FOOTLIGHT FLASHES

Evening Star, Issue 19550, 7 May 1927, Page 16

FOOTLIGHT FLASHES

Long Tack Sam and his Chinese company is at present playing at the Broadway Theatre,; New York. Miss May Beattie, the well-known comedienne, was in Paris when the last Bail left.

Miss Jennie Hartley, well remembered here, is touring England in the revue ‘The Mustard Club.’

At the Gisborne Competitions Mr Temple White, of Wellington, will adjudicate in the music section, and Professor Maxwell Walker, of Auckland, will judge the elocution section.

Mr Frank Freeman, who was here years ago in < Tilly of Bloomsbury,’ and later was Baldasarre in ‘ Tho Maid of the Mountains,’ was appearing with tho Repertory Players in London in * Chi nook ’ when the mail left. It is rather a coincidence (says the Auckland ‘ Herald ’) that the National Repertory Theatre in Wellington should start its 1927; programme with the same Elay as tho! Auckland Little Theatre ociety— ‘ You Never Can Tell.’ ‘ls Zat So.?’ has been superseded in London by ‘The Fall Guy,’ another American importation. It docs not look like a play that will duplicate the success achieved: by its predecessor, but it seems assured of a good mn. Tho title role is filled by Ernest Trucx.

The Auckland Operatic Society has decided to secure ‘ La Alascotte ’ and ‘ The Belle' of New York ’ for its next productions. A start will bo made immediately with rehearsals of ‘ La Mascotte,’ which is expected to bo produced early in September. Mr Frank Harvey, who for twelve years _ was the most popular leading man in Australia, has a very minor role—that of Noel—in support of Miss Paulino Frederick in ‘ Madame X ’ in London, and only ono of the English papers mentions his performance It says r “ Frank Harvey was good as Noel." In Australian productions of ‘ Madame X ’ Mr Harvey played both leading male roles, the hero and the villain—in different productions, of course. Under the management of Messrs J. and N, Tait, Paderewski will give seven recitals in New Zealand—two at Wellington Town Hall, on June 9 and 11; Christchurch, June 15 and 18; Dunedin, June 21; Auckland, July 2 and 4.

‘ Lady Be Good,’ to be produced by J. C. Williamson, Ltd. (under special arrangement with Sir Benjamin and Mr John Fuller), is a hilarious musical comedy, full of brilliant dialogue, catchy song numbers, and dancingwonderful and original dancing, too—in every act. “Jimmy” Godden and Elsie Prince are an unfortunate, hardup couple thrown out of a boardinghouse because, being “broke/’ they cannot satisfy the landlady. Do they despair? Do they hide their diminished heads in shame and wail? Not they. In the most miraculous manner they reappear as a couple “with millions behind them.” They are as resourceful as they are daring,- and their search for the fortune in Mexico is one of the most amusing quests ever presented on a New Zealand stage. Charlton Morton as the detective from “the yard/’—don’t question him too closely on this point!—is another scream, and ,with a' splendid company to support the principal fun makers, lively music, attractive, songs,-' and innumerable dance interludes, including some acrobatic specialty features, the ‘Lady Be Good ’ Season should be as successful as that of ‘ No. No, Nanette’—and that is saying’a lot! This whirlwind musical comedy will be staged (for the first time in New Zealand) at Dunedin on Saturday, May 21, the season finishing on Friday. May 27, after which Christchurch mil be _ visited by this talented company, playing ‘ N,o No, Nanette ’ and ‘ Lady Bo Good ’ until Saturday, June 111

Miss Prince, the petite musical comedy star, who plays the part of Nanette in- ‘ No, No, Nanette ’ at His Majesty’s Theatre to-night, fits natur-; ally into the part. She is young, she I is lively, and she is lovely, . Browneyed, brown-haired, and with a beautiful clear skin, she looks at life without any thought of complexes or temperament. Hers is an elfin type of beauty. She appeals playgoers as being absolutely unspoiled. And she has nad enough publicity and public adulation to turn tbe head of any girl. “ I have always had confidence,” she says. “AYhen I was six I heard of a Band of Hope, where singing was encouraged. I told my mother I wanted to go, and was certain that I could sing ft song. I went to the Band of Hope, sang the song, and so made my first public appearance. As I grew older I sang in concerts, and at seventeen years of age I played principal boy in ‘Aladdin.’ Phyllis Dare was the girl. This age was a record as the youngest principal boy in England. I played this part for over fire years. Before 1 arranged to come to Australia I was playing for Wyley Tate at the London Hippodrome in * Brighter London.’ I lov© my part in ‘ No, No, Nanette,’ and feel that it slits me. I love the sea, and have never lived near it, just as in _ the play - . There are a lot of things in it that appeal to me like that.” Athol Tier is still doing well m London. At a recent party at his flat among those present were Cyril Richards, George Gm>, Madge Elliot, Maude Fane, Josie MelrUle, a ill Albert Ayhelan. Mr Tier played in New Zealand some time ago m musical comedy, and before that was in Fuller vaudeville. ‘The Ringer,’ Edgar AVallace’s play, which lias been running at Wyndham s Theatre, London, since last May, has been acquired by J. C. Williamson, Ltd., and will be produced in Australia by the Moscovitch Company. The play, which should be seen here next year, is described as a cleverly built story of the battle of wits between the police and a criminal. The London critics write of the play as ingeniously constructed and possessing a decided an pi rC Quite''a formidable ovation ' greeted Toti Dal Monte at the Theatre Carlo Felice, in Genoa, when she. made her reappearance before the Italian public, who nad not heard her since 1923, the year before ber first visit ,to Australia. The Italian papers state that' seldom has puch enthusiasm ben witnessed as that created at this production ot ‘Lucia di Lammermoor,’ specially alter the famous “Mad Scene.” Her companions An that occasion were :--Tenor ; Solarl (Edgardo); baritone, Man gen Enrico) ; and the bass, Signor ,Tomei ARaimondo) and Signor Boscan (Ar : •jaro). After the Genoa season Tom sacg at the famous Theatre La of Milan again in ‘ Lucia with great success, Toti has been engaged Tor the Junia-July season at the Colon of Buenos Ayres; then she will return to Chicago, and next year will bo heard agafn in Sydner with the AYiluamson Grand Opera Company.

fßy LOITERER.]

Jottings on the people of the Stage and Screen and on the latest recorded Music.

John Fuller leaves on a business trip to Europe this month. Jim Gerald’s revue company is at the Empire Theatre, Brisbane. Allan Wilkie opened his Queensland tour at Toowoomba on Easter Saturday. A New Zealand tour follows. Clarence Blakiston, who made a great hit as Louis XV. to Nellie Stewart’s ‘Du Barry ’ in Belascq’s play, is scoring as Colonel Bcdalo in ‘The Blue Comet’ at the- Court Theatre, London. Harry Thurston, who appeared inFuller vaudeville in How Zealand four years ago, passed through Auckland by the Aorangi, en route to Sydney, where he will join his wife, Dorothy Lena, who has been under engagement to tho Williamson 11m for some time. Mr Thurston will probably play in vaudeville in Australia, and may later be seen in musical comedy Mr Leo Du Chateau relates an interesting incident in connection with the production of another of Mr Carroll’s plays, ‘ The Ghost Train,’ which is now being played in Melbourne. This play was produced by Mr Lawrence Grossmith, who had as business manager Air Harry Cohen, a Dunedin native and son, of the lato Air Albert Cohen, foi-years sub-editor of the ‘ Evening Star.’ Air Grossmith opened a season at St. Martin’s Theatre with ‘ The Silver Fox, 1 which, it will be remembered, was a great success when staged in Australia and New Zealand. In London, however, it did not meet with the approval of the critics, and the season was ,a failure. Tho theatre had been leased for a period, and Air Grossmil'n was at his wits’ end as to what to do. Then some happily inspired person suggested the staging of ‘ The Ghost Train,’ which was quite unknown, but which proved an instantaneous success. Later the play was transferred to the Garrick Theatre, and was withdrawn only a few days ago. Mr Carroll himself is at present in London directing the season of Pauline Frederick in 1 Aladame X.’ It is interesting to hear that Aliss Frederick intends paying a return visit to New Zealand next year. Mr Carroll has also induced Sir Harry Lauder to make a third tour of America.

By the courtesy pf the Government Publicity Department, members of the ‘ Abie’s Irish Rose ’ Company (now appearing to crowded houses at the Grand Opera House, Wellington)_ have been enabled to make a most enjoyable tour of New Zealand by means of special kinematograph displays of the thermal wonders and scenic beauties of the dominion. “ I’ll say your little country is about the most wonderful in the world, and for its size can put it over anything I have ever seen, and I’ve travelled some,” said one member of the company, who had attended the screenings. “ Yon sure should be proud of your marvellous sights and beautiful scenery—the most varied and the most charming I have seen. After a few years in New York, Chicago, Boston, and other cities of the United States, naturally we get rather tired of streets, block pavements, huge buildings, trams, and all the other furnishings of the big cities. But let us loose among the gorgeous and glorious scenery of yours, and we take second place to none in our admiration. It was kind, indeed, for your Government to bring the scenic beauties to us, when they realised that, owing to the closeness of dates on our tour, we could not get to the scenery. Sort of mountain and Mahomet, eh? Well, we enjoyed every foot of the film, and' every mile of the scenery. When wo leave New Zealand for 1 lil Noo York we’ll do some big talk on behalf of the dominion—believe me! ” Mr John Lemmone’s announcement that the present farewell series of concerts of Damo Nellie Melba also marks the close of his own professional career, draws attention to the successes ho has achieved as a distinguished flautist in the course of that career. Mr Lemmone, who was horn in Ballarat, and educated there until his .parents moved to Melbourne when he was a boy of thirteen, gained his first prominence when, in 1888, he toured Australia, New Zealand, and the East as a member of Madame Amy Sherwin’s Concert Company. In this way began that extensive travel in which he has since engaged as a concert artist. Dame Nellie Melba and ho have appeared together before many audiences in the great centres of the world; he toured five times with Adelina Patti, all through the British Isles, and his engagements have taken him not only over Great Britain and the_ Continent, but to all the important cities of America, Canada, and South Africa, In his last tour with Madame Patti, in 1897, he suggested to her a visit to Australia, but she could not agree to the proposal. “It is too late now!” she replied, regretfully. Among his South African reminiscences is that of a meeting with President Steyn, at that time head of the Orange Free State. Steyn, himself an amateur flautist, was greatly interested in the visitor’s playing, declaring admiringly that he had never heard anything so fine. Damo Nellie Melba and Mr Lemmone began their public life together, when they appeared at a concert given by the members of the Melbourne Leidertafel as a benefit to their conductor, who was then ill. It was Mr Lemmone (in association with Mr W. Adlington, of London) who brought M. Paderewski to Australia for his first tour of that country twenty-three years ago, Mr L. G. Sharpo, who is now visiting Australia once more, after an interval of thirty years, as secretaryr to Mr Paderewski, is widely known in London as a leading concert agent and manager. His agency in Regent street, afterwards removed to 25 Haymarket, when the former great thoroughfare was rebuilt, has been the registered office of the London Symphony Orchestra for twenty years. ' Mr Sharpe was appointed manager when it was inaugurated, and has been closely associated with such conductors as Hans Richter, Weingartner, and Arthur Nikisch. Now and then he meets music lovers who remember his first visit’ to this city in 1886 (says the ‘ Sydney Morning Herald ’), as director of the original Fisk Jubilee Singers of Nashville, Tennessee. Their world tour here and in India, China, Japan, the Straits Settlements, and America, lasted fihree years, and is always quoted as one of the romantic successes of concert speculation They sang to crowded houses for ten weeks nt the Melbourne Town Hall, and for five weeks at the Centenary Hall, York street (now Sargoods, Ltd). The basso, Louden, was the celebrity of the combination, and died worth £200,000, mostly the result of the tour. Mr Sharpe_ was originally an apprentice on the sailing ship Zealandia. He followed the sea for six years (qualifying as third mate), and was in port at Dunedin as lonjj ago as 1880. He was in Sydney again with Madame Amy Sherwin in 1897, when her party included the Sydney baritone, Arthur Deane (Royal Carl Rosa Opera Company) and Barton M'Gucbin, the celebrated Irish tenor of that day.

Theatrical business in Sydney at present is excellent. The attractions are: ‘ Frasquita,’ comic opera, with Alarie Burke; ‘.Sunny,’ musical comedv; ‘Sweet Nell of Old Drury,’ Nellie Stewart; ‘The Cousin from Nowhere,’ with Alargery Hickling,- Leyland Hodgson, Lee Franklin, and Gus Bluett; 1 Six Cylinder Love,’ with Richard Taber and Halo Norcross (in New Zealand recently with ‘ls Zat So?’); ‘Charley’s Aunt,’ with Frank Neil; Fullers’ vaudeville, with Stiffy and Mo revue; Tivoli, vaudeville. The J. 0. Williamson Comedy Company, headed by the brilliant comedy star, Aliss Renee Kelly, will open its New Zealand season a*' the Grand Opera-house, Wellington, on June 18, with ‘ Polly With a Past,’ described as “a captivating farce-comedy.’’ Miss Kelly acts with perfect naturalness, and has all the attributes of a finished actress. She is supported by a splendid cast, including Dorothy Fane, George Barraud, Hylton Allen, Antony Holies, Jackson Wilson, Gaston Alervale, Reginald Wykoliam, and Paul Plunkett. Other productions in tho company’s repertoire are ‘Hie Last of Airs*Cheney,’ Brown Sumir,’ and ‘Daddy Long Legs,’ which nave been outstanding successes in London and Australia, and the last named in New Zealand, too. In order to complete arrangements for the coming visit to Australia and New Zealand of the famous violinist, Jascha Heifetz, his concert manager, Air C. N. Drake, travelled by the Aorangi to Sydney. Heifetz was due to leave Alauila on Monday for Sydney, and will probably commence his New Zealand tour in July under the direction of Alessrs J. and N. Tait. This will be the second visit of Heifetz to New Zealand. He was here in 1921, when ho was only nineteen years of age. On that occasion he omitted the South Island from his itinerary, but his 1927 tour will embrace all four centres. Since his last visit he has been made a Chevalier of the_ Legion of Honor in recognition of his benevolent services on behalf of distressed musicians in Paris.

SGfiEENLAHD JOTTINGS Rex Ingram is to direct a new version of 1 The Garden of Allah,’ filming a- larg(3 part of the picture at his studio in Nice, France, and the remainder on the Sahara. Alice Terry will play the leading role. Einar Hanson, Hollywood’s newest screen sensation, has been awarded bis most important role since he went to the United States less than a year ago. He will play the role of the French aviator, opposite Esther Ralston, in tho latter’s first starring vehicle, ‘ Fashions for Women.’ In ‘Men of the Night,’ to be released shortly _ by Universal,- Herbert Rawlinson will make his first appearance in-the role of a “heavy.” This is quite a departure for Rawlinson, whose penchant for the past number of years lias been the portrayal of the doughty hero who rushes in where angels fear to tread and saves the girl. A “ AYestern ” that’s a blue streak for speed! A story that never drags nor becomes too deadly serious, with romance interwoven with the pell-mell action, about sums up Zane Grey’s ‘Man of the Forest,’ a Paramount picture duo for early release. With Jack Holt as the star and with Georgia Hale and El Brcndel in support, one is not apt to wonder at the claim put forth at the top of this paragraph. Marceline Day, petite screen beauty, who leaped from bathing girl comedies to leading parts.in less than a year, has an important role in ‘ The Gay Deceiver.’ A decisive factor in her selection for the role was her distinguished performance in ‘ The Barrier,’ the photo-play from Res Beach’s novel. Lew Cody has the title role in ‘ The Gay Deceiver.’ The cast includes Carmel Myers, Dorothy Phillips, Roy D’Arcy, Malcolm M'Gregor, and Edward Connelly. Simon Rqwson, head of one of the foremost distributors of motion pictures in Europe, has advised Harold Lloyd that his latest comedy scream, ‘For Heaven’s Sake I’ has been the sweeping sensation of tbe London motion picture season, playing to more than 100,000 persons in three weeks at tho Plaza Theatre, a record nnapproached by any picture. ‘For Heaven’s Sake!’ will soon be on tbe New Zealand screen. ‘Hotel Imperial,’ Pola Negri’s latest starring vehicle for Paramount, _ considered by those in a position to judge to be Miss Negri’s greatest effort to date, will bring to tho screen one of the most dramatic episodes of the early days of the Work' War, which has almost been forgotten _by historians. This was the sensational drive by the Russian army into Hungarian Galicia, which later ended so disastrously for the Tsar’s forces, “Viennese breezes waft'through ‘The Waltz Dream,’ based on the operetta by Oscar Strauss and a novel by Hans Mueller,” says a reviewer. “There is Viennese blood in it, and the rhythm of tbe Viennese waltz not only pulses through the accompanying score of the waltz king Johann Strauss, but it is in the film itself. Ludwig Berger has exercised his talented sense of direction with restraint in this instance, and has created a film that is entrancing, moving, and amusing.” ‘ The Waltz Dream ’ will be shown in New Zealand soon. Paramount’s ‘Let it _ Rain,’ with smilin’ Doug. Mac Lean, is said to bo even better than the star’s most recent successes, ‘ Hold that Lion,’ ‘ Seven Keys to Baldpate.’ and ‘ That’s My Baby.’ Shirley _ Mason, recently known as “ Kosher Kitty Kelly,” plays the lone feminine part. Eddie Cline, director of soma of Jackie Coogan’s finest films, makes his Paramount debut. Dolores Del Rio, Victor MacLaglon, and Raoul AValsh, the three big names of ‘ AVhat Price Glory?’ are to bo combined once more in tho Fox production of ‘ Carmen, ’ now being commenced at Fos Hills, Cal, The first two artists leaped to fame as a result of their playing the leads in ‘ What Price Glory?’ which was directed by Walsh. After the manner in which this film w r as received and the remarkable success of the leading stars, they were immediately signed to play the leads in ‘Carmen,’ with Raoul WalsU to direct. Nancy Nash and Don Alvar.ado are also to appear in the cast, and most careful attention has been paid to the collection of authentic backgrounds for the film. A Fox official has been in Spain for the last year collecting data, assembling the wardrobe, and taking photographs which, will help much with the work. On October 7, 1910, a Peckham woman sent a postcard to a friend living -only half an hour’s walk away. That postcard has just been delivered. And because the writer only put a halfpenny stamp on it in 1910, the postman demanded a penny surcharge —and got it. A silence room, for testing cases of deafness, so perfectly sound-proof that the beat of the heart and the “flick” of the eyelid when quickly closed and opened can be heard, is one of the features of the new Royal Ear Hospital, London. When children ai - e restless; give them AVADE’S WORM FIGS. Safe, sure, and pleasant, All chemists and stores. —[Aavt.]

THE MOST FORTUNATE COMPOSER FELIX MENDELSSOHN [Written by Sophie Hall for the ‘ Evening Star.’] [All Eights Reserved.) No. 111. The year 1829 was a momentous one for Felix Mendelssohn, for it was marked by his first visit to England, and the beginning of a three years’ tour through Europe, planned by his ever-devoted and thoughtful father as a finish to his son’s education, Felix having just completed his studies at the University of Berlin, and also that the young composer might decide for himself the scene of his future labors. He arrived in England in April, and appeared at several London concerts, being warmly received on all sides. His debut took place at a Philharmonic concert in London, on May 25, and the piece chosen was his youthful ‘Symphony in C Minor.’ Mendelssohn was led on to the stage “ like a young lady,’’ by Cramer, and conducted with a white baton specially made for his debut. His success was immense, the members of the orchestra joining with the audience to applaud him. In June he had his ‘Midsummer Night’s Dream ’ overture performed, and the effect was electrical. The story is told that after the performance the full score of the overture was left in a cab, and irrevocably lost, but Men-delssohn-wrote it all out again from memory, and it was found to be almost perfectly exact when compared with the separate orchestral parts. Such was his prodigious memory. He also made his appearance as a pianist, and ployed several great works, becoming more and more a favorite of the public at every step. At one concert he played Beethoven’s ‘Concerto in E Flat,’ which had never before been heard in England. HONORED IN ENGLAND. He was received into society in London with all possible honor. We read of him at balls given by Royalty and by noblemen, at State dinners, at the opera, and the House of Commons, at private parties, etc. His manners and animation delighted everyone, and he made many friends, who were of value to him on his subsequent visits to England.

He was delighted with London, which he described as “the grandest and the most complicated monster on the face of the earth.” Ho was never tired of praising the “ smoky nest,” and once, in a letter to his family, when he was on a visit to Naples, amid the glories of its spring time, ho wrote“My heart swells when I even think of London.” He thought it “indescribably beautiful.” After bis tour through England he set off for Edinburgh. He was very interested in Scotland, because of the “ Waverley Novels,” all of which he had road. He was accompanied by his friend, Carl Klingemaun, then secretary to the Hanoverian Embassy in London.

Mendelssohn was enraptured with Scotland, and with the sight of the kilts, bare knees, and gay-colored bonnets of the Highlanders. After a visit to Holyrood, “whore Queen Marvlived and loved,” he observed: “I believe I found to-<lay, in that old chapel, the beginning of my ‘ Scotch Symphony ’ ”; and this symphony as well as the ‘ Hebrides ’ overture, which were finished some years after, were a direct result of this visit.

In a letter .dated “ August 7, 1829, on one of the Hebrides,” he wrote the subject of this overture, and indications of the intended instrumentatoin, with the remark: “ In order to make you understand how extraordinarily tho Hebrides affected me, the following came into my mind there.” One can see that these travels, as a means of providing food for his im-

agination, and aa a stimulus, wore of great importance to Mendelssohn, whose peculiar genius'was expressed in the tone-landscapes that he painted of what his fancy saw in Nature and in fairyland.

On his return from Scotland he went to Wales, and while there he went for a visit to the country home of a Mr John Taylor, in Flintshire, spending a very happy time in the company of the three daughters of the house, sketching, dancing, composing, and amusing himself generally. It was here that three piano pieces (opera 16), which he describes as “ three of my best piano compositions,” came into being, written for the three daughters of his host. _ The first, an andante and allegro in A, was suggested by the perfume of a bunch or roses and tious, and is headed, “ Roses and carnations in plenty ”; the arpeggios, he said, symbolised “ the scent of the flowers rising up.” The second, 'The Rivulet,’ was suggested by a tiny rivulet which flowed near the house. The third, the litle ‘ Capriccio in E Minor,’ was suggested by a pretty creeping plant, covered with little trumpet-like flowers. Mendelssohn sketched a little branch of the flower all up the margin of the music paper, and said that this was the music that the fairies might play on those trumpets. ATTRACTIVE LETTERS. Mendelssohn was a most fascinating letter writer, and he had many little incidents to relate, in his home letters, about his tour, which show how simple and boyish he was as a youth. For instance, a cup supporting a piecrust was a novelty to him, and he describes how very amused he always was when his _ landlady, in the act of serving, lifted it and the juice all bubbled out. Another incident that occurs during this visit to London may be related in his own words:—

“ Coming home from a highly-diplo-matic party the other night, after a sumptuous supper of fashionable dishes, etc., we passed an enticing pork shop, in the window of which ‘German sausages, 2d each,’ were displayed. Overcome by patriotism, we each bought a long sausage. We turned into a quieter street and there consumed our purchases, Rosen and _ I being hardly able, for laughing, to join in the threepart songs, of _ which Mphlenfelds insisted upon singing the bass, as wo walked along. ’ He greatly appreciated a joke, and one English story, which he did not tiro of telling, vastly amused him. It was about a sexton who appeared at a country funeral in a bright red waistcoat. When the clergyman remonstrated with him upon the unseemly color the man replied: “Well, what does it matter, your reverence, so long as tho heart is black?

In 1830 Mendelssohn continued on his tour, and after his visit to Goethe he toured Switzerland, South Germany, and Italy j and ns he was a most excellent pianist and a fine conductor he was greeted with great popular enthusiasm everywhere ho went. In Romo ho enjoyed not only the scenes and the paintings and the music and tho picturesque surroundings, but also all kinds of society. His lookingglass was stuck full of visiting cards, and he spent every evening with a new friend.

His letters give a delightful account of the impressions ho received from his visits to the various artists, musicians, and sculptors, and to the palace of his uncle, Solomon Bartholdy, on the Monte Pincio. with its marvellous. frescoes. and. above. nil. to the Sistine Chapel, where during the Holy Week of 1831 ho heard the ‘ Impropena of Palestrina, Allegri’s ‘Miserere,’ and the music which has made the Papal Choir famous from time immemorial. But lie shows thai the effect of his Lutheran education completely blinded him to the intimate connection of this wonderful music with the ritual for which alone it exists, and in describing the choir’s method of singing the Psalms 113 abuses it roundly. While at Rome Mendelssohn composed the music to ‘ The First Walpurgis Night’ of Goethe; the Scotch and Italian svmphonies were begun, . and the ‘Hebrides’ overture was .finished during this period. Ho also imitated Mozart’s famous feat of writing down by heart, after only once hearing, some of the music he had heard performed in the Sistine Chape! in Holy Week. He returned home in 1832, by way of Paris—where he met Chopin, Hiller, Meyerbeer, and Liszt, and. renewed his acquaintance with Cherubini,, who cuticised some of his compositions m a way that greatly annoyed Mendelssohn—and a second visit to London, whore his old friends received him with delight, and bis compositions, and playing were more fully appreciated than ever. He. returned to Berlin in Julv 1832, having decided, so he informed his father, to settle m Germany, though ho had not yet decided U 1 iSrljfen' 1833 Mendelssohn completed his, ‘ Italian ’. symphony for the Philharmonic Society, and sent it. to Lon don in fulfilment of a commission bj which the society offered him £IOO lor three works—a symphony, an overtme and a vocal piece Think of tins, m d think of poor Schubert, who, lalf m life, onlv received lOd apiece for some of his best works! Mendelssohn made his third visit to London for the purpose of conducting his ‘ltalian symphony in May, 1833, and after. another visit ‘in June—his fourth—to his favorite city, his father accompanying, him to London this time, his wander-jahre came to an end.

AT DUSSELDORF. In 1833 Mendelssohn was appointed municipal music director at_ Dusseldpii, after having failed to obtain the principal professorship at the Berlin Sing Academic. At Dusseldorf he commenced the oratorio ‘St. Paul. However, the duties at this town did not prove verv congenial to him, judging by a letter that he wrote to Hiller at that time. He complained that by 4 in the afternoon half the town was intoxicated, so that he had to do all his business in the morning, and the band was almost impossible. “ I assure you’ he wrote, “that, at the beat, they all come in separately, not one with any decision, and in the soft passages the flute is always too loud; and not a single Dusseldorfer can play a triplet clearly, but all play a quaver- and two semi-quavers, and every ‘ loaves off twice as fast as it began. ... If you once heard me conduct this orchestra, not even four horses could drag y'ou there a second lime.” AT LEIPZIG. From Dusseldorf Mendelssohn was summoned to the directorship of the Gewandhaus concerts at Leipzig, and while there completed his ‘ St. Paul,’ the first performance of which took place at the Dusseldorf festival of 1836. This appointment of Mendelssohn, in 1835, as conductor of the Leipzig Gewandhaus concerts was an important event not only in his own life, but also in the musical life of Leipzig. When Mendelssohn took up his residence in Leipzig as conductor of the very famous orchestra known as the “ Gewandhaus Orchestra,” which is still one of the great orchestras of the world, so great was his delight that ho remarked afterwards, “ When I first came to Leipzig I thought I was in Paradise.”

After the first concert of the season, under Mendelssohn’s direction, his position in Leipzig was firmly established, and from that time forward a bond of friendship, understanding, and admiration was formed between Felix and the musical world of Leipzig which was never broken. Mendelssohn was a great conductor as well as a great composer, and his coming signalled the arrival of a mode of orchestral conducting altogether new to Leipzig. Until that time the leading of the whole orchestra was in the hands of the leader of the first violins, who indicated what was wan ted _ either by the demonstrative emphasis of his own bo-wing, or by beating the time with his bow. Following the lead given by Louis Spohr fifteen years before, Mendelssohn came

to Leipzig as “conductor” as we now know him. full of a determination to improve the performances. The plan of his artistic life, however, did not limit his activities to the direction of his orchestra solely, for he looked forward to having time not only for composition, but also for ’ painting and drawing, arts in which he was deeply interested, and to which he frequently attribued his inspirations. In the interval between tire concerts at Leipzig Mendelssohn paid a merry visit to his family at Berlin, arriving there on November 14, 1835. It was only for two days, but it was marked by more than usual gaiety, his home being crowded with guests who all enjoyed the merriment and jokes, and the pianoforte music which always went on wherever Felix was. It was the last time the family circle was complete. His two sisters, both married, were there with their respective husbands, his brother Paul, and, of course, his beloved parents, who enjoyed their son’s visit exceedingly. A few days after Mendelssohn’s return to Leipzig he was recalled to Berlin by the sudden death of his father, Abraham Mendelssohn-Bartholdy, who had died in his sleep,, from paralysis of tho brain, on November 20., Felix, greatly shocked by this sudden blow, hurried back to comfort his mother for a short time. After the first terrible effect of the blow had passed away Felix became despondent, am* his depression and unusual solitary habits caused his mother and his sister Fanny great uneasiness. However, on his return to Leipzig he was prevented from thinking too much about his loss by the necessity of getting on with his ‘ St. Paul,’ which his father had urged him to complete, and which he now made the great object of his life. . His mother, Leah Mendelssohn-Bar-tholdy, survived her husband seven years. She was stricken with the same illness as her husband, and died suddenly in her sleep on December 12, 1842. FAMOUS FRIENDS. As Mendelssohn’s success in Leipzig became known throughout the musical world, musicians of all kinds visited the city in ever-increasing numbers. Ignaz Moscheles came to give a concert a few days after Mendelssohn’s first Gewandliaus appearance, and stayed long enough to be present at several of the Gewandhaus concerts. Niels Gade came from Copenhagen; Hermann Hirschbach came about the same year; Ferdinand Hiller, the pupil of Hummel, came at Mendelssohn’s invitation to superintend the production of his oratorio; and his old friend, Ferdinand David, was also of great assistance to Mendelssohn in arranging the orchestra. Mendelssohn and David were lifelong friends; they were born within a year of each other at the same house in Hamburg: and now Mendelssohn obtained for his friend the office of leader of the Gewandhaus Orchestra, with the title of concertmeister, and they both worked together with brotherly affection until the bond of friendship was severed by death. Almost immediately alter Mendelssohn’s arrival in Leipzig he received a visit from Chopin, whom he took the opportunity of introducing to Frauloin Clara Wieck (afterwards Madame Schumann), then sixteen years_ old. Another who came on a°first visit of eight months was William Storndale Bennett, who became tbo intimate friend of Mendelssohn.

It is interesting to learn that Mendelssohn and Schumann first met at a party given bv Friedrich Wieck on the eve of Mendelssohn’s first Gewandhaus concert (October, 1835), Schumann had been one of Mendelssohn’s most devoted admirers, and the two no sooner met than they became fast friends, and formed a habit of lunching together daily. Schumann called Mendelssohn the Mozart of the nineteenth century; but Mendelssohn found “ much that was awkward ” in Sclinmann’s music. The difference in outlook of the two friends is worthy of note.

'.'.Mendelssohn cherished a strong prejudice against writers on music, and it is a' tribute to both men that the fact of Schumann writing so much on music, formed no stumbling block to the ripening of their friendship. Schumann benefited much from his friendship with Mendelssohn, and, without rivalry, they freely criticised each other. A story is told that, on one occasion, Schumann refused to take a walk with Mendelssohn, as he did not_ wish to interrupt his flow of inspiration when composing Some days later, Mendelssohn asked to look at the new composition, and, turning to Schumann’s wife, i remarked; “Oh, he would have done; better to take a walk with me the other , day.” _ , A couple of years later Schumann ( wrote to Clara Wieck: “ Mendelssohn | is the most distinguished man I have ; ever met. I look upon him as the first; musician of his time, and pay him the , homage due to a master. People say j he is not really my friend, but I don’t i believe it, fori know I am absolutely loyal to him. I know, too, just how 11 stand with him musically; for years I, could go on learning from him; and ho 1 has something to learn from me, too. ■ If only I bad his advantages I should, have outsoared everybody; the energy, of my ideas assures me of this.” | This great affection between the j two composers lasted until 1847, when | an exceedingly regrettable misunder- j standing occurred between them. It, was the fault of neither, but was brought about by the partisan feeling of their respective admirers. The German musical world of that day singled out two composers as towering above their contemporaries; these two; were Schumann and Mendelssohn. J The two were freely compared and , contrasted, and, as will happen with enthusiasts, the devotees of the one thought they were helping their idol by decrying the other. In this way , two cliques were formed, tlie_ Mendelssohnians in him the i champion of form, while the_ Schurnannites maintained that nothing but the inner meaning of music was worthy of consideration, and placed their idol . above all competition. j Both musicians_ were, of course, well ; known in Leipzig, where they had lived for several years, to the lasting benefit of its musical life, and it was in Leipzig that the first open attack was delivered upon Mendelssohn’s music, and there, too, that the controversy raged witli the greatest rancour.

Now, Mendelssohn had always kept free from writing about music; indeed, “Fastis, non verbis” was his motto, and be acted up to it. “ What is the good of talking or writing so much about music?” lie said onc6,_ “ it is better to compose well—that is the chief thing.” Schumann, on the other hand, had been editor of the ‘ Neim Zeitschrift ’ for a number of years, until 1843, when ho retired from the_ paper ; and his known connection with this paper, which had been drawn into the battle, encouraged the suspicion of his being personally involved in its views. That Mendelssohn believed him involved is clear from a letter written at the beginning of 1847 to a friend, Carl Klingemann : “ I am unable to give you an introduction to Frau Schumann, as her husband has behaved in a very questionable way to mo, and has started a very discreditable story about me here in Leipzig, which, though I will not waste words over it, has most damnably extinguished ray ardor on his behalf.”

There is every reason to believe that Schumann had nothing whatever to do with the affair; indeed, in view of his higlr opinion of Mendelssohn’s music and his personal affection for him, such a thing is simply incredible. Unfortunately the friendship between the two men was broken off, and any chance of the matter being ultimately cleared up was rendered impossible by Mendelssohn’s death, which occurred towa’rds the end of that year, 1847. It was a great blow to Schumann, but his appreciation of his friend waa never eclipsed. A year

later, in a letter to Verhulst, he wrote: “ When you come here you will meet us all just as before, saving alone him, who was the best of all. It is just a year since he died!” (To be continued.)]