Reminiscences of Mendelssohn by His English Pupi L

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Reminiscences of Mendelssohn by His English Pupi L

Contents Preface ix Acknowledgments xiii PART I ESSAYS The Aesthetics of Assimilation and Affirmation: Reconstructing the Career of Felix Mendelssohn LEON BOTSTEIN 5 Some Notes on an Anthem by Mendelssohn DAVID BRODBECK 43 Mendelssohn and the Berlin Singakademie: The Composer at the Crossroads WM. A. LITTLE 65 The Power of Class: Fanny Hensel NANCY B. REICH 86 Samplings CLAUDIO SPIES 100 Elijah, Johann Sebastian Bach, and the New Covenant: On the Aria "Es ist genug" in Felix Mendelssohn- Bartholdy's Oratorio Elijah MARTIN STAEHELIN TRANSLATED BY SUSAN GILLESPIE 121 The Incidental Politics to Mendelssohn's Antigone MICHAEL P. STEINBERG 137 The Unfinished Mendelssohn R. LARRY TODD 158 PART II MEMOIRS Conversations with Felix Mendelssohn JOHANN CHRISTIAN LOBE TRANSLATED BY SUSAN GILLESPIE 187 • V • CONTENTS From the Memoirs of Adolf Bernhard Marx TRANSLATED BV SUSAN GILLESPIE 206 Reminiscences of Felix Mendelssohn-Bartholdy JULIUS SCHUBRING 221 Reminiscences of Mendelssohn by His English Pupil CHARLES EDWARD HORSLEY 237 From the Memoirs of F. Max Muller 252 From the Memoirs of Ernst Rudorff TRANSLATED AND ANNOTATED BY NANCY B. REICH 259 PART III LETTERS Letters from Felix Mendelssohn-Bartholdy to Aloys Fuchs EDUARD HANSLICK TRANSLATED BY SUSAN GILLESPIE 275 Mendelssohn as Teacher, with Previously Unpublished Letters from Mendelssohn to Wilhelm v. Boguslawski BRUNO HAKE TRANSLATED BY SUSAN GILLESPIE 3IO PART IV CRITICISM AND RECEPTION Robert Schumann with Reference to Mendelssohn- Bartholdy and the Development of Modern Music in General FRANZ BRENDEL TRANSLATED BY SUSAN GILLESPIE 34I Heinrich Heine on Mendelssohn SELECTED AND INTRODUCED BY LEON BOTSTEIN TRANSLATED BY SUSAN GILLESPIE 352 On F. Mendelssohn-Bartholdy's Oratorio Elijah OTTO JAHN TRANSLATED BY SUSAN GILLESPIE 364 On Mendelssohn and Some of His Contemporary Critics FRIEDRICH NIECKS 382 • vi • CONTENTS Felix Mendelssohn HANS VON BÜLOW TRANSLATED BY SUSAN GILLESPIE Index of Names and Compositions 395 List of Contributors 403 vii .

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March 16-17, 2019, page 1 programBY DR. RICHARD E. RODDA notes , Fantasy- theme suggests the fury and confusion Romeo and Juliet of a fight. The love theme (used here Overture (1869) as a contrasting second theme) repre- ■ PETER ILYICH TCHAIKOVSKY 1840- sents Romeo’s passion; a tender, sighing 1893 phrase for muted violins suggests Juliet’s Romeo and Juliet was written when response. A stormy development section Tchaikovsky was 29. It was his first denotes the continuing feud and Friar masterpiece. For a decade, he had been Lawrence’s pleas for peace. The crest of involved with the intense financial, per- the fight ushers in the recapitulation, in sonal and artistic struggles that mark the which the thematic material from the ex- maturing years of most creative figures. position is considerably compressed. The Advice and guidance often flowed his tempo slows, the mood darkens, and the way during that time, and one who dis- coda emerges with a sense of impend- pensed it freely to anyone who would lis- ing doom. A funereal drum beats out ten was Mili Balakirev, one of the group the cadence of the lovers’ fatal pact. The of amateur composers known in English closing woodwind chords evoke visions as “The Five” (and in Russian as “The of the flight to celestial regions. Mighty Handful”) who sought to create a nationalistic music specifically Russian Violin Concerto No. 1 in G minor, in style. In May 1869, Balakirev sug- Op. 26 (1865-1866) gested to Tchaikovsky that Shakespeare’s MAX BRUCH ■ 1838-1920 Romeo and Juliet would be an appropri- ate subject for a musical composition, German composer, conductor and and he even offered the young composer teacher Max Bruch, widely known and a detailed program and an outline for the respected in his day, received his earli- form of the piece.
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Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the t®rt directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, be^nning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 FELIX MENDELSSOHN-BARTHOLDY ' S MUSIC FOR MEN'S VOICES INCLUDING A DETAILED ANALYSIS OF FESTGESAMS: AN DIE KÔNSTLER, OPUS 68 AND ZNEI GEISTLICHE MÂNNERCHÔRE, OPUS 115 WITH SUGGESTIONS FOR REHEARSAL AND PERFORMANCE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Joseph H.
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Mendelssohn's DIE ERSTE WALPURGISNACHT Beethoven's CHORAL FANTASY and OPFERLIED
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Introduction
XLIV Introduction Felix Mendelssohn Bartholdy lived during the golden age of written for the theater,6 and those festival pieces for male voices male choral singing. After an early introduction to the genre and orchestra that are the subject of the present volume. All by Carl Friedrich Zelter, his teacher and founder of the Berlin of the latter are works he was commissioned to write for vari- Liedertafel (1809), the composer later came to independently ous prestigious events that took place in the 1820s and 1840s. form his own connection with the Leipzig Liedertafel societies Two of them, the so-called “Gutenberg Cantata” (1840) and the as a young adult,1 as well as to maintain contact with numerous Festgesang an die Künstler / To the Sons of Art (1846), were pub- other male choral societies over the course of his lifetime. A lished during his lifetime, while the other two did not appear comprehensive illumination of Mendelssohn’s relationship with in print until the 20th century. The first of these, Begrüßung male choral singing, one defined in equal measure by affection (“Humboldt Cantata”), was conceived of and performed for the and critical distance, can be found in the introduction to the opening gala of a scientific conference in 1828, and the second, volume “Songs for Male Voices.”2 “Gott segne Sachsenland” / “God Bless Saxony” for the ceremo- The 19th century’s growing middle class grouped itself into both nial unveiling of a statue in 1843. mixed choral societies (for example, Singakademien, oratorio choirs, etc.) and Liedertafeln, Liederkränze, and Gesang vereine, common designations at the time for various all-male choral MWV D 2 formations.3 In the 1830s, the initially exclusive circles of the Begrüßung (“Humboldt Cantata”) Liedertafel societies, which were comprised of small numbers of select members, gave rise to a veritable mass movement of en- Just a few months after Mendelssohn’s Festmusik MWV D 1 sembles with large membership rosters.
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Zetti2019.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Politicising Antigone in Twentieth-Century Europe: From Hegel to Hochhuth Rossana Zetti PhD The University of Edinburgh 2018 2 Signed declaration I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Signed: Rossana Zetti Edinburgh, 30/08/2018 3 Acknowledgments This research project started after I completed my Msc thesis, which focused on the reception of Sophocles’ Antigone in Ireland, under the supervision of Prof Douglas Cairns. I am grateful to him for his help and guidance throughout these years at the University of Edinburgh, from my Msc to my PhD.
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View the Table of Contents
Sheet TM Version 2.0 Music 1 CD Brahms, Schubert, and Mendelssohn Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Brahms, Schubert, and Mendelssohn, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the bookmarks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to ﬁnd the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the ﬁles on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM BRAHMS SCHUBERT MENDELSSOHN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC 0 n 2. Sheet o TM rsi Ve Music 2 CD JOHANNES BRAHMS Ein Deutsches Requiem (German text), Op. 45 A German Requiem (English text), Op. 45 Love Song Waltzes (Liebeslieder Walzer), Op. 52 Nanie, Op. 82 Neue Liebeslieder Walzer (New Love Song Waltzes), Op. 65 Rhapsodie, Op. 53 Rinaldo, Op. 50 Schicksalslied (Song of Destiny), Op. 54 Triumphlied (Triumphal Hymn), Op. 55 Zigeunerlieder (Gypsy Songs), Op. 103/112 FRANZ SCHUBERT Die Allmacht (arranged by Franz Liszt), D. 852, Op. 79, No. 2 Mass No. 1 in F Major (Messe F-dur), D. 105 Mass No. 2 in G Major, D.
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The Cambridge Companion to Mendelssohn Edited by Peter Mercer-Taylor Frontmatter More Information
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