Few careers could present more startling contrasts than those of Mozart
and Mendelssohn, in many respects of similar genius, but utterly opposed
in the whole surroundings of their lives. Felix Mendelssohn-Bartholdy
was the grandson of the celebrated philosopher Moses Mendelssohn, and
the son of a rich Hamburg banker. His uncles were distinguished in
literary and social life. His friends from early childhood were eminent
scholars, poets, painters, and musicians, and his family moved in the
most refined and wealthy circles. He was nursed in the lap of luxury,
and never knew the cold and hunger of life. All the good fairies and
graces seemed to have smiled benignly on his birth, and to have showered
on him their richest gifts. Many successful wooers of the muse have
been, fortunately for themselves, the heirs of poverty, and became
successful only to yield themselves to fat and slothful ease. But, with
every incitement to an idle and contented life, Mendelssohn toiled like
a galley-slave, and saw in his wealth only the means of a more exclusive
consecration to his art. A passionate impulse to labor was the law of
his life.
Many will recollect the brilliant novel "Charles Auchester," in which,
under the names of Seraphael, Aronach, Charles Auchester, Julia Bennett,
and Starwood Burney, are painted the characters of Mendelssohn, Zelter
his teacher, Joachim the violinist, Jenny Lind, and Sterndale Bennett
the English composer. The brilliant coloring does not disguise nor
flatter the lofty Christian purity, the splendid genius, and the great
personal charm of the composer, who shares in largest measure the homage
which the English public lays at the feet of Handel.
As child and youth Mendelssohn, born at Hamburg, February 3, 1809,
displayed the same precocity of talent as was shown by Mozart. Sir
Julius Benedict relates his first meeting with him. He was walking in
Berlin with Von Weber, and the latter called his attention to a boy
about eleven years old, who, perceiving the author of "Der Freischütz,"
gave him a hearty greeting. "'Tis Felix Mendelssohn," said Weber,
introducing the marvelous boy. Benedict narrates his amazement to find
the extraordinary attainments of this beautiful youth, with curling
auburn hair, brilliant clear eyes, and lips smiling with innocence and
candor. Five minutes after young Mendelssohn had astonished his English
friend by his admirable performance of several of his own compositions,
he forgot Weber, quartets, and counterpoint, to leap over the garden
hedges and climb the trees like a squirrel. When scarcely twenty years
old he had composed his octet, three quartets for the piano and strings,
two sonatas, two symphonies, his first violin quartet, various operas,
many songs, and the immortal overture of "A Midsummer-Night's Dream."
Mendelssohn received an admirable education, was an excellent classicist
and linguist, and during a short residence at Dusseldorf showed such
talent for painting as to excite much wonder. Before he was twenty he
was the friend of Goethe and Herder, who delighted in a genius so
rich and symmetrical. Some of Goethe's letters are full of charming
expressions of praise and affection, for the aged Jupiter of German
literature found in the promise of this young Apollo something of the
many-sided power which made himself so remarkable.