Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1895 edition. Excerpt: ...duet from "Fidelio" and was astonished at the way in which he brought out the cello and bass parts on the piano by playing them two octaves apart. "How often," says Dorn, "I have heard that duet sung, but have never again heard it accompanied in such a manner." Even at this time Mendelssohn played the most comprehensive and difficult works without notes, showing marvellous powers of memory. He once played Beethoven's oth Symphony, without a mistake and without notes in Spontini's presence, which is said to have awakened much envy in the breast of the old conductor. Mendelssohn's opinion of Cherubini, whom he met on a visit to Paris in 1825, is very interesting; on this occasion he made the acquaintance of other important musicians; he called Cherubini "a dying volcano, giving forth occasional life, but entirely covered with ashes and stones." On his homeward journey from Paris, he paid Goethe a short visit, and played one of his compositions to him, which he dedicated to the veteran prince of poets. In recognition of this honour Goethe gave him a rapidly written poem not conspicuous for inspiration. When scarcely sixteen years of age Mendelssohn had became eminent as a composer, but he established the fame of his youth in the following year by the Overture of "A Midsummer Night's Dream," the rest of the music to Shakespeare's drama not being composed until fifteen years later. From the year 1825, the Mendelssohn family inhabited a magnificent house newly bought, which had formerly belonged to a family 'von der Reck' by name, it contained spacious rooms, outhouses, a summer house, and extensive grounds. It was situated in the Leipziger Strasse, where the Herrenhaus now stands. Here the...
