Journal articles: 'Mendelssohn-Bartholdy'

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Braun, Hartmut, and Gerhard Schuhmacher. "Felix Mendelssohn Bartholdy." Jahrbuch für Volksliedforschung 30 (1985): 227. http://dx.doi.org/10.2307/848847.

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Dittrich, Raymond. "Mendelssohn-Autograph in der Bischöflichen Zentralbibliothek Regensburg." Die Musikforschung 51, no. 1 (2021): 47–49. http://dx.doi.org/10.52412/mf.1998.h1.922.

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Die Proskesche Musiksammlung in der Bischöflichen Zentralbibliothek Regensburg besitzt ein bislang unbekanntes Autograph von Felix Mendelssohn Bartholdy, eine weitere Solokadenz zu dem Konzert für Violine, Klavier und Streichorchester in d-Moll von 1823. Die Handschrift, deren Echtheit die Forschungsstelle für die Leipziger Ausgabe der Werke Felix Mendelssohn Bartholdys bestätigte, gelangte 1933 als Geschenk von Otto von Mendelssohn Bartholdy, einem Enkel des Komponisten, an den damaligen Regensburger Bischof Michael Buchberger in die Proskesche Musiksammlung. Die Kadenz unterscheidet sich wesentlich von der in Berlin überlieferten Solokadenz innerhalb der Gesamtpartitur.

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Huitrón Vázquez, Lorena. "Nunca un mono amaestrado: la genialidad musical de Fanny Mendelssohn." La Palabra y el Hombre, revista de la Universidad Veracruzana, no. 51 (November 11, 2020): 83–84. http://dx.doi.org/10.25009/lpyh.v0i51.3114.

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"Fanny Mendelssohn Bartholdy fue una de tantas relegadas de la historia de la música. Solía aparecer entre paréntesis o como nota a pie, siempre eclipsada porsu hermano Félix Mendelssohn, a quien muchas veces se le atribuyó la composición de piezas que en realidad habían sido hechas por su hermana. Fanny nació en 1805, en Hamburgo. Provenía de una adinerada familia judía convertida al protestantismo, por ello adoptarían el apellido Bartholdy".

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Cooper, John Michael, and Pietro Zappala. "Le "Choralkantaten" di Felix Mendelssohn-Bartholdy." Notes 49, no. 3 (1993): 1005. http://dx.doi.org/10.2307/898949.

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Stinson, Russell. "Mendelssohns große Reise. Ein Beitrag zur Rezeption von Bachs Orgelwerken." Bach-Jahrbuch 88 (March 9, 2018): 119–37. http://dx.doi.org/10.13141/bjb.v20021743.

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Bei der Verbreitung der Orgelmusik Johann Sebastian Bachs im frühen 19. Jahrhundert spielte Felix Mendelssohn Bartholdy die zentrale Rolle. Mendelssohn komponierte über 30 Orgelwerke, und in vielen Fällen dienten ihm Orgelkompositionen Bachs als Modelle. Obgleich er niemals ein Organistenamt innehatte, galt er als einer der berühmtesten Organisten seiner Zeit. Die Editionen der von Mendelssohn herausgegebenen Choralvorspiele Bachs gehören zu den ersten Veröffentlichungen dieser Werkgattung überhaupt. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)

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Ahrens, Christian. "Bearbeitung oder Einrichtung? Felix Mendelssohn Bartholdys Fassung der Bachschen Matthäus-Passion und deren Aufführung in Berlin 1829." Bach-Jahrbuch 87 (March 8, 2018): 71–97. http://dx.doi.org/10.13141/bjb.v20011725.

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Gefragt wird, wer außer Felix Mendelssohn Bartholdy noch maßgeblichen Anteil an der Vorbereitung der Wiederaufführung von Johann Sebastian Bachs Matthäuspassion 1829 hatte. Die These Martin Gecks, Mendelssohn habe nur geringfügig in die Faktur des Werkes eingegriffen und es könne daher von einer Bearbeitung keine Rede sein, allenfalls von einer Einrichtung, wird kritisch hinterfragt. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)

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Manning, Laurence. "Fanny Hensel, compositrice de l’avenir ? Anticipations du langage musical wagnérien dans l’oeuvre pour piano de la maturité de Hensel1." Les Cahiers de la Société québécoise de recherche en musique 16, no. 1-2 (2017): 121–32. http://dx.doi.org/10.7202/1039618ar.

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Cet article met en lumière les aspects innovateurs de la musique pour piano de Fanny Hensel née Mendelssohn-Bartholdy (1805-1847). Si plusieurs auteurs ont déjà abordé son style musical, indépendant de celui de son frère Felix Mendelssohn-Bartholdy, personne ne s’était encore penché sur le côté avant-gardiste du langage de la compositrice. Le présent article propose une première étude globale des éléments de sa musique pour piano qui annoncent le romantisme tardif, notamment par l’observation d’extraits de la Sonate en sol mineur (1843), du cycle Das Jahr (1841) et du Lied pour piano en mi bémol majeur (1846), dont l’analyse permet d’effectuer des rapprochements inédits sur le plan des textures, de l’harmonie et du caractère cyclique avec la musique de Richard Wagner, plus particulièrement avec certains passages des opéras Tannhäuser (1845) et Das Rheingold (1853-1854).

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Ridder, Paul. "Ein Jugend-Portrait von Felix Mendelssohn Bartholdy." Archiv für Musikwissenschaft 79, no. 1 (2022): 2. http://dx.doi.org/10.25162/afmw-2022-0001.

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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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Rettinghaus, Klaus. "Zehn unbekannte Berlin-Briefe von Felix Mendelssohn Bartholdy." Die Musikforschung 65, no. 2 (2021): 146–53. http://dx.doi.org/10.52412/mf.2012.h2.151.

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Cooper, John Michael. "Felix Mendelssohn Bartholdy: Kongress-Bericht Berlin 1994 (review)." Notes 57, no. 4 (2001): 901–2. http://dx.doi.org/10.1353/not.2001.0075.

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Reich, Nancy B. "The Diaries of Fanny Hensel and Clara Schumann: A Study in Contrasts." Nineteenth-Century Music Review 4, no. 2 (2007): 21–36. http://dx.doi.org/10.1017/s1479409800000860.

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Clara Schumann, née Wieck (1819–1896), and Fanny Hensel, née Mendelssohn Bartholdy (1805–1847), were among the outstanding women musicians of their time. Both kept diaries that still exist, and from these we can learn a great deal about the inner and outer lives of the two women. Fanny Hensel's diaries were originally used by her son Sebastian for his book Die Familie Mendelssohn, 1729–1847. He gave us her life story as seen through his eyes, and furnished the major information available about his mother until the recent publication of her diaries: Fanny Hensel, Tagebücher. This book was based on the diary manuscripts acquired by the Mendelssohn Archive of the Berlin Staatsbibliothek in 1969, 1970 and 1999. Fanny Hensel's Tagebücher cover the years 1829 to 1847, thus from the year of her marriage to the year of her death.

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Boetius, Susanne. ""... da componirte ich aus Herzenslust drauf los..."." Die Musikforschung 55, no. 2 (2021): 162–83. http://dx.doi.org/10.52412/mf.2002.h2.754.

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Auf Veranlassung von Friedrich Wilhelm IV. wurde am 28. Oktober 1841 im Potsdamer Theater im neuen Palais Sophokles' <Antigone> mit Schauspielmusik von Felix Mendelssohn-Bartholdy aufgeführt (op. 55). Aus der erhaltenen kompositorischen Urschrift sowie weiteren handschriftlichen Quellen (aus der Staatsbibliothek zu Berlin) ist zu ersehen, dass die Komposition nach der Erstaufführung zum Teil umfangreiche Änderungen erfuhr. Anhand dieser Quellen wird der Entstehungsprozess vom Beginn bis zur Drucklegung nachgezeichnet.

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Kim, Jin-Ah. "Ferdinand Hillers frühe Orchesterwerke im Urteil Felix Mendelssohn Bartholdys." Archiv für Musikwissenschaft 79, no. 3 (2022): 225–45. http://dx.doi.org/10.25162/afmw-2022-0012.

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Rost, Henrike. ""Zu freundlicher Erinnerung FMB"." Die Musikforschung 68, no. 4 (2021): 417–24. http://dx.doi.org/10.52412/mf.2015.h4.419.

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Die beschriebene Zeichnung befindet sich heute im Stammbuch der ältesten Tochter der Familie, Emily Moscheles, das zur Musiksammlung der Staatsbibliothek zu Berlin gehört (D-B Mus. Ms. Autogr. S 10). Sie zeigt den wohl originellsten Eintrag im Stammbuch und ist mit Widmung und Datum (23.6.1844) zweifelsfrei Felix Mendelssohn Bartholdy zuzuschreiben. Die filigrane Bleistiftzeichnung illustriert auf kleinster Fläche mit bestechendem Charme und einigem Witz die Geschichte des musikalischen Heranwachsens der Emily Moscheles. bms online (Cornelia Schöntube)

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Gehring, Alain. "Händels Solomon in der Bearbeitung von Felix Mendelssohn Bartholdy (1835)." Die Musikforschung 65, no. 4 (2021): 313–37. http://dx.doi.org/10.52412/mf.2012.h4.168.

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Von Mendelssohns aufführungspraktischer Einrichtung des Händelschen Oratoriums "Solomon" war bislang lediglich eine in der Musikabteilung der Staatsbibliothek zu Berlin verwahrte, autographe Orgelstimme zugänglich. Für das Musikfest am 7. Juni 1835 in Köln, bei dem es erstmals aufgeführt wurde, erschien auch ein Programmheft mit einer deutschen Übersetzung des Oratorientextes im Druck. In der Bibliothek der Hochschule für Musik und Tanz Köln konnte der Autor sowohl eine Orgelstimme zu Händels "Solomon" mit zahlreichen Eintragungen von Mendelssohns Hand als auch eine zweibändige, von Verkenius angefertigte Partiturabschrift der aufführungspraktischen Einrichtung Mendelssohn mit deutschem Text auffinden.

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Schmideler, S., O. Somburg, H. Steinberg, and T. Splett. "Felix Mendelssohn Bartholdy (1809 - 1847): Das Rätsel seines frühen Todes." Fortschritte der Neurologie · Psychiatrie 74, no. 9 (2006): 522–27. http://dx.doi.org/10.1055/s-2005-919100.

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Sabean, David Warren. "Fanny and Felix Mendelssohn-Bartholdy and the Question of Incest." Musical Quarterly 77, no. 4 (1993): 709–17. http://dx.doi.org/10.1093/mq/77.4.709.

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Glöckner, Andreas. "Zelter und Mendelssohn - Zur "Wiederentdeckung" der Matthäus-Passion im Jahre 1829." Bach-Jahrbuch 90 (March 28, 2018): 133–55. http://dx.doi.org/10.13141/bjb.v20042125.

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Die genaueren historischen Umstände der Wiederentdeckung der Matthäuspassion BWV 244 sind Gegenstand des Artikels. Dabei wird besonders die Beteiligung Carl Friedrich Zelters an den Vorgängen berücksichtigt. Gleichzeitig werden von ihm vorgenommene Modifikationen der ihm zur Verfügung stehenden Abschrift des Werks dargestellt. Zudem wird quellenkritisch ermittelt, aus welchen Fassungen und Überlieferungslinien Zelters Partitur hervorging und wie die so entstandene Mischfassung über Felix Mendelssohn Bartholdy weitere Verbreitung erfuhr. Über diesen Ansatz wird abschließend zur Bedeutung Zelters wie Mendelssohns im Rahmen der Wiederentdeckung des Werks zu beurteilen versucht.

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Wehner, Ralf. ""... das sei nun alles für das Düsseldorfer Theater und dessen Heil..."." Die Musikforschung 55, no. 2 (2021): 145–61. http://dx.doi.org/10.52412/mf.2002.h2.753.

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In der Freemantle Collection der Brotherton Library, University of Leeds, befindet sich ein fünfseitiges Autograph von Felix Mendelssohn-Bartholdy, das bisher nicht identifiziert war. Dieses unbekannte Orchesterwerk des Komponisten ist eine kleine Bühnenmusik zu dem Vorspiel "Kurfürst Johann Wilhelm im Theater" von Karl Immermann, mit dem das Stadttheater Düsseldorf am 28. Oktober 1834 eröffnet wurde. Im ersten Teil werden einige Takte aus Mozarts "Don Giovanni" adaptiert, der zweite Teil bildete die Begleitmusik zu einem von Theodor Hildebrandt nach dem Kupferstich von Giovanni Volpato "Der Parnass von Raphael" entworfenen "lebenden Bild", das Schauspieler in Szene setzten.

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Bdil, Bracha. "Thomas Bernhard: Seeming Volatility, Innovation in Purity." Itamar. Revista de investigación musical: territorios para el arte, no. 9 (July 4, 2023): 274. http://dx.doi.org/10.7203/itamar.9.27012.

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Why doesn't Rudolf manage to start his musicological work on Mendelssohn-Bertoldi? Who is Anna Hertel? What floating card game is the protagonist running throughout Concrete? And what is so revolutionary about the misanthropic-musical writing of Thomas Bernhard in this novel? The following article seeks to answer these questions while examining the act of art re the technical and content aspects, while examining Bernhard's unique use of the "System of Gaps", the "Showing" against "Telling", and the reliability of the protagonist. These and other means are used by the author to lay out the cards of human existence in front of the reader with courage and true honesty. Along with a comparison between prose and music and visual art, the article aims to discover the secret of the novella's musical, poetic, and ethical grand pause.  Keywords. Thomas Bernhard, Concrete novella, Seeming Volatility-Innovation in Purity, System of Gaps, Showing-Telling, Grand Pause, Felix Mendelssohn-Bartholdy, Ethics, Imperfection.

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Wollenberg, Susan. "Introduction." Nineteenth-Century Music Review 4, no. 2 (2007): 3–6. http://dx.doi.org/10.1017/s1479409800000847.

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The eight articles published here represent the selected proceedings of the conference held at St Catherine's College, Oxford, 22–24 July 2005, under the auspices of the University of Oxford, Faculty of Music, to mark the bicentenary of the birth of Fanny Hensel (née Mendelssohn Bartholdy). As conference organizer I was deeply gratified by the list of speakers and papers we were able to assemble for the conference programme. The conference also featured two concerts given by Françoise Tillard (pianoforte) with Erika Klemperer (violin) and Robert Max (cello), performing piano and chamber works of Fanny Hensel; and April Fredrick (soprano), with Briony Williams accompanying, in lieder of Fanny Hensel and her circle. Peter Ward Jones (Music Librarian, Bodleian Library, Oxford) arranged and introduced an exhibition of materials from the Bodleian's Mendelssohn collection as part of the conference. The opportunity to achieve a close concentration of attention on Fanny Hensel provided by the event is now further developed in the proceedings published in this special issue of Nineteenth-Century Music Review.

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Chykalova, Olha. "The spiritual concept “Hope in God!” in the psalms by F. Mendelssohn-Bartholdy." Aspects of Historical Musicology 34, no. 34 (2024): 7–24. http://dx.doi.org/10.34064/khnum2-34.01.

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Statement of the problem. The spiritual music by Felix Mendelssohn-Bartholdi remains insufficiently covered in domestic scientific research. To a greater extent, the interest of musicologists is observed in his secular work – large symphonic or chamber-instrumental compositions (the overture “A Midsummer Night’s Dream”, “Songs Without Words” for piano etc.). However, the musical embodiment of religious texts by F. Mendelssohn testifies to how deeply they were heard by the author. Since the composer was a religious person, spiritual choral music occupies a significant place in his legacy. In addition to psalms, it is represented by oratorios, cantatas, motets, hymns. Nevertheless, compared to oratorios, other genres (psalms, motets, cantatas, hymns) have not been studied enough in scientific works. In fact, spiritual concepts in the sacred music of F. Mendelssohn also remain unexplained. However, it is precisely the considering certain leading ideas that can combine different works that is the key to a deeper understanding of the composer’s spiritual music. Objectives, methods, and novelty of the research. The purpose of this article is to consider the specifics of implementation of the spiritual concept “Have hope in God!” in the psalms by F. Mendelssohn-Bartholdi. The term “concept” is used in a meaning close to its original understanding by the “father of conceptology” P. Abelard – as higher than even the “category” the result of the vivid activity of the exalted spirit. The specificity of the chosen topic required the application of an interdisciplinary approach to the subject of research and methods of spiritual-semantic, comparative, genre-stylistic analysing the musical material. The scientific novelty of the research lies in the fact that for the first time in the musicological thought, the concept of hope in God was revealed in F. Mendelssohn’s psalms and the ways of its embodiment in various examples of this genre in the composer’s work were explored. Research results and conclusion. During his lifetime, the composer wrote nine psalms, which we propose to divide into two groups based on their structure and composition: 1) large-scale psalms for choir, soloists, and orchestra; 2) more chamber ones, for a cappella performance. As a result of the study of these works at different levels (verbal, tonal and harmonic, intonation-thematic, timbre) it was found that the studied spiritual concept is actualized through a verbal text that is identical (“Harre auf Gott!” – “Have hope in God!”) or similar (common ideological content of the text – the hope in God), through musical intonations (use of separate melodic and rhythmic constructions of leit-theme “Harre auf Gott!”), certain common tonal principles (major key), performance staff (choral rendition). Degree of conformity may be varied. The highest degree of similarity is observed between two parts of the psalm № 42. № 4 and № 7 are characterized by equal text, thematic material, key, and scale (F-major). Connection between the psalm № 42 (№ 4 and № 7) and psalm № 43 (Final) is almost the same, but the scales are different (F-major and D-major). There are more distant parallels between the psalm № 42 and psalms №№ 2, 22, 115. The conclusion states that the spiritual concept of hope in God combines not only different numbers within one psalm and psalms within one cycle, but also works that belong to different groups of psalms and periods of the composer’s work.

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Reichwald, Siegwart. "Felix Mendelssohn Bartholdy: A Guide to Research: With an Introduction to Research Concerning Fanny Hensel, and: The Mendelssohn Companion (review)." Notes 58, no. 4 (2002): 825–28. http://dx.doi.org/10.1353/not.2002.0093.

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Hochradner, Thomas. "Zur Frühgeschichte des Thematischen Verzeichnisses. Ludwig Ritter von Köchels „wissenschaftliche" Systematisierung." Anuario Musical, no. 59 (December 30, 2004): 173. http://dx.doi.org/10.3989/anuariomusical.2004.59.63.

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[de] Zu Musikinventaren und Verlags- bzw. Auktionskatalogen treten im 19. Jahrhundert, beginnend mit dem Chronologischthematischen Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozart's durch Ludwig Ritter von Köchel, philologisch erarbeitete Thematische Werkverzeichnisse als eine dritte Kategorie des musikalischen Repertoireverzeichnisses hinzu. Köchels Vorgangsweise wird als Pionierleistung einer grundlegenden und fachspezifischen Textsorte gesehen. Das Einteilungsprinzip seiner vorangestellten Systematik fußt jedoch - wie grundsätzlich sein Vorgehen - einesteils auf handschriftlichen Werkverzeichnissen zu Mozarts Schaffen, andemteils in Konventionen der kurz zuvor bei Breitkopf & Härtel in Leipzig aufgelegten, im Vergleich zu früher stark ausgeweiteten Verlagskataloge zu Ludwig van Beethoven und Felix Mendelssohn Bartholdy. So besehen erweist sich Köchels Arbeit als weitergedachte Stratégie seiner Zeit, die bei allem Respekt vor seinem Streben nach Vollständigkeit und Exaktheit nicht bewusst, sondern fast zufällig Grundlagen setzte.

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Kim, Jin-Ah. "Ferdinand Hillers Jugendsymphonie in e-Moll." Die Musikforschung 76, no. 2 (2023): 150–55. http://dx.doi.org/10.52412/mf.2023.h2.3088.

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This brief article discusses the genesis and identification of Ferdinand Hiller’s Youth Symphony in E minor. In contrast to previous research, it is argued that the “third” Symphony in E minor (September 1831) is not a completely new work, but a heavily revised new version of the Symphony in E minor (September 23, 1829). This hypothesis can be substantiated with Hiller’s entries in his own handwritten catalogue of works as well as autographs or copies of the work, which show that he revised the first and second movements, replaced the third movement and arranged a “Chant des Pirates” as finale. A passage from a letter by Felix Mendelssohn Bartholdy, who had offered to perform Hiller’s symphony in Leipzig, confirms the thesis.

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Cooper, John Michael, and R. Larry Todd. "“With True Esteem and Friendship”: The Correspondence of Felix Mendelssohn Bartholdy and Louis Spohr." Journal of Musicological Research 29, no. 2-3 (2010): 171–259. http://dx.doi.org/10.1080/01411896.2010.482512.

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Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.

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Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.

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Seaton, Douglass. "Felix Mendelssohn Bartholdy - Felix Mendelssohn Bartholdy, Organ Works: Preludes and Fugues Op. 35 & 37 Adam Lenart org. Organ arrangement of Op. 35 by Adam Lenart MDG 906, 2013 (1 CD: 79 minutes)." Nineteenth-Century Music Review 12, no. 1 (2015): 173–76. http://dx.doi.org/10.1017/s1479409815000099.

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Купіна, Д. Д., and Г. О. Гребенюк. "Genre of variations for piano in the context of stylish plurality of F. Mendelssohn-Bartholdy's creativity." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 73–85. http://dx.doi.org/10.33287/221924.

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The purpose of the article is to determine the genre and stylefeatures of the piano cycle „Serious Variations” by F. Mendelssohn-Bartholdy. The round of specific methods is due to the use of empiricalscientific approaches of observation and generalization. The methodsidentified form a pronounced practical component of the proposedscientific intelligence. The structural and analytical approach allows you toform a sequence of presentation of scientific material, and draw theappropriate conclusions on the features of „Serious Variations”. Using thehistorical-typological approach, the sequence of the development processof the variation genre as a whole is revealed. The novelty of the proposedtopic is determined by the fact that the first analysis of the piano cycle„Serious Variations” by F. Mendelssohn was carried out in the context ofthe historical development of the genre of variations and its stylisticdetermination. Conclusions. Variations for piano occupy a rather modestplace in Mendelssohn’s music compared to the work of other composers.The piano series „Serious Variations” was created by Mendelssohn inaccordance with romantic trends in contemporary composer in a dialoguewith the stylistic features of the Baroque and classical era. The styleguidelines for creating the cycle was the work of L. Beethoven andI.S. Bach. The texture of the work is very “pianistic”, although itinfluences both the orchestral writing and Mendelssohn’s organ music.The dramaturgy of „Serious Variations” is organized in such a way that itclearly senses the movement from Baroque to classical stylistics,manifesting the essence of style modulation within the cycle. The mainfeature of „Serious Variations” on the implementation of which thepianist’s efforts should be aimed at working on this cycle is the stylemultiplicity, which is the main characteristic of musical material and theways of its presentation.

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Santos Rutschman, Kirsten. "Midsummer Dreams: Felix Mendelssohn’s Swedish Connections." Nineteenth-Century Music Review 17, no. 1 (2019): 3–33. http://dx.doi.org/10.1017/s1479409818000460.

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Two years after completing his overture to A Midsummer Night’s Dream (1826), Felix Mendelssohn-Bartholdy began to write of another vision: visiting his friend, the composer Adolf Fredrik Lindblad, in Sweden. Over the coming years, as Mendelssohn continually returned to this idea, additional reasons to make such a journey presented themselves: performances of his works in that city, including the Shakespearean overture, were well received; he became personally acquainted with Crown Prince Oscar, to whom he dedicated the op. 44 string quartets; he was elected to the Royal Swedish Academy of Music; his first cousin, Josephine (‘Peppi’) Benedicks, lived in Stockholm; and his friendship with Jenny Lind in the last years of his life only strengthened his interest in the north.While Mendelssohn’s letters to Lindblad have long been known to scholars, the Gegenbriefe from Lindblad remain unpublished. For the first time, his voice is now fully restored to the conversation in an extensive correspondence that contributes to knowledge of Mendelssohn’s interpretations of his own music and his early reverence for the late Beethoven string quartets. In addition, this article also uncovers epistolary evidence of a cluster of related compositions by Mendelssohn and Lindblad spawned by Mendelssohn’s interest in the quartet in F Major (op. 135), including a little-known song that Lindblad dedicated to Felix on the occasion of his marriage.Mendelssohn’s journeys to Scotland and Italy inspired his musical imagination in ways that have richly benefitted the concert repertoire. How might he have translated his impressions of Nordic history, culture and geography into new aural atmospheres, had he followed his dream to travel northwards?

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Jones, Peter Ward. "‘Freund meiner MusikSeele’: Felix Mendelssohn Bartholdy und Carl Klingemann im brieflichen Dialog. By Regina Back." Music and Letters 96, no. 4 (2015): 668–71. http://dx.doi.org/10.1093/ml/gcv090.

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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.

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TONKOSHKURA, Oleg. "The Opera Studio of the Ukrainian National Tchaikovsky Academy of Music. Stages of achievements." CONTEMPORARY ART, no. 18 (November 29, 2022): 267–76. http://dx.doi.org/10.31500/2309-8813.18.2022.269742.

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The article reproduces a complete picture of the functioning of the Opera Studio of the Ukrainian National Tchaikovsky Academy of Music in the late 1940s-2000s. The activity of the creative centre is considered taking into account the universality of its status — on the one hand, as a professional musical theatre with its outstanding creative figures and productions, and, on the other — as a powerful educational, creative workshop, where professional training of future opera singers is carried out. The article pays special attention to the international cooperation of Opera Studio with similar European groups. In particular, the article analyzes the 1980 production of G. F. Handel’s opera “Deidamia,” a joint project of the Pyotr Tchaikovsky Kyiv State Conservatory and the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig. The tasks included: outlining trends in the development of the repertoire policy of the Opera Studio of this period and clarifying and supplementing information about its most significant stage productions.

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Bertani, Corrado. "Fra Leopold Ranke ed Eduard Gans. Un autografo inedito di Felix Mendelssohn Bartholdy dalle lezioni rankiane del 1827 sulla Rivoluzione Francese." RIVISTA DI STORIA DELLA FILOSOFIA, no. 4 (December 2009): 709–30. http://dx.doi.org/10.3280/sf2009-004002.

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- Certain circumstances and stylistic considerations lead us to believe that the manuscript MS. 114 in the Mendelssohn Archive at the Staatsbibliothek in Berlin is (in part) evidence of a course in "Contemporary History" held by Leopold Ranke at the city's university in the summer term of 1827. The course was on the chronological history of the French Revolution. Ranke had already dealt with the same subject the year before, though in a less detailed manner. And it was not until 1875 that he published a work on the period of the Revolution, but focussing solely on the war between the European powers in 1791-1792. Hence the importance of the new manuscript - in Felix Mendelssohn Bartholdy's own hand - which, previously, had been mistakenly connected with the teaching of the Hegelian jurist Eduard Gans. Mendelssohn attended his course on the French Revolution in the summer of 1828.

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Möller, Eberhard. "Drei unveröffentlichte Gutachten von Niels W. Gade, Felix Mendelssohn Bartholdy und Robert Schumann über Robert Franz." Die Musikforschung 44, no. 2 (2021): 156–58. http://dx.doi.org/10.52412/mf.1991.h2.1232.

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Vester, Anne. "„Der Himmel weiß! In welchem Geistesstall er sein nächstes Steckenpferd finden wird“ Liszts Interesse an der bildenden Kunst mit den Augen Heines gesehen." Studia Musicologica 55, no. 1-2 (2014): 81–102. http://dx.doi.org/10.1556/6.2014.55.1-2.6.

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In German literature Heinrich Heine is regarded as one of the founders of musical feuilleton, a genre that he developed to the highest mastery with the means of irony and satire. In his music reviews Heine discussed repeatedly many of his musical contemporaries; he met leading composers of his time like Mendelssohn-Bartholdy, Meyerbeer, Berlioz, Chopin, Liszt, and Wagner personally. The fact that the relationship between Heine and Liszt (they got to know each other in 1831 in Paris) was not without problems, is a commonplace. Rainer Kleinertz describes it as ambivalent. The essay examines Heine’s musical judgements about Liszt, focussing on the question of Liszt’s interest in the fine arts. In the tenth letter from Über die Französische Bühne. Vertraute Briefe an August Lewald (1837), Heine accused Liszt of philosophical eclecticism, because he would change his beliefs like hobbyhorses. Are there contradictions and inconsistencies also in Liszt’s thinking about art and music that justified such an ambivalent attitude on the part of Heine? Finally, Liszt replied Heine in the seventh of his Lettres d’un bachelier ès musique, dated Venice, 15 April 1838.

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Kryvytska, Tetіana, and Svitlana Panasyuk. "“A song without words” op. 9 no. 3 by Yakiv Stepovyi: features of intonation development and interpretation." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 26–32. http://dx.doi.org/10.29038/2415-8143-2020-01-26-32.

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Purpose of Article. The purpose of the work is to reveal the intonation and interpretive features of “Songs Without Words” op. 9 No. 3 by Yakiv Stepovyi. Methodology. The methodology of the research is based on the complex application operations of genre, stylistic, intonation and interpretive analysis. Scientific Novelty. The scientific novelty of the research is to determine the genre-style genesis of the little-known the composition, but indicative for the composerʼs style. Author describes his characteristic intonation features and properties. He pays attention to the performing technique. Conclusions. The author of the study proved that “A Song Without Words” op. 9 No. 3 by Yakiv Stepovyi continues the traditions of F. Mendelssohn-Bartholdy, M. Lysenko, A. Lyadov, O. Scriabin, F. Chopin. This piece is full of Ukrainian song and romance intonations. It contains allusions to the works of F. List and F. Chopin. Author introduces the intonations of lira music, folk group singing, baroque music. The composer revealed these properties of the artistic image with the help of gamma, figuration and chord technique of pianism.

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Mühlenbeck, Bettina S. "On Musical Journeys: William Sterndale Bennett’s Diaries, 1836–1842." Nineteenth-Century Music Review 13, no. 2 (2016): 221–32. http://dx.doi.org/10.1017/s1479409816000653.

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The present article explores the travel diaries William Sterndale Bennett kept on his three extended journeys from London to Leipzig between 1836 and 1842. In the autumn of 1836 the young pianist and composer embarked on the first and longest of ultimately three residencies in Leipzig. Invited by Felix Mendelssohn Bartholdy, he came to the burgeoning centre for instrumental music in order to spend productive time in the artistic circle surrounding Mendelssohn. Bennett began keeping a diary, in which he recorded his experiences – from mundane to musical – and which de facto evolved into a silent travel companion. He repeated this process on his subsequent two travels. The diaries offer valuable first-hand accounts of the Leipzig Gewandhaus concerts under Mendelssohn’s leadership (who served as its Kapellmeister from 1835 to 1847) as well as the semi-private soirées in the prestigious salons of the city. In the privacy of the personal journal, Bennett did not shy away from making bold statements concerning compositions, performance practices, the quality of musical instruments or socio-cultural idiosyncrasies. Especially intriguing is the congenial connection he made with Robert Schumann. The two artists shared an ad hoc, allusive affinity and community of solidarity that has been overlooked in the past. All of this is the more revealing in light of his otherwise soft-spoken and reserved personality, particularly since Bennett’s journaling also offers a view into his own compositional and creative process during this important phase of his career. Apart from tracing musical opinions expressed, aesthetic positions maintained and cultural differences observed, this article follows the artistic bond between William Sterndale and Robert Schumann.

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Царёва, Е. М. "From the History of the String Quartet. Felix Mendelssohn and Fanny Hensel in a Dialogue with Beethoven." Музыкальная академия, no. 1(769) (March 29, 2020): 42–57. http://dx.doi.org/10.34690/35.

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Статья посвящена непосредственным композиторским откликам на поздние квартеты Бетховена. Наряду с более известными, но недостаточно освещенными в отечественной литературе струнными квартетами Феликса Мендельсона-Бартольди рассматривается также Квартет Es-dur его сестры Фанни Хензель (1805-1847), талантливого композитора и музыкального деятеля, чье творчество - несмотря на имеющийся опыт музыкально-исторического и аналитического его рассмотрения - еще не вошло в общие представления о развитии музыки в XIX веке. Между тем этот квартет вписывает интересную страницу в историю жанра; он заслуживает внимания как музыковедов, так и исполнителей и слушателей. The article is devoted to some direct composers’ responses to Beethoven’s late string quartets. Along with better known but not well-studied in the Russian musicological tradition string quartets by Felix Mendelssohn-Bartholdy, it is about the Quartet in E-flat Major by Fanny Hensel (1805–1847), Felix’s sister, a talented composer and musician, whose work— despite the abundance of music historical and analytical essays—has not yet entered into general ideas about the development of music in the 19th century. Meanwhile, this quartet inscribes an interesting page in the history of the genre; it deserves the attention of musicologists as well as performers and listeners.

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Gasenzer, E. R., and E. A. M. Neugebauer. "Felix Mendelssohn-Bartholdy and Fanny Hensel: two cases of intracerebral hemorrage and great composers of the nineteenth century." Acta Neurochirurgica 156, no. 5 (2014): 1047–51. http://dx.doi.org/10.1007/s00701-014-2039-3.

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Wolkenfeld, Stefan. "Über die verschollenen geglaubte Schauspielmusik zu Shakespeare "Othello" von August Wilhelm Ambros." Die Musikforschung 60, no. 1 (2021): 21–30. http://dx.doi.org/10.52412/mf.2007.h1.520.

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Der Musikwissenschaftler August Wilhelm Ambros (1816-1876) spielte als Feuilletonist und Komponist im Prager Musikleben der 1840er Jahre eine wichtige Rolle. Seine 1848 komponierte Schauspielmusik zu William Shakespeares "Othello" (die in Prag zahlreiche Aufführungen erlebte) wurde nie publiziert und galt als verschollen. Diese Ansicht muss revidiert werden. Das Autograph der Komposition befindet sich seit 1939 unbeachtet im Besitz der Österreichischen Nationalbibliothek. Die erste Sichtung ergab folgenden Befund: Ambros hat sich an dem für eine Schauspielmusik üblichen Modell orientiert. Neben Ouvertüre und Finale besteht die Komposition aus mehreren Zwischenaktmusiken, die durch die Handlung des Dramas miteinander verknüpft sind. Stilistisch orientiert sich die Komposition an den Werken Felix Mendelssohn Bartholdys und Robert Schumanns, die für den Prager Davidsbündler Ambros als wichtige Vorbilder fungierten. Durch die Entdeckung der Schauspielmusik zu "Othello" lässt sich diese immer wieder betonte Nähe nun an einem größeren Werk untersuchen.   The musicologist August Wilhelm Ambros (1816-1876) played an important role as feature writer and composer in the musical life of Prague during the 1840s. In 1848 he composed an incidental music for William Shakespeare's drama "Othello" which was performed in Prague for several times, but never was published. It has been considered to be lost, what has to be revised. The autograph of the composition is owned by the Austrian National Library since 1939, but has met with no response so far. The results of a first investigation are: the music to the drama "Othello" does not diverge from the common patterns of this genre. It consists an overture, a finale and some intermission music. Its style is affected, like most of Ambros' other compositions, by Robert Schumann and Felix Mendelssohn Bartholdy. The recovering of this composition now allows to research this influence on a larger opus.

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Porizko, Ekaterina I. "The Infl uence of the Polyphonic Technique of the Organ Sonatas, Opus 65, on the Oratorio “Elijah” by F. Mendelssohn-Bartholdy." Университетский научный журнал, no. 77 (December 25, 2023): 128–40. http://dx.doi.org/10.25807/22225064_2023_77_128.

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The author of the article reviews the development of the organ sonata and oratory genres in the works of composers of the 19th–21st centuries, which was driven by the Organ Sonatas, opus 65, and oratorio creativity of F. Mendelssohn. The author also considers the polyphony technique of the composer’s Organ Sonatas, opus 65, and their infl uence on the “Elijah” oratorio. These features belong to the composer’s creative style and represent innovation in form and content. It is revealed that elements of the composer’s technique of the organ sonatas penetrate into the oratorio compositions, and an interaction of homophonic and polyphonic forms occurs. The composer turns to the polyphonic techniques (imitation, canon, fugue) and interconnects the sonata form and fugue, which is refl ected in the oratorio “Elijah”.

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Kruglova, Elena. ""Ancient music – Historical singing" ("Alte Musick – Historischer Gesang") in German Music Universities." Философия и культура, no. 2 (February 2023): 12–26. http://dx.doi.org/10.7256/2454-0757.2023.2.39688.

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The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing.

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Garratt, James. "Felix Mendelssohn Bartholdy, Die Hebriden. Konzert-Ouvertüre (The Hebrides. Concert Overture) op. 26, edited by Christopher Hogwood (Kassel: Bärenreiter, 2004). xxxi + 103pp. £28.50." Nineteenth-Century Music Review 3, no. 2 (2006): 210–12. http://dx.doi.org/10.1017/s147940980000077x.

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Todd, R. Larry. "Felix Mendelssohn Bartholdy, Die schöne Melusine Ouvertüre (The Fair Melusine Overture) op. 32 edited by Christopher Hogwood (Bärenreiter, Kassel, 2003), xxi + 82pp. £29.50." Nineteenth-Century Music Review 1, no. 1 (2004): 206–9. http://dx.doi.org/10.1017/s147940980000210x.

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Cooper, John Michael. "Felix Mendelssohn Bartholdy, Sinfonie Nr. 1 (Fassung 1829) für Klavier zu vier Händen mit Violine und Violoncello (ad lib.) c-moll, edited by Ralf Wehner (Wiesbaden: Breitkopf & Härtel, [2004]), 114 pp. Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy ser. I, vol. 4A (= Breitkopf & Härtel Kammermusik-Bibliothek 2290)." Nineteenth-Century Music Review 2, no. 2 (2005): 233–40. http://dx.doi.org/10.1017/s1479409800002470.

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Bleckmann, Frank. "Nora Rzadkowski, Recht wissenschaftlich. Drei wissenschaftsdidaktische Modelle auf empirischer Grundlage (Schriften der Albrecht Mendelssohn Bartholdy Graduate School of Law Bd. 5), Baden-Baden 2018." Zeitschrift für Didaktik der Rechtswissenschaft 6, no. 4 (2019): 387–93. http://dx.doi.org/10.5771/2196-7261-2019-4-387.

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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Et&#252;den und Intermezzi», 2011) by the German writer Peter H&#228;rtling (1933–2017). Peter H&#228;rtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter H&#228;rtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter H&#228;rtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter H&#228;rtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter H&#228;rtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter H&#228;rtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.

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Seaton, Douglass. "Felix Mendelssohn Bartholdy, Elias/Elijah, ed. Christian Martin Schmidt (Wiesbaden, Leipzig, Paris: Breitkopf & Härtel, 2008). Full score xi + 449pp. Piano vocal score viii + 248pp." Nineteenth-Century Music Review 7, no. 2 (2010): 162–66. http://dx.doi.org/10.1017/s1479409800003761.

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Journal articles on the topic 'Mendelssohn-Bartholdy'

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