later years as in the earlier. It is a question whether his persistent joyousness of sentiment militates against his artistic greatness. Here he presents a striking contrast to many composers who are thought to embody the spirit of modern life. The absence of morbidness need not be regretted, but, since his art is seldom or never the voice of sorrow, darkness or struggle, it is in so far not a full rescript of life. But he should not be compared with others without remembering that the converse of this is also true.
A fairly complete summary of Mendelssohn's works is as follows:—(a) 4 symphonies, including the 'Reformation' (1830), the 'Italian'
(1833), the 'Scotch' (1842), 7 concert-overtures, including the Midsummer
Night's Dream (1826), the 'Hebrides' (1830-2), the Meeresstille
und gluckliche Fahrt (1832), a famous violin-concerto (1844) and
2 piano-concertos, besides some other ensemble pieces; (b) 7 quartets,
2 quintets and an octet for strings, 2 trios, 3 quartets and a sextet for
piano and strings, and a few violin- and 'cello-sonatas; (c) 3 piano-sonatas,
a capriccio, rondo capriccioso, several fantasias, caprices, variations,
fugues, 8 books of Lieder ohne Worte (1830-45), characteristic
pieces, etc., and several pieces for four hands; (d) 6 organ-sonatas
(1844-5), and several preludes and fugues; (e) the comic opera Die
Hochzeit des Camacho (1825), fragments of Lorelei, the singspiel Die
Heimkehr aus der Fremde, 2 Festgesänge, music for Goethe's Die erste
Walpurgisnacht (1831-2), Sophokles' Antigone (1841), Shakespeare's
Midsummer Night's Dream (1842), Racine's Athalie (1843-4), Sophokles'
Œdipus at Colonus (1845), with a great number of quartets
for male or mixed voices, over 80 songs and some duets; (f) the oratorios
St. Paul (1836) and Elijah (1846), portions of Christus, the
Lobgesang (1840), 8 Psalms, including the 42d (1837), the 95th (1838),
and the 114th (1840), the cantata Lauda Sion (1846), and many motets
and anthems, some a cappella. In addition, there are many early works
not published in popular form. A standard edition of his works is issued
by Breitkopf & Härtel (1874-7).
Of his innumerable letters a large number have been published (from 1861).
Mendelssohn differed widely from Schumann in that he added
little to the formal resources of music. For the most part he
used patterns and methods already known. The same is true
of technique and orchestration. Yet certain styles he handled
with such special grace that they became fresh under his hand.
Familiar instances are his nimble scherzos, his gay caprices, his
elegant piano-songs, some of his oratorio arias and choruses, and
the development-sections of his ensemble works. His instinct
