From these drawing-room romances of Mendelssohn one piece is to be taken apart, as equally pleasing both to young and to old. This is the Elf-music. Such music, with its gay dancing of gnomes, intermingled with a slightly sentimental air, was wonderfully suited to Mendelssohn’s genius. He never surpassed his overture to the Midsummer-Night’s Dream, written at seventeen. There are four of these “Elf” or “Kobold” pieces for the piano. The first, in the Character-Pieces, Op. 7, begins in E major, shoots rapidly past, and ends very daintily in the minor. The second, Op. 16, 2, begins on the contrary in E minor, and concludes in a very spirited fashion in the major--a very poetical little Battle of the Mice, with tiny fanfares and dances, all kinds of squeaks, and runnings to and fro of a captivating grace. The third is the Rondo Capriccioso (Op. 14), for which all piano-players have a deadly hatred, but which is much prettier than we are inclined to think to-day, when it is worn out. Finally we have the F sharp minor Scherzo, which was written for the “Album des Pianistes,” with dotted, staccato, and singing themes, and stands out among his pieces. [Illustration: Head of Mendelssohn, after Hildebrand.] Mendelssohn was one of the few great musicians, whose whole life, from cradle to the grave, was lived in sunshine and happiness. From his joyous youth to his European renown as head of the Leipzig Conservatorium his life was a round of serenity, and at its zenith he might well die. Sunshine and happiness are in his works; storm never breaks in, no sigh moves to tears. His storms and sighings never forget their artistic calm. His pieces cast friendly glances on all sides, and are quite conscious of the friendly glances they receive in return. As beautifully as their author played--he played rarely but willingly in concerts--they present their technique, so popular, so charming; sounding more difficult to play than they are. The technical content is chiefly rapid staccato, whether of single notes or chords; the ornamentation of melodies in arpeggio; brilliant repetitions obtained by rapid alternation of the two hands; free obligato use of the pedal; and a showy use of a facile right hand. These find their most popular expression in the conclusion of the Serenade, in the first movement of the D minor Concerto, and in the E minor Prelude. Popular even ad nauseam are the Concert-pieces, the B minor capriccio (the favourite fantasia with march-conclusion), and the two piano concertos, all of which are practically in one movement, with partial repeats. In technique these appear to owe an obligation to Weber, for whom Mendelssohn had a heartfelt admiration.