Chapter IX: Book II: On Shopping (6)

* * * * *

The next letter refers to the following incident: Mendelssohn had conducted the Philharmonic Concerts during the season of the preceding year. On one occasion he arrived late at a rehearsal, owing to unavoidable causes, and was so discourteously received by some of the members of the orchestra that he laid down his baton and refused to proceed. Some of the Directors who were present succeeded, not without difficulty, in pacifying him; the offenders were requested to leave the room, and he was finally persuaded to resume his office.

* * * * *

LEIPZIG, June 26, 1846.

MY DEAR FRIEND,--The occasion of these lines is a passage in Mr. Moore’s letter, in which he says: “Nearly the whole of the Philharmonic band are engaged; a few only are left out, who made themselves unpleasant when you were there.”

Now, I strongly object to this restriction; and as I fancy you can exercise your authority in the matter, I address my protest to you, and beg you to communicate it to Mr. Moore. There is nothing I hate more than the reviving of bygone disputes; it is bad enough that they should have occurred. This one of the Philharmonic is, as far as I am concerned, dead and buried, and must on no account have any influence on the selection made for the Birmingham Festival. If men are to be rejected because they are incompetent, that is not my business and I have nothing to say in the matter; but if it is because “they made themselves unpleasant when I was there,” I consider that an injustice, against which I protest. Any further disturbance on the part of these gentlemen, I am sure, is not to be feared. That at least is my belief, shared probably by all concerned. So you will sincerely oblige me by having the selection made exactly as if I were not coming to England. The only consideration that can be shown me is not to take me into consideration at all. You will do me a favor by putting this very strongly to Mr. Moore, and requesting him to let the matter drop. If my wishes are to be complied with, the incident must herewith end. Should it be otherwise, I shall write another dozen letters in protest against what I should consider a spirit of vindictiveness. Excuse all this.

Ever yours,

FELIX.

* * * * *

LEIPZIG, July 12, 1846.

MY DEAR FRIEND,--In answer to your letter let me say without delay that the last time I passed through Birmingham the touch of the organ appeared to me so heavy that I could not venture to perform upon it in public. If however it is materially improved, I shall be happy to play one of my Sonatas; but I should not wish this to be announced before I had tried the organ myself.

With great pleasure, or rather with--Well, you know what it is to me to sit at the piano with you, and it needs no words to assure you that I am at all times ready. You decide, please, what it shall be; my head is quite full of “Elijah” just now. The Double Concerto of Bach is beautiful, but not brilliant; that of Mozart rather the other way. Anyhow, I will bring the former. But I must really be excused as regards playing a Solo. As it is, I feel the strain of conducting more than I used, and am no longer capable of playing a Solo and conducting a new piece of my own at the same concert. Some other instrumental number had better be put on the programme; that seems to me more appropriate, too, than having two pieces for the piano. Now, please let me know soon the date fixed for the Festival, as Mr. Moore has not yet informed me; also who is going to sing the Solos in my Oratorio. When “Saint Paul” was performed in Birmingham, it was followed by a selection from Handel’s Oratorios; I much disapproved of this, and trust it is not to be the case this time.

Please answer all these questions, and tell me the latest date you can allow for my arrival;

earlier I shall not be able to come, but I hope I may find time to remain a little afterwards. In the course of next week I will send the last part of the manuscript.

It is not yet settled whether my wife goes with me, but I think she will.

With kindest messages, ever yours,

FELIX M. B.

* * * * *

LEIPZIG, July 28, 1846.

MY DEAR FRIEND,--Many thanks for your letter of the 18th, giving me the dates of the Festival and of the rehearsals. Your and Mr. Moore’s former letters had not stated these definitely; but now that I know them I can make my plans accordingly, and will be in London on the 17th, in good time for the rehearsal of the 20th. I should be glad if the Solos could be rehearsed at the piano on the 19th.

As the morning performances are to last three hours, the “Elijah,” which according to my calculation takes two hours, will not be enough by itself. But then I hope it can be so arranged that a whole piece, not a selection, can be given in addition to it, in the same way as the “Stabat Mater” stands on the programme for the first day. To be sure, it must rest with the Committee whether they will give one or two pieces before; but, however that may be, don’t let us have a ragout afterwards. If there must be three hours, do pray arrange it so that a single piece of three quarters of an hour’s duration be chosen. Besides, it would be a pity to spoil a programme which, as a whole, has a certain look of distinction about it.

And now I hope and trust we may soon meet again. Best love to all. My Cécile, I am sorry to say, will not be able to accompany me; too many reasons stand in the way of her doing so.

Yours ever,

FELIX MENDELSSOHN BARTHOLDY.

* * * * *

Notwithstanding Moscheles’s efforts, Mendelssohn’s wishes were not complied with. After the performance of the Oratorio, Mario sang an air from Mozart’s “Davide penitente,” Grisi an air by Cimarosa, and the concert ended with a Chorus by Handel.

* * * * *

LEIPZIG, Aug. 9, 1846.

MY DEAR FRIEND,--Once more a line (as our letters have crossed) to say that I hope to be in London on the 17th, travelling _viâ_ Ostend and Dover.

All else about Miss Bassano, etc., verbally.

I have just gone through the orchestra parts of the Oratorio, and have corrected a number of faults, whereby I hope to have saved you much time. Good-by,--soon to meet.

Yours ever,

FELIX M. B.

* * * * *

On the 18th of August Mendelssohn arrived in London, and on the following day a first rehearsal of the Solos was held at Chester Place. The Oratorio was performed on the 28th of August. On the 29th Moscheles wrote: “Your visit to Birmingham, and the production of your ‘Elijah,’ have opened a new world of art to me; your work has made an impression on my mind that can never be effaced. If I did not tell you so last night, when so many were pressing forward to congratulate you, it was because I fancied I felt more, and had more to say, than they. Besides, I preferred writing, to tell you how deeply impressed I am; for if I do so verbally, you will only give me the obsolete answer that dates from your boyhood,--‘There is much room for improvement; give me your advice,’ etc.,--and that, from you to me, is out of place. Improve, correct, as much as you think right; tell me why and wherefore you make this or that alteration; let me learn from you, and gratefully acknowledge that it is so. You might well put Beethoven’s motto,[55] ‘Man, help thyself!’ on your coat of arms; for God has endowed you with rare gifts, that permit you to approach Him in the true spirit of devotion and reverence.”

* * * * *

HOBART PLACE, EATON SQUARE, Aug. 29, 1846.

MY DEAR FRIEND,--Your letter, which I just receive, makes me truly happy. Let me thank you cordially for the friendly sympathy and for the indulgence with which you have listened to my music. Your kind words of praise are more to me than words from any other quarter, and a great deal more than I deserve, according to my own estimation. Thanks, thanks! that is all I can say just now, although I should like to add so much. But I will wait till we meet in a day or two, or perhaps till we are taking some quiet stroll together round the city walls of Leipzig or elsewhere. Thanks again, and may you ever preserve your friendship and kind indulgence for me.

Yours for ever and a day,

FELIX MENDELSSOHN BARTHOLDY.

* * * * *

LEIPZIG, Oct. 8, 1846.

MY DEAR FRIEND,--I hasten to answer your kind steamer letter, and to say that I ordered the rooms in the “Blumenberg” a few days after my return, according to the memorandum in my pocket-book, which your wife dictated. I called once more at the hotel, on receiving your letter, and made sure that all was prepared for your arrival on the 21st. The maid with the requisite capacity for sewing is engaged, and we have been offered two most eligible suites of rooms for you, which are now anxiously awaiting your arrival.

The main point, however, I want to answer, my dear Moscheles, is that referring to your best mode of travelling. I must decidedly advise you to take _Extrapost_, not only because it is far more convenient when you are a party of five going so long a distance, but because I believe it to be no more expensive, in fact rather less so, than the _Schnellpost_, _Courier_, or any other means of conveyance, all necessitating your travelling day and night. The only difficulty might be your not having a carriage of your own,--that is, if, as I believe, you have not taken one with you. But it just happens that my mother-in-law, who is here, intends returning to Frankfurt towards the end of the month or early in November, and wishes to take _Extrapost_. Now, if you could hire a carriage, you would have the use of it one way, and my mother-in-law would be glad to take it for the return journey. Thus the only difficulty is overcome, and you would be obliging her into the bargain. I have not the slightest doubt this mode of travelling would be far the most convenient and agreeable for all of you, and therefore most decidedly advise it in preference to any other. You know that if you want to travel as quickly in Germany as you do in England, you must not take _Extrapost_, but _Courier_-horses, which is expensive, although not as compared to England. If however you do not care for such extra speed, you give the postilion a tip of ten or twelve groschen, and you will do the German mile in about three quarters of an hour. Leaving at seven o’clock in the morning, you will be the first evening in Butlar, the second in Weimar, where you will find very good accommodation in the Erbprinz. Please let me know when you start, and about what time you expect to be here, so that we may meet and welcome you on your arrival.

Everybody here is rejoicing at the prospect of your coming, especially the musicians, more especially those of the Conservatorio; but far ahead of any of them,

Yours,

FELIX M. B.

* * * * *

Moscheles writes that he expects to arrive on the 21st of October, and adds: “I go to Leipzig hopeful of the future, and filled with the most pleasant expectations. On the one hand I look back to England and its art-aspiring people with the warmest appreciation. On the other I rejoice at the prospect of living amongst the cultivated and art-loving citizens of Leipzig.” He arrived on the day fixed, when, as his diary says, Mendelssohn received him with the affection of a brother, and rendered him the services of a practised courier. The long-cherished plan was realized, and Moscheles soon entered on his new duties at the Conservatorio.

Moscheles was soon comfortably settled in his new quarters in Gerhard’s Garten,--a spot of historical interest. There the Battle of Leipzig was once fiercely contested; now, however, it was peaceful and pleasant enough to make an exceptionally charming place of abode.

At the Conservatorio Moscheles entered on his new duties, which proved as congenial to his taste as he had expected. The pleasures, too, of daily musical and friendly intercourse with Mendelssohn he now enjoyed to the fullest extent.

On the 6th of January Moscheles writes: “It was a pleasant evening we spent at the Mendelssohns’. Our Felix was invited too, and was privileged to enjoy such music as usually falls to the lot of the initiated only. Joachim, our favorite, was there also. Mendelssohn played us some parts of his yet unpublished ‘Elijah,’ in which, since its performance in Birmingham, he has made sundry alterations, to which he attaches much importance; for instance, in those passages where the widow seeks help of Elijah he has given much more prominence to the part of the prophet.”

_January 24._--“With David at Mendelssohn’s, who played and sang parts of his ‘Elijah’ to us. Among the changes and additions he has made, I was particularly struck by a Terzet in D major for two sopranos and one alto. All seems now to combine to make this work as varied as it is great.”

_January 28._--“Mozart’s G minor Symphony at the Gewandhaus. Mendelssohn took the time of the last movement more moderately than is usually done, all chromatic modulations thus being brought out much more clearly than I have been accustomed to hear them.”

During a choir rehearsal of the “Elijah” in the Gewandhaus, Moscheles took notes of some of Mendelssohn’s directions:--

“‘Out with the vowels! The h_ea_-thens. Who made the heavens and the w_a_-ters.’

“No. 5. ‘Rather err on the side of vigor than on the side of drowsiness.’

“No. 8. ‘From the very beginning the music must sound fresh--not only towards the end.’

“No. 20. ‘I want to hear _Tone_,--what one might call _Music_.’”

Mendelssohn’s last birthday, the 3d of February, 1847, was celebrated by his friends in Gerhard’s Garten. Old and young had made festive preparations for the occasion; in the Moscheleses’ drawing-room a stage had been erected, and every scrap of domestic talent was enlisted to entertain the hero of the day. Cécile Mendelssohn and her sister, Mrs. Schunck, opened the proceedings with a comic dialogue between two lady’s-maids, spoken in the Frankfurt dialect. Then the word “Ge-wand-haus” was enacted as a charade. Joachim, adorned with an eccentric wig, appeared as Paganini, and executed a brilliant improvisation on the G-string (in German, _Ge_-Saite). The scene between Pyramus and Thisbe in the “Midsummer Night’s Dream” followed and stood for _Wand_ (wall). To illustrate the syllable _Haus_ (house), Mrs. Moscheles had written a little domestic scene; and when, in the course of this, Moscheles, dressed as a cook, made his appearance, Mendelssohn burst into a truly Homeric fit of laughter. He was sitting in a large wicker-work arm-chair; and as, in the fulness of his enjoyment, he rocked to and fro, the chair joined in, bending and creaking in sympathetic rhythms. It was not till after a long interval that the cook could get a hearing. As a finale, the whole word was represented by the combined juvenile forces of the two families, each of the children being provided with some instrument, and Felix Moscheles wielding the conductor’s baton. Joachim led with a toy-violin. Of however doubtful a nature this musical treat may have been to Mendelssohn, he certainly entered most fully into the spirit of the thing, and appreciated every allusion to the real Gewandhaus; especially when Joachim made certain remarks in imitation of the master himself, Mendelssohn started off again, and the endurance of the sympathetic arm-chair was put to the utmost test.

After the performance, actors and public adjourned to the first floor, occupied by the Schuncks. In the centre of the supper-table stood the birthday cake, around which burned thirty-seven candles. At the foot of each, Mrs. Moscheles had written a few words descriptive of the year it represented,--from the cradle to the piano and the conductor’s desk; from his first attempt at composition to “Saint Paul,” “Elijah,” and the “Opera _in spe_.” In the centre stood the “Light of Life,” that was so soon to fail!

In the month of April of this year Mendelssohn visited England for the last time. He conducted three performances of “Elijah” in Exeter Hall, and was again active at the Philharmonic Concerts. On his return from England, the news reached him of the death of his sister Fanny Hensel. To her he had been linked throughout life by the closest musical sympathy and affinity, and it was thought he never quite recovered from the shock caused by her sudden death, rendered doubly painful by its occurring during his absence from Berlin, and at one of her own musical matinées.

At this time Moscheles and his wife, who were making a short visit in England, received the following letter from Mendelssohn:--

* * * * *

BADEN-BADEN, June 9, 1847.

MY DEAR MRS. MOSCHELES,--When I received your very kind letter, but could not answer it at once in the hurry of the last London days, I pictured to myself the pleasure of writing to you in a cheerful, pleasant tone, from some favorite spot in Switzerland, perhaps with illustrations or something of the sort. Now all that is changed. You know the heavy affliction which has befallen us, and how our inward and outward life has been shaken to its innermost depths, for a long, long time to come, perhaps forever. I am sure you sympathized with us in our irreparable loss, although you and Moscheles knew my sister but little. You can fancy, however, what I feel,--I, to whom she seemed present at all times, in every piece of music, and on all occasions, whether of happiness or of sorrow. Indeed, such is the case with us all; words are nothing at such a time; and yet I cannot speak of anything else. Forgive me, then, if these lines contain little else than hearty thanks for the letter above mentioned, which was another kindness added to the many which followed every step of my last visit to London.

We shall not go to Switzerland under the circumstances; for we could not now derive any real pleasure from the journey, and probably I shall return to the North sooner than I intended. I often feel irresistibly drawn to Berlin, where my youngest sister is now all alone. My brother has been here for the last week; and certainly nothing can do us so much good as our walks in the woods, the secluded and regular life we are leading here, and, above all, the hours we spend with the children. My brother has brought his contingent of young people; and they, as well as mine, are in excellent health and spirits, and delight everybody who sees them. Cécile too is quite well, thank Heaven; however, deeply afflicted.

I hope to hear a favorable account of your visit to England, and trust you will not remain too long; so that the Leipzigers, and, above all, those pianoforte pupils of yours, may get their full share of that instruction which they are thirsting for. The Londoners will, to be sure, say the same thing; but you have spent so many years amongst them that you must now do something for the German cockneys, or country cousins, or whatever you may choose to call them, whose faults I know as well as anybody, but who have also their good and admirable qualities, provided one can get over their cockneyism and old-fashioned ways. But that requires time, and it is for this reason I want you to come soon. What! I hear you say, that I may lose no time in getting used to the manners and customs of the natives? No, I answer; but to help us wage war on the pigtail.

Remember me kindly to all our dear English friends. I need not say that this letter is meant for Moscheles as well. Heaven grant health to you and yours! and remember kindly your

FELIX MENDELSSOHN BARTHOLDY.

* * * * *

Of the numerous notes exchanged after Mendelssohn’s return we transcribe only the following:

* * * * *

LEIPZIG, Oct. 7, 1847.

_My dear Friend_,--As you kindly promised me your visit for to-morrow afternoon, could you not make it convenient to stay and spend the evening with us? And would not your wife, Mr. and Mrs. Roche, Serena, Felix, and Clara join you then, and take tea with us? That arrangement would give great pleasure to Cécile and the children.

Now, I hope you all think as they do, and will say yes, and delight

Yours (in the singular and plural),

FELIX M. B.

* * * * *

This was the last note from the hand of Mendelssohn that Moscheles received. The days that the two friends should spend together on earth were numbered, but nothing foreboded the hour of separation that was so soon to strike. In Moscheles’s diary we find daily memoranda of the usual friendly intercourse with Mendelssohn.

So on the 3d of October:--“In the afternoon we treated ourselves to some Fugues and Gigues of Bach’s, and I was struck by Mendelssohn’s intimate acquaintance with them. Then he gave us an imitation on the piano of a certain Polka which had been inflicted on him daily by a band of street musicians in Frankfurt. The trivial as well as the serious is food to his mind, and his impressions on all sides are turned to account in his compositions.”

_October 5._--“I spent the whole afternoon with Mendelssohn. He was pleased to see me, and we chatted confidentially on art and artists and Leipzig affairs generally. He played me a manuscript Quartet for string instruments in F minor, the four pieces of which are all in that sombre key. The impassioned character of the whole seems to me in keeping with his present frame of mind, shaken as he is to the heart’s core by the loss of his sister.”

_October 7._--“Mendelssohn called to fetch me for a walk. In spite of the falling rain, we went to the Rosenthal, and time flew amid the most interesting conversations.”

_October 8._--“Examination of pupils for reception at the Conservatorio. Mendelssohn, who took an active part in the proceedings, tested them in thoroughbass and wrote out examples on the blackboard. Whilst they were at work, he sketched the most delightful landscapes--ever a creative genius!... Passed a most interesting afternoon and evening with Mendelssohn. He played his Violoncello Sonata in D major with Rietz, and the two Beethoven Sonatas, Op. 102; then my Sonate Symphonique with me.”

On the following day, the 9th, another walk in the Rosenthal is recorded in the diary. It was a day not to be forgotten. Mendelssohn had much to tell of his last stay in England. He related the charming incidents of his visit to Queen Victoria and Prince Albert, and spoke of many mutual friends. At one o’clock he parted from the Moscheleses in the most cheerful mood; but it was only a few hours later that he was attacked by the illness from which he never recovered; and now followed days of anxiety and suspense, broken only by hopes that were not to be realized.

_November 3._--“Mendelssohn better in the morning. In the afternoon another apoplectic stroke, depriving him of all consciousness. In the evening Charlotte and I, Madame Frege, David, and Schleinitz remained in the house till eleven o’clock.”

“_Thursday, November 4._--Before the day dawned my Felix had been to inquire, but could only bring us the most disheartening news.”

The end was approaching. Moscheles’s own words best describe the incidents of this, Mendelssohn’s last day. In the anteroom of the death-chamber he wrote:[56]--

“Nature! demandest thou thy rights? Angels above, in heavenly spheres, do ye claim your brother whom ye regard as your own, as one too high for intercourse with us ordinary mortals? We still possess him, we still cling to him; we hope, by God’s grace, to keep still longer amongst us one who has ever shone upon us, a pattern of all that is noble and beautiful, the glory of our century! To thee, O Creator, it is known why Thou hast lodged those treasures of heart and soul in so frail a tenement, that now threatens to dissolve! Can our prayers win from Thee the life of our brother? What a glorious work hast Thou accomplished in him! Thou hast shown us how high he may soar heavenwards, how near he may approach Thee! Oh, suffer him to enjoy his earthly reward,--the blessings of a husband and father, the ties of friendship, the homage of the world!”

“_Noon._--The doctors Hammer, Clarus, and Walther watch in turn by his bedside. Schleinitz writes out a bulletin that gives no hope. Dr. Frege and his wife and I are waiting anxiously near the sick-room. The doctors say that if no fresh attack on the nerves or lungs supervenes, the apparent calm may lead to a happy turn....

“_Midnight._--From two o’clock in the afternoon, at the hour when another paralytic stroke was dreaded, he gradually began to sink; he lay perfectly quiet, breathing heavily. In the evening we were all by turns assembled around his bed, contemplating the peaceful, seraphic expression on his countenance. The memory of that scene sank deeply into our hearts. Cécile bore up with fortitude under the crushing weight of her sorrow; she never wavered, never betrayed her struggle by a word. The children had been sent to bed at nine o’clock. Paul Mendelssohn stood transfixed with grief at the bedside of his dying brother. Madame Dirichlet and the Schuncks were expected in vain,--Dr. Härtel had travelled to Berlin to fetch them and Dr. Schönlein, but they could not arrive in time to witness the closing scene.

“From nine o’clock in the evening we expected every moment would be the last; a light seemed to hover over his features, but the struggle for life became feebler and fainter. Cécile, in floods of tears, kneeled at his pillow; Paul Mendelssohn, David, Schleinitz, and I, in deep and silent prayer, surrounded his death-bed. As his breathing gradually became slower and slower, my mind involuntarily recurred to Beethoven’s Funeral March, in the ‘Eroica Symphony,’--to that passage where he seems to depict the hero, as he lies breathing his last, the sands of life gradually running out:

“The suppressed sobs of the bystanders and my own hot tears recalled me to the dread reality.... At twenty-four minutes past nine he expired with a deep sigh. The doctor persuaded the widowed Cécile to leave the room. I knelt down at the bedside, my prayers followed heavenwards the soul of the departed, and I pressed one last kiss on that noble forehead before it grew cold in the damp dew of death.”

* * * * *

Moscheles remained in Leipzig, henceforth looking upon the Music School as on a precious heirloom, bequeathed to him by its founder; and during a period of twenty-three years--that is, until but a few days before his death in March, 1870--he labored with untiring energy and devotion to instruct the rising generation of musicians, and to instil into their minds those artistic convictions and principles that had always been dear to him and to Mendelssohn.

INDEX.

Academy, at Berlin, sadness of its aspect, 31.

Addison & Beale, Messrs., pay twenty guineas for a
copyright of Mendelssohn’s works, 181;
draw money from, 188.

Addison and Benedict, transactions with, 237.

“Alexander’s Feast,” choruses from, 88.

Alexander, Mary, “Impromptu” for, 85;
good things in “Impromptu,” 85.

Andante in B flat, description and analysis of, 58.

“Anthems,” new edition of, unsatisfactory, 252.

Arnim, conductor of musical affairs, 46.

Art Exhibition, open at Berlin in October, 34.

Art should be a mirror reflecting the character of the times, 112;
grateful for that which has a life of its own, 194.

“Athalie,” translated by Bartholomew, 269.

“Au Clair de la Lune,” popular song of, 20.

Auber, his “Gustave III.,” 129.

Aix-la-Chapelle, musical festival at, 103.

Bach, Johann Sebastian, his “Passion,” performance of,
for benefit of charitable institution, 8;
public loud in demand for third performance, 8;
pieces played together, 31;
similar compositions, 31;
his Concerto, 52;
Fugues of, 70;
monument to, 198;
Triple Concerto, 245.

Ball, Mr., translator, 155.

Bärmann, his enchanting concert, 53.

Bassano, Miss, reference to, 278.

“Becken,” its double meaning, 57.

Becker, head-master of music school, 260.

Beethoven, his musical sketch-book, ideas from, for grand Mass, 47;
chaotic appearance of its pages, 47;
a puzzle even to the initiated, 47;
description of, 47;
the cherished master, 47;
his Concerto and Sonata, 52;
his habit of conducting, 93;
motto, “Man, help thyself,” 279.

Belleville, Madame, her success, 26;
not attractive to Berlin people, 26;
performs at the theatre between two comedies, 26;
her playing lacks soul, 26;
not a “Bellevue,” 29;
burlesque of her performance, 30;
reference to her performance, 53;
affectation of, 62.

Bellini, gazetted Knight of the Légion d’ Honneur, 129.

Bennett, his new Concerto, 170.

Berger, Symphony by, 52;
its execution bad, 52;
dissatisfaction of, 52.

Berlin, letter from, 201.

Berlin Society, an awful monster, 61.

“Berliners,” type of, 25;
their musical taste, 34.

Berlinese, not exactly noted for good nature, 115.

Berlioz, recognized as a genius by the French, 93;
his Overture, is prosaic and chaotic, 97;
his scores, a frightful muddle, an incongruous mess, 97;
his Symphony, 133.

Biography of Mendelssohn and Moscheles, compiled chiefly from diaries, xii.

Birmingham Festival, full particulars of, 115;
reference to, 122.

Birmingham, invitation to, 201.

Blagrove visits the Choral Society, 88.

Blahetka, Madame, her superiority, 27.

Blahetka, Mademoiselle, 53.

“Blue Devils” stand for melancholy, 20;
first movement is styled “Malin-conico,” 144.

“Blumenberg,” rooms ordered in, 280.

Book of Songs, collection of, 219.

Books, returned by Mendelssohn with thanks, 74.

Breitkopf and Härtel publish book of unknown compositions, 31.

Broadley, Mr., instructions in reference to German publication, 218;
Scena for, 236.

Browning, tribute to Moscheles’s memory, 21.

Bunsen, Prussian ambassador at St. James, 232;
his counsels have great weight, 232.

Burghersh, Lord, and the Philharmonic, 202.

Burton, Mr., desired to make an offer for the Oratorio, 271;
straightforward in his dealings, 272.

Byron, Lord, is read by Mendelssohn, 42;
chorus on, in “Faust,” 90.

“Calm Sea, and Prosperous Voyage,” 141.

Cantata, “Hora est,” 10;
on a Chorale in A minor, 12.

Capriccios, or Fantasias for pianoforte, 107.

Carnival, excuse for keeping aloof from, 91.

Cécile, wife of Mendelssohn, 158.

Cerberus, intimations from a, 73.

Chappell, mention of, 11;
opera for, 195.

Cheapside, calm and quiet of, 86.

Cherubini, his new opera, “Ali Baba,” 119;
his Faniska and Lodoiska, difference between a man and a scarecrow, 119;
caters to depraved musical taste, 120;
his “Abencerrages,” 198;
his second Requiem in D minor, 253.

Chester Place, two years’ absence from, 22;
changes there, 28;
maze of its associations, 22;
more than a dream, 22;
wish to be there, 22;
a constant visitor at, 66;
its brilliant circle, 66.

Cholera, a Russian gift, 25.

Chopin, his book of Mazurkas, 129;
at Hamburg, 138;
his new things not satisfactory, 156;
his Studies have much charm, 171.

Choral Society, its performance, 120.

Chorley, H. F., cultivated young man on the “Athenæum,” 192;
mention of, 194;
a truly good fellow, 195;
and Moscheles, 210;
letters from, 214.

Chorus, “Hora est,” 12.

City of Steeples, 85;
“Alsterbassin,” 26;
no comfort wanting in, 25.

Clarus, Dr., attends Mendelssohn in his last sickness, 292.

Collard, mention of, 11.

Cologne, return from a trip to, 99;
its public, 100;
its musicians, 100;
intolerable as a residence, 100;
visit to, not pleasant, 166.

“Come to Berlin,” fugue in fifteen parts, 28.

Coming of the Spring the best opera, 63.

Commercial Club, called “The Parliament,” 126.

Composer, his mind preoccupied, 95.

Composition, kind required, 102.

Concert, money value of, 33;
best time for, 33;
hall expenses, etc., 33;
terms stipulated for, with directors of opera, 40.

“Concerto Pastorale,” Moscheles refers to, 174;
letter accompanying, 182;
announcement of, 185;
dedication of, 194.

“Cortez,” new opera of, 39;
sons of Mars applaud mightily, 39.

“Court,” its meaning in conjunction with title, 41.

Court in Berlin, 91.

Cramer, mention of, 11, 66.

Cravat, practice in tying, 74.

David, F., wishes to go to London, 178;
an excellent performer, his compositions brilliant, 178;
played his new Concerto at the Philharmonic, 180;
a favorite at Chester Place, 182;
colleague to Moscheles at Leipzig Conservatorio, 182;
Mendelssohn invokes a kind reception for, 186;
a fine musical critic, 187;
head-master of music school, 260.

“De la Vie d’un Artiste,” new symphony for, 112.

Denmark, visited by Moscheles, 13.

Derossi, Signor, call for, 87;
opposition to, 87.

“Der Schmidt,” by Uhland, 219.

De Vrughtat Chester Place, 104.

Devrient, Eduard, actor and writer on dramatic art, 4.

Directors of the Philharmonic, 251.

Dirichlet, professor of mathematics, etc., 77.

Dirichlet, Madame, mention of, 141.

Discourtesy at rehearsal, 274.

Dispute with the Philharmonic, a dead and forgotten issue, 275.

Döhler is lionized, 170.

“Don Juan,” opera, theatrical success of, 86.

Double Concerto in E in Clementi’s piano manufactory, 13.

Dreyschock, a young pianist from Prague, 187, 203.

Dresden, Moscheles’s visit to, 40.

Düsseldorf, musical festival at, 66;
its pleasant impression on Mendelssohn, 81.

“Egmont,” performed with Beethoven’s music, 90.

Elberfeld, village near Düsseldorf, 127.

Eldon, Lord, overture to, 114.

Elsslers, the, called the “Telegräfinnen,” 53.

“Elijah,” copy of, placed in Bartholomew’s hands for translation, 274;
alterations of parts of, 283;
time taken for its performance, 277.

Elkamp, Mr., writes a “Saint Paul,” 138.

England, the impression it gives, 16;
regard of, for Moscheles, 17;
country makes a lasting impression on Mendelssohn, 17;
many years spent there, 288.

English, Mendelssohn rusty in, 168.

English, their custom of putting everything in the papers, 189.

English comfort, the happiness of, 229.

English Misses should not forestall German, 251.

Envy, like Hercules, throttled in its cradle, 155.

Erard, compliment from, 54;
offers to repair piano, 166;
presents Mendelssohn with new instrument, 166.

“Eroica Symphony,” suggestive passage in, 293.

Ewer & Co., Mendelssohn prefers to give manuscript to, 270.

Exeter Hall, 286;
“Elijah” performed there, 286.

Extracts, how made, x;
substance embodied in commentary, x;
subject-matter of, from the pen of Moscheles, x.

“Extrapost,” slow transit of, 282.

“Fall of Paris,” and Alexandrian Variations, 20, 134.

Family, transformation of, 60.

Fantasie, “Gipsies’ March,” 63;
manuscript of, 63;
joint work of authors, 64;
the share of each, 64;
the intimate fusion of two musical minds, 64;
Moscheles’s letter on, 64.

Fates, decree of, 265.

Fétis, disagreeable qualities of, 197.

First visit to a foreign land, 16.

Fleming, Mr., re-elected to a seat in Parliament, 126.

Foreigner, things difficult made easy to, 16.

Francilla, mention of, 152.

Frank, Dr., Mendelssohn wishes to show A major Symphony to, 111;
errors of, 111;
minuet and finale of, 111.

Frankfurt, Oratorio to be brought out at, 137.

Frege, Dr., waits anxiously near the sick-room, 292.

Friendship, characteristics of Moscheles’s and Mendelssohn’s, ix.

Ganz Brothers desire to visit London and Paris, 62.

“Gazette Musicale” exalts Berlioz’s Requiem, 165.

Gerhard’s Garten, a spot of historical interest, 283.

German Diet, allusion to, 24.

Giermann, Mr., commissioned to pay for disbursements, 29.

“Gipsies’ March,” “April Variations” of, 89.

Goethe, the “Pole-star of poets,” 19;
correspondence with Zelter, 90.

Goethe’s and Zelter’s letters, great merits of, 100.

Goethe, Frau von, sends thanks for Variations, 115.

Graban, Mademoiselle, “prima donna,” 145.

Grabbe, immersed in the bottle, 128.

Gratitude for happy days, way of showing, 22.

Great composers, the way to honor them, 197.

Green-Score Hotel, Leipzigerstrasse, 28.

Guhr, the only man who succeeds, 151.

Guildhall, meetings at, 24.

Gusikow, mention of, 152.

Hamburg, letter in sixteen parts from, 25;
to Berlin, journey requires thirty-four hours, 45;
fire, sufferers from, 227.

Hammer, Dr., watches Mendelssohn, 292.

Hand-clapping, time of continuance, 13.

Handel, his glorious style, 119.

Handel Society desires a new edition of “Messiah,” 242;
its generous offer, 244;
request for Oratorio, 245;
difficulty with, 251.

Handel’s Oratorios, selections from, 276.

Handley, Mrs., Mendelssohn a warm admirer of, 99;
her appearance beside her husband, 99.

Härtel, Dr., his effort for Mendelssohn, 292.

Hauptmann, his first Mass performed at St. Thomas’s Church, 230;
head master of music school, 260.

Hauser, beautiful joke of, 139;
sends Bach’s Concertos, 153.

Health, book on, 73.

Hegel lectures at Berlin University, 4.

Hensel, painter, marries Mendelssohn’s eldest sister, 15.

Henselt’s Studies, interest in, 171.

Herz, hissed by the public, 112.

Hiller, studies of, 133;
Paris, bad soil for, 133;
his merit as a pianoforte player, 151.

Hogarth, Mr., certificate enclosed for, 168.

“Hommage à Handel,” piece for two performers, 140, 245.

Hôtel de Rome in Berlin, recommended, 45.

House-hunting, instructions about, 271.

Hübner, Madame, dress critic, 92;
asks if cravat is English, etc., 102.

Hummel, Septet of, and Herz’s Variations, 26;
mention of, 66;
a good man needed to supersede him, 176.

Hüttner & Co., Ewer’s correspondents in Hamburg, 273.

“Hymn of Praise,” value of, 209, 272.

“Im Herbst,” by Uhland, 219.

Immermann, poet and dramatist, 127;
his “Münchhausen,” and epic poem “Tristan and Isolde,” 127.

“In Autumn,” a song and words by Uhland, 130, 131, 132.

“Infelice,” inspires Mendelssohn’s praise as a popular song, 4;
Scena written for the Philharmonic, 86.

“Israel in Egypt,” choruses selected from, 117, 245;
edited by Mendelssohn, 253.

Italian mannerism of Thalberg, 153.

Italian symphony, 60.

Italy, visited by Mendelssohn, 18;
stupid book about, 123.

“Jagd,” Lutzow’s, 126.

Jenny Lind, letter to, 267.

Joachim, musical favorite, 283;
appears as Paganini, 284.

“Joan of Arc,” overture to, 118;
begged to be repeated, 144.

“Judas Maccabæus,” first part of, 120.

Kalkbrenner at Hamburg, 138;
the little fish patty, 139.

Kammerherr, surprise and astonishment of, 145.

Kistner sends “Gipsies’ March” to Frau von Goethe, 94;
anxious about new book of Studies, 159.

Klingemann, Carl, a gifted poet, 4;
meeting with, 19;
fit to flirt but
not to marry, 37;
a Knight of the Order of Bachelors, 37;
becomes engaged in 1846, 37;
his Septet, 51;
writes out eleven notes of Septet, 57;
report in his last letter, 60;
goes to London, 61;
arrival of, 78;
not prodigal of words, 85;
will make alterations, 96;
his engagement and prospect of marriage, 254.

Lafont, expected at Berlin, 53.

“Lauda Sion,” composed for church festival, 263.

Leipzig, Rondo to appear at, 85;
Abonnement Concerts held at, 137;
its cultivated and art-loving citizens, 252;
cost of living there, 262;
Conservatorio, Moscheles enters upon his duties there, 283;
the pleasures of daily musical and friendly intercourse, 288.

Leipzigers wish to secure Moscheles for direction of Conservatorio, 256;
large salary offered, 258;
a position influential and independent, 258.

Leipzigerstrasse, Mendelssohn’s father safely lodged in, 77.

“Les Francs Juges,” Overture by Berlioz, 93.

Letters, passages in, not suppressed, ix.

“Light of Life,” emblem of, 286.

Lindblad, Swedish composer, 152.

Lindenan, his kindly remembrance of Mendelssohn, 41;
pleased with him as violinist, 139.

Liszt, his depressing harmonies, 136;
writes from Milan, 165;
and Chopin, difference of their genius, 170;
masterly execution and subtle musical feeling, 203;
lack of original ideas, 203;
more than a mere pianist, 204.

Littleton, Messrs, manuscript of assignment, etc., 66.

London, advantages for travel, as compared with Vienna, 7;
reception in, 17;
arrival in, 19;
the best way to make enjoyable, 128;
Mendelssohn’s triumphs there, 164;
life in, requires great exertions, 259.

“Lord God of Israel,” may be sung to “Ave,” 126.

“L’Ours et Pacha,” vaudeville melody in, 94.

“Lovely City,” reference to, 26.

“Lyre and Sword,” Weber’s, 120.

“Maitrank,” drink of hock, herbs, and sugar, 104.

Malibran, mention of, 66.

Manuscript, offers to bring a cab-full, 12.

Matrimonial alliance, playful allusion to, 40.

“Meeresstille,” 52.

Meerti, Miss, has won golden opinions, 196;
goes to Dresden, and is invited to sing at Court, 196.

“Melodies for the Pianoforte,” 65;
number of copies disposed of, 66.

“Melusine,” Overture of, 92;
has vigorous spirit and conception, unity and originality, 92;
it is studied with Mori, 92;
piano parts of, 92;
the Philharmonic did not like it, 102.

Mendelssohn, A., letter to Moscheles, 5;
invokes a welcome for his son, 5;
states the plans and purpose of his son’s travels and education, 5;
death of, 147.

Mendelssohn, Carl, eldest son of composer, x;
supplies copy of Moscheles’s letters, x.

Mendelssohn, Cécile, wife of Felix Mendelssohn Bartholdy, xiv;
carries her burden with dignity and resignation, xiv;
her care of his study, xiv;
admires his love of order, xiv;
his study her sanctuary, his music her secret treasure, xiv;
opens its door to Felix Moscheles, xv;
no sigh or murmur escapes her, xv;
bond of union between her and Mrs. Moscheles, 224.

Mendelssohn, Felix, Bartholdy, his letters arranged by Ignaz Moscheles, ix;
manuscript book, ix;
his genial expression of personal feelings, ix;
letters of, addressed to Mrs. Moscheles, x;
incident truly characteristic of, xiv;
lively discussion with Rietz, David, and Moscheles, xiv;
the _aoristus primus_ of τὑπτω, xiv;
his death, xiv;
description of his study, xv;
busts of Goethe and Bach there, xv;
cultivates his natural gifts, 4;
attends lectures of Hegel, Ritter, etc., 4;
position as composer and pianist, 4;
seeks advice
from Moscheles at to best travel route, 5;
wishes to make a long stay in Italy and France, 6;
purpose to visit Vienna, Munich, London, 6;
seeks acquaintance of men eminent in art, 6;
completion of his compositions interfered with, 9;
seeks Klingemann’s address, 9;
arrival in London, 10;
favorite in London circles, 13;
welcomed as genial companion and artist, 13;
his sin of excuses, 14;
gratitude to Mrs. Moscheles, 14;
his Highland tour, 15;
returns to London, 15;
his injury by accident, 15;
celebrates the silver wedding of his parents, 15;
finishes “The Son and Stranger,” operetta, 15;
stops a fortnight at Weimar, invited to Goethe’s house, 18;
starts on his continental tour, 18;
writes “The Isles of Fingal” at Rome, 20;
his curiously illustrated drawing, 20;
excuses for, on score of genius, 24;
an egotist, 27;
his fits of depression, 32;
sees the whole world in pale gray tints, 32;
would sometimes rather be a carpenter or turner, 35;
feels unspeakably dull, 36;
color of his mother’s shawl, 38;
his splenetic mood, 38;
living much as an asparagus, 44;
his is not a drawing-room melancholy, 45;
wrote stupidly because stupid, 45;
not a “spoilt child,” etc., 45;
fête for Moscheles and grand music, 45;
his childlike joy, 48;
his interest in music and musicians, 48;
feels the fog lifting, 48;
his aspirations as godfather, 51;
his godchild, 57;
first present he makes to him, 57;
happy in the happiness of his friends, 57;
traces of moodiness in his compositions, 58;
enjoys the quiet of his room, 58;
suffering of his father, 58;
joins his sister in Sunday morning music, 58;
receives grass-green volume of Moscheles, 58;
congratulates Moscheles on his new-born son, 59;
allusion to the children of the family, 59;
his love of London, 60;
how he escapes bores, 61;
evening spent with his parents, 61;
first present to his godchild, 69;
his peculiar autograph album, 69;
Cradle Song in B flat, 69;
anxiety on account of accident to his father, 69, 77;
assumes the duties of Musik-director at Düsseldorf, 74;
feels quite at home, 81;
promise of new compositions, 81;
hard at work there, 81;
his poverty in shaping new forms, 85;
toils and labors with difficulties, 85;
his birthday celebrated, 90;
joy, ease, and success in work, 90;
is offered liberal terms for Gipsy Variations, 97;
his title of “Herr Musik-director,” 121;
his periods of monotony and depression, 123;
regard for his parents, 135;
his appearance at head of Leipzig orchestra, 140;
he is advised not to alter his work, 149;
misses Moscheles in England, 163;
his arrival in London, 208;
he cannot change the opinions of a lifetime, 252;
the prices paid for his works by Novello, 273;
his birthday celebrated at Gerhard’s Garten, 284;
description of parts in the performance, 285;
great affliction at his sister’s death, 287;
his last hours, 291;
the scene at his death, 291;
reflections of Moscheles on, 292.

“Merit has its crown,” etc., 65.

Meyer, Mademoiselle, gone to London, 104.

Meyerbeer is invested with his title, 41.

“Midsummer Night’s Dream,” performed with enthusiastic reception, 13.

Milder, Madame, her concert, when to be given, 41;
sings Scenas by Gluck, 52.

Moore, Mr., wishes to print Oratorio, 269.

Mori, his indiscretion, 98;
presented with a manuscript, 98;
waiting for Rondo, 98.

Morning Service, for Novello, working at, 30.

Moscheles, Mrs. Charlotte, letters of Mendelssohn to, x;
is his guide and mentor in London society, x;
her “grandmotherly” advice, x;
she is still active in body and mind in her eighty-third year, x;
cherishes memories of the past, and joins in the joys of the present, x;
is heard with delight when she talks of Mendelssohn, x.

Moscheles, Felix, comes into possession of Mendelssohn’s letters, ix;
manuscript book and index of his father, ix;
his use of the “Life of Moscheles,” edited by his wife, x;
his juvenile recollections and impressions of Mendelssohn, xi;
his godfather, and parents’ best friend, xi;
claims Mendelssohn’s attention and enjoys it, xi;
race with, across Regent’s Park, xi;
battle of snowballs, xi;
improvisation of a funeral march, xi;
his account of the drawing of the hatchet curve, xi;
“took a most lively interest in everything concerning me,” xi;
refuses to go to bed at the accustomed hour, xii;
his account of improvised playing of Mendelssohn and Moscheles, xii;
shows how they fraternized in perfect harmonies, xii;
“music-making in my father’s house,” xiii;
his mention of their motto, “Res severe est verum gaudium,” xiii;
refers to his own name and its significance, xiii;
his special privileges, hears Mendelssohn, Liszt,
the Schumanns, and Joachim, xiii;
pleasure of editing the correspondence, xv.

Moscheles, Ignaz, engaged on a professional tour, 1;
gives instruction to Mendelssohn, 1;
recognizes the genius of the young composer, 1;
feels that he is sitting next to a master, 1;
is requested to give lessons, 1;
he is invited to dinner, 1;
“prince des pianistes,” 2;
invitation to visit “Akademie” and to a tea-circle, 2;
the friendship of teacher and pupil, its lasting character, 3;
his appreciation of youthful genius, 3;
he is senior of Mendelssohn by sixteen years, 3;
spends many happy hours with his friends, the Mendelssohns, 3;
his appreciation of, 3;
his mention in diary of Mendelssohn’s genius, 3;
his “Studies,” 4;
his acquaintance with musical men in London and Vienna, 7;
“Studies,” second book of, 7;
advises Mendelssohn to begin his tour with a visit to London, 8;
his description of London attractive, 8;
his new symphony, 9;
he secures rooms for Mendelssohn, 10;
his house, and the pleasant hours in, 11;
plays with wonderful brilliancy, 13;
at home with Mendelssohn, 19;
his wife’s kindness to Mendelssohn, 19;
his birthday celebrated, 20;
his visit to his sister, 25;
visit to Hamburg, 27;
has many claims upon his time in London, 28;
his twelve days stay in Berlin, 46;
success of his concert, 47;
goes from Berlin to Leipsig, 47;
plays in public at Frankfurt and Cologne, 47;
presented with a musical sketch-book, 47;
Concerto in E flat, 51;
his complete works, 130;
his overture to “Joan of Arc,” 130;
description of its parts by Mendelssohn, 131;
letters written to his wife, 141;
his Concerto Fantastique, 143;
visits his mother in Prague, 213;
leaves London, 235;
he is appointed professor at the Conservatorio of Leipzig, 236;
his birthday is celebrated, 245;
goes to Frankfurt, 246;
his wife wishes to live in Leipzig, 261;
last days he spent with Mendelssohn, 289;
his regard for the Music-School, 294.

Mozart, his good taste, 152;
his C major Symphony, 253;
his “Davide penitente,” sung at festival, 278;
his G minor Symphony at the Gewandhaus, 284;
Mendelssohn’s directions in reference to the “Elijah,” 284.

Music paper, sheets of, 11.

“Musical Review,” Mendelssohn asked to edit, 128.

Musical school, programme of, 233;
King of Saxony may grant funds for, 233;
that at Leipzig, its need of Moscheles, 239;
its plan of organization, 240;
cost of educating Englishmen in this school, 241;
the number of its pupils, 242;
fault in its organization, 242;
kind of instruction needed in, 242.

Musicians, prominent ones unreservedly criticised, ix;
complaint of, 32;
their abuse of each other, 173;
their doings in England, 248.

Nathan, volume of, 74.

Neukomm, his estimate of net receipts, 33, 35;
his beautiful lecture, 36;
preached to conscience, 36;
thinks one should only write according to one’s mood, 36;
large number of works in his programme, 116;
his style, that of Haydn bordering on Handel, 116;
has not done much for art, 116;
his “David” shows wonderful workmanship, 116;
lacks the poetical element in other of his works, 116;
his music and its qualities, 118.

“Nicht allein,” chorus in second part of “Faust,” 90.

Nicolai, his description of Italian scenery, 124.

Nightingales, Inspector of, title conferred on an old lounger, 104.

Novello, Miss, cordially greeted by the public, 160;
success marvellous, 170.

Novello, V., appointment with, 65.

“Nursery Tale,” his greatest favorite, 159.

Onslow, inquiries about, 198.

Opera House holds nearly two thousand persons, 40.

Orchestra Pension Fund, 185.

Orinoco, allusion to, 117.

Overtures, for two performers, 179;
description of parts, 179;
to appear at Simrock’s in Bonn, 179;
at Mori’s in London, 179.

Paganini gives a concert in Berlin, 9;
his never-erring execution, 9;
mention of, 66.

Paris, short stay at, 19.

“Phantasie-Stücke,” volume of, 74.

Philharmonic, G minor Concerto played at the, 20;
the Society, its intentions toward Mendelssohn, 48;
Septet written for, 51;
list of concerts, 54.

“Philister,” any word in English for? 126.

Philistine, the German, with his nightcap, 194;
his language, 248.

Philistines, the world of, 126.

Phrenology, special attack upon, 22.

Piano, its delay, and annoyance at, 41;
“there be none of Beauty’s daughters with a magic like Erard’s,” 43;
his own is inaugurated by Moscheles, 43;
a “Graf,” the wonder of Vienna, 44;
those of Berlin pianoforte-makers, 44;
pear-shaped instruments, 44;
giraffe, or pocket size, etc., 44.

Pianos, the, in Mendelssohn’s Overture, difficulty
of getting them observed, 96.

“Piano Songs,” thanks for assistance in reference to, 28;
twenty editions of, 29;
what may be bought with the proceeds, 29.

Pixis, mention of, 152.

Planché, messages sent to, 187.

Porte Saint-Martin, rattling of brass fit for, 93.

Portland Street, quarters of Mendelssohn at, 12.

Prince, Crown, extremely gracious, 110.

Prince Frederick, giving many balls, 91.

Publication of letters, why delayed, ix.

Pupils, examination of, 290.

“Quarterly Review,” portrayal of composers in, 192.

Quartet in A minor, 12.

Redern, Count, director and autocrat of the drama, 39;
conference with, 41;
inserts advertisements, 43;
has gone to his estates, 45;
takes Mendelssohn under his wing, 53.

Reissiger & Co., their compositions shallow, 136.

Rhenish Musical Festival, 134.

Rhine, journey by, 181;
leaving for, 273.

Ries, violin player, 103;
Mendelssohn and he as pope and anti-pope, 104;
leaves Düsseldorf, 109.

Rietz, plays Beethoven sonatas, 290.

Ritter, lectures at Berlin University, 4.

Rondo Brillant, dedication of, 82.

Rosen, George, Consul-General, etc., 11.

Rosen, Professor, Mendelssohn dines with him, 12;
meeting with, 19.

Rosenhain empties his pockets, 247.

Rosenthals, visit to the, 290.

Rossini, mention of, 152.

Rubini, mention of, 66.

“Ruins of Athens,” selections from, 267.

Russians, seem more thoroughbred than the Hamburgers, 62.

Rylands, Miss, reference to, 118.

Saaling, Marianna, cousin of Mendelssohn, 110.

Saint Cecilia Choir, directed by Mendelssohn, 148.

“Saint Paul” performed in England, 154.

“Sakontala,” by Klingemann, 219.

Schleinitz, lawyer, friend of Mendelssohn, 140;
is Director of Leipzig Conservatorio, 140.

Schlesinger, Moritz, not slow to triumph at hissing of Herz, 112;
may be King of the Belgians, or Fire-King, 112;
the “Study” is sent to him, 197.

Schmidt, Aloys, takes his ease in the country, 151.

Schneider, Mademoiselle, her success, 53.

“Schnellpost-coupé,” comfortable travelling in, 25.

Schröder-Devrient, mention of, 66.

Schubert, Franz, Symphony of, 191.

Schumann, Robert, mention of, 141;
quartets performed by, 230.

Schumann-Wieck, Madame, her effort to obtain pupils, 263.

Schunck, Mrs., takes part in comic dialogue, 284.

Scotch Symphony and Overture, 14.

Scotland, visit to, by Mendelssohn and Klingemann, 14.

Scott, Sir Walter, dedication to, 11;
piece dedicated to, 20.

“Seasons,” the performance of, 120.

Septet, arrangement of, 70.

Shakspeare, his “King John,” downright heavenly, like all else of his, 100.

Shaw, Mrs., inquiries about her, 170;
makes many friends, 173.

Shopping, Book on, 73.

Siboni, recipes of, for salad mixing, 104.

Simrock, of Bonn, German publisher, 218.

Simrock’s, a piece to appear at, 82.

“Sinfonia Eroica,” 120.

“Sinfonia Pastorale,” allusion to, 174.

Sing-Akademie, 54.

Smart, George, interest in “Saint Paul,” 155.

“Son and Stranger,” selections from, 47.

Sonata, four-hand, Moscheles’s, 81.

Sonate Symphonique, played at the court of King Louis Philippe, 262.

Songs, new book of, 157.

“Songs without Words,” reference to, 65, 191;
price of copyright, 66.

Sophocles’ “Antigone,” performed at Moscheles’s house, 228.

Souchays, at Frankfurt, 230.

Spohr, his Symphony, 191;
and Mendelssohn, attempt to create antagonism between, 222.

Spring, its balmy air makes life endurable, 255.

Spring, Mr., cannot be “digested,” 88.

St. Pancras, Church of, 207.