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Updated: August 6, 2024
But there remained also as the quotation went on which Mendelssohn's disciples had chosen as their motto "To love the beautiful, to desire the good, to do the best."
His brown hat was pushed back on his head and there was a fat cigar in his pursy mouth, and as he played he squinted up through the smoke. He was playing Mendelssohn's Spring Song. Not as you have heard it played by sweet young things; not as you have heard it rendered by the Apollo String Quartette. Under his fingers it was a fragrant, trembling, laughing, sobbing, exquisite thing.
Though the symphony is worth looking at because it shows how far Wagner had then got, the general interest in it has for thirty years been its history. It has led to a deal of unnecessarily acrimonious and barren dispute. Wagner's disagreeable diatribes aimed subsequently at the Jews were, and are, in part attributed to Mendelssohn's behaviour regarding it.
Father Gerard grew old, like everything that surrounded him; like the house opposite, that he had seen built, and that no longer had the air of a new building; like his curious old furniture, his mended crockery, and his engravings, yellow with age, the frames of which had turned red; like the old Erard piano, upon which Louise, an accomplished performer, now was playing a set of Beethoven's waltzes and Mendelssohn's "Songs Without Words."
Of Mendelssohn the Capriccios Op. 5 and 22 were played, also the Prelude and Fugue in E. Von Bülow deplored the neglect which was overtaking the works of Mendelssohn, and spoke of the many beauties of his piano compositions. "There should be no sentimentality about the playing of Mendelssohn's music," he said; "the notes speak for themselves.
The Conservatoire, which was formerly more hospitable, rather reluctantly performed a portion of L'Enfance du Christ; but it gave young composers no encouragement. There he had performed Mendelssohn's Symphonie Italienne, the overtures to Tannhäuser and Manfred, Berlioz's Fuite en Égypte, and Gounod's and Bizet's early, works. But lack of money cut short his efforts. Pasdeloup took up the work.
I brought all my knowledge of classic music to bear and, in so doing, achieved some novelties which pleased and even astonished my listeners. It was I who first made ragtime transcriptions of familiar classic selections. I used to play Mendelssohn's "Wedding March" in a manner that never failed to arouse enthusiasm among the patrons of the "Club."
It is said that Mendelssohn's aim was chiefly to show the grandeur of the Hebrew poetry found in the Bible, but by the irony of fate his translation displayed to the Russian Jew the beauty and elegance of the German language.
The organist had wandered into a melody of Mendelssohn's, a strain whose dreamy sadness went straight to Robert's heart. He loitered in the nooks and corners of the church, examining the dilapidated memorials of the well-nigh forgotten dead, and listening to the music.
Barnard's collection in general inclined to the severely classical, but we disinterred from the heap a few lighter works of an old-fashioned kind, including a volume of Mendelssohn's Lieder ohne Worte, and with one of these Miss Bellingham made trial of her skill, playing it with excellent taste and quite adequate execution.
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