[Footnote 208: This is exceptionally effective in the four-hand version--in fact, it was often played as a pianoforte duet by his sister Fanny and himself--although the real poetic effect is inseparably connected with the orchestral treatment.]
[Footnote 209: Originally these tones were played by the Ophicleide or Serpent (now obsolete).]
The free fantasia, an improvisation on the first theme--although containing a few perfunctory manipulations--sustains interest, as a whole, by its modulations and by the suggestive orchestral effects. The closing measures, where the pizzicato 'cellos and double basses seem to imitate the light, tripping footsteps of the elves, is genuinely realistic. The Recapitulation, which begins with the same chords as the Introduction, is an illustration of bondage to classic practise; for here they have no dramatic significance and are merely a concession to routine procedure.[210] The first theme and the transition, however, are effectively abridged so that the second theme, by far the most appealing in the whole work, stands out in greater prominence. Then follows a brilliant expansion of the closing portions of the second theme, until we reach the Coda. This begins with a reminiscence of the first theme which fades away into a modified presentation of the Duke Theseus theme, followed by four long-drawn out Amens.[211] These may signify the blessing which, in the play, the elves bestow upon the Ducal house. The Introductory chords dissolve the dream which the music has evoked, and we are back once more in the world of reality.
[Footnote 210: This, after all, is a rather subtle point for a boy of seventeen to be called upon to consider. Perhaps if he had been that kind of a boy he might not have written the Overture at all!]
[Footnote 211: The ecclesiastical formula for an Amen being the so-called Plagal cadence of subdominant and tonic chords.]
To suggest the attitude which we of to-day should take towards Mendelssohn--he may justly be admired as a musician of great natural gifts, of high ideals and of unusually finished technique in many branches of composition. It is ungracious to censure him because he lacks the gripping emotional power of a Beethoven or a Wagner. Those who indulge in such narrow criticism condemn only themselves.