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I hastened back to my room and constructed a bridge which should connect the two parts. When the time came to play the fugue at the recital, it all went smoothly till I was well over the weak spot, which, it seems, I really played as Mendelssohn wrote it. As I neared the last page, the question suddenly occurred to me, what had I done with that doubtful passage?
Story, has made a charming statuette, I think of Beethoven, or else of Mendelssohn, which ought to make his reputation. She is crazy about mediums. Mrs. Trollope has quite recovered, and receives as usual. How full of beauty Mr. Hillard's book is! thank him for it again and again. Did I tell you that they are going to engrave a portrait of me by Haydon, now belonging to Mr.
Yet our composer's conscience shows its completeness in his obedience to the law of opera; for the music he has written to express the situations cannot be surpassed for beauty, pathos, and passion. Beethoven, like Mendelssohn, revolted from the idea of lyric drama as an art-inconsistency, but he wrote "Fidelio" to show his possibilities in a direction with which he had but little sympathy.
On his death the mournful news was placarded all over Leipsic, where he had made his home, and there was an immense funeral procession. When the church service was over, a woman in deep mourning was led to the bier, and sinking down beside it, remained long in prayer. It was Cécile taking her last farewell of Felix. Mendelssohn was born under a lucky star.
He would sit for hours playing the exquisite Lieder Ohne worte of Mendelssohn, while Jessie would shrug her shoulders if asked to play, and call on her brother, saying she could not bear "that nasty practising."
"Mendelssohn said on one occasion in his naive manner: 'In Chopin's music one really does not know sometimes whether a thing is right or wrong." CHOPIN arrived in London, according to Mr. A. J. Hipkins, on April 21, 1848. Hipkins has already been adverted to in the Preface.
To grasp all that this means, let us consider our relation to Mendelssohn. He died nearly sixty years ago; yet, whatever we may think of him as a composer, we can scarcely call him old-fashioned: he remains indisputably one of the moderns. Now, Wagner can never have looked upon Bach as a modern. He spoke of him and his old periwig almost as one might allude to an extinct race of animals.
These are the "music-brokers," as it were, of the present day, who came forth from the school of Mendelssohn, and flourished under his protection and recommendation.
Their improvement from the neglect or contempt they incur. The history of self-education in Moses Mendelssohn. Friends usually prejudicial in the youth of genius. A remarkable interview between Petrarch in his first studies, and his literary adviser. Exhortation. The first studies form an epoch in the history of genius, and unquestionably have sensibly influenced its productions.
His style is bombastic and feeble; there is neither a logical nor a chronological progress to his narrative; moreover, he is not always trustworthy, even in matters personal to himself; at all events, a very interesting account of a meeting between him and Mendelssohn, at the house of Moscheles in London, apropos of nothing, has called out a letter from the latter in a Leipzig musical journal, in which the whole story is declared to be without foundation.
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