Mendelssohn
This volume of essays brings together a selection of the most significant and representative writings on Mendelssohn from the last fifty years. Divided into four main subject areas, it makes available twenty-two essays which have transformed scholarly awareness of this crucial and ever-popular ninet...
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Farnham, Surrey ; Burlington, VT
Ashgate
[2015]
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| Schriftenreihe: | The early romantic composers
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| 490 | 0 | |a The early romantic composers | |
| 520 | |a This volume of essays brings together a selection of the most significant and representative writings on Mendelssohn from the last fifty years. Divided into four main subject areas, it makes available twenty-two essays which have transformed scholarly awareness of this crucial and ever-popular nineteenth-century composer and musician; it also includes a specially commissioned introductory chapter which offers a critical overview of the last half century of Mendelssohn scholarship and the direction of future research. The addition of new translations of two influential essays by Carl Dahlhaus, hitherto unavailable in English, adds to the value of this volume which brings back in to circulation important scholarly works and constitutes an indispensable reference work for Mendelssohn scholars. - Benedict Taylor is Chancellor's Fellow at the Reid School of Music, University of Edinburgh, UK | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Acknowledgements ix
Series Preface xi
Editor s Preface xii
Introduction: The Long Mendelssohn Renaissance xiii
PART I AESTHETICS
1 Carl Dahlhaus (1974), ‘Vorwort’ and ‘Mendelssohn und die musikalische
Gattungstradition’, in Carl Dahlhaus (ed.), Das Problem Mendelssohn,
Regensburg: Bosse, pp. 7-9, 55-60; trans. Benedict Taylor as ‘Foreword’ and
‘Mendelssohn and the Traditions of Musical Genre’ (new translation). 3
2 Leon Botstein (2001), ‘Neoclassicism, Romanticism, and Emancipation: The
Origins of Felix Mendelssohn’s Aesthetic Outlook’, in Douglass Seaton (ed.),
The Mendelssohn Companion, Westport, CT and London: Greenwood Press,
pp. 1-27. 11
3 Lawrence Kramer (1992), ‘ Felix culpa: Goethe and the Image of Mendelssohn’,
in R. Larry Todd (ed.), Mendelssohn Studies, Cambridge: Cambridge University
Press, pp. 64-79. 39
4 Judith Silber Ballan (1992), ‘Marxian Programmatic Music: A Stage in
Mendelssohn’s Musical Development’, in R. Larry Todd (ed.), Mendelssohn
Studies, Cambridge: Cambridge University Press, pp. 149-61. 55
5 Douglass Seaton (1997), ‘The Problem of the Lyric Persona in Mendelssohn’s
Songs’, in Christian Martin Schmidt (ed.), Felix Mendelssohn Bartholdy: Kongress-
Bericht Berlin 1994, Wiesbaden: Breitkopf Härtel, pp. 167-86. 69
6 James Garratt (1999), ‘Mendelssohn’s Babel: Romanticism and the Poetics of
Translation’, Music Letters, 80, pp. 23-49. 89
PART II MUSIC AND SOURCE-STUDIES
7 Friedhelm Krummacher (1974), ‘Zur Kompositionsart Mendelssohn: Thesen am
Beispiel der Streichquartette’, in Carl Dahlhaus (ed.), Das Problem Mendelssohn,
Regensburg: Bosse, pp. 169-84; trans. Douglass Seaton as ‘On Mendelssohn’s
Compositional Style: Propositions Based on the Example of the String Quartets’,
in Douglass Seaton (ed.), The Mendelssohn Companion, Westport, CT and
London: Greenwood Press, 2001, pp. 551-68. 119
8 R.M. Longyear (1979), ‘Cyclic Form and Tonal Relationships in Mendelssohn’s
“Scottish” Symphony’, In Theory Only, 4, pp. 38-48.
137
VI
Mendelssohn
9 Greg Vitercik (1989), ‘Mendelssohn the Progressive’, Journal of Musicological
Research, 8, pp. 333-74. 149
10 William Rothstein (1989), ‘Mendelssohn: Songs without Words’, in Phrase
Rhythm in Tonal Music, New York: Schirmer, pp. 183-213. 191
11 John Michael Cooper (1992), “‘Aber eben dieser Zweifel”: A New Look at
Mendelssohn’s “Italian” Symphony’, 19th-Century Music, 15, pp. 169-87. 225
12 Mark Evan Bonds (1996), ‘The Flight of Icarus: Mendelssohn’s Lobgesang in
After Beethoven: Imperatives of Originality in the Symphony, Cambridge, MA:
Harvard University Press, pp. 73-108. 245
PART III CONTEXT AND CULTURE
13 R. Larry Todd (1984), ‘Mendelssohn’s Ossianic Manner, with a New Source:
On Lena’s Gloomy Heath in Jon Finson and R. Larry Todd (eds), Mendelssohn
and Schumann, Durham, NC: Duke University Press, pp. 137-60. 283
14 John Toews (1994), ‘Musical Historicism and the Transcendental Foundations
of Community: Mendelssohn’s Lobgesang and the “Christian-German” Cultural
Politics of Frederick William IV’, in Michael S. Roth (ed.), Rediscovering
History: Culture, Politics, and the Psyche, Stanford: Stanford University Press,
pp. 183-201. 311
15 Michael P. Steinberg (2004), ‘Mendelssohn’s Canny Histories’, in Listening to
Reason: Culture, Subjectivity, and Nineteenth-Century Music, Princeton:
Princeton University Press, pp. 97-122. 333
16 Peter Mercer-Taylor (1995), ‘Mendelssohn’s “Scottish” Symphony and the
Music of German Memory’, 19th-Century Music, 19, pp. 68-82. 359
17 Thomas S. Grey (2000), ‘Fingaľs Cave and Ossian’s Dream: Music, Image,
and Phantasmagoric Audition’, in Marsha L. Morton and Peter L. Schmunk (eds),
The Arts Entwined: Music and Painting in the Nineteenth Century, New York:
Garland, pp. 63-99. 375
PART IV BIOGRAPHY AND RECEPTION
18 Donald Mintz (1992), ‘1848, Anti-Semitism, and the Mendelssohn Reception’,
in R. Larry Todd (ed.), Mendelssohn Studies, Cambridge: Cambridge University
Press, pp. 126-48. 415
19 Paul Jourdan (2000), ‘The Hidden Pathways of Assimilation: Mendelssohn’s
First Visit to London’, in Christina Bashford and Leanne Langley (eds), Music
and British Culture, 1785-1914: Essays in Honour of Cyril Ehrlich, Oxford:
Oxford University Press, pp. 99-119. 439
20 Jeffrey S. Sposato (1998), ‘Creative Writing: The [Self-] Identification of
Mendelssohn as Jew’, Musical Quarterly, 82, 190-209. 461
Mendelssohn vii
21 Thomas Schmidt-Beste (2002), Just how “Scottish” is the “Scottish” Symphony?
Thoughts on Form and Poetic Content in Mendelssohn’s Opus 56’, in John
Michael Cooper and Julie D. Prandi (eds), The Mendelssohns: Their Music in
History, Oxford: Oxford University Press, pp. 147-65. 481
22 Marian Wilson Kimber (2002), ‘The Composer as Other: Gender and Race in the
Biography of Felix Mendelssohn’, in John Michael Cooper and Julie D. Prandi
(eds), The Mendelssohns: Their Music in History, Oxford: Oxford University
Press, pp. 335-51, 501
Name Index 519
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