[6] Chester Place, No. 3, in the Regent’s Park, was the Moscheleses’
residence.
[7] The Mendelssohns’ house and garden, No. 3 Leipzigerstrasse,
Berlin, now form part of the building in which the Reichstag is held.
[8] A certain beadle in a country church, being reprimanded by the
clergyman for appearing at a funeral in a scarlet waistcoat instead of
a black one, retorted, “What matters it, your Reverence, provided the
heart is black?”
[9] The compass of Mrs. Moscheles’s voice.
[10] Mendelssohn used to delight in attending meetings at the
Guildhall to hear Liberal speakers.
[11] “Klavierlieder,” meaning the “Songs without Words.” On the copy
sent to Moscheles he had called them “Melodies.”
[12] Moscheles lived at No. 3 Chester Place, Regent’s Park.
[13] Mendelssohn became engaged in 1836, and Klingemann in 1845.
[14] Emily, Moscheles’s eldest daughter, then six years old. She
married Mr. A. Roche, of London.
[15] The Septet was written for the Philharmonic Society.
[16] The German word “Becken” has the double meaning of “cymbals” and
“basin.”
[17] The Italian Symphony.
[18] See Illustration, No. 10.
[19] See Illustration, No. 9.
[20] See Illustrations, Nos. 15, 16, and 8, respectively.
[21] See Illustration, No. 12.
[22] See Illustration, No. 13.
[23] See Illustration, No. 14.
[24] The Dirichlets were his younger sister and her husband, a
professor of mathematics.
[25] “Infelice.”
[26] Meaning himself.
[27] Alluding to Beethoven’s habit, in conducting, of crouching down
at a _pianissimo_ and flying up at a _forte_.
[28] Travels of an Irish Gentleman in Search of a Religion.
[29] Immermann the poet and dramatist. Amongst his best-known works
are “Münchhausen,” and the epic poem of “Tristan and Isolde.”
[30] Schleinitz was a well-known figure in the musical world of
Leipzig. He was an intimate friend of Mendelssohn’s, and for
many years indefatigable in his work as Director of the Leipzig
Conservatorio.
[31] See “Life of Moscheles,” vol. i. pp. 318 and following.
[32] The first movement of the G minor Concerto is styled
“Malinconico.”
[33] Court Chamberlain.
[34] See Illustration, No. 23.
[35] This Symphony, so often referred to in Mendelssohn’s letters of
this time, has either entirely disappeared or was converted into the
initial movement of the “Lobgesang.”
[36] Rondo in B minor.
[37] See Illustration, No. 24.
[38] Overture to “Ruy Blas.”
[39] The letter alluded to is not amongst the copies of Moscheles’s
letters in the possession of the editor.
[40] Op. 81.
[41] After all, Mrs. Mendelssohn was prevented from going to England.
[42] St. Pancras was the church at which Mendelssohn stood godfather
to Felix Moscheles.
[43] See Illustration, No. 21.
[44] See Illustration, No. 22.
[45] See Illustration, No. 23.
[46] Little Carl was Mendelssohn’s eldest child. Moscheles used to
amuse him by playing a tune on the piano with his fists.
[47] See Illustration, No. 20.
[48] Bunsen was then the Prussian Ambassador accredited to the Court
of Saint James.
[49] He had lost his mother on the 12th of December of the preceding
year.
[50] The work alluded to, “The Harmonized Scales,” Op. 97, is a series
of fifty-nine pieces for a juvenile performer and his teacher; the
former playing the scales in various time and rhythm, the teacher
supporting him by a full accompaniment.
[51] For the translation of these lines I am again indebted to Robert
Browning.--EDITOR.
[52] See Illustration, No. 28.
[53] The Sonate Symphonique for two performers (Op. 112), which
Moscheles, with his daughter Emily, had played at the Court of King
Louis Philippe, to whom the work was dedicated.
[54] The thaler equals three shillings, or seventy-five cents.
[55] This has reference to an incident which occurred when Moscheles,
then twenty years of age, was residing in Vienna. In 1824 Beethoven’s
“Fidelio” was produced, and Moscheles was commissioned to make
the pianoforte arrangement of that work. In his diaries of those
days we find various entries recording his visits to Beethoven.
The alterations suggested by the master were made with due care
and deference, and the completed arrangement was finally left at
Beethoven’s rooms. On the last page of the manuscript Moscheles had
written, “End, with the help of God.” When the manuscript was returned
four characteristic words had been added, in Beethoven’s bold and
all but illegible handwriting: “Mensch, hilf dir selber!” (Man, help
thyself!)
[56] Translated in “Life of Moscheles.”