Relevant bibliographies by topics / Mendelssohn

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  2. Dissertations / Theses
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Academic literature on the topic 'Mendelssohn'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Mendelssohn"

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Lohmann, Uta. "»Ein Bild von ihm … wird immer belehrend und erquickend bleiben. Sein Leben lehrte.« David Friedländers biographische Fragmente über Moses Mendelssohn." Aschkenas 33, no. 2 (November 28, 2023): 231–44. http://dx.doi.org/10.1515/asch-2023-2010.

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Abstract A few years after Moses Mendelssohn’s death (1786) David Friedländer wrote life-history descriptions in which he took a fragmentary look at Mendelssohn’s personality and emphasized that he had succeeded in approaching moral perfection as a human being and as a merchant to a high degree. With the virtuous perfection pattern Moses Mendelssohn (Vollkommenheitsmuster Moses Mendelssohn) designed by him, Friedländer initially pursued two intentions: on the one hand, he established a modern Jewish educational ideal, and on the other hand, his image of Mendelssohn served him to combat prejudice among non-Jews. Three decades later, Friedländer published further biographical fragments about Mendelssohn, this time appearing in a distinctly educational context, and again presenting Mendelssohn as an educational ideal. The article analyzes Friedländer’s ›Platonic‹ mode of presenting Mendelssohn and questions the significance of his parallelization of Mendelssohn with Socrates. In addition, it examines Friedländer’s choice of the fragment as a descriptive category and form of biographical representation, with which he functionalizes Mendelssohn for his pedagogical aims.
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MacNeil, Adam. "Felix Mendelssohn’s Religious Hybridity Revealed Through His Oratorios." Nota Bene: Canadian Undergraduate Journal of Musicology 15, no. 1 (June 18, 2022): 100–114. http://dx.doi.org/10.5206/notabene.v15i1.15034.

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Over the course of the last century, scholars and musicologists have debated the piety of Felix Mendelssohn. It is plausible to argue that Mendelssohn was purely Jewish, and that his musical contributions to the liturgy of the Christian Church are merely a consequence of cultural pressure and widespread Anti-Semitism. However, it is also conceivable that Mendelssohn not only embraced the Christian tradition for himself, but also endeavoured to reform its theology and doctrine. How then, should we understand Mendelssohn’s faith? Given that the oratorio functions as a vehicle for religious expression, I employ three of Mendelssohn’s most widely discussed oratorios as the main subjects of the paper’s investigation. By analyzing the text, musical characteristics, and historical context of Mendelssohn’s St. Matthew Passion, Paulus, and Elias, I explore the ways in which Mendelssohn was deeply and inwardly conflicted with his faith. Moreover, such oratorios illustrate how Mendelssohn’s religious discernment was a non-linear evolutionary process; by the time Mendelssohn composed Elias (1846), his trajectory of religious discernment culminated in the reconciliation of both the Jewish and Christian aspects of his identity. While Mendelssohn’s music narrates the ancient Judeo-Christian story, it also simultaneously exposes his own account of religious polarization and the subsequent desire for harmonization.
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Kryshtop, L. E. "Religious Pluralism Concept of M. Mendelssohn and Its Theoretical Foundation." RUDN Journal of Philosophy 24, no. 3 (December 15, 2020): 328–41. http://dx.doi.org/10.22363/2313-2302-2020-24-3-328-341.

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The article consider the concept of religious pluralism by M. Mendelssohn and some aspects of his theory of knowledge and linguistic theory, lying in the foundation of the pluralism concept. The article shows that Mendelssohn expressed views that are far ahead of his time. His theory of knowledge repeats some lines of Hume's philosophy, which he praised highly, what was not characteristic of the German Enlightenment as a whole. By virtue of this, Mendelssohn can be considered as Kant's predecessor in a positive assessment of Hume. Some of Mendelssohns ideas are further developed in phenomenology. The author argues that Mendelssohns views on the interaction of religions, although they have a number of features that make this thinker related to other thinkers of the Enlightenment, also have a fundamental difference with them. As a result, his religious pluralism concept is close to the modern understanding of religious pluralism. The author also attempts to reveal the reasons why Mendelssohn, despite his great significance for both German philosophy and Jewish culture, was almost forgotten for a long time.
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Matviyets, Anne Sarah. "Tolerance for the Tolerant “Other”—Moses Mendelssohn’s Claim for Tolerance in the “Vorrede/Preface” (1782)." Religions 15, no. 4 (April 22, 2024): 516. http://dx.doi.org/10.3390/rel15040516.

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In this paper I discuss Moses Mendelssohn’s argumentation on religious tolerance in his “Vorrede” (“preface”) that he added to his translation of Rabbi Manasseh Ben Israel’s letter “Vindiciae judaeorum” in 1782. Instead of solely deducing Mendelssohn’s idea of religious tolerance, I examine Mendelssohn’s argumentation strategies. For this purpose, I firstly determine the political and social conditions in which Mendelssohn wrote the “Vorrede”. Secondly, I examine the normative reasons or resources that Mendelssohn argues for tolerance with. In my observation, he is legitimizing religious tolerance on the normative resources of philosophical reasons (natural law/universal reason) and pragmatic reasons (utility). Further, I will analyse Mendelssohn’s concept of a tolerant Judaism in the “Vorrede”.
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Fogel, Jeremy. "A Polynesian, a Jew, and a Hindu Walk into Jerusalem: On Mendelssohn’s Religious Universalism." Journal of Jewish Thought and Philosophy 28, no. 2 (September 16, 2020): 151–83. http://dx.doi.org/10.1163/1477285x-12341308.

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Abstract In his Jerusalem, Moses Mendelssohn describes a Polynesian visitor to Dessau before traveling to India by way of ancient Jerusalem. In two pages, Mendelssohn has crossed the world, doing so to argue that in spite of their cultural differences, most human beings ultimately share basic salvific religious truths. This paper explores the religious universalism reflected in this striking passage, analyzes Mendelssohn’s cultural sensitivity and pluralism, and offers a characterization of the particularities of Mendelssohn’s Jewish universalism as well as concluding thoughts on the varieties of universalism more generally.
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Hoshino, Hiromi. "neu entdecktes Mendelssohn-Autograph in Japan." Die Musikforschung 57, no. 2 (September 22, 2021): 151–59. http://dx.doi.org/10.52412/mf.2004.h2.666.

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Felix Mendelssohn Bartholdys autographer Klavierauszug "Die erste Walpurgisnacht" op. 60 wurde 1990 in Japan entdeckt. Das Verlagshaus Kistner hatte 1891 das Autograph zur Auktion nach Berlin gegeben, wodurch es in Privatbesitz gelangte: über Robert von Mendelssohn, seine Frau Giulietta Gordigiani von Mendelssohn, den von ihr protegierten Cellisten Gaspar Cassadó zu dessen Frau Chieko Hara, eine japanische Pianistin. Aus ihrem Besitz erhielte es 1990 die Tamagawa-Universität in Tokyo durch eine Schenkung. Das Autograph ist nicht datiert. Die Markierungen für die Seitenaufteilung beweisen, daß es als Stichvorlage für die Erstausgabe bei Kistner (1844) diente. Daher muss es im Sommer (spätestens am 17. August) 1843 angefertigt worden sein. Von besonderem Interesse sind die verschiedenen Änderungen von Mendelssohns Hand. Es zeigt die letzten Gestaltungsschritte: Mendelssohn revidierte das Werk sowohl bei der Anfertigung des Klavierauszugs als auch während der Korrekturen zur Erstausgabe. Diskutiert werden die relevanten Änderungen im Schlusschor (Nr. 9).
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Lehmann, Karen. "Mendelssohn und die Bach-Ausgabe bei C. F. Peters." Bach-Jahrbuch 83 (March 13, 2018): 87–96. http://dx.doi.org/10.13141/bjb.v19971838.

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Die von Felix Mendelssohn Bartholdy aufgestellten Editionsrichtlinien und die Richtlinien der sogenannten praktischen oder Interpretationsausgaben werfen eine Reihe von Fragen auf. An Hand unveröffentlichter Dokumente aus den Briefkopierbüchern des Verlages C.F. Peters aus der Zeit von 1836-44 wird deutlich, daß eine mögliche Zusammenarbeit Mendelssohns mit dem Leipziger Verlag bezüglich der Gesamtausgabe der Werke Johann Sebastian Bachs von vornherein zum Scheitern verurteilt war. Mendelssohn war der Verfechter einer Kritischen Werkausgabe. (Autor, Quelle: Bibliographie des Musikschrifttums online)
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Kimura, Sachiko. "Mendelssohns Wiederaufführung der Matthäus-Passion (BWV 244)." Bach-Jahrbuch 84 (March 8, 2018): 93–120. http://dx.doi.org/10.13141/bjb.v19981657.

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Felix Mendelssohn Bartholdys Aufführung der 'Matthäus-Passion' von Johann Sebastian Bach 1829 wurde bisher vor allem unter Aspekten der Musikgeschichte betrachtet: Nach dieser Aufführung wurde das Œuvre Bachs wieder ein wichtiger Faktor im europäischen Musikleben. Die Frage, wie das Stück unter Mendelssohn tatsächlich erklang, wurde hingegen vernachlässigt. Eintragungen Mendelssohns in Aufführungspartitur und -stimmen zeigen, dass damals erhebliche Streichungen vorgenommen wurden sowie Bearbeitungen und Umbesetzungen erfolgten. Auch Vortrags- und Tempoangaben finden sich. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)
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Goldenbaum, Ursula. "Did Moses Mendelssohn Lack Historical Thinking?" Deutsche Zeitschrift für Philosophie 68, no. 4 (November 3, 2020): 564–89. http://dx.doi.org/10.1515/dzph-2020-0038.

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AbstractThere is widespread agreement in scholarship that Moses Mendelssohn lacked historical thinking, an opinion accepted even among Mendelssohn experts. This misjudgment is based on a remark in his Jerusalem against Lessing’s Education of Humankind and surely ignores Mendelssohn’s historical work. I will question the misjudgment by a detour: first, I will ask for whom Lessing wrote his Education of Humankind. Then I will turn to the usually celebrated origin of historical thinking in Semler and Herder and question the historicity of their views. It is only in the 3rd section that I will focus directly on Mendelssohn’s historical work and his truly historical understanding of religion, in agreement with Lessing.
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Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.

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From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.
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Dissertations / Theses on the topic "Mendelssohn"

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Lackmann, Thomas Mendelssohn-Bartholdy Abraham. "Der Sohn meines Vaters : Abraham Mendelssohn Bartholdy und die Wege der Mendelssohns /." Göttingen : Wallstein-Verl, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2881396&prov=M&dok_var=1&dok_ext=htm.

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Lackmann, Thomas. "Der Sohn meines Vaters : Abraham Mendelssohn Bartholdy und die Wege der Mendelssohns /." Göttingen : Wallstein-Verl, 2007. http://d-nb.info/982101686/04.

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Tarpenning, Emily. "Fanny Mendelssohn Hensel : A Bridge between Felix Mendelssohn and Johannes Brahms." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278182/.

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This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.
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Vogt, Wolfgang. "Moses Mendelssohns Beschreibung der Wirklichkeit menschlichen Erkennens /." Würzburg : Königshausen & Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2683486&prov=M&dok_var=1&dok_ext=htm.

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Voigts, Manfred, and Andreas Kennecke. "Euchel, Mendelssohn, Herder und Andere." Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2230/.

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Schröder, Gesine. "Mendelssohn als Modell für Kompositionsschüler." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61662.

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In der zweiten Hälfte des 19. Jahrhunderts spielte Mendelssohns Musik in Kompositionslehren noch eine keineswegs unbedeutende Rolle. Insbesondere in deren Abteilungen zur sogenannten freien Komposition, soweit sie Fragen der musikalischen Form und der Orchestration betrafen, wurde Mendelssohn oft zitiert. Vor allem in Salomon Jadassohns Kompositionslehre erlangte sein Werk Modellcharakter. Der Beitrag zeigt, wie dieser Lehrer am Leipziger Konservatorium im späten 19. Jahrhundert auf der einen Seite Mendelssohns musikalische und ästhetische Haltung fortwirken lassen wollte, wie er sich jedoch andererseits bereits vorsichtig von gewissen Aspekten des Mendelssohnschen Komponierens distanzierte. Aus um 1900 geschriebenen Lehren verschwindet Mendelssohns Name zusehends ebenso wie die Namen jüdischer oder französischer Komponisten wie Halévy oder Meyerbeer
In the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music
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Waggener, Joshua Alton. "Mendelssohn and the musical sublime." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10610/.

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How does the aesthetic category of the sublime, in its various formulations from the eighteenth and early-nineteenth centuries, assist in explaining the significance of Felix Mendelssohn and his compositions to English and German audiences in his lifetime and beyond? Due to the conceptual proximity of a number of formulations of the sublime to primary traits of his compositional output, Mendelssohn’s life and work can be understood through the categories of sublime aesthetics. Despite challenges in his reception and complexities in modern scholarship, Mendelssohn’s biography and musical accomplishments consistently show conceptual and contextual relations to a wide variety of sublime formulations. Mendelssohn’s early life and works display a prodigious musical talent impacted by multiple sublime influences, including the ‘sublime’ music of George Frideric Handel. His most popular early overtures – Midsummer Night’s Dream, Calm Sea and Prosperous Voyage, and The Hebrides – demonstrate connections with an even wider range of sublime objects and concepts. Although Mendelssohn’s works from the 1830s and 1840s show an increasing appreciation for historical genres and forms, this does not represent a ‘decline’ from ‘sublime’ standards of originality, but an ‘ascent’ to new heights of ‘genius’, according to early nineteenth-century standards. His late works such as the Lobgesang, the Berlin Psalm Introits, and Elijah confirm his ability to create music modelled on sublime predecessors, communicating ‘Grand Concepts’, and expressing ineffable feeling. Overall, this thesis aims to show that the sublime can serve to evaluate the music of Mendelssohn using contextually-appropriate aesthetic concepts, thus offering a new understanding of his compositional accomplishments.
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Jourdan, Paul. "Mendelssohn in England, 1829-37." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272810.

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Lee, Pyng-Na. "Psalms of Felix Mendelssohn-Bartholdy." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin965229438.

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Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.

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The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
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Books on the topic "Mendelssohn"

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Steiner, Elke. Die anderen Mendelssohns: Dorothea Schlegel, Arnold Mendelssohn. Berlin: Reprodukt, 2004.

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Köhler, Karl-Heinz. Mendelssohn. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-04433-4.

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Peter, Ward Jones, ed. Mendelssohn. 3rd ed. London: Dent, 1990.

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Köhler, Karl-Heinz. Mendelssohn. Stuttgart: Metzler, 1995.

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Radcliffe, Philip. Mendelssohn. Oxford: Oxford University Press, 2000.

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Crosta, Alessandro. Mendelssohn, Haydn. Avellino: Associazione Igor Stravinsky, 2009.

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Hayoun, Maurice R. Moïse Mendelssohn. Paris: Presses universitaires de France, 1997.

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François-Sappey, Brigitte. Felix Mendelssohn. [Paris]: Fayard, 2003.

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Tree, Stephen. Moses Mendelssohn. Reinbek: Rowohlt Taschenbuch Verlag, 2007.

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Larry, Todd R., ed. Mendelssohn studies. Cambridge [England]: Cambridge University Press, 1992.

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Book chapters on the topic "Mendelssohn"

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Köhler, Karl-Heinz. "Leben." In Mendelssohn, 9–50. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-04433-4_1.

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Köhler, Karl-Heinz. "Werk." In Mendelssohn, 51–100. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-04433-4_2.

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Vollhardt, Friedrich. "Mendelssohn, Moses." In Metzler Philosophen Lexikon, 593–95. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03642-1_190.

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Flömer, Lars. "Mendelssohn, Moses." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14791-1.

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Dahlstrom, Daniel O. "Moses Mendelssohn." In A Companion to Early Modern Philosophy, 618–32. Malden, MA, USA: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470998847.ch40.

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Gleissner, Roman. "Moses Mendelssohn." In Die Entstehung der ästhetischen Humanitätsidee in Deutschland, 106–19. Stuttgart: J.B. Metzler, 1988. http://dx.doi.org/10.1007/978-3-476-03248-5_3.

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Adelson, Robert. "Mendelssohn and the Erards." In Erard, 121–30. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0014.

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One of the musicians who benefited from the Erard pianos made in London was Felix Mendelssohn (1809–47). Mendelssohn became close friends with Pierre and Céleste Erard, and may have been one of the few people familiar with Pierre’s homosexuality. Mendelssohn was not an immediate convert to Erard pianos, but developed a more favourable opinion of them on his 1829 tour of the British Isles and especially during his trips to Paris and London in 1832. In 1832, Pierre gave a gift of a grand piano to Mendelssohn and this piano had an important influence on Mendelssohn’s compositions and concert activity. A precious trace of Mendelssohn’s genius was carefully preserved by the Erard family in the form of an autograph manuscript of Mendelssohn’s Andante in A major, published as the fourth piece in the first volume of Lieder ohne Worte, op. 19b [MWV U 73].
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Botstein, Leon. "The Philosophical Composer." In Rethinking Mendelssohn, 291–310. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0013.

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Felix Mendelssohn’s philosophical convictions regarding faith and human reason not only hold a clue to his intentions as a mature composer but also set him apart from many contemporaries. His philosophical inclinations influenced his ambitions as a composer and helped him formulate and justify his aesthetic, particularly during the last decade of his life. This chapter examines the influence of his grandfather Moses Mendelssohn and the Protestant theologian Friedrich Schleiermacher, whom Mendelssohn knew from his youth in Berlin. Such philosophical affinities turn out to be illuminating and provocative, suggesting a way of recapturing a sense of the distinct character, beauty, and power of Mendelssohn’s music.
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Steinberg, Michael. "Mendelssohn." In The Concerto, 262–70. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0024.

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Abstract Felix Mendelssohn was the cherished crown prince in his cultured, prosperous, and seemingly happy family.1 It was the blessed lot of such well-to-do young men to be sent on an educational grand tour. Mendelssohn’s lasted a year and took him via Munich and Vienna to Italy (Venice, Florence, Rome, Naples, Rome again, Florence again, and Milan), Switzerland, Munich for a second time, Paris, London, and so home to Berlin.
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Felix Mendelssohn (1809- I 847)." In The Classics of Music, 372–77. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0062.

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Abstract The German composer Felix Nlendelssohn, grandson of Moses Mendelssohn, was born in Hamburg on 3 February 1809. His father, Abraham Mendelssohn, caused Felix, with his brother and two sisters, to be baptized as Lutheran Christians; and during the French occupation of Hamburg the family migrated to Berlin and lived with Abraham Mendelssohn’s mother. Under the teaching of their mother and of other good musicians, Felix and his sister Fanny (some of whose compositions are included in Mendelssohn’s songs and Lieder ohne Worte) soon showed extraordinary musical talent.
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Conference papers on the topic "Mendelssohn"

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Krupina, L. L. "F. Mendelssohn. Quartet in A minor op. 13: Farewell to Beethoven." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-10.

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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