Letters of Felix Mendelssohn-Bartholdy from 1833 to 1847

In Short

This volume collects personal correspondence tracking the final fourteen years of Felix Mendelssohn-Bartholdy's life, from his appointments in Düsseldorf and Leipzig to his death in 1847. Rather than capturing early travel impressions, these letters reveal a mature artist grappling with institutional politics, royal summonses to Berlin, orchestra salary disputes, and the composition of major masterpieces like St. Paul and Elijah. Interspersed with professional anxieties are deep family bonds, moments of sorrow, and crisp insights into music and character. The collection endures because it offers an authentic, unvarnished portrait of a brilliant mind balancing administrative duty with pure artistic conviction.

The Story

The volume opens in 1833 with Mendelssohn recovering from a period of self-doubt and eagerly throwing himself back into composition and conducting. In Düsseldorf, he oversees musical performances and orchestrates local festivals, though he quickly grows weary of theatrical intrigue, preferring independence over official titles and administrative squabbles. His priority remains his own work, including translations, organ pieces, and early progress on his oratorio St. Paul.

Tragedy strikes in late 1835 with the sudden death of his father, Abraham Mendelssohn. Devastated by the loss, Mendelssohn vows to honor his father’s memory by redoubling his creative efforts and completing St. Paul, which his father had eagerly anticipated. Moving to Leipzig to lead the Gewandhaus orchestra, Mendelssohn establishes himself as a pivotal force in European music. Yet his professional life becomes increasingly complicated when King Friedrich Wilhelm IV of Prussia seeks to draw him to Berlin to head a newly reorganized musical section at the Academy of Arts.

What follows is an extended sequence of negotiations. Mendelssohn continuously resists accepting rigid bureaucratic positions without clear duties, insisting on artistic integrity, adequate salaries for his musicians, and freedom to compose. Despite official cabinet orders, titles, and persistent pressure from Prussian ministers, he finds Berlin's atmosphere constraining compared to the vibrant musical life of Leipzig. He frequently seeks relief from administrative burdens, eventually asking the King to release him from public posts while preserving a personal artistic relationship.

Throughout these institutional battles, Mendelssohn’s artistic energy remains relentless. He conducts major music festivals across Germany and England, champions higher pay and proper recognition for orchestra players, and advises young musicians on rigorous foundational studies like Cramer's exercises and figured bass. In his final years, his correspondence turns heavily to the labor of constructing his masterwork, Elijah. He exchanges detailed notes with collaborators regarding dramatic structure, text revisions, and narrative pacing. Alongside these triumphs, physical exhaustion and personal grief—including the grave illness of faithful domestic servants and the deaths of loved ones—weigh heavily upon him. The collection concludes as a record of a brief, luminous life consumed by tireless devotion to art, leaving behind a vast catalog of works and an enduring influence on Western music.

How It Unfolds

A fresh start in Düsseldorf Mendelssohn recovers from a period of uncertainty and assumes superintendence of local musical performances, insisting on working without a formal opera salary to preserve his independence and focus on composition.

Grief and rededication The sudden death of his father in 1835 leaves Mendelssohn heart-broken, driving him to honor his father's wishes by completing his oratorio St. Paul with double zeal.

The Berlin negotiations Prussian officials attempt to lure Mendelssohn to Berlin with prestigious academy directorships, sparking years of cautious correspondence as he demands precise terms before accepting public duties.

Standing up for the orchestra From Leipzig, Mendelssohn vigorously lobbies authorities to raise the outdated salaries of orchestra musicians, arguing that essential instrumentalists deserve the same fairness granted to star vocalists.

Crafting the final masterwork Mendelssohn corresponds intensely with trusted advisors about structural changes, text choices, and dramatic pacing for Elijah, refining the oratorio right up to its engraving.

The People

Felix Mendelssohn-Bartholdy The central figure, an extraordinarily gifted composer and conductor who wants above all to write pure music and preserve his artistic freedom. He struggles constantly against bureaucratic demands, public triviality, and executive duties that distract from his creative calling.

Abraham Mendelssohn Felix's father, whose sudden death serves as a major emotional turning point. His high expectations and encouragement remain the guiding light for Felix's artistic ambition and sense of duty.

Fanny Hensel Felix's sister, a brilliant musician in her own right. Felix fiercely defends her superior, soulful playing against superficial virtuosos, continually encouraging her musical mind.

Herr von Massow and Minister Eichhorn Prussian officials representing King Friedrich Wilhelm IV. They seek to harness Mendelssohn's fame for Berlin's state institutions, repeatedly offering titles and salaries while attempting to pin down his administrative responsibilities.

Carl Klingemann and I. Moscheles Trusted friends and confidants in London, with whom Mendelssohn shares honest thoughts on music, candid critiques of petty rivalries, and relief from public pressures.

In Its Own Voice

"I am now however entirely cured; so, when you think of me, do so as of a joyous musician, who is doing many things, who is resolved to do many more, and who would fain accomplish all that can be done."

Mendelssohn writes to Pastor Bauer after overcoming a dark period of uncertainty and returning to intense creative work.

"There must be soul, in order to carry others along with you..."

Writing to his mother from Bingen, Mendelssohn reflects on true musical artistry while defending his sister Fanny's expressive piano playing over superficial technique.

"...just because the orchestra is not an article of luxury, but the most necessary and important basis for a theatre... on this very account, it is a positive duty to endeavour to effect, that what is legitimate and necessary, should not be disparaged and superseded by a love of glitter."

In a letter regarding Leipzig musicians, Mendelssohn forcefully advocates for fair wages and respect for working orchestral instrumentalists.

What It's Really About

Beneath the narrative of court negotiations and concert dates, this volume explores the fundamental tension between artistic integrity and institutional expectation. Mendelssohn constantly questions what an artist owes to society versus what is required to keep one's creative soul intact. He rejects titles, public hollow enthusiasm, and nationalistic jingoism, insisting that true art demands depth, character, and unyielding sincerity.

The book also serves as a meditation on grief, duty, and professional ethics. Mendelssohn treats music not as a commercial trade or a display of empty technique, but as a moral responsibility. Whether insisting on proper compensation for obscure orchestra players or painstaking accuracy in setting religious texts, he asserts that character and talent must develop hand in hand for true artistic achievement.

Why Read It Today

This collection offers an remarkably intimate look into the working life of a genius who was as articulate with words as he was with notes. Readers interested in classical music, nineteenth-century culture, or creative process will find his letters refreshingly direct, remarkably free of pretense, and full of sharp observation. Mendelssohn writes with a lively warmth, balancing lighthearted humor about everyday occurrences with profound seriousness about his craft.

The main challenge for modern readers lies in the density of nineteenth-century institutional diplomacy. Long exchanges regarding royal decrees, court titles, and forgotten administrative figures can occasionally slow the momentum. Furthermore, the decision of his family to withhold intimate domestic details means the narrative remains firmly anchored to his public and artistic life. Yet what remains is a deeply rewarding portrait of an artist navigating the messy realities of fame, employment, and loss without ever compromising his artistic core.

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