Jakob Ludwig Felix Mendelssohn Bartholdy, born and generally known as Felix Mendelssohn (February 3, 1809 – November 4, 1847) was a German composer, pianist and conductor of the early Romantic period. He was born to a notable Jewish family which later converted to Christianity; he was a grandson of the philosopher Moses Mendelssohn. His work includes symphonies, concerti, oratorios, piano and chamber music. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality is now being recognized and re-evaluated. He is now among the most popular composers of the Romantic era.
Felix grew up in an environment of intense intellectual ferment. The greatest minds of Germany were frequent visitors to his family's home in Berlin, including Wilhelm von Humboldt and Alexander von Humboldt. His sister Rebecca married the great German mathematician Lejeune Dirichlet.
Abraham sought to renounce the Jewish religion; his children were first brought up without religious education, and were baptised as Christians in 1816 (at which time Felix took the additional names Jakob Ludwig). (Abraham and his wife were not themselves baptised until 1822.) The name Bartholdy was assumed at the suggestion of Lea's brother, Jakob, who had purchased a property of this name and adopted it as his own surname. Abraham was later to explain this decision in a letter to Felix as a means of showing a decisive break with the traditions of his father Moses: "There can no more be a Christian Mendelssohn than there can be a Jewish Confucius". Although Felix continued to sign his letters as "Mendelssohn Bartholdy" in obedience to his father's injunctions, he seems not to have objected to the use of "Mendelssohn" alone.
The family moved to Berlin in 1811. Abraham and Lea Mendelssohn sought to give Felix, his brother Paul, and sisters Fanny and Rebecca, the best education possible. His sister Fanny Mendelssohn (later Fanny Hensel), became a well-known pianist and amateur composer; originally Abraham had thought that she, rather than her brother, might be the more musical. However, at that time, it was not considered proper (by either Abraham or Felix) for a woman to have a career in music, so Fanny remained an amateur musician. Six of her early songs were later published (with her consent) under Felix's name.
Like Wolfgang Amadeus Mozart before him, Mendelssohn was regarded as a child prodigy. He began taking piano lessons from his mother when he was six, and at seven was tutored by Marie Bigot in Paris. From 1817 he studied composition with Carl Friedrich Zelter in Berlin. He probably made his first public concert appearance at the age of nine, when he participated in a chamber music concert. He was also a prolific composer as a child, and wrote his first published work, a piano quartet, by the time he was thirteen. Zelter introduced Mendelssohn to his friend and correspondent, the elderly Goethe. He later took lessons from the composer and piano virtuoso Ignaz Moscheles who however confessed in his diaries that he had little to teach him. Moscheles became a close colleague and lifelong friend.
Besides music, Mendelssohn's education included art, literature, languages, and philosophy. He was a skilled artist in pencil and watercolour, he could speak (besides his native German) English, Italian, and Latin, and he had an interest in classical literature.
As an adolescent, his works were often performed at home with a private orchestra for the associates of his wealthy parents amongst the intellectual elite of Berlin. Between the ages of 12 and 14, Mendelssohn wrote twelve string symphonies. These works were ignored for over a century, but are now recorded and occasionally played in concerts. In 1824, at age 15, he wrote his first symphony for full orchestra (in C minor, Op. 11). At the age of 16 he wrote his String Octet in E Flat Major, the first work which showed the full power of his genius. This Octet and his overture to Shakespeare's A Midsummer Night's Dream, which he wrote a year later, are the best known of his early works. (He wrote incidental music for the play 16 years later in 1842, including the famous Wedding March.) 1827 saw the premiere—and sole performance in his lifetime—of his opera, Die Hochzeit des Camacho. The failure of this production left him disinclined to venture into the genre again; in the 1840s he toyed for a while with a libretto by Eugène Scribe based on Shakespeare's The Tempest, but rejected it as unsuitable.
In 1829 Mendelssohn paid his first visit to Britain, where Moscheles, already settled in London, introduced him to influential musical circles. He had a great success, conducting his First Symphony and playing in public and private concerts. In the summer he visited Edinburgh and became a friend of the composer John Thomson. On subsequent visits he met with Queen Victoria and her musical husband Prince Albert, both of whom were great admirers of his music. In the course of ten visits to Britain during his life he won a strong following, and Scotland inspired two of his most famous works, the overture Fingal's Cave (also known as the Hebrides Overture) and the Scottish Symphony (Symphony No. 3). His oratorio Elijah was premiered in Birmingham at the Triennial Music Festival on August 26, 1846.
On the death of Zelter, Mendelssohn had some hopes of becoming the conductor of the Berlin Singakademie with which he had revived Johann Sebastian Bach's St Matthew Passion (see below). However he was defeated for the post by Karl Rungenhagen. This may have been because of Mendelssohn's youth, and fear of possible innovations; it was also suspected by some (and possibly by Mendelssohn himself) to be on account of his Jewish origins.
Nonetheless, in 1835 he was appointed as conductor of the Leipzig Gewandhaus Orchestra. This appointment was extremely important for him; he felt himself to be a German and wished to play a leading part in his country's musical life. In its way it was a redress for his disappointment over the Singakademie appointment. Despite efforts by the king of Prussia to lure him to Berlin, Mendelssohn concentrated on developing the musical life of Leipzig and in 1843 he founded the Leipzig Conservatory, where he persuaded Ignaz Moscheles and Robert Schumann to join him.
Mendelssohn's personal life was conventional. His marriage to Cécile Jeanrenaud on 28 March 1837 was very happy and the couple had five children: Carl, Marie, Paul, Lilli and Felix. Mendelssohn was an accomplished painter in watercolours, and his enormous correspondence shows that he could also be a witty writer in German and English—sometimes accompanied by humorous sketches and cartoons in the text.
Mendelssohn suffered from bad health in the final years of his life, probably aggravated by nervous problems and overwork, and he was greatly distressed by the death of his sister Fanny in May 1847. Felix Mendelssohn died later that same year after a series of strokes, on November 4, 1847, in Leipzig. His funeral was held at the Paulinerkirche and he is buried in the Trinity Cemetery in Berlin-Kreuzberg.
His youngest child Felix contracted measles in 1844 and was left with his health impaired. He died young, in 1851. The eldest, Carl, became a distinguished historian, and professor of history at Heidelberg and Freiburg universities, dying in 1897. Paul Mendelssohn Bartholdy (1841-1880) was a noted chemist and pioneered the manufacture of aniline dye. Marie married Victor Benecke and lived in London. Lili married Adolphe Wach, later Professor of Law at Leipzig University. Cécile died less then six years after her husband, on 25 September 1853.
Mendelssohn also revived interest in the work of Franz Schubert. Schumann discovered the manuscript of Schubert's Ninth Symphony and sent it to Mendelssohn who promptly premiered it in Leipzig on March 21, 1839, more than a decade after the composer's death.
In particular, he seems to have regarded Paris and its music with the greatest of suspicion and an almost Puritanical distaste. Attempts made during his visit there to interest him in Saint-Simonianism ended in embarrassing scenes. He thought the Paris style of opera vulgar, and the works of Meyerbeer insincere. When Ferdinand Hiller suggested in conversation to Felix that he looked rather like Meyerbeer (they were distant cousins, both descendants of Rabbi Moses Isserlis), Mendelssohn was so upset that he immediately went to get a haircut to differentiate himself. It is significant that the only musician with whom he was a close personal friend, Moscheles, was of an older generation and equally conservative in outlook. Moscheles preserved this outlook at the Leipzig Conservatory until his own death in 1870.
In England, Mendelssohn's reputation remained high for a long time; the adulatory (and today scarcely readable) novel Charles Auchester by the teenaged Sarah Sheppard, published in 1851, which features Mendelssohn as the "Chevalier Seraphael", remained in print for nearly eighty years. Queen Victoria demonstrated her enthusiasm by requesting, when The Crystal Palace was being re-built in 1854, that it include a statue of Mendelssohn. Mendelssohn's Wedding March from A Midsummer Night's Dream was played as a piece of ceremonial music at the wedding of Queen Victoria's daughter, Princess Victoria, The Princess Royal, to Crown Prince Frederick of Prussia in 1858 and it is still popular today at marriage ceremonies. His sacred choral music, particularly the smaller-scale works, remains enduringly popular in the choral tradition of the Church of England. However many critics, including Bernard Shaw, began to condemn Mendelssohn's music for its association with Victorian cultural insularity.
Over the last fifty years a new appreciation of Mendelssohn's work has developed, which takes into account not only the popular 'war horses', such as the E minor Violin Concerto and the Italian Symphony, but has been able to remove the Victorian varnish from the oratorio Elijah, and has explored the frequently intense and dramatic world of the chamber works. Virtually all of Mendelssohn's published works are now available on CD.
His astounding capacities are especially revealed in a clutch of works of his early maturity: Sonata for Clarinet and Piano in E-flat major (1824), the String Octet (1825), the Overture A Midsummer Night's Dream (1826) (which in its finished form owes much to the influence of Adolf Bernhard Marx, at the time a close friend of Mendelssohn), and the String Quartet in A minor (listed as no. 2 but written before no. 1) of 1827. These show an intuitive grasp of form, harmony, counterpoint, colour and the compositional technique of Beethoven, which justify claims frequently made that Mendelssohn's precocity exceeded even that of Mozart in its intellectual grasp.
The Symphony No. 1 in C minor for full-scale orchestra was written in 1824, when Mendelssohn was aged 15. This work is experimental, showing the influence of Bach, Beethoven and Mozart. Mendelssohn conducted this symphony on his first visit to London in 1829 with the orchestra of the Royal Philharmonic Society. For the third movement he substituted an orchestration of the Scherzo from his Octet. In this form the piece was an outstanding success and laid the foundations of his British reputation.
During 1829 and 1830 Mendelssohn wrote his Symphony No. 5 in D Major, known as the Reformation. It celebrated the 300th anniversary of the Lutheran Church. Mendelssohn remained dissatisfied with the work and did not allow publication of the score.
The Scottish Symphony (Symphony No. 3 in A minor), was written and revised intermittently between 1830 and 1842. This piece evokes Scotland's atmosphere in the ethos of Romanticism, but does not employ actual Scottish folk melodies. Mendelssohn published the score of the symphony in 1842 in an arrangement for piano duet, and as a full orchestral score in 1843.
Mendelssohn's travels in Italy inspired him to write the Symphony No 4 in A major, known as the Italian. Mendelssohn conducted the premiere in 1833, but he did not allow this score to be published during his lifetime as he continually sought to rewrite it.
Throughout his career he wrote a number of other concert overtures. Those most frequently played today include Ruy Blas (commissioned for a charity performance of Victor Hugo's drama, which Mendelssohn hated), Meerestille und Glückliche Fahrt (Calm Sea and Prosperous Voyage, inspired by the poem by Goethe), and The Fair Melusine.
The incidental music to A Midsummer Night's Dream (op. 61), including the well-known Wedding March, was written in 1843, seventeen years after the overture.
Although he never abandoned the idea of composing a full opera, and considered many subjects - including that of the Nibelung saga later adapted by Wagner - he never wrote more than a few pages of sketches for any project. In his last years the manager Benjamin Lumley tried to contract him to write an opera on The Tempest on a libretto by Eugène Scribe, and even announced it as forthcoming in the year of Mendelssohn's death. The libretto was eventually set by Fromental Halévy. At his death Mendelssohn left some sketches for an opera on the story of Lorelei.
Mendelssohn also wrote two piano concertos, a less well known, early, violin concerto (D Minor), two concertos for two pianos and orchestra and a double concerto for piano and violin. In addition, there are several works for soloist and orchestra in one movement. Those for piano are the Rondo Brilliant, Op. 29 of 1834; the Capriccio Brilliant, Op. 22 of 1832; and the Serenade and Allegro Giojoso Op. 43 of 1838. Opp. 113 and 114 are Konzertstücke (concerto movements, originally for clarinet, basset horn and piano, that were orchestrated and performed in that form in Mendelssohn's lifetime.
Strikingly different is the more overtly 'romantic' Die erste Walpurgisnacht (The First Walpurgis Night), a setting for chorus and orchestra of a ballad by Goethe describing pagan rituals of the Druids in the Harz mountains in the early days of Christianity. This remarkable score has been seen by the scholar Heinz-Klaus Metzger as a "Jewish protest against the domination of Christianity".
Mendelssohn also wrote many smaller-scale sacred works for unaccompanied choir and for choir with organ. Some were written, and most have been translated into English, and remain highly popular. Perhaps the most famous is Hear My Prayer, with its second half containing 'O for the Wings of a Dove', which became extremely popular as a separate item. The piece is written for full choir, organ, and a treble or soprano soloist who has many challenging and extended solo passages. As such, it is a particular favourite for choirboys in churches and cathedrals, and has perhaps been recorded more than any other treble solo.
The hymn tune Mendelssohn—an adaptation by William Hayman Cummings of a melody from Mendelssohn's cantata Festgesang—is the standard tune for Charles Wesley's popular hymn Hark! The Herald Angels Sing. This extract from an originally secular 1840s composition, which Mendelssohn felt unsuited to sacred music, is thus ubiquitous at Christmas.
A number of songs written by Mendelssohn's sister Fanny originally appeared under her brother's name; this was partly due to the prejudice of the family, and partly to her own diffidence.
Other notable piano pieces by Mendelssohn include his Variations sérieuses op. 54 (1841), the Seven Characteristic Pieces op. 7 (1827), the Rondo Capriccioso and the set of six Preludes and Fugues op. 35 (written between 1832 and 1837).
There are numerous published editions and selections of Felix's letters. A complete edition is now (2006) in preparation but is expected to take twenty years to complete.
The main collections of Mendelssohn's original musical autographs and letters are to be found in the Bodleian Library, Oxford University, the New York Public Library, and the Staatsbibliothek in Berlin. His letters to Moscheles are in the Brotherton Collection, University of Leeds.