Mendelssohn began where Schumann left off,
took a newer, or ‘renewed’ love,
and set off on a pacing steed into a night
of moonlit passion and speedy quaver passages.
Did he think he’d found the key
to an eternal mystery that Schumann
attempted to bury at sea?
Old Felix liked the water, true enough,
but couldn’t stop the floods from drowning Love.
His diminished chord on ‘Tod’ proved it was not,
as the Bible claims, as strong as Death.
Maybe he was expecting something truly
novel out of Love, not just a dull repeat.
But this was a man who claimed he could
see Fingal’s Cave from Arthur’s Seat.
J. A. Sutherland
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