acter of the selections for
concert. In the church there were masses by Beethoven and Cherubini,
motettes by Palestrina, and cantatas by Bach. The next year his
oratorio of "St. Paul" was begun. In 1837 he was married to a very
charming lady--Miss Cecilia Jeanrenaud, daughter of a clergyman of the
Reformed Church at Frankfort. Very soon after the wedding he was in
London and Birmingham, where he conducted "St. Paul" and commenced to
prepare the libretto for his oratorio of "Elijah." Among the Bach
fugues which he played in London on the organ at this time were the D
major, the G minor, the E major, the C minor and the short E minor.
His pedal playing was very highly esteemed.

[Illustration: Fig. 85.

MORITZ HAUPTMANN.]

In 1835 he commenced to conduct the _Gewandhaus_ concerts at Leipsic,
and the celebrated conservatory there was founded in 1843. The first
professors were Hauptmann, David, Schumann, Pohlenz and C.F. Becker.
Ferdinand David (1810-1873) was the greatest master of the violin
during the third quarter of the century. Moritz Hauptmann
(1792-1868), originally a violinist, was one of the most original
theorists of this century. His greatest work, "Harmony and Meter," was
published in 1853. Soon afterward Moscheles became associated with
them. The city of Leipsic remained his home during the remainder of
his life. The founding of the conservatory may have been hastened by
certain plans which Mendelssohn had endeavored three years before to
get adopted in Berlin, where there was a project for founding a royal
music school upon a different basis from any at that time existing.
From some change in the ministry, or temporary political disturbance,
the plan fell through, but in Leipsic it was carried out. This famous
school from that time forward, for nearly fifty years, exercised an
influence greater than that of any other music school in the world.
Among its graduates are a very large number of the most successful
teachers and celebrated professional musicians. They had been drawn to
Leipsic by the reputation given the conservatory by the possession of
such masters as Mendelssohn, Schumann, Hauptmann, Moscheles, Plaidy,
Dr. Paul, Becker, Brendel, Reinecke and others. After Mendelssohn's
death, indeed, the tradition of his ideas hampered the efficiency of
the school to some extent, but very thorough work has always been done
there. During his four years' connection with the conservatory
Mendelssohn conducted th