deep depression into which he had fallen--only occasional flickerings
of his former self showed that the struggle to assert his will-power
over an ever-increasing loss of physical strength was still going on.
There were moments, indeed, when it seemed to himself, if not to those
who watched him with growing anxiety, that he was regaining his old
buoyancy--the old craving for work which nothing seemed to have the
power to destroy. But though compositions still came from his pen,
though he had not yet given up hope in himself--'You shall have plenty
of music from me; I will give you no cause to complain,' he had
remarked to an English publisher shortly before this time--it was
plain to those nearest to him that the inexorable finger of death was
pointing the way to the Valley of Shadows.
* * * * *
The streets of Leipzig were flooded with sunshine, though November had
just entered upon its course, and though the approach of winter was
apparent in the crispness of the air. Yet a cloud overhung the town
which no degree of atmospheric brightness could dispel--a cloud of
sorrow which took its birth from the placards affixed to the street
corners, and spread its shadow over street after street, from one knot
of inquirers to another, until the brief announcement which those
placards conveyed became the common news, the common sorrow, of all.
Mendelssohn was dead. On the evening of the previous day (November 4,
1847) the master whose bright, genial spirit had endeared him to so
many hearts beyond the confines of his own circle, had passed to his
rest. The blow had fallen with terrible swiftness, and we who love
his music can only faintly realise how keenly those who knew and loved
him, and who had come within the influence of his happy nature, must
have felt the sudden break in that continuous flow of harmony which
his life presented. Sweet as summer wind across the garden, wafting
scents of choicest flowers, his life had passed over like a breath of
heaven.
Without doubt his was a beautiful life--one of which, as it has been
truly said, 'there is nothing to tell that is not honourable to his
memory, and profitable to all men.' We cannot separate--we can have no
wish to separate--such a life from the genius which enriched it,
because the noble ideals which governed it throughout were embodied
and expressed in the creations of that genius, as well as in his
private conduct; rather should we be content to accept his life as it
stands--in actions, deeds, and works--as a priceless gift, an
indivisible whole.
Mendelssohn's funeral was a very imposing one. The first portion of
the ceremonies was performed at Leipzig, and was attended by crowds of
musicians and students--one of the latter bearing on a cushion the
silver crown presented to the composer by his pupils, side by side
with the Order 'Pour le Mérite' conferred upon him by the King of
Prussia. As the long procession went on its way to the Pauliner Church
the band played the 'Song without Words' in E minor, and at the close
of the service the final chorus from Bach's 'Passion' was sung by the
choir. At night the body was conveyed to Berlin for interment in the
family burial-place in the Alte Dreifaltigkeits Kirch-hof. His
resting-place, marked by a cross, is beside that of his sister Fanny,
whilst on the other side of him rests his boy Felix, who died four
years later.
FOOTNOTES:
[29] Sir G. Macfarren.
[30] No. 103, but since renumbered 79.
MENDELSSOHN'S PRINCIPAL COMPOSITIONS
OPERAS, ETC.:
Die beiden Neffen. 1822.
The Wedding of Camacho, Op. 10. 1825.
The First Walpurgis Night, Op. 60. 1831-32.
Son and Stranger (Heimkehr), Op. 89. 1829.
Antigone, Op. 55. 1841.
Midsummer Night's Dream, Op. 61. 1843.
Athalie, Op. 74. 1843-45.
Oedipus in Colonos, Op. 93. 1845.
Loreley (unfinished), Op. 98. 1847.
ORATORIOS, ETC.:
St. Paul, Op. 36. 1836.
Hymn of Praise (Lobgesang), Op. 52. 1840.
Elijah, Op. 70. 1846.
Lauda Sion, Op. 73. 1846.
Christus (unfinished), Op. 97. 1847.
PSALMS, with orchestral accompaniment:
Ps. 115, Not unto us, Op. 31. 1830
Ps. 42, As the Hart pants, Op. 42. 1837.
Ps. 95, O come, let us sing, Op. 46. 1839.
Ps. 114, When Israel out of Egypt came, Op. 51. 1839.
Ps. 13, Lord, how long? Op. 96. 1840-43.
Ps. 98, Sing to the Lord, Op. 91. 1843.
Hear my Prayer. 1844.
Hymns of Praise (Festgesang). 1840.
Festgesang: To the Sons of Art, Op. 68. 1846.
Te Deum in A. 1846.
Jubilate, Magnificat, and Nunc Dimittis, Op. 69. 1847.
3 Motets for female voices and organ, Op. 39. 1830.
3 Psalms, unaccompanied, Op. 78 (Pss. 2, 43, and 22), 1844.
6 short Anthems for 8-part chorus, Op. 79.
18 Part-songs for male voices.
28 Part-songs for mixed voices.
4 SYMPHONIES:
C minor, Op. 11. 1824.
D minor, The Reformation, Op. 107. 1830.
A, The Italian, Op. 90. 1833.
A minor, The Scotch, Op. 56. 1842.
7 OVERTURES:
Midsummer Night's Dream, in E, Op. 21. 1826.
Military Band (Harmonie-musik) in C, Op. 24. 1824.
Fingal's Cave, or Hebrides, in B minor, Op. 26. 1830
Meerestille, in D, Op. 27. 1828.
Melusine, in F, Op. 32. 1833.
Ruy Blas, in C minor, Op. 95. 1839.
The Trumpet, in C, Op. 101. 1825.
2 MARCHES FOR ORCHESTRA:
Funeral March, in A minor, Op. 103. 1836.
Cornelius, in D, Op. 108. 1841.
Octet in E-flat, Op. 20. 1825.
2 QUINTETS FOR STRINGS:
Op. 18, in A. 1831.
Op. 87, in B-flat. 1845.
6 QUARTETS FOR STRINGS:
Op. 12, in E-flat. 1829.
Op. 13, in A. 1827.
Op. 44, Nos. 1, 2, and 3, in D, E minor, and E-flat 1837-38.
Op. 80, in F minor. 1847.
Violin Concerto in E minor, Op. 64. 1844.
2 PIANOFORTE CONCERTOS:
Op. 25, in G minor. 1832.
Op. 40, in D minor. 1837.
Sextet for pianoforte and strings, in D, Op. 110. 1824.
3 QUARTETS FOR PIANOFORTE AND STRINGS:
Op. 1, in C minor. 1822.
Op. 2, in F minor. 1823.
Op. 3, in B minor. 1824-25.
2 TRIOS FOR PIANOFORTE AND STRINGS:
Op. 49, in D minor, 1839.
Op. 66, in C minor, 1845.
Sonata for pianoforte and violin, in F minor, Op. 4. 1823.
2 SONATAS FOR PIANOFORTE AND VIOLONCELLO:
Op. 45, in B-flat. 1838.
Op. 58, in D. 1843.
3 SONATAS FOR PIANOFORTE SOLO:
Op. 6, in E. 1826.
Op. 105, in G minor. 1820-21.
Op. 106, in B-flat. 1827.
8 BOOKS OF SONGS WITHOUT WORDS (Lieder ohne Worte), (each
book containing 6 pieces):
Op. 19b. Pub. 1832.
Op. 30. " 1835.
Op. 38. " 1837.
Op. 53. " 1841.
Op. 62. " 1844.
Op. 67. " 1845.
Op. 85. " 1850.
Op. 102. " 1868.
3 Fantasias for pianoforte (Andante and Allegro, Capriccio, and
Rivulet), Op, 16. 1829.
17 Variations Sérieuses, Op. 54. 1841.
3 Preludes and Fugues for organ, Op. 37. 1837.
6 Sonatas for organ, Op. 65. 1844-45.
Soprano Aria, Infelice, Op. 94. 1834.
76 Songs.
THE END
WELLS GARDNER, DARTON AND CO., LTD., LONDON
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