and desired to review and correct them, when time had given them some appearance of novelty even to himself. Thus the Walpurgis Nacht, that gloomy and poetical Druidical picture, though only performed in London two or three seasons ago, was a product of his intimacy with Goethe, and of the suggestion of the poet. It is a very early item in his musical catalogue. Like Mozart, he completed entire compositions in his mind, and often alluded to them as finished while yet no note was on paper. He was wont to regulate the march of his productions in regard to variety and quality: now a more familiar, now a more difficult work, announced his presence in the musical world. He thus maintained public interest and expectation through the various aspects of his genius, and advanced by the steps of fame, well calculated and assured. He exercised severe criticism on his own productions and often replaced entire move The genius which Mendelssohn displayed in instrumental composition was characterized by strong individuality. His third symphony in A minor seems to open the true era of his strength in that department. The fine adagio of this work is a great achievement, Mendelssohn succeeding bet details as well as the broad features of a score, and a fine talent of improvisation were conspicuous, altogether realized an idea of genius which we do not readily concede to an occasional composer and conductor of an orchestra. Here was a young man who honored his place in the orchestra by what he could do out of it; he did not merely beat time with a stick for others to play, but played himself, challenging every kind of musical difficulty, and coming off constantly victorious. Wherever he was, he created that atmosphere of wonder and excitement in which the musician delights. If he was to play on the organ, to make a cadence to a concerto on the pianoforte, or even about to rehearse an overture or symphony, every one was on tiptoe for some characteristic and delightful trait. From public life he was followed into private, with a kind of devotion; his obliging disposition, his polished and agreeable manners, and the stores of his reading, render-ments. ing his conversation second only in interest to his music. In poetry he was so well versed, that scarcely a quotation could be made unfamiliar to him, in its fullest force of word or phrase; his drawings, also, were those of a distinguished amateur. Sympathies like these, with the whole circle of the fine arts, qualified him in a re-ter in light and piquant fancies than in promarkable manner for general society; and Mendelssohn is, perhaps, the first eminently gifted musician whose conversation and intimacy have been sought purely for their own charm alone. It was a compliment frequently paid to the social capacity of Mendelssohn to have him without music. During the present century, the lives of great artists have been less recluse than formerly. The known amiable dispositions of Weber and Spohr have proved a most favorable illustration of their works, and personal esteem for the composers has much assisted their progress, and promoted their effect. At what precise time Mendelssohn committed his fortunes to the art, and turned from his amateur position into a profession for which he was not originally designed, we forget; but, notwithstanding the public and private advantages of his auspicious commencement, he was never tempted to abuse them. Profitable speculation had no charms for him, compared with fidelity to art. The art was ever uppermost; and whatever subject was proposed to him for music was obliged to interest his imagination. He cautiously even then produced his works in public, found, sustained, and original melody. The scherzas of his works in general are so excellent as to be quite prominent in modern art; his allegros come next in interest, and his slow movements last. His ottetto for stringed-instruments is one of his most beautiful compositions; he has never written a larger or more impassioned allegro than the opening one to this. His third pianoforte quartet, in B minor, is one of the best of his production for the pianoforte and stringed-instruments, and greatly surpasses in interest his trios and sonatas for the piano and violoncello. The defect of his chamber-music is some tincture of monotony in the melodies and effects; it is surprising that so fertile an extemporizer did not exhibit more variety in the decorative bravura passages incidental to pianoforte music. The Songs without words," which he used to play so beautifully, retain still their charm of individuality and style. In every thing he succeeded best where he himself struck out the path. แ His cantata and sacred music have still been but imperfectly heard: we have had large, but not select, orchestras employed on these works; and the effect of the chorus from St. Paul, "Happy and Blest," ac- anxious to obtain a view of him, used to companied by the Philharmonic orchestra, form themselves into a thick cloud above realized the freshness of a first impression. his head. One of his first exhibitions was The same novelty of effect may be antici- the conversion of a phrase from the first pated from the delightful choruses in Anti- chorus of the Dettingen Te Deum, and anogone, when we hear them with the proper ther from the Hallelujah Chorus, into a singers and a great orchestra. His power of double fugue. This, by some musicians, painting dramatic situation, according to was thought to be premeditated; but it was the moving pictures of life with which we not so in fact. He knew everything in muare conversant in opera-books, may be sic, and his contrapuntal mind taught him doubted. The Marriage of Camacho had instantly what would go together. Arrivno great success, and the romantic modern ing late at a concert, where he has been drama appears to have possessed few charms expected to play extempore, he would take for him. Mendelssohn's genius was of an a bill from his pocket, with the words, "let epic turn; he described passions and events me see, what have they been doing?" and in the mass, and under the influence of the then would combine in his fantasia somepast, with great truth; but this failed him thing that had been done with what he had in the mere conventional situations of the just heard. This was the readiness of his drama. He made few dramatic efforts, science and practical skill. Then for his probably because among his other studies memory, he would go through whole vohe had not omitted himself. Where natu- lumes of Beethoven and Bach. Not only ral impulse did not carry him, he cared not that with which early practice had imbued to go. him had he in present command, but whatAs a composer of oratorios, he was pos- ever novelty of merit he was at the pains to sessed by the noblest ambition. In St. study remained as if stamped in his mind. Paul and Elijah, he exhibits the broad The world is, in general, very glad to take and massive style of Handel and Bach; he the intellectual measure of a favorite; but boldly enters the same arena, and adopts Mendelssohn withstood all the trials to the same diatonic simplicity in its succes- which he was exposed, and the limit of his sion of fugues and choral introductions, tak- extempore capacity was never ascertained. ing only due advantage of the progress of In his cadences to piano-forte concertos he the instrumental art. Here was his great never repeated himself, and whenever he superiority. In discriminating the voices rehearsed them (as is sometimes necessary and tones of instruments, he had the great- in the music of Beethoven), he did it with est ability; and his orchestration, on the fun, shewing himself perfectly at ease with whole, may be considered as the latest respect to execution and invention. Mr. model of the perfection of the art. His Lucas will,. probably, remember the diffisongs and miscellaneous compositions would culty he had in bringing in the band in the carry us too far to notice. Mendelssohn's right place, when Mendelssohn first regenius can only be appreciated by reference hearsed Beethoven's Concerto in G. These to that of the greatest masters; the intel- are pleasant memories of the master. Then, lectual character of his music was first-rate: for good music, he was always so impasbut, in the sensuousness and voluptuous- sioned, that his brilliant example, could it ness of mere melody it was deficient. If he have lasted, would, in the end, have moved fell short of the greatest aim, he fell nobly. the whole musical world. How much he No man was ever more powerfully imbued did for Bach! How many of that master's with the spirit of the artist: he lived MSS. pedal fugues, &c., were first played "apart" amidst great designs and resolu- by him from memory! and how often he tions: nothing base approached his soul. declared, by word and deed, that he knew no such composer! It is now some eighteen years since we began to watch for the periodical return of Let success have been heaped upon MenMendelssohn to London, like that of the delssohn in what measure it may, we still flowers in spring. He is inseparably asso- owe him our love for the unselfish love ciated with our last recollections of the fes- which he lavished on the art. We have tival of "the Sons of the Clergy," as it only to add a few circumstances of his life used to be kept. The late organist, Mr. since he left us. At the close of the seaAttwood, who loved him as a son, always son he appeared in his usual health, and expected him at the organ for the last vo- passed into Switzerland for the summer. luntary; and the musicians present, each Here the news of his sister's sudden death VOL. XIII. No. II. 12 deeply affected him. She was with a party dissuasions from the encouragement of such rehearsing his Walpurgis Nacht, when she a train of thought, his prophecy was literalwas seized with what appeared to be a faint-ly fulfilled. He departed like his sister, ing fit, but it proved to be paralysis of the and in the same manner, being seized with brain, and carried her off in three days. illness while he was accompanying a lady The mother of Mendelssohn had died of a in a song he had just composed. From his similar attack, and it strongly appeared to first attack he partially recovered, and was him that, in these events, his own doom able to take a drive; but a relapse occurred. was foretold. He did not conceal that He lay for a whole day in a state of insenhe apprehended a similar termination to sibility, and in this manner the great and his own life, and in spite of all friendly rising genius of the age breathed his last. From Bentley's Miscellany. ALBERT THORWALDSEN; A BIOGRAPHICAL SKETCH, BY H. C. ANDERSEN. (Concluded from our last Month's Number.) THORWALDSEN, in 1838, had attained uni- vessels hoist their flags; the sea is covered versal fame. The frigate Rota was dis- with boats gaily trimmed as for a festival; patched to bring a cargo of his works to emblematical flags wave and tell us that in Copenhagen, and he was to arrive at the one boat are painters, in others sculptors, same time, perhaps to remain, in Denmark. poets, and students; here come young For many years we had not seen such well-dressed ladies, yet the eye only rests beautiful northern lights as in the autumn for a moment on them; it turns and fixes of this year. Red and blue flames were itself on the great boat which, with rapid seen whirling in the horizon; Iceland's light strokes, steers for the ship; for there sits glimmering nights had come down to our Thorwaldsen, his long white hair hanging green islands; it was as if Thorwaldsen's over his blue cloak, and the song of welforefathers, wrapped in the lustre of the come sounds from the shore. aurora borealis, hovered around us to greet The whole shore is filled with spectators; their youngest scion. The frigate Rota, hats and handkerchiefs wave, repeated hurwith the artist on board, approached the rahs rend the air: it is a people's festival, summer-green coasts of Denmark. enthusiasm's festival. The people take The Danish flag was to be hoisted from the horses from his carriage, and draw him the tower of St. Nicholas, as soon as the to his dwelling at Charlottenborg, where vessel could be descried on its way from the atelier is ornamented with flowers and Elsinore but it was a foggy day, and the garlands. The evening is that of a festival; frigate was close by the city before it was torches glare in the garden, and artists observed. Every one was in busy motion, serenade him. people flocked through the streets towards the custom-house. Thorwaldsen is the people's heart,-the people's thoughts;-feast follows feast. What a picture! The sun burst forth We will mention but two of these fêtes as suddenly between the clouds; there lies the the most important. The one was a sort proud ship; a magnificent rainbow spans the of poetical musical academia, where poems heavens. The cannons thunder, all the for the occasion were read by the authors themselves, or, set to music, were sung by beautiful rainbow extended itself over the vessel, as it was seen from the shore. * Translated under the superintendence of the author, by C. Beckwith. + By many it was regarded as a bright omen which *The authors who recited their poems themselves formed the subject of more than one picture at the were Oehlenschlæger, Grundtvig, H. P. Holst, and H. Academy, that just as Thorwaldsen was about to C. Andersen; the words of the songs were written leave the frigate, the sun, which had been obscured by Heiberg, Hertz, Winther, and Overskou, the inthroughout the day, suddenly broke forth, and a troductory speech by Professor Clausen. dilettanti. The large saloon, every little bearing the Cross,," "the entry into Jeruroom was filled; every one would partake in salem," "Rebecca at the Well," his own the feast, which ended with a supper and a portrait-statue, Oehlenschlæger's and Holdance led off by Thorwaldsen. The other berg's busts, &c. Baroness Stampe was in fete was arranged by the united students, faithful attendance on him, lent him a helpwhen he was made honorary member of the ing hand, and read aloud for him from union. At the banquet on this occasion, Holberg. Driving abroad, weekly concerts, at which a song by H. P. Holst apostro- and in the evenings his fondest play, "The phized the future museum, the background Lottery," were what most easily excited him, of the saloon was opened, and the mu- and on these occasions he would say many seum appeared as it would do when com- amusing things. He has represented the pleted. Stampe family in two bas-reliefs in the one representing the mother, the two daughters, and the youngest son, is the artist himself; the other exhibits the father and the two eldest sons. However much this enthusiasm and homage may have gratified Thorwaldsen, it at length became tiresome; festivals and admiration belonged to his daily existence, and yet he thought so little of it. When he All circles sought to attract Thorwaldwas drawn by the populace to his dwell- sen; he was at every great festival, in every ing, he was ignorant of it, and said, "We great society, and every evening in the thedrive fast;" and as he returned one evening atre by the side of Oehlenschlæger. As a from the cathedral in Roeskilde, the houses young man he had not that imposing beauty being illuminated for him, he exclaimed, of feature which he had in after-life. "There must be a wedding here tonight!"" That noble figure Close to Presto Bay, surrounded by Hast thou observed that wheresoe'er he came Sat plastic, as his own gods' statues. wood-grown banks, lies Nysö, the principal 'Mongst numbers forth, the crowd made silent way, seat of the barony of Stampenborg,---a As by a holy cloud unconscious sway'd." place which, through Thorwaldsen, has become remarkable in Denmark. The The open His greatness was allied to a mildness, a strand, the beautiful beech woods, even the straightforwardness, that in the highest delittle town seen through the orchards, at gree fascinated the stranger, who approached him for the first time. His atelier in some few hundred paces from the mansion, make the place worthy of a visit on account Copenhagen was visited daily; he therefore felt himself more comfortable and undisof its truly Danish scenery. Here Thorwaldsen found his best home in Denmark; turbed in Nysö. Baron Stampe and his here he seemed to increase his fame, and family accompanied him to Italy in 1841, here a series of his last beautiful bas-reliefs when he again visited that country. The were produced. whole journey, which was by way of Ber Baron Stampe is one of nature's noblest-lin, Dresden, Frankfort, the Rhine towns, minded men; his hospitality, and his lady's cession. The winter was passed in Rome, and Munich, was a continued triumphal prodaughterly affection for Thorwaldsen, open- and the Danes there had a home in which ed a home for him here, a comfortable and good one. A great energetic power in the they found a welcome. baroness incited his activity; she attended The following year, Thorwaldsen was him with a daughter's care, elicited from again in Denmark, and at his favorite place, him every little wish, and executed it. Nysö., On Christmas eve, he here formed Directly after his first visit to Nysö, a short tour to Moen's chalk cliffs was arranged, and during the few days that his beautiful bas-relief, "Christmas Joys in Heaven," which Oehlenschlæger consehis life was celebrated here; the performcrated with a poem. The last birth-day of ance of one of Halberg's vaudevilles was arranged, and strangers invited; yet the morning of that day was the homeliest, when only the family and the author of this memoir, who had written a merry song for the occasion, which was still wet on the paper, placed themselves outside the artist's It is the custom in Denmark for the friends of door, each with a pair of tongs, a gong, or a newly-married persons to illuminate the windows of their houses on the evening of the marriage day.' 66 Heiberg, in his elegy, "Thorwaldsen." bottle on which they rubbed a cork as an ac- that death was caused by an organic disease companiment, and sung the song as a morn- of the heart which would have produced ing greeting. Thorwaldsen, in his morning dropsy in the chest. Amongst hundreds gown, opened the door, laughing; he of persons there are scarcely two so lucky twirled his black Raphael's-cap, took a as to be saved from pain by a sudden pair of tongs himself, and accompanied us, death. In the lottery of life, Thorwaldsen whilst he danced round and joined the drew Death's number, and was also fortuothers in the loud "hurra!" nate in that. His face retained its usual A charming bas-relief, "the Genius of expression when in the coffin. The great Poetry," was just completed: it was the artist lay there in the long white clothes, same that Thorwaldsen, on the last day of and with a fresh laurel-wreath around his his life, bequeathed to Oehlenschlæger, and brow, like a handsome and imposing bust. said, It may serve as a medal for you. "Sorrow over the great master's passing knell, On Sunday, the 24th of March, 1844, a Was bound up with our church's solemn festival."* small party of friends was assembled at the residence of Baron Stampe in Copen- His death occurred just in the beginning hagen. Thorwaldsen was there, and was of Lent. He lay in the open coffin in the unusually lively, told stories, and spoke of great figure saloon of the academy, sura journey that he intended to make to rounded by burning tapers, just in that Italy in the course of the summer. Hahn's place, where he, fifty years before, on the tragedy of "Griseldis" was to be per- day previous, had received the academy's formed for the first time that evening at medal. The funeral oration was delivered the theatre. Tragedy was not his favorite by Professor Clausen, and the artists bade subject, but comedy, and particularly the farewell to their great master : With heavy, heavy tears We now bear Denmark's pride to the grave." † comedies of Holberg; but it was something new that he was to see, and it had become a sort of habit with him to pass the evening in the theatre. About six The Crown-Prince of Denmark, as presio'clock, therefore, he went to the theatre dent of the academy, followed nearest the alone. The overture had begun; on en- coffin: it stopt once more in the courtyard, tering he shook hands with a few of his a miserere in the Italian language was sung friends, took his usual seat, stood up again by the opera company then in Copenhagen, to allow one to pass him, sat down again, and the procession began.‡ bent his head, and was no more! The It is a dull gray day, there is not a sunmusic continued. Those nearest to him beam to be seen. The citizens, all with thought that he was only in a swoon, and crape on their hats, have placed themselves he was borne out; but he was numbered in rows, arm-in-arm, and where the line with the dead. ends on that long road, there stand the The news flew through the city like an poorer classes-even ragged boys hold each electric shock his chambers at Charlotten- other by the hand, and form a chain, a borg were filled with anxious inquirers; chain of peace; the rows of students began amongst those who were most deeply affect- nearest to Frue Kirke. All the windows, ed was the Baroness Stampe, who, but a walls, trees, and many roofs, are filled with few days before, had lost a dear sister, and spectators. What a stillness ! See, they now, with a daughter's heart, she wept for uncover their heads as the coffin approaches; the great artist. it is ornamented with flowers and palm branches above, with Thorwaldsen's statue On dissecting the body, it was found * His will, dated the 5th December, 1838, states that he gives to his native town, Copenhagen, all the objects of art belonging to him at the time of his death: that the museum shall bear his name, and that he had previously set aside 25,000 rix-dollars towards its erection. The executors named in the will were counsellor Collin, Professors Thiele, Clausen, Schouw, and Bissen, together with a member of the Copenhagen magistracy. The will further directs that the completion of his works should be committed to Professor Bissen, he being paid for the same from the funds of the museum, and that he should likewise have the special artistic inspection of the museum. * Heiberg. A poem by H. P. Holst. At half-past one, A. M., the procession left the house of mourning and reached the church (Frue Kirke) at a quarter before three. It was led by two artists, at the head of an immense number of seamen, then came about eight hundred students, after them came the Icelanders resident in the town, then artists of all classes, and then the body borne by artists. The Crown-Prince followed, with the members of the Academy, the university, the officers of the navy and army, civil officers, citizens, &c. The streets through which the procession passed were swept, and strewed with sand and evergreens. |