Dissertations / Theses: '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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Schröder, Gesine. "Mendelssohn - a model for young composers." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61678.

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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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Zappalà, Pietro. "Le Choralkantaten di Felix Mendelssohn-Bartholdy /." Venezia : Edizioni Fondazione Levi, 1991. http://catalogue.bnf.fr/ark:/12148/cb38831940f.

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Hoensbroech, Raphael von. "Felix Mendelssohn Bartholdys unvolledetes Oratorium Christus /." Kassel : G. Bosse, 2006. http://catalogue.bnf.fr/ark:/12148/cb40125335r.

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Rice, Kelly S. (Kelly Stanley). "Joseph Gould and the Montreal Mendelssohn Choir." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61098.

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Joseph Gould was an important figure in the musical life of late nineteenth-century Montreal. His activities as a church musician, piano and organ dealer, and journalist made a considerable impact on artistic life in the city. But it was as the founder and conductor of the Montreal Mendelssohn Choir that Gould's influence was most keenly felt. Founded in 1864, the Mendelssohn Choir enjoyed a thirty-year lifespan and became famous for its high standard of performance. The library of the Choir, housed at the Marvin Duchow Music Library of McGill University, is an important collection, not only because of the presence of a number of interesting pieces of Canadiana within it, but as a basis for further study of nineteenth-century choral music. Included in this thesis is a catalogue of this collection as well as a list of Gould's known compositions.

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Appold, Juliette Laurence. "Felix Mendelssohn Bartholdy - Landschaften in Briefen, Bildern und Musik." Essen Verl. Die Blaue Eule, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2938147&prov=M&dokv̲ar=1&doke̲xt=htm.

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Nelson, Lee David. "THE CHORALE CANTATAS OF FELIX MENDELSSOHN-BARTHOLDY: AN EXAMINATION OF MENDELSSOHN'S TRANSLATION OF J.S. BACH'S MUSICAL SYNTAX AND FORM." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194182.

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In this study I examine the genesis and compositional purpose of Mendelssohn's seven chorale cantatas which include "Christe, du Lamm Gottes" (1827); "Jesu, meine Freude" (1828); "Wer nur den lieben Gott läßt walten" (1829); "O Haupt voll Blut und Wunden" (1830); "Vom Himmel hoch" (1831); "Wir Glauben all an einem Gott" (1831); and "Ach Gott, vom Himmel sieh’ darein" (1832). I also re-examine the widely held belief that Mendelssohn's chorale cantatas were juvenilia, functioning only as compositional exercises to better learn the style of J.S. Bach. My examination includes a stylistic analysis of each cantata that shows a direct deviation from an imitation of Bach's musical syntax and form to a re-creation of the chorale cantata genre using nineteenth-century idioms. My approach to analysis is modeled after that of James Garratt, who has done a great deal of research on Mendelssohn's psalm settings. These works, like the chorale cantatas, have also been criticized for being compositional exercises that imitate Palestrina's musical syntax and form. Garratt believes that by using a literary method called translation theory, one can gain an unbiased assessment and evaluation of compositions that are based on pre-existent models. I have applied the tenets of translation theory as the foundation for my analysis to determine if the chorale cantatas were imitations of Bach's model or re-creations of the genre. This approach provides, as Garratt states, "a means of differentiating between the degree of affinity that links the works of Mendelssohn...and [his] models." The stylistic analysis also illustrates how the chorale cantatas are exemplars of Mendelssohn's compositional style. Unique characteristics such as Mendelssohn's frank religious convictions; his perceptive and creative treatment of chorales; his understanding of Baroque forms and styles; and his remarkable contrapuntal prowess are all beautifully exemplified in the chorale cantatas. I conclude that instead of being regarded as archaic, compositional exercises, Mendelssohn's chorale cantatas can and should be viewed as seminal works in his sacred choral-orchestral output.

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Pollok, Anne. "Facetten des Menschen : zur Anthropologie Moses Mendelssohns /." Hamburg : Felix Meiner Verlag, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3356099&prov=M&dok_var=1&dok_ext=htm.

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Berghahn, Cord-Friedrich. "Moses Mendelssohns "Jerusalem" : ein Beitrag zur Geschichte der Menschenrechte und der pluralistischen Gesellschaft in der deutschen Aufklärung /." Tübingen : Niemeyer, 2001. http://books.google.com/books?id=XrFbAAAAMAAJ.

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Voigts, Manfred. "Moses Mendelssohn und Franz Kafka : die heilige Schrift." Universität Potsdam, 2006. http://opus.kobv.de/ubp/volltexte/2008/2265/.

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Bartsch, Cornelia. "Fanny Hensel, geb. Mendelssohn Bartholdy : Musik als Korrespondenz /." Kassel : Furore-Verl, 2007. http://deposit.ddb.de/cgi-bin/dokserv?id=2671581&prov=M&dokv̲ar=1&doke̲xt=htm.

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Schmidt, Thomas Christian. "Die ästhetischen Grundlagen der Instrumentalmusik Felix Mendelssohn Bartholdys /." Stuttgart : M & P, 1996. http://catalogue.bnf.fr/ark:/12148/cb35848657t.

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Brandon, Gregg Lewis, and Gregg Lewis Brandon. "Mendelssohn's Public Statement of Faith: "Lobgesang" as Christian Witness." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626714.

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In a letter from July 21, 1840, Felix Mendelssohn Bartholdy (1809–1847) shared with his friend Karl Klingemann that in his Symphony No. 2 in B-flat Major, the Lobgesang, “all the movements, vocal and instrumental, are composed to the words ‘Everything that breathes, praise the Lord’; you understand that the instruments first praise in their own way, and then the chorus and the individual voices.” This tantalizing passage is not a direct profession of faith, but the language of praising God through music does raise questions about Mendelssohn’s personal religious philosophy. The topic of Mendelssohn’s faith has been the subject of much speculation; some have assumed as the grandson of eighteenth-century Jewish philosopher Moses Mendelssohn, he ought to be considered Jewish, while others, such as R. Larry Todd, have posited that “despite a willingness to compose sacred music for different faiths, in his personal convictions Mendelssohn adhered to the Protestant creed.” Mendelssohn’s Lobgesang contains evidence of his deeply-held Protestant identity. Its “motto” theme appears at the beginning, middle, and end of Lobgesang. The first time with instruments alone; the second time sung with the text, “Alles, was odem hat, lobe den Herrn” (“Everything that breathes, praise the Lord,” Psalm 150:6), and lastly, at the end of the work, by the instruments alone, suggesting the associated text even though it is not uttered aloud. Combining this cyclical quality with the appearance of self-quotations and the Christo-centric thrust of the rest of Lobgesang’s text, we are invited to view Lobgesang as a lens through which to view other works as having been composed for the glory of God—specifically, the God Mendelssohn knew from a Protestant perspective. This paper contributes to the ongoing discussion about the relationship between music and identity, with a focus also placed on the continuing conversation about musical quotation and reference.

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Britton, Amy Christine. "A Study of Felix Mendelssohn's Piano Fugues." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1220458221.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisor: David Berry Ph.D. (Advisor), Catherine Losada Ph.D. (Committee Member), Melinda Boyd Ph.D. (Committee Member). Title from electronic thesis title page (viewed Jan. 18, 2009). Includes abstract. Keywords: Mendelssohn; fugue. Includes bibliographical references.

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Bach, Judit. "A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117648285.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center

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Rosenthal, Rebecca. "Felix Mendelssohn Bartholdys Schauspielmusiken Untersuchungen zu Form und Funktion." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/1000026299/04.

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Herbst, Raviv [Verfasser]. "Jüdische Musikelemente im Werk von Felix Mendelssohn / Raviv Herbst." Berlin : Freie Universität Berlin, 2012. http://d-nb.info/1027816096/34.

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Malá, Michaela. "Významné ženy u klavíru - Klára Schumann, Fanny Mendelssohn Hensel." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79440.

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This work focuses on several women who have put their´s minds to classical music. They have succeed at the highest level and they have shown a tremendous passion about what they have been doing. This work tells the reader the life stories of the following women, Clara Schumann, Fanny mendelssohn, Martha Argerich and Jitka Čechová. It shows their successes, major concerts, compositions they have written and their strong feelings for music. You can also find here the benefits they have brought to classical music and all their activities which helped the industry.

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Wehner, Ralf. "Studien zum geistlichen Chorschaffen des jungen Felix Mendelssohn Bartholdy /." Sinzig : Studio, 1996. http://catalogue.bnf.fr/ark:/12148/cb36966347x.

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Loy, Felix. "Die Bach-Rezeption in den Oratorien von Mendelssohn Bartholdy /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb390343063.

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Vogt, Wolfgang. "Moses Mendelssohns Beschreibung der Wirklichkeit menschlichen Erkennens." Würzburg Königshausen und Neumann, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2683486&prov=M&dok_var=1&dok_ext=htm.

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Turley, Charles. "Ch'io t'abbandono by Felix Mendelssohn Bartholdy a dramatic image of the education and aptitudes of the composer /." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/turley%5Fcharles/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by recitals, recorded Nov. 29, 1999, Feb. 26, 2001, and Apr. 22, 2002; videocassette includes productions of Gianni Schicchi and Albert Herring; date of cassette unknown. Includes bibliographical references (p. 59-61).

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Weber, Claude. "Christian Wolff, Moses Mendelssohn et la métaphysique de Descartes : étude sur l'influence du cartésianisme dans les philosophies post-leibniziennes de Wolff et de Mendelssohn." Paris 4, 1986. http://www.theses.fr/1986PA040017.

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La vigueur de la métaphysique de l'école, de tradition aristotélicienne, puis l'avènement des philosophies leibnizienne et post-leibniziennes ont freiné le développement du cartésianisme en Allemagne. A l'aide de deux exemples, cette étude tente de montrer que l'influence de Descartes n'est toutefois pas absente au siècle de l'aufklarung. Ainsi, avant de devenir le vulgarisateur du leibnizianisme, Christian Wolff a été proche des milieux cartésiens. Sa métaphysique est fortement marquée par la "philosophie première" cartésienne, même si elle conservé, à côté du "cogito" et d'une théologie en partie cartésienne, une ontologie héritée des métaphysiciens de l'école. Mendelssohn par contre, quoique plus proche du Leibniz de la monadologie, emprunte à Descartes le cheminement de la pensée dans les méditations, en passant par le doute, le "cogito" et les preuves de l'existence de dieu, dans le souci de remédier au défaut de l'essentialisme leibnizien qui ne parvient pas à la connaissance des choses qui existent, c'est-à-dire qui ne fournit pas de passage du possible au réel. Contrairement à la métaphysique de Wolff, celle de Mendelssohn semble réussir la synthèse entre la philosophie première des méditations de Descartes et la théodicée et la monadologie leibniziennes
The vigor of the traditional Aristotelian school metaphysics, and later the rise of the leibnizian and post-leibnizian philosophies have confined the development of cartesianism in Germany. By two examples, this study makes out that the influence of Descartes is not completely lacking at the time of the aufklarung. Before becoming the vulgarizing out spreader of leibnizianism, Christian Wolff has been close to cartesian circles. His metaphysics are in a high degree marked by the cartesian "prima philosophia", although they keep contiguous to the "cogito" and to a partially cartesian theology, an ontology inherited from school metaphysics. Although he stands closer to the Leibniz of the monadology, Mendelssohn for his part adopts the process of thought in Descartes' meditations, comprising the methodical doubt, the "cogito" and the proofs for god's existence, trying to correct the insufficiency of leibnizian essentialism that doesn't attain the knowledge of what really exists, i. E. That doesn't reveal a passage from the merely possible to reality. Far better than Wolff, Mendelssohn seems to achieve in his metaphysics a synthesis of the "prima philosophia" of Descartes' meditations and the leibnizian theodicy and monadology

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Weber, Claude. "Christian Wolff, Moses Mendelssohn et la métaphysique de Descartes étude sur l'influence du cartésianisme dans les philosophies post-leibniziennes de Wolff et de Mendelssohn /." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376018286.

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Boetius, Susanne. "Felix Mendelssohn Bartholdys Schauspielmusiken zu Antigone und Ödipus in Kolonos." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23454.

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Lederman, Jean. "La philosophie des Lumières dans le Biur de Moses Mendelssohn." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0135.

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La philosophie des Lumières dans le Biur de Moses Mendelssohn, repose sur l'hyppothèse selon laquelle, à travers son commentaire hébraïque du Pentateuque (Biur), Mendelssohn (1729-86) cherche à éclairer le juif du ghetto en tant qu'homme (Mensch) et à l'émanciper ensuite en tant que citoyen (Bürger). En utilisant la méthode inductive nous avons reconstitué le corpus des Lumières du Biur, retrouvé ses sources, puis nous l'avons comparé aux écrits allemands de Mendelssohn dans la même période (1780-83). Pour Mendelssohn, les Lumières se rapportent d'avantage au théorique, à une connaissance rationnelle permettant de réfléchir sur les choses de la vie humaine. La plupart des thèmes retrouvés dans le Biur -le langage, l'optimisme, le didactisme, l'immortalité, l'éthique, la religion naturelle, la critique et la liberté religieuse - s'accordent avec cette définition. Ils constituent les chapitres de la première partie, "L' HOMME". La partie médiane, "L'HOMME ET LE CITOYEN", s'occupe à la fois de la religion et de l'intégration sociale des juifs et ne comprend que deux chapitres. La dernière partie -"LE CITOYEN" - vise uniquement l'émancipation sociale et ne comprend qu'un seul chapitre
The philosophy of the Enlightenment in the Biur of Moses Mendelssohn is based upon the hypothesis that through his biblical commentary in hebrew (Biur), Mendelssohn (1729-86) is seeking to enlighten the jew of the ghetto as a man (Mensch) and then to emancipate him as a citizen (Bürger). Using the inductive method, we restored the corpus of the Enlightenment in the Biur, found it's sources and compared it to Mendelssohn's german works written in the same period (1780-83). For Mendelssohn, Enlightenment deals in particular with theory and human rational knowledge which allow a reflection upon the things of life. Most of the themes found in the Biuir - language, optimism, didactism, immortality, ethics, natural religion, criticism and religious freedom - suit that definition. They constitute the chapters of the first section : "MAN". The mid-section, "MAN AND CITIZEN", includes only two chapters and deals with both religion and social integration of the jews. The last section, "THE CITIZEN" has only one chapter and analyses the social integration of the jews

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Baker, Michael. "Text-music relationships in the solo songs of Felix Mendelssohn /." Electronic version of abstract with link to full text (durable link) ProQuest publication number: AAT 3301349; ProQuest document ID: 1475168291; ISBN 9780549466246, 2007. http://proquest.umi.com/pqdweb?did=1475168291&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Indiana University, 2007.
Computer printout. Includes abstract and vita. "Appendix, Scores for songs discussed in this dissertation": leaves 207-270. Includes bibliographical references (leaves 271-275).

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Oechsle, Siegfried. "Symphonik nach Beethoven : Studien zu Schubert, Schumann, Mendelssohn und Gade /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35531549h.

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Šístek, Eduard. "Felix Mendelssohn-Bartholdy a jeho skladby pro violoncello a klavír." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261367.

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This thesis offers a brief overview of the life and the work of Felix Mendelssohn Bartholdy. It was no coincidence that Robert Schumann called him the Mozart of the 19th century: Being a prodigy from a very early age, he composed with such an unbelievable lightness. Many of his compositions have become an essential part of the world of music nowadays. Equally, his pieces for the cello and the piano, which are dealt with in the second part of the thesis, have their remarkable qualities and they are worth playing.

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Pollok, Anne. "Facetten des Menschen zur Anthropologie Moses Mendelssohns." Hamburg Meiner, 2007. http://d-nb.info/996839054/04.

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Schwab, Alexander. "Grigorii Israilevič Ganzburg (Hg.), F. Mendel'son-Bartol'di i tradicii muzykal'nogo professionalizma [Felix Mendelssohn-Bartholdy und die Tradition des musikalischen Professionalismus], Charkov 1995 [Rezension]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222535.

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Behm, Britta L. "Moses Mendelssohn und die Transformation der jüdischen Erziehung in Berlin : eine bildungsgeschichtliche Analyse zur jüdischen Aufklärung im 18. Jahrhundert /." Münster : Waxmann, 2002. http://catalogue.bnf.fr/ark:/12148/cb39055881w.

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Inge, Gustav. "Mendelssohn stråkkvartett nr.6 i f-moll Op.80, sats 1." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2534.

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Denna uppsats är tänkt att kretsa kring första satsen ur Felix Mendelssohns sjätte stråkkvartett i f-moll som han skrev när hans syster Fanny hastigt och tragiskt gick bort, samt hur detta trauma speglas i musiken. Jag ger en analys av verket samt förklarar hur vi resonerar inom kvartetten för att försöka förmedla den rätta känslan. Då jag spenderat en stor del av mina tre år på KMH till att spela med min kvartett, så vill jag gärna ge en inblick i hur vi arbetar tillsammans.

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Wetterbrandt, Gustav. "Felix Mendelssohn-Bartholdy: Konsertstycken op.113/114 : klarinettistisk ekvilibrism under 1800-talet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2628.

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Felix Mendelssohn-Bartholdy levde under första halvan av 1800-talet. Utöver att vara ett underbarn likt Wolfgang Amadeus Mozart var han även en mycket socialt kapabel person. Detta gynnade honom mycket då hans kompositionsförmåga lyftes fram som enastående av framstående personer som Johann Wolfgang von Goethe och drottning Victoria av Storbritannien. Han var en mycket produktiv komponist och skrev under sitt liv mängder av orkestermusik, kammarmusik, operor, solokonserter och pianoverk. I detta arbete har jag fördjupat mig i hans två Konsertstycken Op.113/114 för klarinett, bassetthorn och orkester, som Mendelssohn skrev till klarinettisterna Carl och Heinrich Bärmann. Syftet med denna studie är att öka förståelsen för dessa två förbisedda verk samt jämföra instuderingsprocessen av en dubbelkonsert med det av en solokonsert. Jag har genom användning av partitur från G. Henle verlag analyserat Op. 113 och skrivit om mina konstnärliga ställningstaganden under instuderingsprocessen av både Op.113 och Op.114. Ur analysen framgår att musiken har allt annat än en strikt struktur. Mendelssohn bryter gärna de strukturella mönstren som förväntas av honom. Ur instuderingsprocessen framgår att arbetet med en dubbelkonsert har både stora för- och nackdelar jämfört med arbetet av en solokonsert, men att möjligheten till en diskussion mellan två parter är mycket givande för att skapa sig en klar bild av vad man vill komma fram till med sitt framförande av verket. Denna studie strävar efter en ökad fördjupning och förståelse av olika infallsvinklar som leder till en mer genomarbetad konstnärlig instuderingsprocess.

F.J. Haydn - Symfoni nr. 104 i D-dur, Hob.I:104, F. Mendelssohn-Bartholdy - Konsertstycken nr.1 och nr.2, Op.113/114, L.v. Beethoven - Symfoni nr. 2 i D-dur Op.36. Som Howie - Klarinett, Gustav Wetterbrandt - Bassetthorn, Mats Zetterqvist - ledning, KMH symfoniorkester. Inspelning från konserten med ovan nämnda medverkande finns tillgänglig.

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Moraeus, Johanna. "Ergonomisk Mendelssohn : En studie om avancerad musikinlärning i relation till fysisk hälsa." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3515.

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I mitt examensarbete har jag valt att skriva om sats 1 ur Felix Mendelssohns violinkonsert. Jag har valt detta stycke för att jag tycker väldigt mycket om det och jag har lyssnat på violinkonserten sedan jag var ett litet barn. Syfte har varit att undersöka om utförandet av ett musikstycke kan påverkas av om man är ergonomiskt medveten eller inte. Jag fann intresse att skriva om ergonomi då jag har egna erfarenheter av att ha problem med spänningar och smärta i min kropp när jag övat (i synnerhet nacke, axlar och armar) och har insett att det kan vara sammanlänkat med ett bristande ergonomiskt medvetande i mitt fiolspel. Jag har velat undersöka om jag med ergonomiska övningar kan undvika spänningar och smärta. Jag har valt ut ett par passager ur stycket och undersökt vad det är för spänningar och smärta som uppkommer. Jag valde ut några ergonomiska övningar för nacke och axlar som förhindrar att spänningar uppstår och provade att se om övningarna kunde förbättra mitt framförande av passagerna. Övningarna gav ett mycket positivt resultat. Jag märkte en tydlig skillnad från tidigare: det krävdes bara ett par minuters ergonomiska övningar innan varje övningspass av de olika passagerna för att bli av med spänningarna och smärtan. Jag har känt mig mycket mer avslappnad i kroppen efter att jag praktiserat övningarna. Därför har jag absolut haft nytta av att undersöka detta ämne. Jag har blivit mer medveten om vilket viktigt verktyg ergonomin tillför till övningen. Dessa typer av övningar kommer jag använda mig av i framtiden i mitt musicerande. Förhoppningsvis kommer mitt arbete inspirera andra musiker att bli mer ergonomiskt medvetna. Detta är ett ämne vi inte ska underskatta.

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Turley, Charles William. ""Ch'io t'abbandono" by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and Aptitudes of the Composer." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3203/.

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The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn's romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. The musical setting of the text, as well as the text itself, indicates both Mendelssohn's awareness of himself as a maturing adolescent composer and his desire to be a composer of operatic works, a desire that was never fully realized.

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Sieblist, Kerstin, and Barbara Wiermann. "Zum Ersten, zum Zweiten, zum Dritten." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61234.

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Bei der Auktion „Music and continental books and manuscripts“ in London bei Sotheby’s wurden von der Leipziger Hochschule für Musik und Theater und dem Stadtgeschichtlichen Museum Leipzig zwei seltene Mendelssohn-Autographe erworben. Die Bibliothek der Hochschule für Musik und Theater Leipzig verfügt über eine Sondersammlung zur Geschichte des Hauses, die verschiedene Dokumente zu Mendelssohns Wirken umfasst. Daher passten die angebotenen Objekte in der Auktion in London in den Sammlungskontext der Leipziger Institution.

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Grözinger, Karl E. "Dominique Bourel: Moses Mendelssohn : Begründer des modernen Judentums / [rezensiert von] Karl E. Grözinger." Universität Potsdam, 2010. http://opus.kobv.de/ubp/volltexte/2010/4356/.

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Bourel, Dominique. "Le dernier Moïse : Moses Mendelssohn et la fondation du judaïsme moderne en Prusse." Paris 4, 1995. http://www.theses.fr/1995PA040113.

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La thèse traite de la figure et de la pensée de Moses Mendelssohn (1729-1786) et veut articuler deux champs d'étude, l'histoire culturelle de l'Allemagne et la pensée juive. L'émancipation des juifs ne peut se comprendre sans sa recontextualisation au sein de l'histoire de la Prusse du dix-huitième siècle. Apres avoir examiné l'histoire des interprétations et de la légende née après sa mort, la première partie explore les conditions de possibilité de l'émergence d'une telle figure, dans la théologie calviniste et piétiste du temps. Ensuite une biographie fait droit à ses grandes œuvres philosophiques, jusqu'à la tentative de conversion de Lavater (1769). La dernière partie est centrée sur les débats de l'émancipation des juifs, la traduction de la bible et des psaumes ainsi que de Jérusalem (1783), la charte fondant le judaïsme moderne. La conclusion revient sur la génération des juifs éclairés et la symbiose judéo-allemande
This work deals with the figure and the world of Moses Mendelssohn. The scope is to articulate two fields of study, German culture history and Jews thought. And to show how the emancipation of the Jews and the new model of Judaism are deeply rooted in the intellectual history of Prussia. Alter examinating the legend of Moses Mendelssohn, how his figure was interpreted and celebrated after his death to the present, the first part explores the condition of possibility of this emergence of such a work, the theologies of Calvinism and pietism in Prussia. The second part is a short biography of Mendelssohn with special emphasis on the early works, the philosophical writings, his best seller (Phadon) and the tentative of conversion of Lavater (1769). The third and last part is focusing on emancipation, with the debate around Dohn (1781-1783) about his Jerusalem (1783) and his translation of the bible. The conclusion is an enquiry about his generation, the maskilim, and the secret alliage of German-Jewish relationship

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Yoo, Esther S. "Old Wine in New Bottles: Felix Mendelssoohn-Bartholdy’s Chorale Cantatas – J.S. Bach’s Models Become “Romanticized”." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155806910.

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Phillips, Nicholas Scott Everett William A. "Mendelssohn's Songs without words revisited: culture, gender, literature, and the role of domestic piano music in Victorian England /." Diss., UMK access, 2007.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A dissertation in performance." Typescript. Advisor: William A. Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 08, 2008 Includes bibliographical references (leaves 123-136). Online version of the print edition.

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Dissertations / Theses on the topic 'Mendelssohn'

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