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Updated: June 28, 2025


In the Gewandhaus, according to custom, the Ninth Symphony had brought the concert season to a close; once more, the chorus had struggled victoriously with the ODE TO JOY. And early one morning, Maurice held a note in his hand, in which Louise announced that she had "come home," the night before.

He still had fifteen minutes to spare before the concert engagement, which began at eight o'clock, called him to the Gewandhaus. While he was wondering what he could say to his friend, the servant opened the door leading to the living apartments of the family and intimated that he should come in.

After giving up his official position at Düsseldorf, in 1835, Mendelssohn was invited to become the conductor of the now famous Gewandhaus concerts at Leipsic, a post which he gladly accepted, and which, retained by him for many years, was to be one of the greatest delights of his artistic life.

But an Overture in D minor was performed at the Gewandhaus concerts on February 23, 1832; a Scena and Aria were sung by one Henriette Wüst at a "declamatorium" in the Hoftheater on April 22 of the same year; a C major Overture was given at the Gewandhaus eight days later; on January 10 of the following year the C Symphony was played at the Gewandhaus after being tried by a smaller orchestral society; an Overture to a preposterous play, King Enzio, in which Rosalie took a part, had been played nightly while the piece ran.

In September he returned to Leipsic; he was then more cheerful, and able to talk about music and to write, although he could not resume the conductorship of the Gewandhaus concerts. He again had projects in view. Jenny Lind was to sing in his "Elijah," at Vienna, whither he would go and conduct, and he was about to publish some new songs.

The public did not fancy them, and few players understood them. Even in Leipzig, where I played the 'Carnival' at my second Gewandhaus concert, I did not obtain my customary applause.

The favourable impression thus created was much talked of, and the directors of the Gewandhaus Concerts decided to give the native Leipzig public a chance to hear the new overture. In this instance Herr Capellmeister Reinecke, who had heard the piece under my direction, conducted it, and the very same orchestra played it in such wise that the audience hissed!

The open flattery and bold adoration of which he was the object mounted to his head; he felt secure in his freedom, and brimful of selfconfidence; and, as the three of them walked back to the town, his exhilaration, a sheer excess of well-being, was no longer to be kept within decent bounds. "Wait!" he cried suddenly as they were passing the Gewandhaus. "Wait a minute!

At the Gewandhaus and also at Prague, where Dionys Weber ran through a Beethoven symphony as if it was a Haydn allegro Richard got his first lessons in the art of conducting, by a method for which much may be said, that is, he first learnt here how the thing should not be done.

The progressive LISZTVEREIN, of which he was soon the leading spirit, alone escaped; the opera, bereft of Nikisch, and the Gewandhaus, under its gentle and aged conductor, were treated by him with biting sarcasm. But his chief butt was the Conservatorium, and its ancient methods.

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