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Books on the topic 'Mendelssohn concerto'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Duggan, Audrey. A sense of occasion: Mendelssohn in Birmingham, 1846. Brewin, 1998.

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2

Choir, Toronto Mendelssohn, ed. The Mendelssohn Choir of Toronto, A.S. Vogt, conductor: Annual concerts, Massey Music Hall ... s.n., 1992.

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3

Holman Opera House (London, Ont.), ed. Holman's Opera House, London, April 13th, 1874: Mendelssohn Quintette Club concert, of Boston ... programme .. s.n., 1986.

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4

Mendelssohn Quintette Club (Boston, Mass.), ed. Mendelssohn Quintette Club concert of Boston: Their twenty-second season, assisted by the distinguished vocalist, Mrs. J.W. Weston .. s.n., 1986.

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5

Drei, Tage für Felix (Festival) (1994 Cologne Germany). Blickpunkt Felix Mendelssohn-Bartholdy: Programmbuch Drei Tage für Felix : vom 30.10 bis 1.11.1994. Dohr, 1994.

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6

Pelto, William Lyle. Musical structure and extramusical meaning in the concert overtures of Felix Mendelssohn. University Microfilms, 1993.

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7

Grand Opera House (London, Ont.), ed. Mendelssohn Quintette Club of Boston: Mr. Nahan Franko, solo violin, Mr. Max Klein, violin ... Grand Opera House, Wednesday, Dec. 16, 1885. s.n., 1986.

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8

Mendelssohn-Bartholdy, Felix. Mendelssohn Piano Concerto #2 (Kalmus Edition). Alfred Publishing Company, 1985.

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9

Mendelssohn-Bartholdy, Felix. Mendelssohn Piano Concerto #1 (Kalmus Edition). Alfred Publishing Company, 1985.

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10

Burmeister, Klaus. Mendelssohn: Piano Concerto No. 1 in G Minor, Op. 25. Edition Peters, 2014.

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11

Sevcik, Otakar, Felix Mendelssohn, and Endre Granat. Felix Mendelssohn - Violin Concerto in e Minor: Complete Violin and Piano Score. Leonard Corporation, Hal, 2010.

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12

Mendelssohn-Bartholdy, Felix. Music Minus One Violin: Mendelssohn Violin Concerto in E minor, op. 64 (Book & 2 CDs). Music Minus One, 2003.

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13

Mendelssohn: Violin concerto in E minor, Opus 64 : Symphony No 4 in a major, Opus 90 ('Italian'). Marshall Cavendish Ltd, 1992.

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14

Mendelssohn-Bartholdy, Felix. Music Minus One Piano: Mendelssohn Concerto No. 1 in G Minor, Op. 25 (Sheet Music and CD Accompaniment). Music Minus One, 1997.

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15

Wilson Kimber, Marian. Reading the Fairies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0003.

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Between 1850 and 1920, readings of Shakespeare’s A Midsummer Night’s Dream by women took place in conjunction with concerts of Felix Mendelssohn’s incidental music, popularized by actress Fanny Kemble. The practice responsed to criticism of the physicality of theatrical stagings and the ability of Mendelssohn’s music to depict extramusical content. Female elocutionists were considered ideal performers due to the depiction of fairies as female and in order to render Shakespeare’s pure poetry stripped of theatrical excess. The combination of Shakespeare and Mendelssohn represented the highest le

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16

Tchaikovsky, Peter Ilich, and Felix Mendelssohn-Bartholdy. Mendelssohn and Tchaikovsky: Violin Concertos. Penguin Highbridge (Aud), 1999.

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17

Sposato, Jeffrey S. Mendelssohn and the Transformation of Leipzig Musical Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190616953.003.0004.

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This chapter is the third of three chapters to look at the relationship between a Thomaskantor, who oversaw the church music, and a Kapellmeister (music director) of the public concerts. Thomaskantor Moritz Hauptmann and Kapellmeister Felix Mendelssohn Bartholdy are examined. Mendelssohn was hired in 1835 to move the Gewandhaus orchestra away from light, popular fare and toward artistic, canonical music. When Thomaskantor Christian Theodor Weinlig died in 1842, Mendelssohn arranged for his friend Hauptmann to fill the position. Hauptmann shared Mendelsson’s vision of canonical music, so that c

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18

Shallon, David. Mendelson Ḳudaʼi Bernshṭain: Mendelssohn Kodaly Bernstein : [program]. 1996.

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19

Brocke, Michael, and Daniel Krochmalnik, eds. Moses Mendelssohn: Gesammelte Schriften. frommann-holzboog Verlag, 2022. http://dx.doi.org/10.5771/9783772836336.

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These are previously unpublished philosophical fragments and Judaica by Mendelssohn as well as letters from and to Mendelssohn. Among other things, the volume contains comments on the concepts of time and space in Kant, a note on the concept of “eternal truths”, poems written during and about the Seven Years’ War (›Herr! der du die Welt mit deiner Allmacht regierest‹), annotations on Johann David Michaelis’ review of Dohm’s ›Über die bürgerliche Verbesserung der Juden‹ (On the Civil Improvement of the Jews), letters from and to Abbt, Iselin, Lessing, Friedrich II., Gleim, Joh. J. Engel, Lavate

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20

Sciannameo. FELIX MENDELSSOHN'S CONCERTO (Music in Facsimile). Music-Garland, 1991.

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21

City Hall, London, May 20, 1873: Mendelssohn Quintette Club concert. s.n., 1985.

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22

Concert by the Mendelssohn Quintette Club of Boston: Organized 29 years .. s.n., 1986.

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23

Listening to Mendelssohn: An Owner's Manual. Rowman & Littlefield Publishers, Incorporated, 2020.

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24

Concert by the Mendelssohn Quintette Club of Boston: (organized 26 years) ... programme .. s.n., 1986.

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25

Gottlieb, Michah. The Jewish Reformation. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199336388.001.0001.

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Beginning in the late eighteenth century, Jews entered the German middle class with remarkable speed. This process has often been identified with Jews’ increasing alienation from religion and Jewish nationhood. In fact, this period was one of intense engagement with Jewish texts and traditions. An expression of this was the remarkable turn to Bible translation. In the century and a half between Moses Mendelssohn’s pioneering translation and the final one by Martin Buber and Franz Rosenzweig, German Jews produced fifteen different translations of at least the Pentateuch. Buber and Rosenzweig fa

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26

Blickpunkt Felix Mendelssohn-Bartholdy: Programmbuch Drei Tage fur Felix : Vom 30.10 bis 1.11.1994. Dohr, 1994.

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27

Sposato, Jeffrey S. Leipzig After Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190616953.001.0001.

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This book examines church music and public concert music in Leipzig, Germany, a city in Saxony, in the period between 1750 (the year Thomaskantor Johann Sebastian Bach died) and 1847 (the year that Gewandhaus orchestra conductor Felix Mendelssohn Bartholdy died). The century in between these events was critically important for sacred music and public concert music. During this period, Leipzig’s church music enterprise, a bulwark of orthodox Lutheranism, was convulsed by repeated external threats—a growing middle class that viewed music as an object of public consumption, religious and politica

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28

Gooley, Dana. The Kapellmeister Network and the Performance of CommunityHummel, Moscheles, and Mendelssohn. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0003.

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Chapter 2 concerns the free fantasy and its relationship to the public concert life that emerged after 1815. Its main protagonists are Johann Nepomuk Hummel, the undisputed master of improvised free fantasia in this period, and his rival Ignaz Moscheles. Hummel’s free fantasias were admired for hybridizing the learned style of the kapellmeisters with the popular style associated with modern virtuosi, modeling a solution to one of the period’s major problems: the gap between experts and laypersons. In private circumstances Hummel improvised in a different way addressed to the values of connoiss

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29

Staff, Hal Leonard Corp. Three Romantic Violin Concertos - Bruch, Mendelssohn, Tchaikovksy Vol. 117: For Violin and Piano. Leonard Corporation, Hal, 2015.

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30

New Mechanics Hall, London: Monday evening, Oct. 29, 1877, reserved seats, 75 and 50 cents, for sale at Nordheimer's Store : Mendelssohn Quintette Club Concert .. s.n., 1986.

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31

Lindeman, Stephan D. Felix Mendelssohn: Concert for Two Pianos and Orchestra in E Major (Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries). A-R Editions, 2000.

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32

Club, Chicago Mendelssohn. Chicago Mendelssohn Club: Third Concert, Thursday Evening, April Thirtieth, Nineteen Hundred and Fourteen, Orchestra Hall. Creative Media Partners, LLC, 2021.

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33

Club, Chicago Mendelssohn. Chicago Mendelssohn Club: Third Concert, Thursday Evening, April Thirtieth, Nineteen Hundred and Fourteen, Orchestra Hall. Creative Media Partners, LLC, 2021.

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34

Fuhrmann, Wolfgang. The Intimate Art of Listening. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.3.

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This chapter looks into the ways forms of domestic music making encouraged certain modes of listening. Musical intimacy develops and is nurtured among close friends or lovers in a social space of openness and trust. Such an intimate space unfolds in the physical staging of bourgeois private settings: in the typically cozy and cushioned interior of the nineteenth century, often enhanced by dimming lights, as witnessed by documents from the Mendelssohn family, among others. Such a setting allows musicians and listeners alike to indulge freely in “true” musical values. Musicians shun outward virt

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35

Huth, Volkhard, Julius H. Schoeps, and Christian Hoffarth, eds. fort von hain und haus. Klostermann, 2019. http://dx.doi.org/10.5771/9783465110996.

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The volume documents the contributions to a conference held by the Moses Mendelssohn Foundation in October 2014 in Darmstadt, the birthplace of the Jewish poet Karl Wolfskehl. The focus of this interdisciplinary conference was not only on the famous poet´s and intellectual´s poetic and essayistic work; rather, it was also and especially on his family, in particular on their far-reaching significance for Darmstadt's history and culture in the 19th and 20th centuries. The lectures shed light on outstanding members of the Wolfskehl family in their life and times and explore whether and how they m

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36

Garloff, Katja. Mixed Feelings. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501704963.001.0001.

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Since the late eighteenth century, writers and thinkers have used the idea of love—often unrequited or impossible love—to comment on the changing cultural, social, and political position of Jews in the German-speaking countries. This book asks what it means for literature (and philosophy) to use love between individuals as a metaphor for group relations. This question is of renewed interest today, when theorists of multiculturalism turn toward love in their search for new models of particularity and universality. The book is structured around two transformative moments in German Jewish culture

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