MENDELSSOHN[45] (1809-1847). Concurrent with the advent of Mendelssohn and Schumann, the fascination that Rossini had exercised in Germany lost its hold, and the public learned to appreciate more and more the sterling qualities of its own native music. But not only did the efforts of the German composers of the nineteenth century begin to win due recognition, but also there was rekindled a veneration for the creations of the great classicists. This was in a large manner due to Mendelssohn's untiring efforts. Possessed of broad culture, wealth, and attractive personality, he combined the spirit of romanticism with the structural forms of classicism; this conservatism helped to balance the restless tendencies that were at that time dominating music and poetry. His compositions are imbued with beauty and sweetness of melody, with varied harmonies, buoyant orchestration; his choral writing is the most fluent since Bach's and surpasses in this respect that of Händel. Melody is emphasized; tragic depth is lacking. He excelled as a writer of "representative" music, but even here his refined sense for euphony never deserted him. He was successful in all forms excepting opera. "St. Paul" and "Elijah" are the most important oratorios since those of Haydn; his violin concerto comes next to Beethoven's as a favorite; his symphonies are characteristic, romantic, and abound in "local" coloring. His style may be divided into two distinct classes: the lyric, as typified in the "Songs without Words," and the fantastic and imaginative as exposed in the Scherzo of the "Midsummer Night's Dream." [Footnote 45: See Appendix of Musical Illustrations, Examples 58 to 66.] Mendelssohn's contributions to the details of instrumentation were both original and varied. Already in "Midsummer Night's Dream," of which the Overture was written when he was but seventeen years old, are to be found marvellous effects that are indeed fairy-like in their daintiness.[46] In fact it might be justly claimed that this is Mendelssohn's best orchestral work, taking into consideration its polished form, transparent and perfectly balanced instrumentation. Noteworthy for their novelty are the rapid staccato passages for the wood-wind in the Scherzo.[47] In none other of his works has the flute been treated in a more charming manner.[48] Familiar to all is the romantic and extended employment of the horns in the Notturno,[49] as well as the ludicrous utterances of the opheicleide in the Overture. [Footnote 46: Ex. 58, 62.] [Footnote 47: Ex. 59.] [Footnote 48: Ex. 60, 66.] [Footnote 49: Ex. 65.]