Todd Mendelssohn and His World

Course Book
ISBN: 978-1-4008-3162-3
Verlag: De Gruyter
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 428 Seiten

Reihe: The Bard Music Festival

During the 1830s and 1840s the remarkably versatile composer-pianist-organist-conductor Felix Mendelssohn-Bartholdy stood at the forefront of German and English musical life. Bringing together previously unpublished essays by historians and musicologists, reflections on Mendelssohn written by his contemporaries, the composer's own letters, and early critical reviews of his music, this volume explores various facets of Mendelssohn's music, his social and intellectual circles, and his career. The essays in Part I cover the nature of a Jewish identity in Mendelssohn's music (Leon Botstein); his relationship to the Berlin Singakademie (William A. Little); the role of his sister Fanny Hensel, herself a child prodigy and accomplished composer (Nancy Reich); Mendelssohn's compositional craft in the Italian Symphony and selected concert overtures (Claudio Spies); his oratorio Elijah (Martin Staehelin); his incidental music to Sophocles' Antigone (Michael P. Steinberg); his anthem "Why, O Lord, delay forever?" (David Brodbeck); and an unfinished piano sonata (R. Larry Todd). Part II presents little-known memoirs by such contemporaries as J. C. Lobe, A. B. Marx, Julius Schubring, C. E. Horsley, Max Mller, and Betty Pistor. Mendelssohn's letters are represented in Part III by his correspondence with Wilhelm von Boguslawski and Aloys Fuchs, here translated for the first time. Part IV contains late nineteenth-century critical reviews by Heinrich Heine, Franz Brendel, Friedrich Niecks, Otto Jahn, and Hans von Blow.

Autoren/Hrsg.

Todd, R. Larry

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik

Inhaltsverzeichnis

FrontMatter, pg. i
Contents, pg. v
Preface, pg. ix
Acknowledgments, pg. xiii
The Aesthetics of Assimilation and Affirmation: Reconstructing the Career of Felix Mendelssohn, pg. 5
Some Notes on an Anthem by Mendelssohn, pg. 43
Mendelssohn and the Berlin Singakademie: The Composer at the Crossroads, pg. 65
The Power of Class: Fanny Hensel, pg. 86
Samplings, pg. 100
Elijah, Johann Sebastian Bach, and the New Covenant: On the Aria “Es ist genug” in Felix Mendelssohn- Bartholdy’'s Oratorio Elijah, pg. 121
The Incidental Politics to Mendelssohn’s Antigone, pg. 137
The Unfinished Mendelssohn, pg. 158
Conversations with Felix Mendelssohn, pg. 187
From the Memoirs of Adolf Bernhard Marx, pg. 206
Reminiscences of Felix Mendelssohn-Bartholdy, pg. 221
Reminiscences of Mendelssohn by His English Pupil, pg. 237
From the Memoirs of F. Max Müller, pg. 252
From the Memoirs of Ernst Rudorff, pg. 259
Letters from Felix Mendelssohn-Bartholdy to Aloys Fuchs, pg. 275
Mendelssohn as Teacher, pg. 310
Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General, pg. 341
Heinrich Heine on Mendelssohn, pg. 352
On F. Mendelssohn-Bartholdy’s Oratorio Elijah, pg. 364
On Mendelssohn and Some of His Contemporary Critics, pg. 382
Felix Mendelssohn, pg. 390
Index of Names and Compositions, pg. 395
List of Contributors, pg. 402