’s desire to leave the stage, 156;

the Bunn contract, 156, 229;

entertains J. Lind, 262;

MS. Memoir, 263, 307, _et passim_;

a home-thrust by, 264;

on Mr. Lumley’s _fête_, 299;

at Clairville, 299;

account of J. Lind’s first provincial tour, 300, 301;

“Farewell,” 307;

provincial tour, 1848, 337–339;

the literary and musical world, 368;

J. Lind with her at Paris, 392

Guhr, Prof., enthusiasm of, 157

Günther, Prof. Julius, 100, 101;

at Westerwik, 105;

concerts with J. Lind for Josephson, 106, 107;

engagement to J. Lind, 322;

broken off, 387

Habicht, the Chevalier Charles Edward, 446

Hall, Mr. and Mrs. S. C., 330

Hamburg, J. Lind’s first appearance at, 148;

concerts at, 399

Handel, revival of _L’Allegro_ and _Il Penseroso_, 452;

_Messiah_ at Liverpool, 433;

at Halle, 451

Hanover, King Georg V. and Queen Marie of, 225;

became acquainted with J. Lind, 412;

the Queen’s Reminiscences, 412–15

Harris, Capt. Claudius, 387–91

Hauser, Herr Franz, biographical note, 203;

proves a true friend, 205;

letters from Mendelssohn, 204, 217, 223

Heiberg, Fru (famous Danish actress), the beauty and genius of, 101

Heidelberg, J. Lind at, 245

_Heimdall_, a Swedish literary periodical, 25;

description of J. Lind’s singing, 31

H.M. Theatre, affairs in disorder, 231;

review of perplexities, 259;

State visit to, 284

Hierta, M. and Mme. Lars, 89, 90;

letters from J. Lind, 123, on her philanthropic plans, 313, 314

_Huguenots, Les_, 189

_Ich muss nun einmal singen_, song by Rellstab and Taubert, 311, 414,

416

Jaeger, Fräulein Augusta von, 253;

letters to, 361, 362, 425

Jaeger, Prof. and Mme. von, 247;

letters to, 272, 275, 315, 319, 320, 321

Jensen, the artist, picture by, 105

Joachim, Prof., at Leipzig, 252;

on tour with Mr. and Mme. Goldschmidt in Ireland, 451

Johannson, Louise, 8;

resides with J. Lind, 41;

letter to, 62;

companion to, 91

Josephson, Jakob Axel, 99;

J. Lind’s assistance to, 100, 106, 107, 176;

welcomes her to Dresden, 112;

visits her at Berlin, 128;

on her Berlin success, 167;

letter from J. Lind to, 176, 177;

concert for the benefit of, 317

Jüngken, Prof., letter from, 416

Kammersängerin, appointment as Austrian, 254;

as Prussian, 311

Kaskel, Consul Karl, 112, 113

Kaulbach, Prof. and Mme. Wilhelm von, 238, 243;

letters to, 244, 323, 336

Koch, M. and Mme. von, 65, 151, 156

Kuhe, Mr., concert at which J. Lind sang, 215

Küstner, Herr von (_Intendant_ of the R. Theatres, Berlin), 129, 309

Lablache, Signor, 259;

alone faithful, 260;

letter to Mr. Lumley, 261;

introduced to J. Lind, 263;

J. Lind on, 295;

at Osborne, 295;

Dottore Dulcamara, 327;

at concert for Brompton Hospital, 333;

on J. Lind’s _fioritura_, 361;

at Mrs. Grote’s, 368

Lablache, Signor F., on tour in England with J. Lind, 301, 337;

on tour with Mr. and Mme. Goldschmidt, 451

Ladugårdslands church, at Stockholm, 64

Lansdowne House, concert at, 277

LAST OPERA, THE, 348

LAST WORDS, 448

Leopold, King of the Belgians, on J. Lind, 155;

at Buckingham Palace, 295

Lewin, Mr. Edward, 156, 229;

on tour in England with J. Lind, 301, 337;

at home in Swedish, 301;

the friend of J. Lind, 301, 369;

escorts J. Lind to England, 369

Leipzig, 178;

the Conservatorium at, 179

_Lexicon, Swedish Biographical_, 11

Lind, Fru (the mother of Jenny), 8, 20, 21;

Jenny boarding with her, while a pupil at Theatre-School, 17;

letters from, 38, 39, 40, 41;

J. Lind’s record of their meeting in 1848, 319;

regarding her death, 443–445

Lind, Jenny, Retrospection, 1–6;

at the Royal Theatre, 7;

Birth, parentage, and early life, 7;

detection of musical gifts, 10;

the historic _fanfare_, 10, 11;

adoption 11;

introduction to Croelius, 12;

PUPILAGE, 15;

agreement, 16, 17;

summary of training, 17;

first recorded letter of, 22, 23;

CAREER, 24;

dramatic power, 24, 77;

first appearance, _æt._ 10, 24, 25;

_Heimdall_, 25, 30, 31;

_The Daily Allehanda_, 29, 30;

DISCOVERY, 35;

overstrain, 37, 38;

country life, 38, 39;

leaves her mother, 41;

final disruption, 42;

a congenial home, 42;

serenade and presentation of plate, 43;

the “nightingale,” 44;

in Stockholm society, 48, 49, 50;

personal appearance of, 53;

height, 53;

CHARACTER, 54;

PILGRIMAGE, 58;

provincial tour (Sweden), 62;

characteristic charities, 62, 63, 161, 163, 164;

overstrain, 63, 64;

remuneration (1840), 64;

object of visit to Paris, 64, 66;

IN PARIS, 65;

energy and perseverance, 68, 69;

_ab initio_, 70;

scale practice, 70;

the shake, 70;

management of the breath, 70, 71;

railway accident, 78, 79;

recovery of full powers, 80;

engaged for Stockholm, 85, _seq._;

false report of Parisian _début_, 89, 90;

ACHIEVEMENT, 91;

HOME: AND AFTER?, 91;

_messa di voce_, 92;

change of guardianship, and provision for parents, 94, 95, 97;

sings at Copenhagen, 102;

return to Stockholm, 106;

letter on _Armida_, 106;

Dresden, 109;

study of German, 111;

recalled to Stockholm, 113;

appearances at, 114;

offer of engagement and pension, 114;

final refusal, 114;

arrival at Berlin, 115, 116;

TRANSFIGURATION, 117, 118;

generosity of J. Lind, 123, 124;

_début_ in Norma, 125;

first appearance as Vielka, 131;

a serenade, 133;

text of the Bunn contract, 130, 137;

Bunn contract signed, 137;

alarming attack, 141;

a touching _Auf Wiedersehen_, 144;

“oscillation,” 147, 379;

at Hamburg, 148;

return to Germany, 153;

appears before Queen Victoria, 154;

at Frankfort, 154, 156, 157;

voice, 157;

_cadenzas_, 157;

at Copenhagen, 161;

at Leipzig, 179, _seq._;

ovation at, 182, 183;

_Die Vestalin_ at Berlin, 184;

at Weimar with Andersen, 188;

_Die Hugenotten_ at Berlin, 190;

a sprained foot, 192;

AUF WIEDERSEHEN, 192–197;

again at Leipzig, 198, 200;

_début_ at Vienna, 205;

enthusiastic receptions, 205–7;

LOWER RHINE MUSICAL FESTIVAL, 217;

at Aix-la-Chapelle, 220;

at Hanover, 225;

at Hamburg, 226;

excessive fatigue, 226;

rest, 227;

memorable visit to Frankfort, 229;

refusal of Mr. Lumley’s offers, 229;

fear of Mr. Bunn, 229, 256;

at Darmstadt, 231;

the Lumley contract, 235, 236;

_concerts particuliers_, 239, 240, 242;

at Vienna, 253;

accepts Mr. Lumley’s proposals for London, 262;

visits Mrs. Grote, 262;

nervousness, 263;

“a private” hearing, 263;

perseverance and punctuality at rehearsals, 264;

_Roberto il Diavolo_, 265 _et seq._;

the Terzetto in Act V., 266;

LA SONNAMBULA, 278 _et seq._;

“the Priestess of Nature,” 283;

_Norma_, 284;

_I Masnadieri_, 288;

the music of Mozart, 290;

among British Royalties, 294;

Swedish songs, 295;

operatic triumphs reviewed, 296;

how our national heart was won, 297;

IN THE PROVINCES, 298;

studying at Burnham, 298;

at Mr. Lumley’s _Fête champêtre_, 299;

on tour, 300;

_Dove sono_, 302;

Swedish songs, 302;

last weeks in England, 307;

departure, 307;

arrival at Berlin, 310;

_La Sonnambula_, 310;

farewell to Berlin stage, 310;

appointed Prussian _Kammersängerin_, 311;

last

notes at Berlin, 311;

religious convictions, 315;

voice in normal splendour, 316;

last appearance at Stockholm, 317;

grief for the death of Mendelssohn, 320, 321;

the Fund for the Theatre School, 321;

engagement to Herr Günther, 322;

broken off by mutual consent, 387;

farewell to Sweden, 323;

arrival in London, second season, 324;

re-appearance at Her Majesty’s Theatre, 324;

_Lucia_, 326;

_I Puritani_, 327;

unrivalled as a composer of _cadenze_, 327, 328;

concert for Brompton Hospital, 332;

on tour in England, 337, 338;

at Leeds, 338;

the Mendelssohn Foundation, 337, 339 _et seq._;

performance of _Elijah_, 340;

at Manchester, 342;

at Birmingham, 342;

Yule-tide at Crumpsall, 343;

concert for Southern Hospital, Liverpool, 343;

“Jenny Lind Infirmary for Sick Children,” 343;

at Norwich, 343;

College Hall, Worcester, 344;

list of charity concerts in nine weeks, 345;

intended renunciation of Stage, 348;

Lumley in despair, 349;

a compromise, 349;

re-appearance in Opera, 350;

glorious reception, 350;

the last farewell to the Stage, 350, 351, 352;

THE METHOD, 355;

quality of voice and vocal _technique_, 355, 356, 361;

Norwegian Echo Song, 357;

the basis of the voice, 357;

indomitable perseverance, 357, 361;

_cadenze_, 357;

the shake, 358, 359;

exercise on the shake, 358, 359;

management of the breath, 359, 360;

articulation, 360, 361;

summary of eleven years’ work, 364, 365;

the home of her adoption, 366;

a kindly refuge, 369;

as St. Cecilia, 369;

influence of the Stanley family, 369 _et seq._;

the Bishop’s bible, 371;

WHY DID J. LIND LEAVE THE STAGE?, 376;

the domestic instinct, 380;

quotation from letter to Mme. Erikson on retirement, 381;

to Josephson, 381;

to Miss Behrens, 381;

to Mme. Wichmann, 383;

to Mme. Birch-Pfeiffer, 383;

appeal from Rellstab, 383;

resolved to leave the Stage, 384;

visit to Mr. Joseph Grote, 387;

engagement to Captain Harris, 388;

Mr. Nassau Senior’s advice, 390;

the settlements, 390;

engagement broken off, 392;

Paris, 393;

cholera, 394;

at Cologne—a crisis, 394;

shattered nerves, 395;

at Meran, 398;

Berlin, 400;

American contract signed, 405;

last concert as J. Lind, 408;

destination of “private or separate fund,” 408, 409;

happy days, 410, 411, 422;

with the Schumanns at Hamburg, 420 _et seq._;

the Academic Union of Lund, 424;

the Stockholm medal, 429, 430, 431;

address, 430;

Moreton Gardens, picture of J. Lind at St. Clara, Stockholm, 431;

at Liverpool, 432;

marriage, 448

Lind, Niclas Jonas, the father of J. Lind, 7, 8;

resigns guardianship of, 97

Lindblad, Adolf F., the composer, opera by, 32;

receives J. Lind into his home, 42;

biographical sketch of, 42, 54;

his influence on J. Lind, 55;

his songs, 55, 297

Lindskog, Mdlle. Apollonia, 41;

accompanies J. Lind to Dresden, 112, 113

Liverpool, J. Lind at, 343, 347, 433;

departure from, 436;

the _Messiah_ at, 347

Liverpool, the late Lord, on J. Lind, 155

Lona, Tante. _See_ Lindskog.

London, J. Lind’s arrival in, 262

_Lower Rhine Musical Festival_ (1846), _the_, 217–224

Lübeck, 402;

American contract signed at, 405–407

Lumley, Mr., 229;

affairs of H.M. Theatre, 231;

letter of introduction to J. Lind for, from Mendelssohn, 232, _seq._;

letter to Mendelssohn from, 234, 235;

conditions of the Lumley Contract, 235, 236;

managerial enterprise, 261, 287;

anxiety for a new opera, 287;

withdrawal of Mendelssohn, 287;

Verdi’s _I Masnadieri_, 288;

Lumley’s villa near Putney, 299;

at Bath, 307;

second contract with J. Lind, 307;

the Bunn verdict, 318;

on season of 1848, 329;

liberality of, 332;

her loyalty to, 390

Lund, University of, donation from J. Lind, 408

Lundberg, Mdlle. (a dancer at the R. Theatre, Stockholm), 12

Magnus, Professor, portrait, of J. Lind, 195, 251;

replica of the portrait, 196

Malvern Hills, cottage on the, bought, 408;

Mme. Goldschmidt’s last illness at, 423, 424;

her last notes, 423, 424

Manchester, J. Lind at, 338, 342, 432

Mario (famous tenor), revolts from Lumley, 260;

memorable party at St. Petersburg, 285

Mendelssohn-Bartholdy, Felix, 2, 3;

first meeting with J. Lind, 119;

his opinion of J. Lind, 163;

at Berlin, 177;

concert at the Gewandhaus, Leipzig, 181, 182;

his speech, 183;

letter to J. Lind, 192, 208, 211;

_Elijah_ unfinished, 212;

correspondence with Hauser, 217, 223;

further letters to J. Lind, 226, 230, 232, 238, 250, 256;

last visit to England, 262;

receives J. Lind, with Mrs. Grote, 262;

produces _Elijah_, 262;

disappointment as to Scribe’s _libretto_ for _La Tempesta_, 287;

songs by, sung by J. Lind at Osborne, 295;

death of, 320;

influence of, on J. Lind, 321, 385;

proposed School of Music in honour of, 337

Mendelssohn, Mme. Felix, 199;

letters from J. Lind to, 396

Meran, J. Lind at, 398

“METHOD, THE,” 355–364

Meyerbeer, 2, 34;

hears J. Lind in Paris, 87;

his opinion of her, 89;

anxiety to engage her for the Berlin Opera, 109;

“enchanted” by her interpretation of his _Vielka_, 131;

letter from, 142;

his _Vielka_ at Vienna, 254, 255;

in Paris, 393;

his _Prophète_, 393

Mozart, the music of, 290;

his _Recitativo secco_, 291, 293;

J. Lind’s admiration of, 290

Munich, at, 238, 243, 244

Munthe, Carl, 95–97

Munthe, Judge H. M., 31;

character of, 95;

letters to, from Berlin, 116, 147, 177;

letter to, from Stuttgard, 245;

from London, 274;

a noteworthy letter from J. Lind, 336;

in Paris, and travelling with J. Lind, 394, 395;

letters to, 410, 441

New York, a day’s work in, 445, 446

Nienstädten, near Altona, J. Lind’s visits to, 168, 225

Nightingale, 43, 157, 164;

“The Swedish,” 271;

the beloved, 297;

J. Lind’s, 298;

the Northern, 412, 415

Nissen, Mdlle., 70;

sings with J. Lind, 74, 75;

her prospect of high reputation, 76

Norwich, 302;

the Cathedral, 302;

reception continued, 303, 304;

at, 343

NOZZE DI FIGARO, LE, 290–293

Nuremberg, J. Lind at, 245

Oak Lea, Wimbledon, 450

Œhlenschläger, the poet, 163

Oldenburg, J. Lind at, 415

_O Jugend, O schöne Rosenzeit_ (in Mendelssohn’s song), 412

Operas:—

_Anna Bolena_, 64

_Armida_ (Gluck), 196

_Château de Menténero_ (Dalayrac), 36

_Divertissement National_ (Berwald), 97, 98

_Don Giovanni, Il_ (_Don Juan_), Berlin, 169

_Elisir d’Amore, L’_, 319;

first time in London, 326

_Elves, The_ (Van Boom), 365

_Euryanthe_ (Weber), 43, 138, 139, 140

_Feldlager in Schlesien, Das_, 109, 111, 112;

in Berlin, 131–133;

at Vienna, 253

_Ferdinand Cortez_ (Spontini), 365

_Figlia del Reggimento_ (first appearance), 150;

its special charm, 151;

at Vienna, 248;

in London, 282;

at Berlin, 310;

at Stockholm, 316;

last performance, 350

_Freischütz, Der_ (Weber), 35, 36, 71, 148;

at Berlin, 170;

at Vienna, “an immense success,” 214;

at Stockholm, 316;

grand _Scena_ from, 360

_Frondörerne_ (Lindblad), 32

_Gazza Ladra, La_, 93

_Huguenots, Les_, 93;

at Berlin, 189;

Vienna version, _Die Ghibellinen in Pisa_, 214

_Jag går i Kloster_ (Berwald), 365

_Lucia di Lammermoor_, 43, 150;

first time in England and _Times_ critique on, 325, 326

_Marie_ (Hérold), 43

_Masnadieri, I_, 288

_May Day in Wärend, A_, 97, 106

_Norma_, 64;

at Stockholm, 92;

at Berlin, 125–127;

at Vienna, 205, 206;

in London, 284

_Nozze di Figaro, Le_, 93, 243, 290;

the _Recitativo secco_, 293

_Puritani, I_, first performance by J. Lind, 327;

_Times_ critique upon, 328

_Roberto il Diavolo_, 34, 36, 41, 42;

at Copenhagen, 102;

at H.M. Theatre, 265 _et seq._;

last performance, 350, 351

_Semiramide_ (Rossini), 93, 365

_Sonnambula, La_, at Stockholm, 93, 149;

at Vienna, 207;

ovation, 214, 215;

in London, 278 _et seq._;

second season in London, 324;

last performance, 350, 351

_Swiss Family, The_ (Weigl), 63, 92

_Straniera, La_, 30, 63

_Turco in Italia, Il_ (Rossini), 150

_Vestale, La_ (Spontini), 36, 43;

at Berlin, 184

_Vielka_ (_Das Feldlager in Schlesien_), at Vienna, 253;

Fräulein von Jaeger’s account of, 253, 254;

the famous Trio in, 253

_Zauberflöte, Die_, 63, 349

Opera Houses:—

Berlin, 125, 169;

final farewell, 310

Copenhagen, 102, 161

Dresden, 112

Hamburg (Stadt-Theater), 148

Hanover (Court Theatre), 225

Munich, 244

Stockholm, 149 _et seq._

Vienna, 204, 247

Operatic Parts. _See_ Operas.

Oratorio, J. Lind in, 376;

“the wish of my heart,” 396

Oratorios:—

Haydn’s _Creation_, Aix-la-Chapelle, 221, 223;

Exeter Hall, 345, 452

Handel’s _Messiah_, Liverpool, 433;

Halle, 451;

(Rotterdam, 1855);

Düsseldorf, 451;

Exeter Hall, 452

—— _Alexander’s Feast_ (Aix-la-Chapelle), 221

Handel’s _L’Allegro ed Il Penseroso_, 452

—— _St. Cecilia_, Ode, Düsseldorf, 451

Mendelssohn’s _Elijah_ at Exeter Hall, 340, 452;

at Düsseldorf, 415

Schumann’s _Paradise and the Peri_ at Düsseldorf (1855);

in London, 451

Otto Goldschmidt’s _Ruth_, 452

Osborne, J. Lind at, 295

Oscar I. of Sweden, coronation of, 113;

request to J. Lind, 400;

letter from, 400, 401

Paris, J. Lind in, 65;

street cries of, 69;

J. Lind’s opinion of, 81;

Italian Opera, 76, 89;

visit to, in 1849, 392

Pasta, Mme., _Norma_ written for, 125

Perman, Fru (Östersund, Sweden), 9

Persiani, Mme., J. Lind’s impressions of, 76;

in revolt, 231;

secedes from

H.M. Theatre, 260

Pillet, Leon, Mons., Director, Grand Opera, Paris, 88;

contradiction of false reports respecting, 90

Plays:—

_Adèle de Sénanges_, 33

_American Monkey, The_, 35

_Angelo Malipieri_, 33

_Bride of the Capital, The_, 33

_Bride of the Tomb, The_, 33

_Death of Wallenstein, The_, 33

_Fausse Agnès, La_, 29

_Fisherman, The_, 33

_Foster-Son, The_, 30

_Jealous Wife_, 33

_Jenny Mortimer_, 33

_Johanna de Montfaucon_, 29

_Ludicrous Encounter, The_, 33

_Marie di Sivry_, 33

_New Bluebeard, The_, 32

_New Garrison, The_, 30

_Pasha of Suresne, The_, 29

_Polish Mine, The_, 25

_Sentinel, The_, 33

_Sons of King Edward, The_, 33, 35

_Students of Småland, The_, 29

_Testamentet_, 25–29

_Thirty Years of a Gambler’s Life_, 29

_Unknown Son, The_, 32

_Zoe_, 33

(To this list must be added certain ephemeral plays, or fragments of

plays—to the number of about a dozen—not mentioned in the text.)

Pokorny, Director (Vienna), 158, 247;

in despair, 205

Prince Consort, H.R.H. the late, 152, 155;

at H.M. Theatre on J. Lind’s appearance, 265;

state visit to the opera (_Norma_), 284, 350, 351

PROVINCES, IN THE, 298

Prussia, Princess of (the late Empress Augusta), 117

Puget, Mdlle. du, 73, 74

Puke, Count, 12, 13

QUEEN’S STATE VISIT TO THE OPERA, THE, 284

Rachel, J. Lind on, 77

Redern, Graf von, 160;

messages to, 399, 443

Reeves, Mr. Sims, 452

Rellstab, Ludwig, critic and poet, 126, 191;

author of _libretto_ of Meyerbeer’s _Camp of Silesia_, 122;

of Prologue for Festival performance of Weber’s _Euryanthe_, 139;

his criticisms on J. Lind’s “Norma,” 126;

“Euryanthe,” 140;

“Agatha,” 171;

“Julia,” in _La Vestale_, 184;

“Valentine,” in _The Huguenots_, all at Berlin, 190;

his notices on farewell performance second Berlin season, 196;

in _La Sonnambula_ once more at Berlin (1847), 310;

his protest against her retirement from the stage, 383;

welcomes her back to Berlin and reviews her as a concert-singer,

417–420

Reyer, Mme., 116, 128

Rhine, the, 219 _et seq._

Ridderstolpe, Baroness, 116, 119, 128

Roger, M., the great French tenor, 337;

“Mark this well,” 338;

his “Le Carnet d’un Tenor,” 285

Rollet, Hermann, poet, 188

Rossi, Countess (Sontag), 116;

fame of, 117, 417

Ruckman, Fröken Marie, 81

Ruffiaques, Mme., J. Lind’s hostess at Paris, 66, 73

Sainton, M., on tour with Mr. and Mme. Goldschmidt, 451

Sassenay, Marquis and Marquise de (Aix-la-Chapelle), 220

Schiller, tomb of, 188;

his _Die Räuber_ (Verdi’s _I Masnadieri_), 288

Scholarships:—

“Geijer,” at Upsala University, 408

“Jenny Lind,” at the Stockholm Academies, 313, 314, 321

“Mendelssohn,” in London, 340

“Bishop Tegnér,” at Lund University, 408

Schrœder, Herr Schoeltz von, Prussian envoy to Denmark, 160

Schumann, Mme. Clara, at Leipzig, 200;

at Vienna, 248;

diary of, 249;

introduced to Mme. Wichmann by J. Lind, 255;

her diary recording their meeting and joint concerts at Hamburg,

420–422;

concert in London, 452

Schumann, Dr. Robert, at Vienna, 248;

at Hamburg, 420;

his genius, 423;

his songs, 420–422;

his _An den Sonnenschein_, 421, 424

Schwabe, Mr. and Mme. Salis, at Manchester, 343, 373;

with J. Lind at Liverpool, 432;

letters to, 375, 398, 427

Schwerin, Court Theatre at, 149

Seminoff, Fräulein von, 422

Senior, Mr. Nassau, 266, 393;

his advice and intervention, 390–392

Shake, the, 269;

Queen Victoria’s remark on it, 280;

Mme. Goldschmidt’s way of teaching it, with musical example, 358, 359

Soult, Mme. la Maréchale, 66

South Germany, 237

Spontini at Berlin, 170;

his masterpiece, 184

St. Clara (parish of), at Stockholm, 7;

singing at, 431

Stanley, Arthur Penrhyn (Dean of Westminster), descriptive letter from,

303–307

Stanley, Bishop, of Norwich, 301;

invitation to J. Lind, 302;

his watchful care of her, 369;

farewell letter, 370;

the Bishop’s present of a Swedish Bible, 371

——, Mrs. (the Bishop’s wife) motherly devotion to J. Lind, 369, 392;

letters on her second visit to Norwich, 372, 373;

conversation with, 388;

J. Lind’s letters to, 353, 449

Staudigl, Herr, at Vienna, 205;

in _Figaro_, at H.M. Theatre, 291

Stedingk, Fröken von, her Diary, 98, 109;

on J. Lind’s return to Sweden in 1848, 313, 318;

in 1850, 428, 429

Stockholm, Home for Widows of Burghers, 11;

soirée at in 1839, 48, 50;

J. Lind’s return to, 316, 428;

Children’s Hospital at, 409

Students, the Göttingen, 412;

letter to, from J. Lind, 413

Stuttgard, at, 243

_Suleika_ (Mendelssohn), 419

Sweden, bequest to, 313, 314, 408, 430

Swedish Songs, at Dresden, 113;

at Berlin, 145;

at Leipzig, 180, 181;

at Buckingham Palace, and at Osborne, 295;

at Norwich, 302;

at Hanover, 411;

in America, 442

Swedish Medal Committee and address, 429

Taglioni, Mons. Paul, 109

Tamburini, 259, 260

Tasmania, Bishop Nixon of, 304, 306;

J. Lind on, 371;

letter to J. Lind, 371.

Taubert, Prussian Hof-Kapellmeister, at Leipzig, 192;

Mendelssohn’s account of, 193;

at Vienna, 213, 218;

new song by, 311, 442;

messenger to J. Lind from King of Prussia, 400

Tegnér, Bishop, Scholarships in memory of, 408

TEMPESTA, LA, 289

Tengmark, Fru, Jenny’s grandmother, 9, 10

Thalberg, Sigismund, a visitor at Clairville, 330;

at Mrs. Grote’s, 368

Theatre, Royal, at Stockholm, 15;

school of girls, 15, 16;

directors of the, 16;

J. Lind invited to sing for, by the King, 400

Tieck, the poet, an evening spent with him, 133

Topelius, the Finnish poet, 99

Tuczec, Fräulein, 122–125;

the Zerlina of, 170;

in the concert-room, 145, 418

Upsala, J. Lind at, 37, 38;

concert at, for Josephson, 107;

University of, 408

Victoria, Queen, the preparations for entertaining, on her first visit

to the Continent since her accession, 152, 153;

enchanted with J. Lind, 155;

at Frankfort, 159;

at H.M. Theatre, 265, 267;

enthusiasm of, 268;

critique on _Sonnambula_, 280, 281;

constant attendance at H.M. Theatre, second J. Lind season, 328, 329

_Vielka._ _See_ Meyerbeer.

Vienna, J. Lind at, 202;

the _début_ at, 205;

J. Lind’s love for, 215, 276

Vivanot, Dr., 202;

death of Mme., 247

Wainwright, Bishop, of New York, 448

Weber, Carl Maria von, 138

Weigall, Lady Rose, memorandum by, 117–119

Weimar, J. Lind and Andersen at, 187;

at Goethe’s and Schiller’s graves, 188

Wellington, the Duke of, 277, 346

West, Captain, s.s. _Atlantic_, 437

Westmorland, Earl of, 116, 117;

and the Bunn contract, 135

Westmorland, Lady, testimony of, 117, 118

Why did J. Lind leave the Stage?, 376–392

Wichmann, Prof. Ludwig and Frau Amalia, their home, 119, 415;

Magnus’ portrait of J. Lind, a tribute from her to them, 195;

medallion-portrait by Prof. Wichmann, 195, 309;

letters to Frau Amalia, 168, 199, 213, 254, 309, 337, 394, 409, 442

Wichmann, Herr Rudolph (member for Koenigsberg in the German

Reichstag), 169, 224

Willis, Parker, notes on J. Lind, 445–447

Wilton, Mr., agent for Mr. Barnum, 405, 406

Wimbledon, 368, 450

Windsor Castle, Mme. Goldschmidt at, 451

Wynd’s Point, Malvern Hills, 461–462

_Zauberflöte, Die_, 63, 349

_Zwiegesang_ (Mangold’s) first time, 419

-----

Footnote 1:

_e.g._ The ‘Appendix of Music,’ etc.: published separately by Messrs.

Novello & Co.

Footnote 2:

Recorded by Mrs. Grote, in her Note-book, as said to her by

Mendelssohn in 1846. _Cf._ Mendelssohn’s words to Hans Andersen, at p.

163.

Footnote 3:

The editor of this Biographical Dictionary had written to her to ask

if she could give him any account of her artistic training.

Footnote 4:

“Jenny Lind” appears as the formal name, even in the official

document. Only once, _i.e._ in the Confirmation certificate, 1836,

does the full name of her christening reappear, “Johanna Maria Lind.”

Footnote 5:

In estimating these figures concerning her fixed salary, it must be

remembered that there was, besides, “Play-money,” _i.e._, a bonus

given on each appearance.

Footnote 6:

Randel was, then, 2nd Leader of the R. Orchestra.

Footnote 7:

Grove’s ‘Dictionary of Music,’ Art. “Lindblad.”

Footnote 8:

_Cf._ Biography in Geijer’s Collected Works, 1873–75.

Footnote 9:

They were printed, with music, in the ‘Linnaea Borealis Poetisk

Kalender,’ 1841.

Footnote 10:

The wife of Maréchal Bernadotte, who became King of Sweden and Norway,

in the year 1818, under the title of Karl XIV. Johann.

Footnote 11:

It is necessary that these words should be very distinctly recorded;

for, their frequent misquotation, in the newspapers, and elsewhere,

has led to a very false impression, equally unjust to master and

pupil. The _Maestro’s_ exact words were, “_Mademoiselle, vous n’avez

plus de voix_”—not, “_Vous n’avez pas de voix_.” Mdlle. Lind had once

possessed a voice; but it had been so strained, by over-exertion, and

a faulty method of production, that, for the time being, scarcely a

shred of it remained.

Footnote 12:

The exact date of these two interviews with Signor Garcia cannot now

be ascertained.

Footnote 13:

This, and all other extracts from the collection of letters in the

Lindblad family, have been kindly furnished by Madame Grandinson,

(_née_ Lindblad.)

Footnote 14:

The _début_ really took place on March 7, 1838; _i.e._ “four years

ago.” See pp. 35–36.

Footnote 15:

See note, p. 11.

Footnote 16:

Afterwards, Madame Siegfried Saloman.

Footnote 17:

Philippe was an old servant of Herr Blumm’s, who, with his

characteristic kindness and courtesy, sent him to attend Mdlle. Lind

to and from her lessons with Garcia.

Footnote 18:

A kind of rye bread, baked in large thin round cakes, with a hole in

the middle, by which they are hung up in bundles, and thus kept fresh

for a long time.

Footnote 19:

The early Service, on Christmas Day.

Footnote 20:

Equal to 8,000 francs; or £320 sterling.

Footnote 21:

It is possible that this may be a _lapsus calami_, for “six to seven

thousand”—_i.e._ 12,000 to 14,000 francs, or £480 to £560. The larger

sum seems improbable, to the last degree.

Footnote 22:

Possibly, Mdlle. Lind’s idea of tragedy may have differed from Signor

Garcia’s. On such a point, the Scandinavian and the Keltic temperament

were scarcely likely to be in very close accordance.

Footnote 23:

Herr Gelhaar was a member of the Royal Orchestra at Stockholm.

Footnote 24:

Rather less than £5 10s.

Footnote 25:

A technical term, applied to the art of swelling or diminishing the

tone of the voice, by imperceptible gradation from the softest

attainable _piano_, to the full volume of its utmost power, and _vice

versâ_.

Footnote 26:

‘Gedenkblätter an Jakob Axel Josephson,’ von N. P. Õdman, 1886.

Footnote 27:

‘Biography of J. A. Josephson,’ p. 106.

Footnote 28:

_Ib._, p. 124.

Footnote 29:

_I.e._ Count and Countess Carl Björnstjerna.

Footnote 30:

‘_Aus dem Leben eines Schwedischen Componisten; Gedenkblätter an Jakob

Axel Josephson_,’ von N. P. Õdman (Stockholm, 1886), vol. ii.

Footnote 31:

Long since burned down, and rebuilt on a still grander scale.

Footnote 32:

See page 110.

Footnote 33:

About £420 sterling.

Footnote 34:

Afterwards the Empress Augusta.

Footnote 35:

His Excellency and Lady Westmorland.

Footnote 36:

From a private memorandum written by the Lady Rose Weigall, by whose

kind permission it is inserted here.

Footnote 37:

The full title of the Opera was, “_Das Feldlager in Schlesien. Oper,

in drei Aufzügen, in Lebensbildern aus der Zeit Friedrich des Grossen,

von L. Rellstab. Musik von Meyerbeer. Tänze von Hoguet._” “_The Camp

of Silesia._ Opera, in three Acts, in Life-pictures of the time of

Frederick the Great, by L. Rellstab. Music by Meyerbeer. Dances by

Hoguet.”

Footnote 38:

_Gastrollen._ In the German theatres, performers not belonging to the

regular company, and employed for a limited number of performances

only, are called “guests” (_Gäste_), and engaged on special terms,

without a formal contract in writing.

Footnote 39:

_Das Feldlager in Schlesien._

Footnote 40:

Herr Ludwig Rellstab, critic and poet, the author of the _libretto_ of

_Das Feldlager in Schlesien_.

Footnote 41:

Six thousand thalers is equal to about £900 in English money.

Footnote 42:

A sojourn in Italy, for purposes of study, had been the dream of Herr

Josephson’s life; and it is evident that he must have spoken to her

about it in Dresden during the previous summer.

Footnote 43:

This famous piece, in which the voice is accompanied by two flutes

(_obbligati_), was afterwards transferred, by Meyerbeer, to _L’Etoile

du Nord_.

Footnote 44:

The poet, Tieck.

Footnote 45:

Equal to about £40 in English money.

Footnote 46:

See his “Life of Weber,” in ‘The Great Musicians.’

Footnote 47:

‘_Unter ist mein Stern gegangen._’

Footnote 48:

That is to say £7 10_s._, £12, and 9_s._ in English money.

Footnote 49:

This, and all other letters written by Mdlle. Lind to Madame

Birch-Pfeiffer, are printed by the kind permission of Frau von

Hillern, Madame Birch-Pfeiffer’s daughter.

Footnote 50:

The late Lord Liverpool.

Footnote 51:

See footnote on p. 143.

Footnote 52:

‘Das Märchen meines Lebens,’ von H. C. Andersen (Leipzig, 1880).

Footnote 53:

From Mrs. Grote’s MS. Memoir.

Footnote 54:

This, and all other letters written by Mdlle. Lind to Frau Professor

Amalia Wichmann, are printed by the kind permission of one of Madame

Wichmann’s sons.

Footnote 55:

Founded by Mendelssohn in 1843, and then flourishing exceedingly under

his energetic personal superintendence.

Footnote 56:

The “victim” was Herr Otto Goldschmidt.

Footnote 57:

Frau Friedrich Brockhaus, _née_ Wagner; a sister of Richard Wagner.

Footnote 58:

From the _Tagebücher von Heinrich Brockhaus_. (Leipzig, 1884.)

Privately printed, for friends only.

Footnote 59:

Mendelssohn’s exact words—spoken, of course, in German—were:—

“GENTLEMEN!

“You think that the Kapellmeister Mendelssohn is speaking to you,

but in that you are mistaken. Fräulein Jenny Lind speaks to you, and

thanks you for the beautiful surprise that you have prepared for

her. But now I change myself back again into the Leipzig

Kapellmeister, and call upon you to wish long life to Fräulein Jenny

Lind. Long life to her! and again, long life to her! and, for the

third time, long life!”

Footnote 60:

Herr Taubert had come to Leipzig, a few days before this, for the

purpose of playing at one of the Gewandhaus Concerts.

Footnote 61:

Mendelssohn’s eldest daughter.

Footnote 62:

Mendelssohn’s second son.

Footnote 63:

Madame Mendelssohn.

Footnote 64:

A Scandinavian Volkslied, afterwards known as _The Echo Song_.

Footnote 65:

This, and other letters published in this work, addressed by

Mendelssohn to Mdlle. Lind, are translated from the originals, in the

possession of Mr. Goldschmidt.

Footnote 66:

“I thank you—never, in my whole life, shall I forget this!”

Footnote 67:

Equal to about fifty pounds, in English money.

Footnote 68:

Mendelssohn’s _last_ performance in the Gewandhaus took place on July

19, 1846, when he played the pianoforte part of Beethoven’s “Kreutzer

Sonata” (Op. 47) with Ferdinand David.

Footnote 69:

Mendelssohn died on Nov. 4, 1847. The circumstances above related, and

still remembered by many, are corroborated by entries made in the

writer’s diary, at the time.

Footnote 70:

Herr Franz Hauser was born on the 12th of February, 1794; and was

first known in Germany as a bass singer of exceptional talent. After

having taught singing, in Vienna, for many years, with great success,

he was appointed Director of the Conservatorium in Munich, and held

this post from the year 1846 to 1864.

Footnote 71:

It must be remembered that Mendelssohn looked upon the conscientious

cultivation of Art as a religious duty; and endeavoured to impress

that view upon all who were in familiar intercourse with him.

Footnote 72:

Translated, by the kind permission of Herr Joseph Hauser, from the

original letter in his collection.

Footnote 73:

See footnote on p. 195.

Footnote 74:

_Elijah._

Footnote 75:

See footnote on p. 195

Footnote 76:

“You have well understood me. I thank you, from my heart.”

Footnote 77:

From the Hauser letters.

Footnote 78:

_Elijah_, which was to be produced at the Birmingham Festival, in the

following August.

Footnote 79:

Annotations-Bok.

Footnote 80:

Mr. Chorley was the musical critic attached to the _Athenæum_.

Footnote 81:

From the original letter, preserved by the Mendelssohn Family.

Footnote 82:

The document was formally signed on Oct. 17, 1846.

Footnote 83:

Transcribed from the original letter, preserved by the Mendelssohn

Family.

Footnote 84:

From Frau von Hillern’s collection.

Footnote 85:

Mendelssohn died in the autumn of the next year.

Footnote 86:

Translated from the original letter, by the kind permission of Madame

von Kaulbach.

Footnote 87:

Herr Hauser.

Footnote 88:

Translated from the original German, by the kind permission of Madame

Schumann.

Footnote 89:

The original letter, written in French, was sent to Mdlle. Lind by Mr.

Lumley, who also forwarded a copy of it to Mendelssohn.

Footnote 90:

From Mrs. Grote’s MS. Memoir.

Footnote 91:

Lumley’s ‘_Reminiscences of the Opera_.’ (London, 1864, p. 185.)

Footnote 92:

Notes graciously furnished to us from Her Majesty’s Diary, of which we

have gratefully availed ourselves in subsequent parts of this Book.

Footnote 93:

From _The Times_, May 5, 1847.

Footnote 94:

Translated, by permission, from the original letter, in the possession

of Fräulein Jaeger von Jaxthal.

Footnote 95:

See the note [92] already referred to on page 268.

Footnote 96:

_Le Carnet d’un Tenor._ Gustav Roger. (Paris, 1880.)

Footnote 97:

Although the passage was sung without accompaniment, a Thorough-bass

is given with it in the score.

Footnote 98:

For our information in regard to these concerts we are indebted to the

notes referred to in the note, p. 268, _ante_.

Footnote 99:

From Mrs. Grote’s MS. ‘_Memoir_.’

Footnote 100:

Bishop Nixon.

Footnote 101:

Transcribed from the original letter, by the kind permission of the

late Dean’s literary executor.

Footnote 102:

From Mrs. Grote’s MS. _Memoir_.

Footnote 103:

From the Wichmann collection.

Footnote 104:

The marble medallion, by Professor Wichmann.

Footnote 105:

From the Wichmann collection.

Footnote 106:

_Kgl. Berl. (Voss.) Zeitung_ (Oct. 19, 1847). See also, _Gesammelte

Schriften von L. Rellstab_, Tom. xx., p. 407 _et seq._

Footnote 107:

Mdlle. Lind’s last notes had been heard in the Royal Opera-House, on

the 18th of October, at a Concert given in aid of the members of the

Chorus, for which occasion Herr Taubert had composed the Song, _Ich

muss nun einmal singen_, then sung by her for the first time.

Footnote 108:

“Ich kann es mir nicht versagen, der allgemeinen Anerkennung welche

Ihrem seltenen Talent und Ihrer vollendeten Meisterschaft in der Kunst

des Gesanges gezollt wird, die meinige hinzu-zufügen, und wünsche

Ihnen dieselbe dadurch zu bethätigen, dass ich Sie hierdurch zu meiner

Kammersängerin ernenne.

“Sans-Souci, den 16 Oktober, 1847,

(Signed) “FRIEDRICH WILHELM R.

“An Demoiselle Jenny Lind.”

Footnote 109:

“Ich habe die Sängerin Jenny Lind zu meiner Kammersängerin ernannt,

und habe Sie davon hierdurch in Kenntniss setzen wollen.

“Sans Souci, den 16 Oktober, 1847.

“FRIEDRICH WILHELM.”

Footnote 110:

She was made _First_ Court Singer by Oscar I. on December 24th of that

year; and she retained this special privilege until her death.

Footnote 111:

November 4, 1847.

Footnote 112:

From ‘The Life of Chopin’, by Fr. Niecks. (London, 1890.)

Footnote 113:

From _The Musical World_ (July 8, 1848).

Footnote 114:

From the _Times_, May 26, 1848.

Footnote 115:

From the _Times_, July 31, 1848.

Footnote 116:

“Reminiscences of the Opera,” p. 226.

Footnote 117:

‘A Retrospect of a Long Life,’ by Samuel Carter Hall. (London, 1883.)

Footnote 118:

From the _Times_, July 31, 1848.

Footnote 119:

Mr. S. C. Hall, writing thirty-five years after the event, and having

evidently forgotten its details, gives a very inaccurate account of

the circumstances, which we have here described on the highest

possible authority. Mr. Goldschmidt had been introduced to Mdlle.

Lind, and she very much wished to give him the opportunity of

appearing at her concert. But, she had not heard him play; and did not

think it wise to render herself responsible for the _début_ of a young

artist, until she had made herself acquainted with the style of his

performance. She therefore invited him to play to her at Clairville;

and it was after having heard him there, that she requested his

assistance at the concert.

Footnote 120:

This beautiful salver is now inherited by Madame Goldschmidt’s second

son.

Footnote 121:

_Le Carnet d’un Tenor._ G. Roger. (Paris, 1880.)

Footnote 122:

We are indebted, for the verification of these details, to the

courtesy of Mr. J. J. Winter, who has acted, for many years, as Hon.

Chairman of the Committee of Management.

Footnote 123:

Applied, in 1853, to “The Jenny Lind Infirmary for Sick Children.”

Footnote 124:

From _The Times_, April 4, 1849.

Footnote 125:

It will be noticed that _The Standard_ makes no mention of the

‘Governesses’ Benevolent Institution.’

Footnote 126:

See footnote, p. 268.

Footnote 127:

A dramatic singer at Stockholm, who lately published an account of her

intercourse with Madame Goldschmidt, in a Swedish newspaper.

Footnote 128:

Cf. p. 70.

Footnote 129:

Within the last few years, an attempt has been made to invest the

term, _clavicular breathing_, with a mode of filling the lungs,

pernicious, to the last degree—a process which, we need scarcely say,

was never practised, either by Mdlle. Lind, or Rubini, whose method of

breathing seems to have been closely analogous to, if not absolutely

identical with, her own.

Footnote 130:

“Does not the light of the moon deceive me!”

Footnote 131:

‘Grosse Gesang-Schule für Deutschland,’ von Friedrich Schmitt

(München, 1854); a work of which Madame Goldschmidt thought so highly,

that she permitted her testimonial to be printed in connection with

it.

Footnote 132:

At the Royal College of Music, where Madame Goldschmidt was then

directing the training of the female vocal scholars.

Footnote 133:

Book VII. Ch. IX.

Footnote 134:

Book VII. Ch. IX.

Footnote 135:

“The Lord shall preserve thee from all evil, etc.”—Psalm cxxxi. 7, 8.

“And this I pray, that your love may abound, etc.”—Philippians i. 9,

10.

Footnote 136:

Book II. Ch. II., p. 77.

Footnote 137:

From Mrs. Grote’s Note-book. _Cf._ the record of it in the MS. Memoir

of the life of Jenny Lind, Book IV., Ch. VIII.

Footnote 138:

Let any one who ever knew Jenny Lind, turn to a book such as ‘The

Mapleson Memoirs’ (London 1888); let him learn there, in its

rollicking gossip, the characters, the conditions, with which

theatrical management concerns itself: and his chief wonder will,

surely, be how she tolerated such an environment for a single day.

Footnote 139:

Book V., Ch. I., p. 213.

Footnote 140:

Book IV., Ch. X., p. 174.

Footnote 141:

_Cf._ Book VI., Ch. I., p. 238.

Footnote 142:

_Cf._ Book VI., Ch. III.

Footnote 143:

_Cf._ Book VII., Ch. VIII., p. 295.

Footnote 144:

_Cf._ Book VIII., Ch. I., p. 310.

Footnote 145:

_Cf._ Book VIII., Chapter II.

Footnote 146:

_Cf._ Book VII., Ch. IX.

Footnote 147:

For our account of this affair, we are greatly indebted to a private

record made by Mr. Senior, which the kindness of his daughter, Mrs.

Simpson, has allowed us to see and use.

Footnote 148:

From private record of Mr. Nassau Senior.

Footnote 149:

See Lumley’s ‘Reminiscences,’ 1864, Chap. XVII.

Footnote 150:

See Book VIII., chap. I.

Footnote 151:

Authorised edition, Buffalo, 1889.

Footnote 152:

_Cf._ Frith’s ‘Autobiography and Reminiscences.’ Sec. Ed. 1887, vol.

ii. p. 318.

Footnote 153:

To neither foundation did she give her own name. That at Upsala was

named after Geijer, that at Lund after Bp. Tegnér.

Footnote 154:

_I.e._, of Hanover.

Footnote 155:

In the autumn of 1854, two years after her marriage with Mr.

Goldschmidt. Her father, Mr. N. J. Lind, was with her during this

visit.

Footnote 156:

_I.e._, Qui la voce.

Footnote 157:

_I.e._, “Deh vieni, non tardar.”

Footnote 158:

_I.e._, Mangold’s “Zwiegesang.”

Footnote 159:

Altona, adjoining city to Hamburg.

Footnote 160:

The profits came to 21,805 crowns (over £1,200). The fee of 1,000

crowns, which she consented to accept, was given by her to the Sick

and Burial Association of the employés in the tailoring department of

the theatre.

Footnote 161:

She was peculiarly fond of singing this Aria for Tenor on private and

domestic occasions, such as this in the Stockholm Church. Few pieces

are more intimately associated with her memory by her own children.

Footnote 162:

_I.e._, the well-known Mr. J. A. Davison.

Footnote 163:

A small place taken by her for her parents.

Footnote 164:

From the _Illustrated London News_, Aug. 24th, 1850.

Footnote 165:

Otto Wichmann.

Footnote 166:

The Chevalier Charles Edward Habicht.

Footnote 167:

Page 444.

Footnote 168:

Walter Otto (born 5th August, 1853); Jenny M. C. (born 31st March,

1857), now Mrs. Raymond Maude; Ernest S. D. (born 5th January, 1861).

Footnote 169:

She died, at Wynd’s Point, her cottage on the Malvern Hills, on

November 2nd, 1887.

Footnote 170:

‘Abt Vogler,’ by Robert Browning.

LONDON:

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED

STAMFORD STREET AND CHARING CROSS.

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