The World's Great Men of Music

he met, and wherever he went, the son of a rich banker, surrounded with everything that wealth could give, it was indeed no wonder that Felix Mendelssohn was happy. He

was carefree and happy, and his music re

as born, February 3, 1809. There were other children, Fanny a year or two older, then after Felix came Rebekka and little Paul. When French soldiers occupied the town in 1811, life became very unpleasant for the German residents, and whoever could, sought refuge in other cities and towns. Among those who successfully made their escape was the Mendelssohn-Bartholdy family, the second name belo

that after a while, professional musicians were engaged to teach them piano, violin and composition, as a regular part of their education. Besides these, they must study Greek, Latin, drawing and school subjects. With so much study to be done each day, it was necessary to begin work at five o'clock in the morning. But in spite of hard work all w

ssibility, but love and money can accomplish wonders. A small orchestra was duly selected from among the members of the Court band. The lad Felix was to conduct these sedate musicians, which he did modestly but without embarrassment, standing on a footstool before his men, waving the baton like a little general. Before the first performance was qui

f anything he undertook. He often conducted his little pieces, but did not monopolize the time. Sometimes all four children took part, Fanny at the piano, Rebekka singing, Pa

, containing three movements, several sonatas for the piano, some songs and a musical comedy in three scenes, for piano and voices. All these were written with

the recognition, and tossing back his curls, he sprang forward and threw his arms about Weber's neck, begging him to go home with him. When the astonished musician recovered himself, he presented the boy to Jules Benedict, his young friend and pupil who walked at his side, saying, "This

swered th

ut it?" asked Felix,

"or if he doesn't he ought to for he has been bore

ced Weber, and then challenged his new friend, Mr. Benedict, to race him to the door of his house. On entering he dragged the visitor upstairs

at it was. "I am finishing my new quartet for piano and strings," was the simple reply. To say that Benedict was surprised at such an answer from a boy of twelve hardly expresses what he felt. It was quite true he did not yet know Felix Mendelssohn. "And now," said the boy, laying down his pen, "I will play to you, to prove h

s house at Wiemar was indeed a shrine to the elect, and the chance of meeting the object of so much hero worship, filled the impressionable mind of Felix with reverential awe. Zelter o

ollection, he asked the boy to play them at sight. He was able to do so with ease, to the astonishment of the friends who had come in to hear him. They were more delighted when he took a theme from one of the pieces and improvised upon it. Withholding his praise, Goethe announced he had a final test, and placed on the music desk a sheet whi

in the city. The two became fast friends; the poet treated him as a son, and at parting begged he would soon return to Wiemar, that they might again be together. During the following summer the whole family made a tour through Switzerland

those who know the modern city realize, this house, now no longer a private residence, stands in the very heart of traffic and business. The rooms of the new home were large and elegant, with a spacious salon suitable for musicals and large functions. A fine garden or park belonged to the house, where were lawns shaded by forest trees, winding paths, flowering shrubs and arbors in shady nooks, offering quiet retreats. Best of all there was a garden house, with a central hal

. He was not yet seventeen when the Octet was finished, which was pronounced the most fresh and original work he had yet accomplished. It marked a distinct stage in the gifted youth's development. The composition which followed was the beautiful "Midsummer Night's Dream" music. He

erzo and dreamy Nocturne followed. When all were elaborated and perfected, the complete work was performed by the garden house orchestra for a crowded audience, who abundantly expressed their delight. Sir G. Macfarren

ng to St. Matthew," which Zelter had allowed to be copied from the manuscript preserved in the Singakademie. The old man was a devoted lover of Bach's music, and had taught his pupil in the same spirit. When Felix found himself the possessor of this wonderful book, he set to work to master it, until he knew every

to give a public performance. There was a splendid choir of nearly four hundred voices conducted by Zelter, at the Singakademie; if he would only lend his chorus to give a trial performance, under Mendelssohn's conducting, how splendid that would be! But Felix knew that Zelter had no faith in the pu

th growing impatience, until he became quite excited, rose from his chair and paced the floor with great strides, exclaiming, "No, it is not to be thought of-it is a mad scheme." To Felix argument then seemed useless and he beckone

Mendelssohn, took place March 11, 1829, with every ticket sold and more than a thousand persons turned away. A second performance was given on March 21, the anniversary of Bach's birth

greeting he received at the hands of the musical public. He first appeared at a Philharmonic concert on May 25, when his Symphony in C minor was played. The next day he wrote to Fanny: "The success of the concert last night was beyond all I had ever dreamed. It began with my Symphon

Night's Dream" was played several times and always received with enthusiasm. On one occasion a friend was so careless as to leave the manuscript in a ha

the varied beauty of the scenery. Perhaps the Hebrides enthralled him most, with their lonely grandeur. His impressions have

s presence at the home marriage of his sister Fanny, to William Hensel, the young painter. This was a keen disappointment to all, but Fanny w

to be visited first. The following May he started south, bound for Vienna, Florence and Rome. His way led through Wiemar and gave opportunity for a last visit to Goethe. They passed a number of days

ling in the sun lighted bay, he exclaimed: "To me it is the finest object in nature! I love it almost more than the sky. I always feel happy when I see before me the wide expanse of water." Rome, of course, was a center of fascination. Every day he picked out some special object of interest to visit, which made that particular day o

work. In May 1836 when he was twenty-seven, he conducted in Düsseldorf the first performance of his oratorio of "St. Paul." At this period he wrote many of those charming piano pieces which he called "Songs without Words." This same

on the eve of completion in the spring of 1846. In a letter to the famous singer Jenny Lind, an intimate friend, he wr

many royalties. The King of Saxony had made him Capellmeister of his Court, and Queen Victoria had shown him many proo

ounded by him, and he was unceasing in his labors to advance art in every direction. He also found time to carry out a l

helming, and at the close the entire audience sprang to its feet in a frenzy of admiration. He wrote to his brother Paul that evening: "No work of mine ever went so admirably at the first performance, or was received with such enthusiasm both by musicians and public." During April the following year, four performances of the "Elijah" took place in Exeter Hall, the composer conducting, the

His death occurred November 4, 1847. It can be said of him that his was a beautiful life, in w

Conservatory. Beside the crown rested the Order "Pour le Mérite," conferred on him by the King of Prussia. The band, during the long procession, played the E minor "Song without Words," and at the close of the se