A Dictionary of Music and Musicians/Schleinitz, Conrad
SCHLEINITZ, Conrad, Dr. juris, although not a professional musician was, in the words of Ferdinand [1]Hiller, 'one of the most accomplished of living amateurs,' and in any case deserves a high place in a Dictionary of Music, since it was in great measure through his discernment and perseverance that the Gewandhaus Concerts at Leipzig were put into Mendelssohn's hands, and that the arrangements were maintained in such efficiency, whereby an immense impetus was given to orchestral music throughout Europe. He was also greatly instrumental in the foundation of the Conservatorium, of which he was President for many years up to the time of his death.
Dr. Schleinitz was born Oct. 1, 1805, at Zaschwitz in Saxony, and died in his house at Leipzig on the morning of May 13, 1881. He was bred to the law, took the degree of 'Dr. juris,' and is always mentioned in the German papers as 'Herr Advokat Schleinitz,' and it is shown from a letter of Mendelssohn's (Aug. 1, 1838) that his business was at one time a good and improving one. He appears to have been a good tenor singer, and as such we find him among the solo performers at the Festival at Halle in 1830; at Leipzig on Good Friday 1835, and in Mendelssohn's 'Elijah' on the same day, 1848. We may form some idea of the energy and intelligence of his style as a singer, and his general knowledge of music, from Mendelssohn's remarks on the first performance of 'St. Paul' in a letter to him July 5, 1836.
His first communication with Mendelssohn as to the concerts was very early in 1835. Mendelssohn's answer to it, and to a subsequent letter, will be found in his printed Letters, under date Jan. 26, and May 18 of the same year. His first concert was on Oct. 4, 1835, and from that time till his death, in 1847, the intercourse between him and Schleinitz was never interrupted. Schleinitz throughout those twelve years showed himself always the thoughtful, devoted assistant of his great friend, relieving him of anxiety as to the business arrangements of the concerts, and smoothing his path to the best of his ability. That their intercourse did not stop there may be gathered from an expression or two in Mendelssohn's correspondence, and from the recollection of those still living who were in Leipzig at that time. The four printed letters bear no proportion to the mass which were in Dr. Schleinitz's possession, and which the writer was privileged to see when collecting materials for the sketch of Mendelssohn in this Dictionary—some of which will possibly be published. Mendelssohn dedicated the Midsummer Night's Dream music to him, and a book of 6 songs (op. 47) to his wife, and Dr. Schleinitz was in possession of several more or less important pieces of music of his still unpublished. The 'Nachtlied' (op. 71, no. 6) was composed and written for his birthday, Oct. 1, 1847, and is therefore the last[2] work of the great composer. Schleinitz was with his friend when he died, and was one of the Committee for dealing with his unpublished works. In the Allg. mus. Zeitung of Dec. 27, 1848 (the last No. of the old series) he published the statutes of a Mendelssohn Fund, in connexion with the Conservatorium of Leipzig, with a letter from the King approving and authorising the scheme.
In his later years Dr. Schleinitz was nearly blind, but this did not interfere with his devotion to the Conservatorium and the Gewandhaus Concerts, nor, as the writer is glad to mention, with his eager kindness towards those who wished to know about Mendelssohn.
He was a Knight of the Royal Saxon Order of Merit.- ↑ F. Hiller's 'Mendelssohn,' translated by Miss [[Author:M. E. von Glehn|]], p. 152.
- ↑ See vol. ii. p. 292, note 5.