in 1827, Aix gave in its definite adhesion, and except during the political disturbances from 1848 to 1850, and also in 1852 and 1859, these festivals have since occurred at Düsseldorf, Aix, or Cologne.
Without entering into the detail of each occasion, a few facts may be mentioned. The 15th meeting, at Düsseldorf, in 1833, may be considered the most important which had occurred, and as marking a new epoch in the history of these now renowned festivals. For it was on this occasion that the direction of the music was first entrusted to Mendelssohn, then in his 26th year.[1] Another distinguishing feature was a third concert improvised by him on the morning of Whit-Tuesday, which was subsequently known as the 'Artists' concert,' in consequence of the introduction at it of detached and solo pieces. In 1835 Mendelssohn conducted at Cologne, and on the following Whitsuntide directed the 18th festival at Düsseldorf, on which occasion his oratorio 'St. Paul' was produced. He reproduced Handel's 'Joshua' at Cologne in 1838, and on that occasion continued his great work for his country and for the musical world generally of reviving the superb choral works of Sebastian Bach, which, partly in consequence of their extraordinary number and want of classification and publication, had been suffered to remain almost in disuse, until resuscitated by one of the greatest disciples of the glorious 'Cantor of Leipzig.'
At the 21st festival, at Düsseldorf, in 1839, Mendelssohn was again at the helm, introducing there his 42nd Psalm 'As the hart pants,' and at the 'Artists' concert' playing his second pianoforte concerto. In 1842 he conducted at Düsseldorf, and made its festival memorable by the introduction of the 'Lobgesang,' which had been already performed at Leipzig and Birmingham; and in 1846, at Aix, for the seventh and last time, he directed a grand selection, when Jenny Lind sang, and produced extraordinary enthusiasm—the occasion being recorded as the 'Jenny-Lind-Fest.' Her singing of Mendelssohn's 'Auf Flügeln des Gesanges' and 'Frühlingslied,' at the 'Artists' concert' is described by chroniclers of this festival as producing an effect wholly unparalleled. In 1852 no festival took place, but in the following year Hiller and Schumann shared the direction at Düsseldorf, respectively contributing a Psalm—the 125th, and a Symphony—in D minor.
From this time the Rhenish Festivals became in some respects even more than previously interesting. The great composer who had done so much for them had indeed passed away, but so great a fame had been secured for them, partly in consequence of the memorable occasions on which Mendelssohn had presided, and also on account of the engagement of more celebrated soloists and of the selection of fuller if not more interesting programmes, as to attract for these Whitsuntide meetings more attention, and to draw musical visitors from all parts. In 1855, at Düsseldorf, Mme. Lind-Goldschmidt sang in Haydn's 'Creation,' Schumann's 'Paradise and Peri,' and at the Artists' concert.
Düsseldorf was fortunate enough in 1863 again to secure her services, and the choral selections were conducted by Herr Otto Goldschmidt. An unusual and interesting feature on this occasion was an organ solo by Herr van Eyken, who played Bach's great prelude and fugue in G minor. The following Whitsuntide, 1866, Madame Lind-Goldschmidt was once more heard at a Düsseldorf festival, in Handel's 'Messiah' and Schumann's 'Paradise and Peri,' etc., Madame Schumann, Auer, and Stockhausen being the other soloists, and Herren O. Goldschmidt and Tausch conducting.
The table on the opposite page shows the localities, the directors, and the chief choral and instrumental works from 1818 to the present year.
To this brief glance at their origin and progress, a few remarks may be added as to the distinctive features of these and other German festivals, which strike an habitué at our own large musical gatherings. Perhaps the most important difference is the greater care in preparation. Far more time is devoted to rehearsals of full band and chorus, under the conductor's direction, than with us. Hence the performances are undoubtedly more finished than at English festivals, at which only two hurried rehearsals take place for seven or eight performances. In Germany six full rehearsals are held for three concerts.
In the next place, the first object in England is to raise money: in Germany the great object is to benefit art. One of the bad results of our system is that committees shrink from risking the performance of any but popular works which will draw and 'pay.' One of the good results of the foreign plan is that only classical works of high artistic merit are given. No such selections as some of those at evening concerts at our festivals would be tolerated in Germany.
In the Rhineland all classes rejoice at an opportunity to take part in 'das liebliche Frühlingsfest.' Remuneration appears to be a secondary consideration; indeed the services of the chorus, which often comprises members of the best families, are gratuitous, and are given con amore. And one consequence of this, and of a general agreement and enthusiasm on the part of the amateur performers, is a moderate charge for tickets. The admission to the best places is less than a third of that chez nous. Moreover, in consequence of the occurrence of the great 'Feast of Pentecost,' the whole population of these Rhenish towns seems to be then en fête, and to take the liveliest interest in the festal musical performances now so thoroughly associated there with Whitsuntide.
Carl Klingemann, Mendelssohn's friend, writing to England concerning the Düsseldorf meeting of 1836, says:—'Never did I hear such chorus-singing. All the singers, with the exception of the soloists, were amateurs, as also the
- ↑ See under Mendelssohn, pp. 270, 271.
