us from season to season, for a course of these united for him in such a measure, years, seemed impossible. Never was a that until the fairies again assemble round man so "booked" in public expectation the cradle of a child with their good gifts, for long prosperity. Removed from envy, we shall look in vain for a similar picture rivalry, and detraction, in the possession of happy artist boyhood. Mendelssohn of an ample fortune, he had nothing to do was born at Hamburgh, Feb. 3, 1809. His but to live; to live was to flourish, and to father, a distinguished merchant at Berlin, perform what was easy to him. found in that city the best materials for the Such was the promising aspect in which musical and intellectual cultivation of his Dr. Mendelssohn appeared in the lighted son. We are strongly reminded of the hisevening concert-room to to his admiring tory of the Mozart family in the infant muaudience. By daylight, and in closer sical promise of Mendelssohn and his elder contiguity, the spectator was struck by sister, almost his rival in skill, who always a certain appearance of premature age accompanied him in his tastes, and whom, which his countenance exhibited; he by a remarkable fatality and coincidence in seemed already to have outstretched the the mortal attack, he has this year accomnatural term of his existence by at least ten panied to the tomb. In the case of the years. No one, judging by the lines in his children of M. Mendelssohn, the mother, face, would have guessed his age to be however, was the good genius who chiefly thirty-nine only. The disproportion be- influenced their musical progress. This tween his actual age and the character of lady was herself an excellent practical muhis face was especially noticed at the morn-sician, formed in the schools of Sebastian and ing "Homage to Mendelssohn," performed Emanuel Bach; and not only did she apin Harley Street by the Beethoven Quartet preciate the works of these models of musiSociety. Here he was gay and animated, cal science, but their utility in developing and played delightfully; but, to the sur-the musical dispositions of the young. Her prise of close observers, was no longer a example is worthy of imitation. She comyoung man. He had compressed a great menced with lessons of five minutes' duradeal of life into a short compass, and tion, gradually extending them; and so wanted a stronger physical constitution to rapid was the child's progress under her support the throes of perpetual invention, tuition, that by his eighth year he mastered and the excitement consequent on his ele- with ease, passages requiring a very skilful vated position. He was conscientious in execution. At this tender age, he was also fulfilling what he owed to his art, and to the able to transpose the pieces in Cramer's public who cherished him; he sought to studio, and to play from the scores of Bach confirm "golden opinions " by the most at sight. His ear readily detected fifths generous efforts, and in the end may almost and other inaccuracies in counterpoint. be described as "killed by kindness." The He discovered an error of this sort which path of genius will always be chivalrous had previously escaped detection in a motet from its self-sacrificing ambition; and if the by Bach. The precocity which he displayed cold neglect of the last century, and the excited general admiration; and the masters eager patronage of the present, produce like who successively assisted in his musical eduresults to the composer, society has at least cation were fully persuaded that they were advanced in granting the artist during his rearing another Mozart. lifetime the full content of appreciation and sympathy.

ges

Louis Berger, of Berlin, succeeded the mother of Mendelssohn as his musical instructor; and, subsequently, the boy, together with his sister, took lessons of any famous master who happened to be sojourn

The prosperous course of Felix Mendelssohn from infancy to maturity will always remain a bright and pleasant dream for artists in this contentious world. The advanta-ing in Berlin, thus appropriating the differof a good position by birth; of possess- ent excellencies of many artists, Hummel, ing a name already celebrated in the walks Moscheles, &c. The musical capacities of of literature and philosophy; of musical these accomplished children are described parents, who quickly discerned the bent of as nearly equal; a generous emulation prehis genius, and who spared no pains in de- vailed between them; sometimes the brother veloping it; of early intercourse with men was in advance, sometimes the sister. of remarkable endowments, from whom he life-long, profound sympathy and attachimbibed the tastes natural to intellectual ment, grew out of their common musical pre-eminence and refined education-all! studies; and to appreciate the beauty of the

A

nearness of kin and of soul subsisting between Mendelssohn and his sister, Music, with her impassioned and elevated influences, must aid us. Rarely are kindred gifts of high genius bestowed upon a brother and sister; but of Mendelssohn and Madame Henvel it may truly be said

"Like fortunes did their souls acquaint."

student, and were the index to the character of his mind. The domestic musical habits of Mendelssohn's family were still more happily disposed to excite his enthusiasm for composition than the approbation and encouragement of his preceptor. Every fortnight, there was a concert at the Mendelssohns, at which a quartet of good artists performed a variety of classical composiThe steps by which the youthful artist tions, and together with them the last new symphony of "Felix." What an adaccomplished that complete readiness of vantage this! Surely the music of young eye and hand, of musical intellect and ear, composer was never before nursed in such which rendered him as a practical musician softness and delight, amid such kind family the wonder of our age, are obvious. Diffisympathy and so much encouragement from culty had at length no place in his vocabu- musicians. By the time he reached twenty, lary; he had learned to anticipate all the he was not only the greatest player of the combinations of pianoforte music; and day, but the character of his compositions his early industry so far, of late, superseded entitled him to occupy that place in the the necessity of practice, that he has been interest of the public which Beethoven and known to play both the organ and piano-Weber had not long resigned. Before his forte in public after intermitting practice

for months. He sustained to the end all the assaults of the most inveterate me

chanism; and, with Liszt and Thalberg in the field, was incontestibly the first pianoforte player of his day. Music, whose true votary he was, never deserted him, and taught the most industrious saloon players, when he was present, to know their place.

The plan pursued to form young Mendelssohn as a composer was directed also by great intelligence. He had been placed for this branch of art under Zetter, of the

singing academy, a thoughtful master, and the correspondent of Goethe; and Zetter thought too highly of his charge to fetter his genius by scholastic rules. The exercises he made under Zetter were chiefly little symphonies in four parts, for stringed instruments, in composing which he followed the bent of his genius. After what fancy and imagination had achieved for the music of modern Germany, it was feared that of modern Germany, it was feared that systems might stifle some important poetical new birth. In spite of the license to run wild, order, clearness, and regularity, still distinguished the productions of the

first published works, two pianoforte quartets, had reached us his name and promise dium of foreign musical journals, and the were familiar in England through the meconnections of the British embassy at Berlin. His first English associations were, Austin then resident in that city; and probably, formed at the parties of Mrs. when he arrived in this country (in 1829), he still lived in great intimacy with her to verify the prepossessions of his admirers, family.

But there wanted no protection for such prodigious powers as Mendelssohn exhibited at twenty years of age, when his first symphony was introduced at the Philharmonic Concerts. He was received with here is rarely much regarded in the highest open arms; and though the highest art society, he, in the end, recommended himself peculiarly to royal favor. The effect of his first appearance in England was strongly assisted by circumstances. Weber's overtures and Beethoven's symphonies were then first making their true impression at the Philharmonic, and the public, in transport of enthusiasm, were just awakening to a due sense of the loss of those masters, when the youth stepped forward who The memory of this lady was as wonderful as that of her brother. On her father's birthday, she was to wield the mighty implements of their once performed, as a surprise to him, an incredible art. Still, it was not merely by his early feat, namely, of playing, by memory, the whole of and profound mastery of the mechanism the forty-eight preludes and fugues of Sebastian and poetry of composition that MenBache. The recollection of a fugue implies that of the entire movement of its parts, and its difficulty delssohn made such rapid progress in the can be appreciated only by experiment. It is a cer- affections of the English; his extraorditain test of musical mind. We shall now also become acquainted with some of Madame Henvel's nary personal endowments, in which fine compositions, which are of similar texture to her playing, an intuitive kind of musical leading, a vast memory, which embraced the

brother's.

and desired to review and correct them, when time had given them some appearance of novelty even to himself. Thus the Walpurgis Nacht, that gloomy and poetical Druidical picture, though only performed in London two or three seasons ago, was a product of his intimacy with Goethe, and of the suggestion of the poet. It is a very early item in his musical catalogue.

Like Mozart, he completed entire compositions in his mind, and often alluded to them as finished while yet no note was on paper. He was wont to regulate the march of his productions in regard to variety and quality: now a more familiar, now a more difficult work, announced his presence in the musical world. He thus maintained public interest and expectation through the various aspects of his genius, and advanced by the steps of fame, well calculated and assured. He exercised severe criticism on his own productions and often replaced entire move

details as well as the broad features of a fine talent of improvisation were conspicuous, altogether realized an idea of genius which we do not readily concede to an occasional composer and conductor of an orchestra. Here was a young man who honored his place in the orchestra by what he could do out of it; he did not merely beat time with a stick for others to play, but played himself, challenging every kind of musical difficulty, and coming off constantly victorious. Wherever he was, he created that atmosphere of wonder and excitement in which the musician delights. If he was to play on the organ, to make a cadence to a concerto on the pianoforte, or even about to rehearse an overture or symphony, every one was on tiptoe for some characteristic and delightful trait. From public life he was followed into private, with a kind of devotion; his obliging disposition, his polished and agreeable manners, and the stores of his reading, render-ments. ing his conversation second only in interest The genius which Mendelssohn displayed to his music. In poetry he was so well in instrumental composition was characversed, that scarcely a quotation could be terized by strong individuality. His third made unfamiliar to him, in its fullest force symphony in A minor seems to open the of word or phrase; his drawings, also, true era of his strength in that department. were those of a distinguished amateur. The fine adagio of this work is a great Sympathies like these, with the whole cir- achievement, Mendelssohn succeeding betcle of the fine arts, qualified him in a re- ter in light and piquant fancies than in promarkable manner for general society; and found, sustained, and original melody. The Mendelssohn is, perhaps, the first eminently scherzas of his works in general are so exgifted musician whose conversation and in-cellent as to be quite prominent in modern timacy have been sought purely for their art; his allegros come next in interest, and own charm alone. It was a compliment his slow movements last. His ottetto for frequently paid to the social capacity of stringed-instruments is one of his most Mendelssohn to have him without music. beautiful compositions; he has never writDuring the present century, the lives of ten a larger or more impassioned allegro great artists have been less recluse than than the opening one to this. His third formerly. The known amiable dispositions pianoforte quartet, in B minor, is one of of Weber and Spohr have proved a most the best of his production for the pianofavorable illustration of their works, and forte and stringed-instruments, and greatly personal esteem for the composers has surpasses in interest his trios and sonatas much assisted their progress, and promot- for the piano and violoncello. The defect ed their effect. At what precise time of his chamber-music is some tincture of Mendelssohn committed his fortunes to the monotony in the melodies and effects; it is art, and turned from his amateur position surprising that so fertile an extemporizer into a profession for which he was not origi- did not exhibit more variety in the decoranally designed, we forget; but, notwith- tive bravura passages incidental to pianostanding the public and private advantages forte music. The Songs without words," of his auspicious commencement, he was which he used to play so beautifully, retain never tempted to abuse them. Profitable still their charm of individuality and style. speculation had no charms for him, com- In every thing he succeeded best where he pared with fidelity to art. The art was himself struck out the path. ever uppermost; and whatever subject was proposed to him for music was obliged to interest his imagination. He cautiously even then produced his works in public,

His cantata and sacred music have still been but imperfectly heard: we have had large, but not select, orchestras employed on these works; and the effect of the chorus

from St. Paul, "Happy and Blest," ac- anxious to obtain a view of him, used to companied by the Philharmonic orchestra, form themselves into a thick cloud above realized the freshness of a first impression. his head. One of his first exhibitions was The same novelty of effect may be antici- the conversion of a phrase from the first pated from the delightful choruses in Anti- chorus of the Dettingen Te Deum, and anogone, when we hear them with the proper ther from the Hallelujah Chorus, into a singers and a great orchestra. His power of double fugue. This, by some musicians, painting dramatic situation, according to was thought to be premeditated; but it was the moving pictures of life with which we not so in fact. He knew everything in muare conversant in opera-books, may be sic, and his contrapuntal mind taught him doubted. The Marriage of Camacho had instantly what would go together. Arrivno great success, and the romantic modern ing late at a concert, where he has been drama appears to have possessed few charms expected to play extempore, he would take for him. Mendelssohn's genius was of an a bill from his pocket, with the words, "let epic turn; he described passions and events me see, what have they been doing?" and in the mass, and under the influence of the then would combine in his fantasia somepast, with great truth; but this failed him thing that had been done with what he had in the mere conventional situations of the just heard. This was the readiness of his drama. He made few dramatic efforts, science and practical skill. Then for his probably because among his other studies memory, he would go through whole vohe had not omitted himself. Where natu- lumes of Beethoven and Bach. Not only ral impulse did not carry him, he cared not that with which early practice had imbued to go. him had he in present command, but whatAs a composer of oratorios, he was pos- ever novelty of merit he was at the pains to sessed by the noblest ambition. In St. study remained as if stamped in his mind. Paul and Elijah, he exhibits the broad The world is, in general, very glad to take and massive style of Handel and Bach; he the intellectual measure of a favorite; but boldly enters the same arena, and adopts Mendelssohn withstood all the trials to the same diatonic simplicity in its succes- which he was exposed, and the limit of his sion of fugues and choral introductions, tak- extempore capacity was never ascertained. ing only due advantage of the progress of In his cadences to piano-forte concertos he the instrumental art. Here was his great never repeated himself, and whenever he superiority. In discriminating the voices rehearsed them (as is sometimes necessary and tones of instruments, he had the great- in the music of Beethoven), he did it with est ability; and his orchestration, on the fun, shewing himself perfectly at ease with whole, may be considered as the latest respect to execution and invention. Mr. model of the perfection of the art. His Lucas will, probably, remember the diffisongs and miscellaneous compositions would culty he had in bringing in the band in the carry us too far to notice, Mendelssohn's right place, when Mendelssohn first regenius can only be appreciated by reference hearsed Beethoven's Concerto in G. These to that of the greatest masters; the intel- are pleasant memories of the master. Then, lectual character of his music was first-rate for good music, he was always so impasbut, in the sensuousness and voluptuous- sioned, that his brilliant example, could it ness of mere melody it was deficient. If he have lasted, would, in the end, have moved fell short of the greatest aim, he fell nobly. the whole musical world. How much he No man was ever more powerfully imbued with the spirit of the artist: he lived "apart" amidst great designs and resolutions: nothing base approached his soul.

did for Baoh! How many of that master's MSS. pedal fugues, &c., were first played by him from memory! and how often he declared, by word and deed, that he knew no such composer !

We have

It is now some eighteen years since we began to watch for the periodical return of Let success have been heaped upon MenMendelssohn to London, like that of the delssohn in what measure it may, we still flowers in spring. He is inseparably asso- owe him our love for the unselfish love ciated with our last recollections of the fes- which he lavished on the art. tival of "the Sons of the Clergy," as it only to add a few circumstances of his life used to be kept. The late organist, Mr. since he left us. At the close of the seaAttwood, who loved him as a son, always son he appeared in his usual health, and expected him at the organ for the last vo- passed into Switzerland for the summer. luntary; and the musicians present, each Here the news of his sister's sudden death VOL. XIII. No. II.

12

deeply affected him. She was with a party dissuasions from the encouragement of such rebearsing his Walpurgis Nacht, when she a train of thought, his prophecy was literalwas seized with what appeared to be a faint- ly fulfilled. He departed like his sister, ing fit, but it proved to be paralysis of the and in the same manner, being seized with brain, and carried her off in three days. illness while he was accompanying a lady The mother of Mendelssohn had died of a in a song he had just composed. From his similar attack, and it strongly appeared to first attack he partially recovered, and was him that, in these events, his own doom able to take a drive; but a relapse occurred. was foretold. He did not conceal that He lay for a whole day in a state of insenhe apprehended a similar termination to sibility, and in this manner the great and his own life, and in spite of all friendly rising genius of the age breathed his last.

From Bentley's Miscellany.

ALBERT THORWALDSEN;

A BIOGRAPHICAL SKETCH, BY H. C. ANDERSEN.

(Concluded from our last Month's Number.)

THORWALDSEN, in 1838, had attained uni- vessels hoist their flags; the sea is covered versal fame. The frigate Rota was dis- with boats gaily trimmed as for a festival; patched to bring a cargo of his works to emblematical flags wave and tell us that in Copenhagen, and he was to arrive at the one boat are painters, in others sculptors, same time, perhaps to remain, in Denmark. poets, and students; here come young For many years we had not seen such well-dressed ladies, yet the eye only rests beautiful northern lights as in the autumn for a moment on them; it turns and fixes of this year. Red and blue flames were itself on the great boat which, with rapid seen whirling in the horizon; Iceland's light strokes, steers for the ship; for there sits glimmering nights had come down to our Thorwaldsen, his long white hair hanging green islands; it was as if Thorwaldsen's over his blue cloak, and the song of welforefathers, wrapped in the lustre of the come sounds from the shore. aurora borealis, hovered around us to greet The whole shore is filled with spectators; their youngest scion. The frigate Rota, hats and handkerchiefs wave, repeated hurwith the artist on board, approached the rahs rend the air: it is a people's festival, summer-green coasts of Denmark. enthusiasm's festival. The people take The Danish flag was to be hoisted from the horses from his carriage, and draw him the tower of St. Nicholas, as soon as the to his dwelling at Charlottenborg, where vessel could be descried on its way from the atelier is ornamented with flowers and Elsinore but it was a foggy day, and the garlands. The evening is that of a festival; frigate was close by the city before it was torches glare in the garden, and artists observed. Every one was in busy motion, serenade him. people flocked through the streets towards the custom-house.

Thorwaldsen is the people's heart,-the people's thoughts;-feast follows feast. What a picture! The sun burst forth We will mention but two of these fêtes as suddenly between the clouds; there lies the the most important. The one was a sort proud ship; a magnificent rainbow spans the of poetical musical academia, where poems heavens. The cannons thunder, all the for the occasion were read by the authors themselves, or, set to music, were sung by beautiful rainbow extended itself over the vessel, as it was seen from the shore.

* Translated under the superintendence of the author, by C. Beckwith.

By many it was regarded as a bright omen which The authors who recited their poems themselves formed the subject of more than one picture at the were Oehlenschlæger, Grundtvig, H. P. Holst, and H. Academy, that just as Thorwaldsen was about to C. Andersen; the words of the songs were written leave the frigate, the sun, which had been obscured by Heiberg, Hertz, Winther, and Overskou, the inthroughout the day, suddenly broke forth, and a troductory speech by Professor Clausen.