Two years after completing his overture to A Midsummer Night’s Dream (1826), Felix Mendelssohn-Bartholdy began to write of another vision: visiting his friend, the composer Adolf Fredrik Lindblad, in Sweden. Over the coming years, as Mendelssohn continually returned to this idea, additional reasons to make such a journey presented themselves: performances of his works in that city, including the Shakespearean overture, were well received; he became personally acquainted with Crown Prince Oscar, to whom he dedicated the op. 44 string quartets; he was elected to the Royal Swedish Academy of Music; his first cousin, Josephine (‘Peppi’) Benedicks, lived in Stockholm; and his friendship with Jenny Lind in the last years of his life only strengthened his interest in the north.While Mendelssohn’s letters to Lindblad have long been known to scholars, the Gegenbriefe from Lindblad remain unpublished. For the first time, his voice is now fully restored to the conversation in an extensive correspondence that contributes to knowledge of Mendelssohn’s interpretations of his own music and his early reverence for the late Beethoven string quartets. In addition, this article also uncovers epistolary evidence of a cluster of related compositions by Mendelssohn and Lindblad spawned by Mendelssohn’s interest in the quartet in F Major (op. 135), including a little-known song that Lindblad dedicated to Felix on the occasion of his marriage.Mendelssohn’s journeys to Scotland and Italy inspired his musical imagination in ways that have richly benefitted the concert repertoire. How might he have translated his impressions of Nordic history, culture and geography into new aural atmospheres, had he followed his dream to travel northwards?

中文翻译：

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仲夏之梦：费利克斯·门德尔松的瑞典人脉

在完成他的序曲两年后仲夏夜之梦（1826 年），费利克斯·门德尔松-巴托尔迪开始写下另一个愿景：在瑞典拜访他的朋友，作曲家阿道夫·弗雷德里克·林德布拉德。在接下来的几年里，随着门德尔松不断回归这个想法，进行这样一段旅程的其他理由出现了：他的作品在那个城市的演出，包括莎士比亚序曲，都受到了好评；他亲自结识了奥斯卡王储，并将其献给了奥斯卡。44个弦乐四重奏；他被选入瑞典皇家音乐学院；他的堂兄 Josephine ('Peppi') Benedicks 住在斯德哥尔摩。而他在生命最后几年与珍妮·林德（Jenny Lind）的友谊只会增强他对北方的兴趣。虽然门德尔松写给林德布拉德的信早已为学者所知，但来自林德布拉德的 Gegenbriefe 仍未出版。首次，他的声音现在完全恢复到谈话中，在广泛的通信中，这有助于了解门德尔松对自己音乐的解释以及他早期对已故贝多芬弦乐四重奏的崇敬。此外，本文还揭示了门德尔松和林布拉德因对 F 大调四重奏（op. 135）的兴趣而产生的一系列相关作品的书信证据，其中包括林布拉德在他的婚姻。门德尔松的苏格兰和意大利之旅激发了他的音乐想象力，这些方式使音乐会曲目受益匪浅。如果他按照自己的梦想北上旅行，他如何将他对北欧历史、文化和地理的印象转化为新的听觉氛围？