A Sprig of the Mendelssohn Family Tree
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The Frankfurt A.M
The Frankfurt a.M. Memorbuch: Gender Roles in the Jewish Community Institutions 1 The Frankfurt a.M. Memorbuch: Gender Roles in the Jewish Community Institutions1 Tzvia Koren-Loeb, Duisburg-Essen University, Germany Abstract This paper, based on a chapter in the author’s Ph.D. dissertation, brings to the forefront information that can be discerned from the Frankfurt Memorbuch [FM] with regard to gender roles in Jewish community institutions, such as the synagogue, house of study, burial societies, and cemeteries. Research of the Memorbücher literature, viable historical sources of daily life in different Jewish communities, has generally been neglected. Here for the first time, the author explores the literature of the Frankfurt a.M community. Introduction2 Pertaining to German Jewry, Memorbücher are handwritten manuscripts that include lists of deceased community members from the 13th century untill the end of World War II. Memorbücher usually comprise the following three main sections: (1) Memorial Prayers: These were traditionally recited by the cantor at the ‘al-memor’ stage in the synagogue. Examples are: Yizkor, Av Harachamim, Yiqom Purqan and different versions of Misheberakh prayer. Other prayers included in this section are Lekhah Dodi, special prayers for sicks, several prayers for special cases, rules for shofar blower and for the reading of the Megillat Esther, and bans against various members of the community. (2) Private Memorial Prayers: This part includes lists of late prominent members of the local Jewish community. It mentions only names of rabbis and scholars, who were active in Ashkenaz. The names listed in this section were usually read aloud twice a year, on the Sabbath before Shavuot, when the massacre of the First Crusade against the Jews occurred in 1096, and on the Sabbath before the Ninth of Av, the fast commemorating the destruction of the two temples in Jerusalem – by the Babylonians in 586 BCE and the Romans in 70 CE. -
Moses Mendelssohn and the Jewish Historical Clock Disruptive Forces in Judaism of the 18Th Century by Chronologies of Rabbi Families
Moses Mendelssohn and The Jewish Historical Clock Disruptive Forces in Judaism of the 18th Century by Chronologies of Rabbi Families To be given at the Conference of Jewish Genealogy in London 2001 By Michael Honey I have drawn nine diagrams by the method I call The Jewish Historical Clock. The genealogy of the Mendelssohn family is the tenth. I drew this specifically for this conference and talk. The diagram illustrates the intertwining of relationships of Rabbi families over the last 600 years. My own family genealogy is also illustrated. It is centred around the publishing of a Hebrew book 'Megale Amukot al Hatora' which was published in Lvov in 1795. The work of editing this book was done from a library in Brody of R. Efraim Zalman Margaliot. The book has ten testimonials and most of these Rabbis are shown with a green background for ease of identification. The Megale Amukot or Rabbi Nathan Nata Shpiro with his direct descendants in the 17th century are also highlighted with green backgrounds. The numbers shown in the yellow band are the estimated years when the individuals in that generation were born. For those who have not seen the diagrams of The Jewish Historical Clock before, let me briefly explain what they are. The Jewish Historical Clock is a system for drawing family trees ow e-drmanfly 1 I will describe to you the linkage of the Mendelssohn family branch to the network of orthodox rabbis. Moses Mendelssohn 1729-1786 was in his time the greatest Jewish philosopher. He was one of the first Jews to write in a modern language, German and thus opened the doors to Jewish emancipation so desired by the Jewish masses. -
Mendelssohn Studien
3 MENDELSSOHN STUDIEN Beiträge zur neueren deutschen Kulturgeschichte Band 19 Herausgegeben für die Mendelssohn-Gesellschaft von Roland Dieter Schmidt-Hensel und Christoph Schulte Wehrhahn Verlag 4 Bibliograische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliograie; detaillierte bibliograische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. 1. Aulage 2015 Wehrhahn Verlag www.wehrhahn-verlag.de Satz und Gestaltung: Wehrhahn Verlag Umschlagabbildung: Fromet Mendelssohn. Reproduktion einer verschollenen Miniatur aus dem Jahr 1767 Druck und Bindung: Beltz Bad Langensalza GmbH Alle Rechte vorbehalten Printed in Germany © by Wehrhahn Verlag, Hannover ISSN 0340–8140 ISBN 978–3–86525–469–6 50 Jahre Mendelssohn-Archiv der Staatsbibliothek zu Berlin 295 50 Jahre Mendelssohn-Archiv der Staatsbibliothek zu Berlin Geschichte und Bestände 1965–2015 Von Roland Dieter Schmidt-Hensel Die Musikabteilung der Staatsbibliothek zu Berlin – Preußischer Kulturbesitz verwahrt nicht nur eine der weltweit größten und bedeutendsten Sammlungen von Musikautographen und -abschriften, Musikerbriefen und -nachlässen so- wie gedruckten Notenausgaben, sondern besitzt mit dem Mendelssohn-Archiv auch eine der wichtigsten Sammelstätten für Handschriften, Briefe und son- stige Originaldokumente aus der und über die gesamte Familie Mendelssohn weit über die drei Komponisten der Familie – Felix Mendelssohn Bartholdy, Fanny Hensel und Arnold Ludwig Mendelssohn – hinaus. Den Grundstock dieses Mendelssohn-Archivs bildet eine umfangreiche Sammlung, die Hugo von Mendelssohn Bartholdy (1894–1975), Urenkel und letzter namenstragen- der Nachfahre des Komponisten Felix, aufgebaut hatte und 1964 als Schen- kung der Stiftung Preußischer Kulturbesitz übereignete, wo sie der Musikab- teilung der Staatsbibliothek angegliedert wurde. Mit dieser Schenkung stellte sich Hugo von Mendelssohn Bartholdy in die Tradition früherer Generationen seiner Familie, die sich im 19. -
660268-69 Bk Strauss EU
MENDELSSOHN Choral Music Sechs Sprüche • Hear my prayer • Motets, Op. 39 Magnificat and Nunc dimittis • Ave Maria • Psalm 43 Peter Holder, Organ • St Albans Abbey Girls Choir Lay Clerks of St Albans Cathedral Choir • Tom Winpenny Felix Felix Mendelssohn (1809-1847) MENDELSSOHN Choral Music (1809-1847) Felix Mendelssohn was born in Hamburg in 1809 into a marred by ill health, the result of over-work: distressed by Choral Music distinguished Jewish family. The grandson of philosopher the death of his sister Fanny a few months earlier, he died Moses Mendelssohn and the son of a banker, he was in November 1847. Sechs Sprüche, Op. 79 10:06 recognised as a prodigious pianist at a young age. The The significant output of smaller sacred choral works 1 I. Frohlocket, ihr Völker auf Erden 1:27 family moved to Berlin in 1811, later adopting the name is set against Mendelssohn’s towering achievements – 2 II. Herr Gott, du bist uns’re Zuflucht für und für 2:29 Mendelssohn-Bartholdy and being baptised into the the oratorios St Paul (1836) and Elijah (1846). The 3 III. Erhaben, o Herr, über alles Lob 1:34 Lutheran Church. influence of Palestrina prevails in the smaller works, 4 IV. Herr, gedenke nicht unser Übeltaten 1:21 Mendelssohn began composing around 1819 under inspired by Mendelssohn’s participation in the Berlin 5 V. Lasset uns frohlocken 1:35 the tutelage of Carl Friedrich Zelter, director of the Berlin Singakademie, and by his experience attending the Holy 6 VI. Um uns’rer Sünden willen 1:38 Singakademie. Zelter was a flagbearer for the Bach Week services in the Sistine Chapel in 1831. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
Preußische Bildnisse Des 19. Jahrhunderts
November 1981 Monats Anze · ge Nr. 8 Viktorin Drassegg, der 1782 in 1815 endlich in Bregenz landete, Namen zu signieren. Das ausge Mähren geboren wurde, eine ziem wo er, um einer Bestrafung als stellte Instrument, das durch seine lich abenteuerliche militärische Deserteur zu entgehen, sich zu hübschen Zargen und seinen Bo Laufbahn durchmachte, in Italien in nächst Friedrich Grünwald nannte. den aus Vogelahorn auffällt, trägt französische Kriegsgefangenschaft Nach kurzer Zeit fing er an , seine das Datum 1833. geriet und nach vielen Umtrieben Instrumente mit seinem eigenen John Henry van der Meer Preußische Bildnisse des 19. Jahrhunderts Ausstellung im Germanischen Nationalmuseum vom 30. 10. 1981 bis 3. 1. 1982 Als einzigartiges Zeugnis preußi scher Geschichte im 19. Jahr hundert bewahrt die Berliner Natio nalgalerie die Porträtssammlung des Malers Wilhelm Hensel. Der zu seiner Zeit geschätzte Porträt- und Historienmaler hatte es sich zum Ziel gesetzt, mit den Bildnissen bedeutender Zeitgenossen zu gleich ein Porträt seiner Epoche zu schaffen. über 1000 Bleistiftzeich nungen, gesammelt in 46 Alben, fügten sich schließlich bei seinem Tod 1861 zu einem lebendigen und überaus facettenreichen Bild der historisch entscheidenden Jahre zwischen den Befreiungskriegen und der Reichsgründung. Die Ak teure dieses widerspruchsvollen und ereignisreichen Kapitels preußischer Geschichte, Vertreter der Politik und des Militärs, des Hofes und des Bürgertums, der Kunst und der Wissenschaft sind in dieser kunst- und kulturhistorisch reizvollen Sammlung vereint. Na men wie E.T.A. Hoffmann und Wilhelm Hensel, Bildnis E.T.A. Hoffmann Wilhelm 1., Heinrich Heine und Friedrich von Savigny, Hegel und Ranke kennzeichnen die histori sche und geistige Spannweite, die letzten Getreuen Friedrich Wil heitsideal, die Mode und die Ge der Künstler zu fassen vermochte. -
“Müde Bin Ich, Geh' Zur Ruh”: the Story of a Children's Prayer
REFLECTION “Müde bin ich, geh’ zur Ruh”: The Story of a Children’s Prayer Margaret Loewen Reimer The children’s prayer, Müde bin ich, geh’ zur Ruh, is dear to the heart of many Mennonites who grew up in German-speaking homes. A recent request for an English translation sent me on a quest to discover what was available. The translations I found were unsatisfactory, and so I resumed work on my own translation, which I had begun years ago. Meanwhile, I decided to trace the origins of this classic little prayer. The search uncovered a surprisingly rich story. Müde bin ich first appeared in a songbook for nursery school children compiled by Theodor Fliedner in Kaiserswerth, Germany in 1842.1 That is why the tune is sometimes identified as “Kaiserswerth” or “Fliedner.” It is likely that the melody is based on a popular folk tune, as are many familiar hymns. The words were written by Luise Hensel (1798-1876), a widely-read religious poet and hymn writer, and a woman who led a remarkable life.2 Hensel’s father was a Lutheran pastor in Brandenburg. Her brother, well- known painter Wilhelm Hensel, was married to Fanny Mendelssohn, sister of Felix. After the death of her father in 1809, Luise moved to Berlin with her mother. Here she captured the attention of several remarkable men. Romantic poet Clemens Brentano acknowledged her influence on his poetry and apparently shared with composer Ludwig Berger an unrequited love for Luise. Another poet, Wilhelm Müller, was also attracted to her. Today, Müller is remembered for his Waldhornisten poems, which Franz Schubert set to music in his song cycles Die schöne Müllerin and Winterreise. -
Fanny Mendelssohn
The Akron Symphony Meet the Composer - Fanny Mendelssohn Born: November 14, 1805 Died: May 14, 1847 Fanny Mendelssohn was a German pianist and composer and the older sister of the well-known composer, Felix Mendelssohn. The two siblings were very close. She received a quality musical education, first taking piano les- sons from her mother and later studying piano and composition with other teachers. Due to social conventions of the time re- garding the roles of women, some of her compositions were published under her brother’s name. Fanny’s works were often played alongside those of her brother on the family’s Sunday concert series. In 1829, Fanny married Wilhelm Hensel. Her husband was sup- portive and encouraging of her musical work. Before her death Fanny Mendelssohn she composed more than 460 pieces of music, mostly songs and piano pieces. In 1846, a collection of her songs was published. Since the 1980s her works have become better known through performances and recordings. In May 2018, the Fanny and Felix Mendelssohn Museum was opened in Hamburg, Germany. The Piano The piano was invented by Bartolomeo Cristofori in Italy around 1700. There were several innovations to the instrument during the 1800s. These include a cast iron frame and the use of aliquot strings (unstruck strings that reinforce the tone). These innovations gave the instrument a more powerful sound. During this time the family piano played a similar role to that of the radio in the 19th century. The family would frequently gather around the instrument for an enjoyable musical evening. Timeline 1805 - Fanny Mendelssohn is born in Hamburg, Germany 1807 – Lord Nelson defeats the combined French and Spanish fleets in the Battle of Trafalgar 1809 – Mary Kies becomes the first woman in the U.S. -
9. Gundolf's Romanticism
https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0. -
A Study of Exoticism in Fanny Hensel's Lieder Xi Zhang Advisor
To the South! A Study of Exoticism in Fanny Hensel‘s Lieder Xi Zhang Advisor: Claire Fontijn, Music April 2015 Submitted in Partial Fulfillment of the Prerequisite for Honors in Music 2015 © 2015 Xi Zhang 1 ACKNOWLEDGEMENTS When I undertook this thesis, I was not yet aware how involved a process it would be and how many people would help me through this journey. First and foremost is my advisor, Claire Fontijn. I am eternally grateful to her fortitude through my constant stream of drafts. Her valuable guidance and feedback has always helped to steer me in the right direction whenever I faced challenges in my research or writing. Even after almost a year of weekly early morning meetings, I still look forward to hearing her thoughts and ideas. Not only has she helped me through my thesis, but she has helped me become a better writer and musician through research and analysis. Thank you to my voice instructor, Marion Dry. She has been endlessly patient though the three years that I‘ve worked with her. Her instruction and support have helped me appreciate music and singing to a new depth. During our lessons, I have developed a better understanding of Fanny Hensel both as a person and as a performer. I am a better musician thanks to Marion. I would like to thank the other members of my thesis committee: Gurminder Bhogal, Charles Fisk, Simon Grote, and Anjeana Hans. They have all been so generous with their time and happy to share their thoughts on my research and writing. -
The Royal Mail
THE EO YAL MAIL ITS CURIOSITIES AND ROMANCE SUPERINTENDENT IN THE GENERAL POST-OFFICE, EDINBURGH SECOND EDITION WILLIAM BLACKWOOD AND SONS EDINBURGH AND LONDON MDCCCLXXXV All Rights reserved NOTE. It is of melancholy interest that Mr Fawcett's death occurred within a month from the date on which he accepted the following Dedication, and before the issue of the Work. TO THE RIGHT HONOURABLE HENEY FAWCETT, M. P. HER MAJESTY'S POSTMASTER-GENERAL, THE FOLLOWING PAGES ARE, BY PERMISSION, RESPECTFULLY DEDICATED. PEEFACE TO SECOND EDITION. favour with which 'The Eoyal Mail' has THEbeen received by the public, as evinced by the rapid sale of the first issue, has induced the Author to arrange for the publication of a second edition. edition revised This has been and slightly enlarged ; the new matter consisting of two additional illus- " trations, contributions to the chapters on Mail " " Packets," How Letters are Lost," and Singular Coincidences," and a fresh chapter on the subject of Postmasters. The Author ventures to hope that the generous appreciation which has been accorded to the first edition may be extended to the work in its revised form. EDINBURGH, June 1885. INTRODUCTION. all institutions of modern times, there is, - OF perhaps, none so pre eminently a people's institution as is the Post-office. Not only does it carry letters and newspapers everywhere, both within and without the kingdom, but it is the transmitter of messages by telegraph, a vast banker for the savings of the working classes, an insurer of lives, a carrier of parcels, and a distributor of various kinds of Government licences. -
Frederic Chopin As a Man and Musician, Volume 1
Frederic Chopin as a Man and Musician, Volume 1 Frederick Niecks Frederic Chopin as a Man and Musician, Volume 1 Table of Contents Frederic Chopin as a Man and Musician, Volume 1.............................................................................................1 Frederick Niecks............................................................................................................................................1 PREFACE TO THE FIRST EDITION..........................................................................................................1 PREFACE TO THE SECOND EDITION.....................................................................................................4 PREFACE TO THE THIRD EDITION.........................................................................................................4 CHAPTER I.................................................................................................................................................12 CHAPTER II................................................................................................................................................19 CHAPTER III..............................................................................................................................................25 CHAPTER IV..............................................................................................................................................32 CHAPTER V................................................................................................................................................36