THE FIRST PERFORMANCE.
��figure bent in acknowledgment of these spontaneous and gratifying tributes to his genius, personal affability, and
kindness His manner, both in the orchestra and in
private, is exceedingly pleasing. His smile is winning, and occasionally, when addressing a friendly correction to the band or choir, full of comic expression. He talks German with great volubility and animation, and speaks English remarkably well. He possesses a remarkable power over the performers, moulding them to his will, and though rigidly strict in exacting the nicest precision, he does it in a manner irresistible — actually laughing them into perfection. Some of his remarks are exceedingly humorous. In the Overture to the " Midsummer Night's Dream " [played at the Festival], the gradations of sound were not well preserved ; a rattle of his bdt'jH on the music-stand brings the band to a dead halt. "Gentlemen," says Mendelssohn, "that won't do. All fortissimo, all pianissimo, no piano ! A little piano between, if you please. Must have piano, gentlemen; when you come to fortissimo, do as you like." All this is expressed with animation and good humour, and a roar of laughter over, the band tries again, and a smile playing on the expressive features of the conductor, attests the power of his pleasantly administered corrective. ... At its conclusion the whole band and chorus broke into a torrent of enthusiastic acclama- tion. After the oratorio had been rehearsed, Mendelssohn expressed himself highly pleased with the manner in which the performers had rendered his work, and complimented them on their extraordinary efficiency.
��As Moscheles, the Conductor-in-chief of the Festival, was unwell, Mendelssohn conducted the evening rehearsal for him. At Mendelssohn's request the usual Tuesday evening concert was given up for an extra rehearsal of " Elijah." " After the rehear- sal," says Mrs. Moscheles, " I helped Mr. Bartholomew in correcting the ' text,' and so we went on till one o'clock in the morning."
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