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Cambridge University Press
0521826039 - The Cambridge Companion to Mendelssohn - Edited by Peter Mercer-Taylor
index



index




abbreviations, xv

absolute music, 265

acceleration, 278

Aeneid (Virgil), 39

Aeschylus, 226

aestheticians, 67, 68

aesthetics, Hegel’s lectures on, 64

“Aesthetics of Assimilation and Affirmation, The” (Botstein), 6-7

Agawu, Kofi, 81, 83

Agricola, Alexander, 61

Albert, Prince of England, xiii

Alexis and Dora (Goethe), 65

Alf, Julius, 246

Alger, William, 47

General musical newspaper, 160, 214, 234, 235

Old museum, 12

Ambros, A. W., 103

Anglican church music, 169

Antigone (Sophocles), 22, 68, 225, 227

anti-Semitism, 2, 4

Berlin Singakademie directorship and, 16, 36

classification and, 27-28

criticism of Mendelssohn and, 26, 238-40, 246-48, 253, 260, 292

gender role restrictions and, 50

language and, 189-90

Liszt and, 239-40

Third Reich, 246

Wagner and, 238-39

architecture

Gothic, 60

historicism in, 60

unifying style in, 60

Arlès-Dufour, 218

Arnstein Pereira, Henriette von, 190

arpeggiation, 285

art

Catholicism and, 59

historicism in, 56-57, 58-59

Italian, 57

Nazarenes, 58-60

objectification of, 257

subjectivity in, 256

assimilation, 29

Aesthetic foundations of Felix Mendelssohn-Bartholdy's instrumental music, The (Schmidt), 6-7

Athalie (Racine), 225

Austen, Jane, 255-56, 258, 260

Austin, Sarah, 43

Bach, Carl Philipp Emanuel, 61, 113-14

Bach, Johann Christian, 113-14, 149

Bach, Johann Sebastian, xi, xiii, 11, 13, 17, 19, 21, 61, 62, 63–64, 66, 91, 94, 252, 277

Bach revival, 11, 63–64, 172, 277

influence on Mendelssohn, 95, 130-48, 156, 164, 172, 259

Mendelssohn’s interest in, 62

Mendelssohn’s performance of works of, 165

Bach, Johann Sebastian, works

   Ascension Oratorio (BWV 11), 17

Cantata no.4, Christ lay in the bonds of death (BWV 4), 164

choral music, 11, 63-64, 164, 172

Concerto, keyboard, in D-minor (BWV 1052), 150

St. Matthew Passion (BWV 244), 11, 14, 35, 36, 61, 63, 159, 172-73, 174, 175, 234, 266

   Well-tempered clavier (BWV 846-893), 43, 61, 62, 283

Bach, Wilhelm Friedemann, 61

Baillot, Pierre, x, 115

Baini, Giuseppe, 19, 65

Ballan, Judith Silber, 270

ballet music, 214

Barbedette, Hippolyte, 167

Bard, Abbé, 14, 16

Bärmann, Carl, 130

Baroque music, 61

church sonatas, 159

ritornello concerto style, 115

trio sonata, 131

Bartels, Adolf, 192

Bartels, Bernhard, 248

Barthody name, 35

Bartholdy, Jacob (olim Jacob Salomon), 168, 169

Bartholomew, William, 169, 175

baton conducting, 15, 271

battle music, 110

Beale, T.F., 217

Becher, Alfred Julius, 207

Beethoven, Ludwig van, xi, 12, 16, 17, 18, 19, 20, 21, 62, 81, 82, 91, 95, 149, 165, 244, 252, 255, 256, 257, 258

album in tribute to, 160, 164

influence on Mendelssohn, 95, 115, 120, 130, 136, 138–39, 140, 141, 142, 257

Mendelssohn as heir to, 255

Mendelssohn compared to, 251

Mendelssohn’s early exposure to, 150

Mendelssohn’s performance of works of, 165

monumentality of, 258, 260

Wagner as heir to, 258

Beethoven, Ludwig van, works

Concertos, 114

Concertos, piano

No. 3 in C minor, op. 37, 114, 117

No. 4 in G major, op. 58, 114, 165

No. 5 in Eb major, op. 73 (“Emperor”), 15, 16, 114, 120, 165

   Missa Solemnis op. 123, 263

Quartets, piano, 132

Quartets, strings

op.18, no.1 in F major, 285

op. 74 in Eb major (“Harp”), 81, 138

op. 95 in F minor (“Serious”), 163

op.131 in C # minor, 84, 138

op.132 in A minor, 81, 138

op. 135 in F major, 138, 139-40

Quintet, strings, in C major op.29, 77, 137

Sonatas, piano

No. 28 in A major, op.101, 150

No. 29 in Bb major, op. 106 (“Hammerklavier”), 150

No. 30 in E major, op.109, 151

No. 31 in Ab major, op. 110, 111, 280

No. 32 in C minor, op.111, 166

Symphonies

No. 3 in Eb major op.55, 109

No. 4 in Bb major op. 60, 85, 272

No. 5 in C minor op. 67, 85, 95, 109, 166

No. 6 in F major op. 68, “Pastoral”, 17, 257, 263, 265

No. 7 in A major op.92, 102

No. 9 in D minor op. 125, 181, 234, 256, 258, 270, 272

Variations, 164

in C minor (WoO 80), 163

op. 120 (“Diabelli”), 163

Liberation Cathedral, 60

Bellini, Vincenzo, Jan.

Benedict, Sir Julius, 3, 15, 47

Benjamin, Phyllis, 51

Bennett, Sir William Sterndale, 43

Berger, Ludwig, x, 13th

Berlin

architecture, 12

conversions from Judaism, 29-30

opera projects in, 219

Berlin Academy of Arts, 22-23

Berlin Cathedral, 171

Berlin Friday College, 61

Berlin Singakademie, 11, 14, 61, 63, 172

architecture of, 11

directorship of, 16, 36, 234

Fanny’s participation in, 43

Mendelssohn’s participation in, 43, 63

significance of, 36

Berlioz, Hector, 12, 172

   Harold en Italy, op. 16, 103

   Symphonie fantastique, op. 14, 72, 81

Biedermeier generation, 31, 32

Bigot, Marie, x

education, 33, 34, 36

biographies, 46-52

Birmingham Music Festival, 17, 123

Blummer, Martin, 271

Blümner, Heinrich, 23

Bodleian Library, 31

Boeckh, Philipp August, 225

Boguslawski, Wilhelm von, 144

botanical metamorphosis, 83

Botstein, Leon, vi, 2, 3, 6-7, 30, 31, 176, 192, 237, 294

Bötticher, Wolfgang, 246

Brahms, Johannes, 17, 47, 80–81, 254

Mendelssohn’s influence on, 80, 82

Brahms, Johannes, works

Serenades

No. 1 in D major, op.11, 80

No. 2 in A major, op.16, 80

Sextet, strings

No. 1 in Bb major, op. 18, 80, 81

No. 2 in G major, op. 36, 80, 81

Symphonies

No. 2 in D major, op.73, 80

No. 3 in F major, op.90, 82

Breitkopf & Härtel, 243

Brendel, Franz, 5, 59, 68, 166, 241, 242

Brentano, Clemens, 221

Brotherhood of St. Luke (Nazarenes). lake Nazarenes

Bruch, Max, 221

Brugmüller, Friedrich August, 18

Bruehl, Graf, 209

Brunswick Music Festival, Sept.

book of Songs (Heine), 192-95

Bunsen, Christian Karl Josias von, 22

Byron, George Gordon, Baron, 178

cadence, 76-79, 82

cadenzas, 114, 128

canons, 3

Casper, Johann Ludwig, 208-09

Catholic Church

art and, 57, 59

Mahler and, 36

music for, 18-19, 169

programmatic music and, 270

Cervantes, 209

Chadwick, Whitney, 46, 49

chamber music, 130-48. So see Mendelssohn, Felix, works

instrumental chorales, 180

late works, 147-48

Mendelssohn’s early works, 130–34

Mendelssohn’s “first maturity” works, 130, 134–40

Mendelssohn’s mature works, 130, 141–47

musical design, 76

phases in, 130

"Practice works", 131

string quartets, 137-40

string quintets, 137

characteristic music, 98-104, 110, 279

preludes and fugues, 157-58

Cherubini, Luigi, 18, 19, 21, 97

Chézy, Helminie von, 221

Chopin, Frederic, 12, 113, 165, 252

chorales. So see Mendelssohn, Felix, works

criticism of use of, 174-75

in Elijah, 175

“Imaginary”, 180, 182

Lutheran, 175

Mendelssohn’s Christian faith and, 2

Mendelssohn’s use of, 172, 174, 175, 180

in Organ Sonatas op. 65, 159

in Paul, 174

progression of, 288

choral music. So see Mendelssohn, Felix, works

Bach, 11, 63-64, 164

criticism of, 5, 6-7

historicism and, 55

Chorley, Henry Fothergill, 3-4, 45, 46, 188, 217, 220

Christern, Karl, 190

Christian church music, 2

Cimarosa, Domenico, 21

Citron, Marcia, 43, 44

classical imitation, 56-57

Classical Music and Postmodern Knowledge (Kramer), 6

classicism, 81

classification

anti-Semitism and, 27-28

Mendelsohhn’s Jewish identity and, 27–28

“Clavier-Concert, Das” (Schumann), 116

Clementi, Muziio, 149

climax, in Romantic music, 72

coda, 76, 79, 83

concertmasters, 20

concerto form, 88

Baroque ritornello concerto style, 115

cadenzas, 114

concerto style, 113-14

double-exposure, 113, 116, 117, 118

orchestral ritornellos, 113

single exposure, 127

concertos, 112-29. So see Mendelssohn, Felix, works

early, 113-17

Mendelssohn’s attitude toward, 112

Mozart and, 113-14

revision of, 116

Romantic music, 112

conducting

with baton, 15, 271

Gewandhaus Orchestra, 20–21, 23, 24, 234

by Mendelssohn, 11, 14, 15, 19, 20, 43, 261

Mendelssohn’s influence on, 15, 271

works of Mendelssohn, 254-55, 260, 267-68

contrapuntal devices, 132

Cooper, John Michael, vi, 3

Cornelius, Peter von, 58, 276

Courtivron, Isabelle de, 46, 49

Coventry, 159

Cramer, Johann Baptist, 114

Creation, The (Haydn), 18

“Creative Writings: The [Self-] Identification of Mendelssohn as a Jew” (Sposato), 30

creativity

compositional historicism and, 70

gender and, 45

Goethe’s philosophy on, 67

of women, 45, 49

cultural identity, 32, 40

Cummings, William Hayman, 181

cyclic design, 83, 86

Dahlhaus, Carl, 6, 26, 41, 56, 72, 181

David, Ferdinand, 20, 24, 127, 245

"Dehistoricism," 56

“Developing variation” technique, 130

development, 76, 135

Devrient, Eduard, 11, 14, 16, 36, 42, 66, 155, 172, 206, 211, 220, 221, 292

   Hans Heiling, 221

   Recollections of Mendelssohn, 206, 219

Dictionary of Music and Musicians (Grove), 245

Dinglinger, Wolfgang, 270

Dirichlet, Rebecka Henriette (née Mendelssohn, later Mendelssohn Bartholdy), 13, 211

Döhler, Theodor, 113

Dohm, Christian Wilhelm, 29

Donizetti, Gaetano, xii, 21st

Don Quixote (Cervantes), 209

Dörffel, Alfred, 245

Dostoevsky, Fyodor, 255

double bass, 283

"Double consciousness," 40

“Double-exposition” concerto form, 113, 116, 117, 118

Dowden, Edward, 50th

dramatic music, 206-29. So see opera

Berlin projects, 216–18

London projects, 216-18

Munich projects, 216

operational projects and ideas, 219-24

Paris projects, 218

unsolicited plot suggestions, 219-20

“Dresden Amen”, 105

Dreyschock, Alexander, 21

Droysen, Gustav, 13, 27, 220

DuBois, W. E. B., 40

duet form, 38

duets, 285

Dürer, Albrecht, 234, 235, 270

Dussek, Jan, 114

Dusseldorf

Catholic church music in, 18-19

incidental music composed in, 225

Lower Rhine Music Festival, 16-17

Mendelssohn’s musical directorship of, 18–19, 20, 25, 234

musical culture, 18

opera, 19

Duveyrier, Charles, 218

Dvorak, Antonin, 252

early music, 55, 61-62

Edward III and the Siege of Calais (Planché), 221

"A 'strong castle is our God" (chorale), 106

Einsten, Albert, 246-47, 248

El Cid, 221

elfin style, 98

“Elfin fugue,” 137

“Elfin Scherzo,” 139

in piano quartets, 132, 133

in String Octet op.20, 136

Elvers, Rudolf, 27, 168

England, opera projects in, 216-18

epic-historical music, 109, 110

“First Walpurgis Night” (Goethe), 37

Ertmann, Baroness Dorothea von, xii

Eumenides (Aeschylus), 226

exposure, 76

Family Mendelssohn, The (Hensel), 42, 49

Fasch, Christian Friedrich Carl, 11

fist (Goethe), 67, 136

Fétis, François-Joseph, 42, 65

Fichte, Johann Gottlieb, 13

Field, John, 114, 149

Piano Concerto no.2 in Ab major, 117

Fink, Gottfried Wilhelm, 69, 173

Flemming, Paul, 201

folk dances, 139

folk songs, 151, 192

Foucault, Michel, 56

Fouqué, Friedrich de la Motte, 107

Frankel, Maimon, 170-71

Freischütz, The (Weber), 12, 214

Frederick the Great (Frederick II), 61, 62

French violin school, eighteenth century, 115

Frescobaldi, Girolama, 149

Freud, Sigmund, 39

Friedrich, Caspar David, 256-57, 258

Frederick August II, Saxon King, xiii, 23

Friedrich-Werdesche church, 60

Friedrich Wilhelm IV, King of Prussia, xiii, 18, 23, 171, 182, 219, 287

appoints Mendelssohn as music director, 225, 234

coronation of, 22

works ordered by, 229

Frisch, Walter, 81

fugues, 94, 283

funeral marches, 109, 110

Gade, Neils, xiv, 21, 24, 25

Garratt, James, vi, 6, 270

Gedaechtniskirche, Kaiser Wilhelm, 30

Geibel, Emanuel, 221-24

Blessed be Jesus Christ (chorale), 145

gender. So see women

in biography, 46-52

creativity and, 45

role restrictions, 45-46, 49-50

genre, 62

German-Flemish Choral Festival, 17, 25

German Jews Beyond Judaism (Mosse), 33

Germany

anti-Semitism in, 246-48

Christian – Jewish relations, 33, 34, 36, 40

German – Jewish relations, 32–34, 37, 238–40

historical mission of, 59

Jewish assimilation in, 35

Lutheran music, 169

“Reformation” symphony and, 104

Third Reich, 246

History of ancient art (History of Ancient Art) (Winckelmann), 56-57

History of music in Italy, Germany and France (History of Music in Italy, Germany, and France) (Brendel), 241

Gewandhaus Orchestra, 20–21, 23, 24, 108, 127, 234

Gilbert, Felix, 169

Gilroy, Paul, 40

Gluck, Christoph Willibald, 18, 21

Gnomes and Elves (Schüller), 144

Goethe, Johann Wolfgang von, x, xi, xii, 6, 11, 37, 57, 58, 61, 63, 64, 65, 67, 83, 99–100, 114, 136, 137, 166, 168, 241, 254, 263, 276

Gollmick, Carl, 219, 221

Gothic architecture, 60

Gounod, Charles, 45

Goya, Francisco de, 257

Graetz, Heinrich, 29

Greek art, historicism and, 57

Greek drama

   Antigone (Sophocles), 225-26, 227

language patterns, 292

   Oedipus at Colonos (Sophocles), 225, 227

verse rhythms, 227

Gray, Thomas, 97, 100, 110, 111, 112, 125, 126, 128, 138, 234, 280

Griepenkerl, Wolfgang Robert, 220

Großmann-Vendrey, Susanna, 63

Grove, Sir George, 167, 245, 248, 249

Gugel, Heinrich, x

Gutenberg quadricentennial, 181

Gypsies, 239

Halévy, Fromental, 221

Handel, George Frideric, 17, 21, 62, 163, 252, 266

oratorios, 18

     Alexander’s Feast, 18

     ‘Dettingen’ Te Deum, 18

     Israel in Egypt, 17, 18

     Judas Maccabaeus, 18

     Messiah, 18, 183

     Solomon, 18

Hanslick, Eduard, 68

Hanstein, August, 180

“Hark! The herald angels sing ”(C. Wesley), 181

Harmonicon, The, 14, 42–51

harmony, 139

Härtel, Raimund, 181

Hauptmann, Moritz, 24, 151

Haydn, Franz Joseph, 19, 21, 92, 131, 149, 266

   Creation, The, 18

   Seasons, The, 18

   Seven Last Words of Christ, The, 263

Hebrew Melodies (Nathan), 178

Hegel, Georg Wilhelm Friedrich, xi, 13, 58–59, 63, 64, 67, 144, 172, 226, 241

Heine, Heinrich, 57, 58, 68, 171, 172, 192-98, 202, 290

Hennemann, Monika, vi, 4

Henning, Carl Wilhelm, x, 13th

Hensel, Fanny Cäcilia (née Mendelssohn, later Mendelssohn Bartholdy), 136, 138, 208, 210, 211, 285, 287

biographies of, 43

birth of, 13

character, 43-44

childhood, 43

as child prodigy, 43

   cholera Cantata, 44

conversion of, 28, 30

cultural norms and, 50

death of, xiv, 24, 25, 42, 45, 147, 202

diaries of, 51

Felix’s compositions for, 116

gender role restrictions, 45–46, 49–50

health of, 51

influence on Felix, 45, 46, 48

letters of, 42, 44, 47, 50, 141

marriage, xi, 48, 169, 211

as pianist, 13, 43–44

publication of music by, 46, 49, 50

relationship with Felix, 42, 43-45, 46, 47-48, 52

reputation of, 42–43, 45, 46

Sebastian’s descriptions of, 43, 44

social class restrictions on, 45, 46

   Songs without words and, 152

as suppressed, 2-3, 49, 51, 52

writings of, 42, 43

Hensel, Sebastian Ludwig Felix, 42, 43, 44, 49–50, 51

Hensel, Wilhelm, 48, 169

Fanny’s letters to, 47

marriage, xi

Herder, Johann Gottfried, 57

Hereditary Genius (Galton), 42

“Lord God we all praise you” (chorale), 145

Hertz, Deborah, Jan.

Herz, Henriette, 13, 45, 113

Heyse, Carl Wilhelm Ludwig, x, 13th

High Classic style, 92

Hiller, Ferdinand, 14, 16, 21, 24, 42, 43, 44, 155, 165

historical concerts, 21, 59, 64

historical processes. So see progress

criticism of Mendelssohn and, 241

musical history and, 241-43

musical values ​​and, 244-45

historicism, 6. So see musical historicism

in architecture, 60

in art, 56-57, 58-59

authentic expression of age vs., 57, 58–59

"Dehistoricism," 56

as false veneration of past, 57

modernism vs., 56, 61

Hitzig, Henriette, 30

Holly, Ludwig, 198

L’homme automate, 207

Horsley, Charles Edward, 22

Hübsch, Heinrich, 60

Hugo, Victor

   Ruy Blas, 107–08, 220, 225

Hullah, John, 185

humanism, 34

Humboldt, Alexander von, 13

Humboldt, Wilhelm von, 13

Hummel, Johann Nepomuk, 283

Piano Concerto in A minor op.89, 114

Septet op.74, 283

idée fixe, 81

“Imaginary” chorales, 180

"Imaginary church music," 181

Immermann, Karl Leberecht, xii, 19, 216, 221, 225

   Elector Wilhelm in the theater, 296

International Felix Mendelssohn Society, 249

Italian art, historicism and, 57

Italian trip (Goethe), 67

Itzig, Daniel, 12, 30

James, Henry, 255

Janissary band, 93

Jeanrenaud, Cécile-Sophie-Charlotte. lake Mendelssohn Bartholdy, Cécile (née Jeanrenaud)

Jerusalem (M. Mendelssohn), 28, 29, 168

Jews and Judaism. So see anti-semitism

arts and, 239, 248

Christian-Jewish relations, 33, 34, 36

conversion from, 29-30, 31, 39

as cultural “other,” 27-28, 243

gender role restrictions and, 50

German-Jewish relationship, 32-34, 37, 238-40

Jewish identity, 28, 29-30

“Jewish problem”, 26, 27

Jews as mice metaphor, 1

language and, 239

Mendelsohhn’s Jewish identity, 2, 26–28, 31, 35–36, 37, 39, 248, 249–50

modern life and, 29

New Year’s celebrations and, 37

pseudo-scientific views on, 245

Joachim, Joseph, 21

Joan of Arc (Schiller), 218

Jones, Peter Ward, 31, 51

Jost, Christa, 160, 164

Judaism. lake Jews and Judaism

Judaism in Music, The”(Wagner), 26, 238-39, 253, 293

Kalkbrenner, Friedrich, x, 113

Kamen, Gloria, 47, 48

Kaufhaus des Westens (KaDeWe), 30

Kerman, Joseph, 127-28

Keudell, Robert von, 45

Kiesewetter, Raphael Georg, 65

Kimber, Marian Wilson, vii, 3, 244

Kinkel, Gottfried, 220, 228

   Assassins, The, 221

Kinkel, Johanna, 221

Hymn, 164

Kirnberger, Johann Philipp, 13, 61, 172

   Art of the pure sentence, 172

Klingemann, Karl, 15-16, 101, 109, 174, 191, 202, 210, 211, 217, 220, 245, 285

Koehler, Karl-Heinz, 114

Royal Drama, Berlin, 209

Konold, Wulf, 62

Kramer, Lawrence, 6, 110, 279

Kreutzer, Conradin, 106, 115

Krommer, Franz, 137

Krüger, Eduard, 67, 225

Krummacher, Friedhelm, 69, 115, 128, 129, 142, 148, 173

Kunt, Karl, 160

Lady of the Lake, The (Scott), 189

Lang, Josephine, 45

Lang, Paul Henry, 247-48

language

anti-Semitism and, 189-90

Mendelssohn’s views on, 189–92

Laocoön (Lessing), 38

Lavater, Johann Caspar, 29

Ledebur, Carl von, 42

Leeson, Daniel N., 282

Leipzig

"Historical concerts," 21

incidental music composed in, 225

   Marketplace, 181

Mendelssohn as musical director of, 20–22

music academy, 23–24

musical culture, 23, 24

leitmotifs, 264

Lessing, Gotthold Ephraim, 33, 38-39, 189

Levin, Rachel. lake Varnhagen von Ense, Rahel Antoine.

Levin, Robert D., 282

Lind, Jenny, 217

Lindblad, Adolf Frederik, 84, 138

Lindeman, Steve, vi, 4th

listeners, role of, 252, 258, 265, 267

Liszt, Franz, 12, 17, 21, 113, 165, 251, 258, 266, 286, 290, 293

anti-Semitism of, 239-40

criticism of Mendelssohn by, 240, 247

literature

musical inspiration from, 98-100

reception of, 255-56

Little, William, 16, 36, 271, 292

logical form, 81, 82

London, opera projects in, 216-18

London Philharmonic Society, 15-16

Loewe, Carl, 117

Lowenstein, Steven, Jan.

Lower Rhine Music Festival, 16-17, 25, 246

Ludwig I, King of Bavaria, 60

Luise, Queen of Prussia, 60

Lutezia (Heine), 68

Lutheran church, 28, 35

Lutheran music, 169

chorales, 175

function of, 258

Psalms, 170

lyricism

in Brahms Sextets, 81

as main theme, 76

musical form and, 72, 75-76

in sonata form, 72, 75-76

Lyser, Johann Peter, criticism of Mendelssohn by, 235-36, 237, 241, 242

Macpherson, James, 101

Magis, Henri-Guillaume-Marie-Jean-Pierre, 187

Mahler, Gustav

Catholic church and, 36

“The Lonely Man in Autumn”, 203, 204

   Song of the earth, The, 203

performance of works of, 260

reputation of, 26

Mann, Thomas, 252, 255

Mantius, Eduard, 211

Marissen, Michael, 173

Marschner, Heinrich August, 97, 221

Marx, Adolph Bernhard, 13, 48, 174, 181, 191, 277, 294

Marx, Karl, 39

Mary, Queen of Scots, 101, 109

mouse (Spiegelman), 1

Mechetti, Pietro, 160

Méhul, Étienne Nicolas, 21

melodic counterpoint, 139

Mendelssohn: A New Image of the Composer and his Age (Werner), 2, 30

Mendelssohn, Brendel. lake Schlegel, Dorothea

Mendelssohn, Henriette, 13

Mendelssohn, Joseph, 169

Mendelssohn, Moses, 13, 167, 168, 169, 170, 189, 235

Germany Jewish relationship and, 32

humanism and, 34

Judaism and, 28, 29-30, 33-34

language and, 189

name change, 35

religious views, 169

Mendelssohn, Nathan, Jan.

“Mendelssohn and the Berlin Singakademie: The Composer at the Crossroads” (Little), 36

“Mendelssohn and the Jews” (Botstein), 30

Mendelssohn Bartholdy, Abraham, 12, 13, 168

on Bach, 174

baptism of, 168

on Beethoven, 138

chamber music and, 131

children’s religion and, 28, 30, 168

on compositional historicism, 66

conversion of, 28, 30

criticism of Felix by, 84

death of, xii, 21, 38

influence on Felix, 208, 209

letters to Fanny, 30

letters to Felix, 35

on name change, 35

oppression of Fanny by, 3

religious beliefs, 30, 38, 39

Mendelssohn Bartholdy, Carl Wolfgang Paul, xiii

Mendelssohn Bartholdy, Cécile (née Jeanrenaud), xii, 2, 22, 48, 123, 141, 170

Mendelssohn Bartholdy, Fanny Cäcilia. lake Hensel, Fanny Cecilia.

Mendelssohn Bartholdy, Felix (Jacob Ludwig Felix), 137

Abraham’s letters to, 35

as an artist, 13, 101

Bach and, 62, 94, 130, 156, 172, 259

baptised, x, 168

Beethoven and, 91, 95, 115, 120, 130, 136, 138–39, 140, 141, 142, 150, 164, 257

as Berlin Academy of Arts director, 22–23

Berlin Singakademie directorship and, 16, 36, 234

biographical research on, 249

birth of, x, 13

character of, 25, 43-44, 235, 267

as child prodigy, 40, 43

children, 22

chronology, x

classification of, 27-28

composer / virtuoso role, 3

compositions for Fanny, 116

conducting works of, 254-55, 260, 267-68

as a conductor, 11, 14, 15, 20, 43, 261

as conductor of Gewandhaus Orchestra, 20–21, 23, 24, 234

as conductor of opera, 19

as court composer, 225

creative women and, 45

creativity of, 4–7, 70

criticism of, 4-7, 68, 233

by Abraham

anti-Semitic, 2, 4, 238-40, 246-48, 253, 260

constructive, 237

contemporary, 234-37

current reception of, 233, 249, 250

depth of music, 252-53, 255, 258-59, 260

early twentieth century, 245-48

failure to complete a mature opera, 206-07, 210, 224, 228-29, 242

“Feminine” music, 261

late nineteenth / early twentieth century, 243–45

by Liszt, 240, 247

by Lyser, 235-36, 237

posthumous, 233-43, 251

by Schumann, 236-37, 241, 242

by Wagner, 238-39, 252, 261

culture and, 32, 50

death of, xiv, 25, 47

as Düsseldorf musical director, 18–19, 20, 25, 234

early compositions, 11, 13, 43, 189, 207-15

early music and, 55, 61-62

early recognition of, 234

educational performances, 165-66

education of, 13

European travel, 15–16, 36, 64, 100–04, 109, 118, 149, 210

family, 12

Fanny’s influence on, 45, 46, 48

on folk melodies, 151

German influence on, 104

health of, 24

ideological, 233

incidental music commissions, 22

influence of female relatives on, 48

influence on Brahms, 80, 82

influence on Wagner, 62, 261, 262, 265

interpretive fallacies, 32

Jewish identity of, 2, 26-28, 31, 35-36, 37, 39, 248, 249-50

Jewish influences on music, 28-29, 167

at Leipzig academy, 24

as Leipzig musical director, 20–22

letters

on composition, 84

to Devrient, 66, 155

to family, 125, 192

to Fanny, 42, 44, 49, 111, 280

to Wilhelm Hensel, 151

to Hiller, 155

to Klingeman, 191, 285

to Lea, 51

to Lindblad, 138

to Charlotte Moscheles, 42

to Ignaz Moscheles, 113, 123

to Rebecka, 160, 285

while traveling, 64, 101, 110, 279

to Zelter, 65, 66

libretti written for, 208-09, 216-17, 219-24, 229

Lutheran identity of, 35

Lutheran music of, 169

marriage, xii, 22, 48, 141, 170

as modern composer, 55

monumental music and, 257, 258

Moses and, 273

Mozart and, 206

musical concerns of, 67, 117

musical culture and, 12

musical historicism of, 55, 60-65, 66-68, 155, 236, 242-43, 246, 254, 267

musical memory, 14-15

musical style, 32, 63, 71-72, 76, 92, 96, 97-98, 104-05, 155, 159, 227, 242-43, 259-60

on musicians as public figures, 244

music theory and composition studies, 13

name change, 35, 168

neoclassical and, 252-53, 254, 267

as “New Christ,” 31, 171, 188

opera and, 19, 207, 210

“Oppression” of Fanny by, 3, 49, 51, 52

organ performance, 149, 165

originality of, 202, 256

performance of works of, 261

piano performance, 14, 149, 165, 166, 235

piano repertories, 165

piano studies, 13

piano style, 145, 154

posthumously published work, 238

progressiveness of, 71-88

Protestant music, 35-36, 171-72

publication of Fanny’s music and, 49, 50, 51

publication of memoirs and letters, 243, 245

publication of works of, 50-51, 238, 243

public performances, 131-32

relationship with Fanny, 42, 43-45, 46, 47-48, 52

religious beliefs, 2, 168-70, 176, 179-80, 258-59

religious conversion, 28, 29

religious expression through music, 267

religious identity, 29, 167-69, 170, 176, 235

religious music, 65-68, 167-88

reputation of, 3–4, 26, 91, 228–29, 233, 238, 253

revision by, 116

revisionist work on, 6

Romantic music and, 110-11, 236, 242, 246-47, 249, 256

scholarly studies on, 245, 248-50

secondary studies on, 243

on Songs without words, 151–52

St. Matthew Passion and, 172-73

stereotyping of, 26

“Student compositions” for piano, 149

subjectivity in works of, 256-58, 260, 264, 267

Sunday musicales, 114, 115, 116

tribute to Beethoven, 160, 164

understanding of history by, 63, 64

unpublished works, 50

violin studies, 13

virtuosity and, 113, 132, 259

Wagner and, 251-52, 267

as wall-dweller, 1-2

Weber’s influence on, 117-18

on words in songs, 189-92

works as visual experience, 258

works evoking nature, 62

works in amateur repertoire, 253

works in profession repertoire, 253, 254

Mendelssohn Bartholdy, Felix, works

chamber music

fugues (twelve), string quartet, 131

Octet, strings, in Eb major, op. 20, 14, 75, 120, 130, 134–37, 196, 254, 278

Quartets, piano, 132-33

D minor, 131

No. 1 in C minor, op. 1, 131, 132, 133

No. 2 in F minor, op. 2, 73, 74, 72–75, 131, 132, 133

No. 3 in B minor, op. 3, 130, 131, 132–33, 134

Quartets, strings, 137-40

No. 1 in Eb major, op. 12, 81–84, 137, 138, 139

No. 2 in A minor, op. 13, 62, 81, 82–83, 84, 137, 140, 138–40

Nos. 3–5, op. 44, 130, 141–44

No. 4 in E minor, op.44, no.2, 143

No. 6 in F minor, op. 80, 5, 147-48

op. 81, 147

Quintets, strings, 137

No. 1 in A major, op.18, 77, 79, 76–80, 81, 82, 85, 137

No. 2 in Bb major, op.87, 147

Sextet, piano, in D major, op. 110, 120, 133–34

Sonatas, cello

No. 1 in Bb major, op. 45, 141, 145–47

No. 2 in D major, op. 58, 145, 147, 180

Sonatas, violin

F major, 141, 145

op. 4 in F minor, 115, 131, 145

Trios, piano

No. 1 in D-minor, op. 49, 5, 130, 141, 144–45, 236–37

No. 2 in C minor, op. 66, 85, 130, 131, 144, 146, 180, 293

choral music, 167-88, 252, 294

     Cantique pour l’Eglise wallonne, 170

chorale cantatas, 172, 292

"Christ was in death bonds," 164

     Christ (fragment), op. 97, 176, 177, 179

     Elijah(Elias), op. 70, 25, 37, 176, 175–77, 225, 253, 254, 258, 266

     First Walpurgis Night, The, op. 60, 6, 108

     Celebratory song (“Gutenberg”), 181

     Celebratory song “May the Victory Sign”, 295

     Hear My Prayer, 169

     Hora est, 169

     Lauda Sion, op. 73, 169, 186, 187, 185–88

     Hymn of praise. lake symphonies, no.2

Motets

     Three motets, op. 69, 170

No. 1, Nunc dimittis, 169

No. 2, Jubilate deodorant, 169

No. 3, Magnificat, 169

Three Motets op. 39, 169

Psalms, 181-82

     Three psalms, op. 78, 23, 171

No. 2, Psalm 43, 183, 184

No. 3, Psalm 22, 183

Psalms

“Lord hear the voice of my complaint” (Psalm 5), 145

Psalm 24, 170, 171

Psalm 42 op. 42, 183, 184

Psalm 84, 170

Psalm 98 op. 91, 23, 171, 183, 184

Psalm 100, 170, 171

Psalm 114 op.51, 167, 257

Psalm 115 op. 31, 169, 174

     Responsory and hymn, op. 121, 185, 185

     St. Paul (Paul), op. 36, 37–39, 44, 61, 62, 66, 67, 68–69, 173–75, 181, 224–28, 236, 253, 254, 255, 258, 266, 296

     Te Deum, 63

     Do it Peter, 63, 169

dramatic music, 206-24, 229

     Both nephews, The, 209

     Both educators, The, 208, 209, 211

     Coming home from a foreign country, The, (Son and Stranger), op. 89, 210-11, 215, 269

“Lisbeth’s song” (no. 12), 211

     Camacho's wedding, The, op. 10, 4, 209-10, 211, 214, 215, 219, 223, 235, 292

     I J. Mendelssohn - I A. Mendelssohn, 207

incidental music, 224-28

     Antigone, op. 55, 22, 225-26, 227, 255

     Athalie, op. 74, 180, 228

“War March of the Priests,” 228

     Midsummer Night’s Dream, A., incidental music, op. 61, 5, 22, 151, 196, 227-28, 254

wedding march, 227, 228

     Oedipus at Colonus, 227, 255

     Lorelei, The, op. 98, 206, 223, 221–24, 228–29

     Uncle from boston, The, 209, 214

     Pervonte (sketches), 220

“Quel bonheur pour mon coeur” (dramatic scene), 207

     Soldier love, The, 208, 211

     Wandering comedians, The, 209, 211–14

   Songs other Chants, 189–205

“Old German Spring Song”, op. 86, no. 6, 204, 202–5

“Andres Maienlied” (“Another May Song”) op. 8, no. 8, 189, 191, 198–99

“On Wings of Song”, op. 34, no. 2, 192–95, 196

     The first day of spring (The First Day of Spring) op. 48, nos. 1-3, 202

     Three folk songs (Three folk songs) op. 41, nos. 2-4, 202

“Harvest Song”, op. 8, no. 4, 199–201, 201

“Spring Song”, op. 8, no. 6, 201

“Spring Song”. op. 34, no.3, 202

“Spring Song”. op.47, no.3, 202

     Chants, Twelve, op. 8, 51

“Herbstlied” (“Autumn Song”) op. 63, no. 4, 191

“In the Green Woods”, op. 8, no. 11, 202

“In the Green Woods”, op. 59, 202

     Songs, Twelve, op. 9, 51

     Songs, six (male part songs), op.50, 202

     Songs, Four (male part songs), op. 75, 202

“New Love”, op. 19a, no. 4, 195–98, 197

“Pilgrim's Proverb” (“Pilgrim’s Proverb”), op. 8, no. 5, 201

“Rush warriors, war is over”, 189

“Journeying song”, op. 34, no. 6, 189

"Sleepless Eyes Lamp," 178, 178

orchestral, 91, 112-29

     Calm Sea, Prosperous Voyage Overture, op. 27, 6, 7, 20, 85, 99-100, 106, 120, 262, 263, 264, 266

     Capriccio brilliant, piano and orchestra, in B minor, op. 22, 113, 117, 118, 122

Concerto, piano, in A minor, 112, 114, 115

Concerto, piano, no.1 in G minor, op.25, 85, 87, 88, 113, 116, 117, 118–20, 121, 122, 254

Concerto, piano, no. 2, in D minor, op. 40, 113, 122, 124-25

Concerto, two pianos, in Ab major, 115–17, 120, 270

Concerto, two pianos, in E major, 115-16, 119, 121

Concerto, violin, in D minor, 115

Concerto, violin, in E minor, op. 64, 5, 88, 112, 113, 122, 126–28, 246, 254, 264, 265, 282

Concerto, violin and piano, in D minor, 115

     Hebrides, The, Overture, op. 26, 7, 75, 101-02, 103, 262, 278

     Concert pieces, clarinet, basset-horn, and piano, opp. 113 and 114, 281

     Hymn of praise. lake symphonies, no.2

     Midsummer Night’s Dream, A., Overture, op. 21, 6, 98-99, 128, 219, 234, 235, 246, 254, 264, 265, 270

     Rondo brilliant, piano and orchestra, op. 29, 113, 122

     Ruy Blas Overture, 107-08, 225

     Beautiful Melusine,The, Overture, op. 32, 44, 106-07, 262, 264

     Serenade and Allegro giojoso, piano and orchestra, op. 43, 113, 120, 122, 125-26

symphonias, strings, 62

No. 1 in C major, 92

No. 2 in D major, 2, 92

No. 3 in E minor, 92

No. 4 in C minor, 92, 93, 95

No. 5 in Bb major, 93, 95

No. 6 in Eb major, 92, 95, 96

No. 8 in D major, 92, 96

No. 9 in C major, 92, 95, 95

No. 10 in B minor, 92

No. 11 in F major, 92, 96

No. 12 in G minor, 93

No. 13 in C minor, 96

symphonies, 91

No. 1 in C minor, op.11, 97, 96–98, 110, 279

No. 2 in Bb major, op. 52 (“Lobgesang”), 95, 108, 182, 180–82, 183, 256, 257, 266

No. 3 in A minor, op. 56 (“Scottish”), 5, 7, 85, 107, 108, 109–10, 111, 254, 257, 266, 278, 280, 281

No. 4 in A major, op. 90 (“Italian”), 7, 44, 50, 95, 101, 102–04, 138–40, 184–85, 254, 262, 264, 265, 266–67, 278

“Saltarello”, 139

No. 5 in D major, op. 107 (“Reformation”), 7, 50, 85, 86, 95, 104-06, 111, 179, 270, 271, 280

work for piano and strings in D minor, 281

organ music, 149

Fugue in E minor, 85

Sonatas, op. 65, 159, 180

No. 1 in F minor / major, 159

No. 3 in A major, 159

No. 4 in Bb major, 159

No. 6 in D minor / major, 159

     Three Preludes and Fugues, op. 37, 155, 158

piano solo, 149

Capriccio in F-Sharp minor, op.5, 150

Etude in Bb minor, op.104b, no.1, 124

Fantasia in F # minor (“Scottish Sonata”) op. 28, 284

“Fantasy on‘ The Last Rose of Summer ’” op. 15, 151

     Children's pieces, op. 72, 155

     Songs without words(Songs without Words), 5, 48, 114, 139, 151–53, 155, 190–92, 236

Vol. 1, op.19b, no.4, 153

Vol. 1, op.19b, no.6 (Venetian gondola song), 152

Vol. 2, op. 30, no.3, 153

Vol. 2, op. 30, no.5, 153

Vol. 2, op. 30, no.6 (Venetian gondola song), 152

Vol. 3, op.38, no.4, 153, 154

Vol. 3, op.38, no.6 (Duetto), 153

Vol. 4, op.53, no.5, 152, 154

Vol. 4, op.53, no.6 (Folk song), 152, 154

Vol. 5, op.62, no.4, 153, 155, 154–55

Vol. 5, op.62, no.5 (Venetian gondola song), 152

Vol. 5, op.62, no.6 (Spring song), 152

Vol. 6, op.67, no.4 (Crazy song), 153

Vol. 6, op.67, no.5, 153

Vol. 7, op.85, no.5, 153

piano composition in C minor, 145

     perpetual motion machine in C major, op.119, 117

     Seven character pieces (Seven Characteristic Pieces), op. 7, 61, 150, 155, 156, 157

     Six Preludes and Fugues op. 35, 61, 124, 155–56, 158

No. 1 in E minor, 124, 158, 180, 180, 293

No. 2 in D major, 158

No. 5 in F minor, 156, 157

No. 3 in B minor, 156

sonatas

op. 6 in E major, 62, 138, 150

op. 106 in Bb major, 120, 138, 150

     Three Fantasies or Caprices, op.16, 151

Variations in Eb op. 82, 164, 286

     Variations sérieuses, op. 54, 5, 156, 161, 162, 164, 160–65, 246

Mendelssohn Bartholdy, Lea Felicia Pauline (née Salomon), 12, 13, 61, 207

baptised, 168

conversion of, 28, 30

influence on Felix, 208, 209

religious views, 169

Mendelssohn-Bartholdy, Paul Hermann, 13, 27, 49–50, 131, 145, 211

Mendelssohn Bartholdy, Rebecka Henriette. lake Dirichlet, Rebecka Henriette

Mendelssohn Bartholdy name, 168

“Mendelssohnian project,” 237

“Mendelssohn problem,” 26, 27, 249

Mendelssohn Problem, The (Das Problem Mendelssohn) (Dahlhaus), 1, 6, 26, 41

Mendelssohn renaissance, 26

Mercer-Taylor, Peter, vi, 33, 69, 82, 85, 86, 121, 125, 272-73, 281, 288

Meyerbeer, Giacomo, 225, 227, 236, 238

   Le Prophète,, 218

Midsummer Night’s Dream (Shakespeare), 22, 225

Milder-Hauptmann, Anna, 168

Mintz, Donald, 21, 24, 248

model productions (“sample presentations”), 19

Modern German Music (Chorley), 3

modernism, 39, 59, 61

Momigliano, Arnaldo, 27

monothematic sonata form, 131

monumentality, 257, 258

Moritz, Carl Philipp, 84

Moscheles, Charlotte, 178

Moscheles, Emily, 45, 116

Moscheles, Ignaz, xi, 21, 24, 25, 42, 113, 114, 122-23, 245, 281

Mosel, Ignaz Franz, 271

Mosse, George Lachmann, 33

motivic development, 144

Mozart, Wolfgang Amadeus, 19, 20, 21, 88, 92, 123, 149, 165, 252, 261

concerto style, 113-14

influence on Mendelssohn, 211, 215

Mendelssohn compared to, 144, 206

Mendelssohn’s repertory of, 165

Mozart, Wolfgang Amadeus, works

Quartets, piano, 132

Quartet, strings, G major (K. 387)

Quartet, strings, A major (K. 464)

Quintets, strings, 137

Symphony no. 41 in C major (K. 551, “Jupiter”), 182

Müller, Friedrich Max, 52

Munich opera projects, 216

Musica sacra, 171

musical communication

ideal of, 252

role of listeners in, 252, 258, 265, 267

subjectivity and, 257-58

musical design, 76, 81, 85

Musical Gem, The, 235

musical historicism, 55-70. So see historicism

creativity and, 70

criticism of, 68, 242-43

defined, 56

of Mendelssohn, 55, 60-65, 66-68, 155, 236, 246, 254, 267

musical progress vs., 241

musical styles, 59

religious music, 65-68

of Schinkel, 254

views on, 56-57, 68-70

Musical Quarterly, The, 30, 31, 250

musical style

as authentic expression, 58

culture and politics and, 253-54

eclecticism, 60

Einstein’s analysis of, 246-47

historical eras of, 241-43

historicism, 59

stylistic pluralism, 69

Musical Times, The, 42, 46–47

Music & Letters, 6

musicology (Musicology), 244

anti-Semitism and, 246-48

Music in the past and present, The, 248

“The nocturnal army show” (Zedlitz), 190

narrative music, 104-06, 111, 280

Nathan, Isaac, 178

Nathan the wise (Lessing), 189

natural selection, 244

nature, music evoking, 62

Naumann, Johann Gottlieb, 21

Nazarenes, 58-60, 64, 66, 67, 68

Nazi Germany, 246

Neeb, Heinrich, 221

neoclassicism, 58, 80-81, 252-53, 254, 267

"Neo-pre-classicism," 92

“New Love” (Heine), 195–98

New Temple, 170–71

new music magazine, 4, 5, 116, 124, 126, 160, 166, 241

Nicolai, Otto, 59

Nietzsche, Friedrich, 252

Nochlin, Linda, 52

North German Music Festival, 17

Novalis (Baron Friedrich von Hardenberg), 57

Now all thank God (chorale), 182

O Jesus Christ, true light (chorale), 174

O God, you godly God (choral), 176

Oedipus in Colonos (Sophocles), 225, 227

Oettinger, Eduard Maria, 207

opera, 4. So see dramatic music

Berlin projects, 219

Düsseldorf projects, 19

European projects, 215-19

Leipzig projects, 21

London projects, 216-18

Mendelssohn’s failure to complete a mature opera, 207, 210, 224, 228–29, 242

Munich projects, 216

Paris projects, 218

Romanticism and, 207

Wagner and, 294

operatic overture, 7

originality, 241

Ossian, 101

Otto, Eduard, 190, 289

Overbeck, Johann Friedrich, 58, 276

Paganini, Nicolò, 172

Palestrina, Johannes Pierluigi von, 19, 62, 65

Paris opera projects, 218

Pelto, William, 108

perpetual motion machine, 136–37, 139

Pforr, Franz, 58

Philharmonic Society

Planché, James Robinson, 216-17, 221

Pleyel, Ignaz Josef, 137

“Poetic” instrumental writing, 140

“Poetic meaning,” 138

poetic unity, in string quartets, 142

Poissl, Baron von, 216

pôle harmonique, 78

Polko, Elise, 47

Porter, Cecelia Hopkins, 17th century

“Post-Classic” symphonias, 92

postmodernism, 27, 39-40

Otto Prechtler, 220

   Bride of Venice, The, 221

Mendelssohn problem, The (Dahlhaus), 1, 6, 26, 41

programmatic music, 7, 139-40

Catholic Church and, 270

Mendelssohn’s views on, 107

progress. So see historical processes

criticism of Mendelssohn and, 241, 243

evolution and, 244

in music, historicism and, 241

progressivism, 6

Prölz, Adolf, 181

Protestant Cathedral, Berlin, 182

Protestant music

Mendelssohn’s interest in, 35–36, 171–72

programmatic, 270

Proust, Marcel, 255

Prussia. So see Germany

cultural vitality of, 12, 22

salon culture, 13

Prussian Agenda, 171

publishing

of Fanny’s music and, 49, 50, 51

gender role restrictions, 46

of Mendelssohn’s music, 46, 49, 50–51

"Purple passage," 77

Racine, Jean Baptiste, 225, 228

recapitulation, 76

“Recapitulation problem”, 72

Recollections of Mendelssohn (Devrient), 206

redundancy, 118

Willingness to reform, 6

Reger, Max, 254

Reich, Nancy B., 45, 46

Reichel, Adolf, 221

Reichwald, Siegwart, 108

religious tolerance, 168-70

Rellstab, Ludwig, 189

Rietz, Eduard, xii, 115, 134, 137

Rietz, Julius, 221, 243

Rifkin, Joshua, 270

Righini, Vincenzo, 21st

Rizzio, David, 109

Robert, Friederike, 201

“Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music Generally” (Brendel), 5

Rode, Pierre, 115

Romani Gypsies, 239

Romantic fantasy, 193

Romantic generation, The (Roses), 5

Romantic literature, 48

Romantic music

climax in, 72

coda in, 76, 79, 83

concertos, 112

creative theory, 83

Einstein’s analysis of, 246-47

experience represented in, 263

harmony, 114

Mendelssohn and, 91, 100-04, 110-11, 236, 242, 246-47, 249, 262

musical form, 71-72

narrative, 104-06, 111, 280

opera and, 207

poetic language of, 194

sonata form in, 71-72

Romberg, Bernhard, 21

rondo form, 117

Rösel, God praise Samuel, 13

Rosen, Charles, 5, 71, 81, 158, 163-65, 180

Rosen, Friedrich August, 13

Rossini, Gioacchino, 21, 94

Rousseau, Johann Baptiste, 221

Rubens, Peter Paul, 257

Rungenhagen, Karl Friedrich, xii, 16, 36

Ruy Blas (Hugo), 107-08, 220, 225

sacred music, 65-68, 167-88

divide between concert music and, 184-85

“Imaginary”, 181

for Jewish services, 170-71

Mendelssohn’s publication of, 294

Mendelssohn’s religious identity and, 168–70

uniting concert music with, 180, 181, 182-84

Salieri, Antonio, 21

Solomon, Bella, 169

salon culture, 13

Santini, Fortunato, 19th

Scarlatti, Domenico, 149

Schadow, Johann Gottfried, xi

Schauroth, Delphine von, 48, 118

Schauspielhaus, Berlin, 12

Schelble, Johann Nepomuk, 22

Schiller, Friedrich von, 218

Schinkel, Karl Friedrich, 12, 60, 61, 254, 257

Schlegel, August Wilhelm von, 13, 57

Schlegel, Dorothea (née Brendel Mendelssohn), 13, 168–69, 170

Schlegel, Friedrich, 13, 57, 58, 59, 100, 168

Schleiermacher, Friedrich, 13, 172, 259

Schlesinger, Adolph Martin, 275

Schloesser, Manfred, 273

Schmidt, Thomas Christian, 6-7, 67

Schmidt-Beste, Thomas, vi, 4, 281

Scholem, Gershom, 33-34, 273

Schoenberg, Arnold, 71

Schubert, Franz Peter, xi, 12, 109, 165, 205, 246

“Gretchen am Spinnrade” (D118), 153

“Group from Tartarus” (D396), 199

“Gute Ruh’, Gute Ruh ”(“ Des Baches Wiegenlied ”) (D795 / 20), 109

   Beautiful miller, The (D795), 109

“Sister Greeting” (D762), 196

Symphony no. 9 in C major (D944, “Great”), 21, 108, 182

Schubring, Julius, 172

Schüller, Bernhard

   Gnomes and Elves, 144

Schumann, Clara née Wieck, 21, 24, 45, 47, 152

on Mendelssohn’s piano skills, 166

Schumann, Robert, 5, 7, 12, 17, 24, 47, 107, 116, 154, 155, 238, 246, 252, 285

critical commentary on Mendelssohn by, 69, 71, 80, 124-25, 144, 152, 156, 158, 236-37, 241, 242, 285

Piano music, 165

Symphonies, 21

   League of David, 235

Scott, Sir Walter, 189

Scribe, Eugène, 217, 218, 220

Seasons, The (Haydn), 18

Seaton, Douglass, vii, 7

Selden, Camille, 167

shadow cycle 202

Shakespeare, William, 19, 217, 225

Shaw, George Bernard, 4th ed

symphonias, 91-96. So see Mendelssohn, Felix, works

development of, 91-92, 95

High Classic style, 92

Italinate, 92

models, 92

musical style, 96

"Neo-pre-classicism," 92

"Post-Classic," 92

style, 92

“Single-exposition” concerto form, 127

Smart, George, 271

Smart, Henry, 221

social class roles, 45, 46

sonata form, 81

Baroque church, 159

in A Midsummer Night’s Dream Overture op.21, 98

lyricism in, 72, 75-76

Mendelssohn’s use of, 71, 83, 142

monothematic, 131

in romantic music, 71-72

in Thebeautiful Melusine Overture op.32, 107

structural processes and, 80

in Symphony no. 5 in D minor [op. 107] (“Reformation”), 105

thematic expression in, 72

sonata for solo instrument and piano, 145–47

songs, 189-205

imitating folk songs, 192

Mendelssohn’s view of words in, 189-92

reputation of, 189

shadow cycle 202

song cycles, 201

as “translation” of poetry, 195

Sunday salon concerts, 43

Sophocles, 225, 227

Souchay, Marc André, 190

Spee, Friedrich, 202

Spiegelman, Art, 1

Spiegelman, Vladek, 1

Spinoza, Baruch, 29

spirituality

in modern performance, 260

in works of Mendelssohn, 259

Spohr, Louis, 17, 21, 271, 285

Symphony no.6 in G, 59

Spontini, Gaspare, 17, 172, 209-10

Sposato, Jeffrey, 30, 31, 168, 172, 173, 250

Staehelin, Martin, 172

Stanley, Glenn, vii, 4

Steinberg, Michael P., vii, 2, 277

Strauss, Richard, 17

string quartets, 137-40

subjectivity

Jewish, 28-29

musical communication and, 257-58

in works of Mendelssohn, 256-58, 260, 264, 267

Sur les Bohémiens et de leur musique en Hongrie (attr. Liszt), 239-40

Sutermeister, Peter, 248

symphonic form, 256

symphony orchestras, 20

tarantella, 139

Taubert, Wilhelm, 23, 225

Baptism epidemic, 29

Baptistery of the West, 29

Tchaikovsky, Pyotr Ilich, 252

Tempest, The (Shakespeare), 19, 216, 217, 220

tempo, 261

Thalberg, Sigismund, 21, 113, 124

theme

lyricism and, 76

Mendelssohn’s concept of, 144, 264

Mendelssohn’s use of, 264-65, 267

presentation of, 144

reintroduction of, 132

in string quartets, 142

in works of Brahms and Mendelssohn, 80, 81

Thibaut, Anton Friedrich Justus, 18, 62

Thomson, John, 42

“Three-hand” technique, 124

Tieck, Ludwig, 57, 107, 219, 225, 227

Todd, R. Larry, vii, 46, 100, 102, 112, 115, 117, 120, 122-24, 127, 131, 149, 163, 192, 282, 283, 285

tonal processes, 71-72, 78-79, 88

Tovey, Donald Francis, 71, 80, 86, 88, 112

tragedy (Heine), 202

Trutz nightingale (Spee), 202

About the creative imitation of the beautiful (Moritz), 84

About the purity of the art of sound (On Purity in Music) (Thibaut), 18, 62

Undine (Fouqué), 107

Upton, George, 49

Urbanchich, Viktor, 72

variations, 160–65

Varnhagen von Ense, Rahel (née Levin), 13, 172

“Our Father in Heaven” (chorale), 159

“Vaudeville,” 208, 209

Veit, Simon, 168

Velazquez, Diego, 257

verse-rhythms, 227

Try to explain the metamorphosis of plants (Goethe), 83

“Sunken Stars” (Polko), 47

Victoria, Queen of England, xiii, 51, 281

Viotti, Giovanni Battista, 21, 115

Virgil, 39

virtuosity, 113, 132, 259

Vischer, Friedrich Theodor, 68

Vitercik, Greg, vii, 6

Vogler, Abbé Georg Joseph, 21

Voigts, Friedrich, 209

Popularness, 192

"Voluntaries," 159

Voss, Johann Heinrich, 198–99, 202

Wackenroder, Wilhelm Heinrich, 57, 58

Wagner, Richard, 4, 26, 27, 47, 294

chorus use by, 266

criticism of Mendelssohn by, 238–39, 240, 242, 247, 252, 253, 258, 261

as heir to Beethoven, 258

leitmotifs, 264

Mendelssohn and, 251-52, 267

Mendelssohn’s influence on, 62, 261, 262, 265

originality of, 261

performance of works of, 260, 261-62

religious views, 258-59

works evoking nature, 62

Wagner, Richard, works

“Judaism in Music,” 239, 253, 293

   Love Supper of the Apostles, 258, 262

   Lohengrin, 261, 262

   Mastersingers of Nuremberg, The, 265

   Parsifal, 259, 262

   Tannhauser, 259

   Tristan and Isolde, 261

"Walking bass," 103

Wait, Jacob from the, 199

What my god wants (chorale), 159

Watt, Ian, 256

Weber, Carl Maria von, xi, 12, 16, 18, 19, 21, 94, 97, 114, 121, 149, 262, 271

influence on Mendelssohn, 117–18, 215

Weber, Carl Maria von, works

   The Freischütz, 12, 214

   Concert piece, Piano and Orchestra, F minor op. 79, 16, 117–18, 120, 121

Piano Concerto no.2 in Eb major, 114

Piano Sonata in C major op. 24, 117

World music, 59

Werner, Eric, 2, 16, 30-33, 36, 37, 39, 40, 41, 47-48, 134-40, 141, 147, 167, 170, 184, 248, 249, 250, 273

Werner, Jack, 167

Wesley, Charles, 181

Wesley, Samuel, 149

Redress, 248

Will, Richard, 263

Winckelmann, Johann Joachim, 56-57

Winterfield, Carl von, 65

Winter’s valley, A. (Shakespeare), 217-18

Wiora, Walter, 56

Wolff, Ernst, 245, 249

women. So see gender

creativity of, 45

influence on great composers, 46-47

influence on Mendelssohn, 48

role restrictions, 49

Woolf, Virginia, 255

Woringen, Angelica von, 50

Youens, Susan, vii, 5

Zedlita, Johann Christian, 190

Zelter, Carl Friedrich, x, xii, 11, 13, 16, 61, 62, 63, 64, 66, 72, 91, 99, 114, 115, 130, 131, 132, 168, 172, 184, 208, 209 , 214, 254, 283, 288

Zionism, 33

Zopff, Hermann, 48

Zuccalmaglio, Anton Wilhelm von, 219

Spinning back, 80

Zweibrücken Music Festival, 17





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