In the fall of 1845 he took up work again at Leipsic, teaching, conducting and composing. In 1846 he led a chain of festivals at Aix-la-Chapelle, Dusseldorf, Liège and Cologne, and in August conducted at Birmingham the first performance of Elijah (first planned in 1837). This was his greatest triumph and one of the most thrilling of historic musical occasions. At once he set about an elaborate rewriting of the work, not completed for some months. Though Gade had been from 1843 conductor at the Gewandhaus, Mendelssohn often took his place. Commissions from Berlin continued to arrive. He was at work on a third oratorio, Christus, was always seeking a suitable opera-libretto, was occasionally on duty at Dresden, kept up teaching and correspondence, and was ceaselessly active otherwise. In the spring of 1847 he went once more to England, acting repeatedly as conductor and as soloist. Hardly had he returned when he heard of the sudden death of his sister. The shock broke him down. Periods of depression and suffering became frequent, and after a few months he died. The funeral at Leipsic was an extraordinary tribute of respect and affection, and the burial was at Berlin. Commemorative concerts were given throughout Europe, with notable tokens of sorrow.
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Mendelssohn was full of charm and magnetism. He was vivacious and social, fond of gayety and fun, kind and tactful, many-sided in his interests, eager to spend himself for friends or any good cause, punctilious in performing duties, high-minded in every instinct and impulse. He was so approachable that he was overwhelmed with drafts upon thought and energy. He doubtless was too prodigal of his powers, but the breadth and intensity of his personal influence were momentous for musical progress. His every effort went toward elevating the standard of musical art, and his example helped musicianship to its rightful place in the world's thought. The reality of his religious convictions gave his character and work a fervor of high quality.
The Mendelssohns had five children. The widow died in 1853 at Frankfort.
195. His Works and Style.—In spite of the distractions of
his career, Mendelssohn produced an extraordinary body of
compositions, ranging over almost the entire circle of large
forms. His technique as composer was masterly, sure and solid
in its learning, and often finely original in invention. As has
been suggested, his style shows an intimate blending of classical
and romantic features. This mixture was historically useful,
though it has stood in the way of his just appraisement by some
critics. Probably his power is best shown in certain of his
chamber works, in his orchestral overtures, and in his oratorios.
These are rich in idea, finished in execution and eloquent in
spirit. Yet it is true that he had his mannerisms, that his
studies and tastes led him often to follow models from the past,
and that his freshness of inspiration was not so constant in his
