Felix Mendelssohn Bartholdy: A Research and Information Guide, Second Edition

This article explores the historical reception of Athalia in the years following FMB’s death, and the ways in which contemporary aesthetic understandings and period performing traditions made it possible for the work to become established in the nineteenth-century choral repertory.

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340 Wirth, Helmut. “Natur und Märchen in Webers Oberon, Mendelssohns Sommernachtstraum und Nicolais Die lustige Weiber von Windsor.” In Anna Amalie Abert und Wilhelm Pfannkuch, eds., Festschrift Friedrich Blume zum 70. Geburtstag. Kassel: Bärenreiter, 1963, pp. 389–97.

This article proceeds from the observations that (1) nature and fairy tales were intimately related in the nineteenth century, and (2) the importance of nature in Shakespeare’s A Midsummer Night’s Dream grants a special tone to that play. This article comments on the musical structure of the Overture (Op. 21) and its relationship to Weber’s music, as well as the links between the Overture and the remainder of the incidental music (Op. 61). It views the three titular works as representing three stages in the Romantic view of nature and Romantic techniques for dealing with symbols and allegories of nature.

Orchestral Works (Symphonies, Overtures, Concertos)

Some studies of overtures connected to stage works may be included in the previous section, Stage Works. Please check there if you do not find a source you seek here.

341 Barnes, Marilyn Holt. “Developmental Procedures in the Sonata Form Movements of the Symphonies of Beethoven, Schubert, Mendelssohn, and Schumann.” Ph.D. diss., Case Western Reserve University, 1973. 359 pp.

342 Botstiber, Hugo. Geschichte der Ouvertüre und der freien Orchesterformen. Kleine Handbücher der Musikgeschichte nach Gattungen, Vol. 4. Leipzig: Breitkopf & Härtel, 1913. 274 pp. Reprinted Wiesbaden: Martin Sändig, [1969].

FMB is discussed on pp. 176–82. FMB was the first to use the term “concert overture.” His works in this genre are “true, unqualified program music. FMB is a program musician in almost all his works.” But “subordination to a program does not prevent FMB from giving form all its rights.” The relationship of Calm Sea and Prosperous Voyage to the Goethe poems is discussed. [DM]

343 Boyd, John Pretz. “Ouvertüre für Harmoniemusik Op. 24 by Felix Mendelssohn Bartholdy: An Edition for Contemporary Wind Band.” D.M.A. diss., University of Missouri at Kansas City, 1981. 169 pp.

Boyd discusses the autograph of 1826, the original version for eleven winds of 1824, and the final version of 1838.

344 Cooper, John Michael. “‘Aber eben dieser Zweifel’: A New Look at Mendelssohn’s ‘Italian’ Symphony.” 19th-Century Music 15 (1992): 169–87.

An overview of the sources and compositional history for the A-major Symphony, including the first published consideration of the manuscript fragments held in the Bodleian Library, Oxford. Cooper argues that the undated manuscript long assumed to be a draft for the work actually represents a revision of the published version.

345 ——“Felix Mendelssohn Bartholdy and the Italian Symphony: Historical, Musical, and Extramusical Perspectives.” Ph.D. diss., Duke University, 1994. 454 pp.

Cooper considers the compositional history, sources, music, and programmatic content of the A-major Symphony, as well as its posthumous reception history. Asserts that the then-unpublished manuscript version of the symphony represents the revised version of the familiar work rather than an early draft.

346 ——Mendelssohn’s ‘Italian’ Symphony. Oxford: Oxford University Press, 2003. 230 pp. ISBN 0198166532.

Adaptation of the author’s dissertation, item 345. Review: R. Wehner in Die Musikforschung 57 (2) (April–June 2004): 195; C. Glanz in Österreichische Musikzeitschrift 59 (6) (June 2004): 71; M. Graubart in The Musical Times 145 (Summer 2004): 93; R. H. Stewart-MacDonald in Music & Letters 86 (1) (Feb. 2005): 129.

347 ——“‘ … da ich dies Stück gern recht correct erscheinen sähe’: Philological and Textual Issues in Mendelssohn’s Hebrides Overture, Op. 26.” Philomusica On-Line 3 (2003–2004). Available at: http://riviste.paviauniversitypress.it/index.php/phi/article/view/03-01SG01/9

A detailed investigation of the genesis and source situation for FMB’s Hebrides Overture. Includes particulars on performances, revisions, editions, and manuscript sources.

348 Dinglinger, Wolfgang. “Felix Mendelssohn Bartholdys Klavierkonzert a-moll: Umgang mit einer Modellkomposition.” Mendelssohn-Studien 8 (1993): 105–30.

This article concerns the little-known Piano Concerto in A Minor (1822) and suggests that FMB may have taken Hummel’s Piano Concerto in A Minor, Op. 85, as a point of departure. It suggests that while the young FMB’s concerto contains obvious emulations of specific aspects of Hummel’s work, it also reveals the composer struggling to find his own voice.

349 ——“The Programme of Mendelssohn’s ‘Reformation’ Symphony, Op. 107.” In John Michael Cooper and Julie D. Prandi, eds, The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 115–33.

Explores the idea that there is a “gaping hole in the work’s programme,” which makes it difficult to discern a coherent plot for the work. Argues for a more general concept that can be understood to operate throughout the symphony as a whole.

350 Ehrenforth, Karl Heinrich. “Das Trauerspiel von Vergangenheit und Gegenwart … Deutungsperspektiven des 2. Satzes der ‘Italienischen Symphonie.’” Musik und Bildung 20 (1988): 486–94.

Ehrenforth proceeds from Werner’s assertion that the main theme of the slow movement of the A-major Symphony is modeled after a song by Zelter on a text by Goethe.

351 Ehrle, Thomas. Die Instrumentation in den Symphonien und Ouvertüren von Felix Mendelssohn Bartholdy. Neue musikgeschichtliche Forschungen, Bd. 13. Wiesbaden: Breitkopf & Härtel, 1983. 259 pp. ISBN 3765101923.

Adapted from the author’s Ph.D. diss. by the same title (Goethe-Universität, Frankfurt am Main, 1983). Except for the 1923 Vienna dissertation by Josef Köffler, Über orchestrate Koloristik in den symphonischen Werken von Felix Mendelssohn Bartholdy, which has apparently been lost, there is very little about this subject. Emphasis is placed on the extreme novelty of FMB’s instrumentation within the limits of Beethoven’s orchestra: “In the case of Mendelssohn, what is particularly striking is the realization of new effects within the stated borders.” Changes in the construction and techniques of orchestra instruments during FMB’s lifetime are discussed. FMB’s viola parts are particularly demanding. Related to this is the liberation of the cellos from the bass part. The development of string writing in the early symphonies for strings is emphasized, as is string writing in general. Another section is devoted to wind writing in general; the fifteen works are examined individually. Krummacher’s thesis about FMB’s “turn away from motivic working out and fragmentation of thematic material” is accepted and the consequences for orchestral technique discussed. [DM]

352 Eichhorn, Andreas. Felix Mendelssohn-Bartholdy: Die Hebriden— Ouvertüre für Orchester Op. 26. Meisterwerke der Musik, Hft. 66. Munich: Fink, 1998. 91 pp. ISBN 3770532740.

A handbook that complements R. Larry Todd’s book on the programmatic concert overtures (item 393). The bulk of Eichhorn’s study consists of a thorough discussion of the genesis of the overture (along with a list of the surviving sources), followed by a substantial analytical study (including conventional music-theoretical perspectives as well as hermeneutic ones). To these are appended a compilation of “Dokumente” (quotations from letters, reviews, and other primary sources), a selective discography, and an overview of the edition history, as well as a good bibliography.

353 Gerlach, Reinhard. “Mendelssohns schöpferische Erinnerung der ‘Jugendzeit’: Die Beziehungen zwischen dem Violinkonzert, Op. 64, und dem Oktett für Streicher, Op. 20.” Die Musikforschung 25 (1972): 142–52. Reprinted in Gerhard Schuhmacher, ed., Felix Mendelssohn Bartholdy. Wege der Forschung, Bd. 494. Darmstadt: Wissenschaftliche Buchgesellschaft, 1982, pp. 248–62.

The author finds that the nostalgic tone of several of FMB’s letters to Johann Gustav Droysen in the early 1840s is the result of the composer’s longing for the “freshness” and “liveliness” of the time that FMB, Droysen, and A. B. Marx shared before the composer’s painful break in friendship with the theorist. The composition of Op. 64 represented a bridging of the two poles represented by the composer’s former friend (Marx) and the librettist who remained his friend (Droysen).

354 [Grove, George.] “Mendelssohn’s Unpublished Symphonies.” Monthly Musical Record 1 (1871): 159–60.

The first study of the thirteen string symphonies, still useful despite the lengthier and more detailed studies by Wolff (item 1192) and Konold (item 364).

355 ——“Mendelssohn’s Overture to ‘A Midsummer Night’s Dream’.” The Musical Times 44 (1903): 728–38.

A typically thorough and insightful Grove essay, drawing attention to circumstances of the work’s composition and specific musical features.

356 ——“Mendelssohn’s ‘Hebrides’ Overture.” The Musical Times 45 (1905): 531–33.

Grove’s essay on the Hebrides was the first to reproduce in facsimile the composer’s original sketch for the beginning of the piece (from a letter to his family dated 7 August 1829). This essay focuses on changes between the original and published versions.

357 ——“Mendelssohn’s Violin Concerto.” The Musical Times 47 (1906): 611–15.

The first important essay on this major work. It provides information on the first performance, as well as a descriptive analysis and information regarding the changes evident in the autograph score.

358 Haney, Joel. “Navigating Sonata Space in Mendelssohn’s Meeresstille und glückliche Fahrt.” 19th-Century Music 28 (2) (Fall, 2004): 108–32.

Traces the influence of A. B. Marx’s theories of sonata form and “characteristic” music in FMB’s overtures. Explores the textual inspiriation for Op. 27 in Goethe’s Meeresstille und glückliche Fahrt to propose a hermeneutical evaluation of the work, with a special emphasis on the Glückliche Fahrt.

359 Heuß, Andreas. “Das ‘Dresdener Amen’ im ersten Satz von Mendelssohns Reformationssinfonie.” Signale für die musikalische Welt 62 (1904): 281–84, 305–6.

An important early analytical commentary on the posthumously published “Reformation” Symphony. Heuß traces the thematic evolution of the “Dresden Amen” in the main subjects of the first movement, also commenting on the tune’s religious and cultural associations and describing its treatments as “typical of Mendelssohn’s essence.”

360 Hoshino, Hiromi. “Koukyoukyoku Daiyonban Italian Sakuhin 90 no Shirarezaru Men [Unfamiliar Aspects of a Familiar Work: On the Symphony No. 4, ‘Italian,’ Op. 90].” Ongaku-Geijutsu (Journal of Music Culture) 55 (4) (1997): 33–41.

361 ——“Mendelssohn no Koukyoukyoku Daisanban I-tanchou Sakuhin 56 no Gakufushiryou [Mendelssohn’s Symphony No. 3 in A minor Op. 56: A Survey of the Sources].” Ongakugaku (Journal of the Musicological Society of Japan) 46 (3) (2000): 209–11.

362 ——Mendelssohn no Scotland Koukyoukyoku [Felix Mendelssohn Bartholdy and the Scottish Symphony]. Tokyo: Ongaku-no-tomo, 2003. 482 pp.

363 Kieland, Marianne. “Sketches after an Overture: Presented Musical Spans as Structural Models in Mendelssohn’s Hebrides Overture.” In Theory Only 1 (1975): 6–10.

An abstract from a Master’s thesis, this article provides an interpretation of Op. 26 proceeding from the assumption that the model according to which one perceives sound-data will determine the mode of analysis that seems to work best. It coordinates a four-level “perception diagram” with a middle ground and a background-level reduction.

364 Konold, Wulf. “Opus 11 und Opus 107: Analytische Bemerkungen zu zwei unbekannten Sinfonien Felix Mendelssohn Bartholdys.” In HeinzKlaus Metzger and Rainer Riehn, eds., Felix Mendelssohn Bartholdy. Musik-Konzepte 14/15. Munich: edition text + kritik, 1980, pp. 8–28.

Despite the title (by now the “Reformation” Symphony hardly counts as “unknown”; nor was it “unknown” in 1976, when the essay was written), an insightful discussion of the first two of FMB’s mature symphonies. (Op. posth. 107 was composed before the “Scottish” and “Italian” symphonies.) The author’s observations center around structure, but there is also an attempt to come to terms with the programmaticism of Op. posth. 107. The discussion of Op. 11 is one of the most thorough currently available (see also Vitercik [item 655] and Todd [item 394]).

365 ——“Die zwei Fassungen der ‘Italienischen Symphonie’ von Felix Mendelssohn Bartholdy.” In C.-H. Mahling and Sigrid Wiesmann, eds., Bericht über den Internationalen Musikwissenschaftlichen Kongress Bayreuth 1981. Kassel: Bärenreiter, 1984, pp. 410–15.

A description and classification of the variants evident in the principal manuscript for the 1833 version of the A-major Symphony.

366 ——“Felix Mendelssohn Bartholdys Rondo brillant Op. 29: Ein Beitrag zur Geschichte des einsätzigen Konzertstücks im 19. Jahrhundert.” Die Musikforschung 38 (1985): 169–82.

Konold examines the repertoire of one-movement “concerto pieces” (because of the genre-reference a better translation than the usual “concert piece”) and the aesthetic and performance-related issues they entail, followed by an examination of FMB’s five contributions to the genre (Opp. 22, 29, 43, 113, and 114, along with the Konzertstück on Weber’s Preziosa).

367 ——Felix Mendelssohn Bartholdy: Symphonie Nr. 4 A-Dur Op. 90, “Die Italienische.” Meisterwerke der Musik, Hft. 48. Munich: Fink, 1987. 62 pp. ISBN 3770524543.

A compact and eminently readable reference source on the familiar (1833) version of the A-major Symphony. An introductory chapter on the compositional history is followed by a descriptive commentary.

368 ——“Mendelssohns Jugendsymphonien: Eine analytische Studie.” Archiv für Musikwissenschaft 46 (1 and 2) (1989): 1–41 and 155–83.

A substantial article in two parts. Konold surveys the corpus of FMB’s string sinfonie as a whole, then classifies the works into three separate groups that reflect FMB grappling with several important issues within his own developing style. See also Grove (item 354) and Wolff (item 1192).

369 ——Die Symphonien Felix Mendelssohn Bartholdys: Untersuchung zu Werkgestalt und Formstruktur. Laaber: Laaber Verlag, 1992. 504 pp. ISBN 3890072321.

A monumental undertaking, including the early string sinfonie as well as the mature symphonic works (Opp. 11, 52, 56, 60, 90, and 107). Much of the material is adapted from Konold’s other writings, and the volume suffers from a lack of reference to any unpublished letters (as well as severe bibliographic problems). Still, a source that cannot be ignored, even if it must be used alongside other, more consistently reliable writings. Review: J. M. Cooper in Notes 50 (1994): 1373–76; G. Dietel in Neue Zeitschrift für Musik 155 (1) (1994): 76–77.

370 Kopf, René. “Felix Mendelssohn: La grotte de fingal (ouverture). ‘L’Education musicale’ ” 27 (1971): 183–85.

371 Lehmann, Karen. “Der junge Mendelssohn und seine zwölf Jugendsinfonien.” Musikforum 17 (2) (1972): 21–22.

372 Lindeman, Steve. “The Works for Solo Instrument(s) and Orchestra.” In Peter Mercer-Taylor, ed., The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004, pp. 112–29.

Explores FMB’s role in the development of the concerto as a genre during the nineteenth century, and studies his concerted works, among these the Piano Concerto No. 1, Op. 25, Piano Concerto No. 2, Op. 40, the Violin Concerto in E minor, Op. 64, the Capriccio brillant,Op.22,the Rondo brillant,Op.29,andtheSerenade und Allegro giojoso,Op.43.

373 ——“The Nineteenth-Century Piano Concerto.” In Simon P. Keefe, ed. The Cambridge Companion to the Concerto. Cambridge: Cambridge University Press, 2005, pp. 93–117.

Broad study of piano concertos in the nineteenth century, including works by Spohr, Hummel, Field, Ries, Weber, Moscheles, Mendelssohn, Liszt, Alkan, Kalkbrenner, Herz, Thalberg, Wieck, Schumann, Sterndale Bennett, Grieg, Brahms, Dvorák, Saint-Saëns, Tchaikovsky, MacDowell, and Beach.

374 ——“An Insular World of Romantic Isolation: Harmonic Digressions in the Early Nineteenth-Century Piano Concerto.” Ad Parnassum 4 (8) (Oct. 2006): 21–80.

Lindeman explores harmonically distanced piano solo parts in concertos especially after Beethoven’s “Emperor” concerto. Repertoire studied includes FMB’s Piano Concerto No. 1 in G minor, Op. 25.

375 Longyear, Rey M. “Cyclic Form and Tonal Relationships in Mendelssohn’s ‘Scottish’ Symphony.” In Theory Only 4 (1979): 38–48.

Even though Robert Schumann celebrated the extensive thematic unity of Op. 56 at the work’s première, few subsequent commentators have explored it in any detail. This article examines the thematic content of the symphony and asserts that virtually all of the themes are derived from two basic ideas.

376 Mercer-Taylor, Peter. “Mendelssohn’s ‘Scottish’ Symphony and the Music of German Memory.” 19th-Century Music 19 (1995): 68–82.

Adapted from the author’s dissertation, this article draws on melodic similarities between the thematic material of Op. 56 and the male chorus “Vaterland, in deinen Gauen” from the “Gutenberg” Festgesang (composed for Leipzig’s 1840 anniversary celebration of Gutenberg’s invention of the printing press) to suggest a kind of patriotic genre-discourse.

377 Mikusi, Balázs. “Mendelssohn’s ‘Scottish’ Tonality?” 19th-Century Music 29 (3) (Spring, 2006): 240–60.

Traces FMB’s “Scottish” or “Ossianic” mode and the influence of Gade throughout his œuvre, with a focus on how song forms may have influence larger genres, especially the “Hebrides” Overture, Op. 26; the “Scottish” Symphony, Op. 56; and Die Lorelei.

378 Pelto, William Lyle. “Musical Structure and Extramusical Meaning in the Concert Overtures of Mendelssohn.” Ph.D. diss., University of Texas at Austin, 1993. 316 pp.

A broad survey that entails a useful examination of nineteenth-century perspectives on issues involving music and extra-musical content, followed by an examination of the four programmatic concert overtures (Opp. 21, 26, 27, and 32). This study compares those works to the Ruy Blas Overture, Op. posth. 95.

379 Reed, David F. “The Original Version of the Overture for Wind Band of Felix Mendelssohn-Bartholdy,” Journal of Band Research 18 (1982): 3–10.

Reed focuses on the little-known version of the Overture for ten winds (rather than the more familiar version for twenty-three winds), and reviews the genesis and publication history of the work (including arrangements).

380 Richter, Arnd. “Beethoven, Mendelssohn, Hegel & Marx: Zur Poetik der Ouvertüre ‘Meeresstille und glückliche Fahrt’.” Neue Zeitschrift für Musik 149 (7–8) (1988): 18–23.

The author surveys instances of Beethoven’s influence in FMB’s early works and discusses relationships between Beethoven’s cantata on Goethe’s two poems “Meeresstille” and “Glückliche Fahrt” and FMB’s concert overture on the poem-pair.

381 Richter, Christoph. “Zum langsamen Satz der ‘Italienischen’ von Felix Mendelssohn Bartholdy: Eine Annäherung durch Musizieren.” Musik und Bildung 20 (1988): 497–506.

An experiential case-study in dimensions of musical meaning. Richter finds that one may experience the slow movement of the A-major Symphony in a variety of fashions, among them: as a ballad/processional; as a stylized dance; or as a Romantic study in emotional contrasts.

382 Roennfeldt, Peter John. “The Double Piano Concertos of Felix Mendelssohn.” D.M.A. diss., University of Cincinnati, 1985. 163 pp.

A thorough study of the Concerto in D Minor for Piano and Violin with Strings (1823), the Concerto in E Major for Two Pianos and Orchestra (1823), and the Concerto in A-flat for Two Pianos and Orchestra (1824).

383 Schmidt, Christian Martin. “Mendelssohns Lobgesang und Mahlers Zweite Symphonie.” In Bernd Sponheuer and Wolfram Steinbeck, eds., Gustav Mahler und die Symphonik des 19. Jahrhunderts: Referate des Bonner Symposions 2000. Frankfurt am Main: Peter Lang, 2001, pp. 113–21.

Starts from the observation that not all symphonies with choral elements are necessarily derivative of Beethoven’s Ninth Symphony.

384 ——“Lobgesang – oder: Große Musik für Leipzig.” In Wilhelm Seidel, ed., Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig. Leipzig: Musik und Stadt—Studien und Dokumente 1. Leipzig: C. F. Peters, 2004, pp. 163–72.

Traces the multiple threads that came together in FMB’s Lobgesang: musical traditions (Bach and Beethoven), genres (vocal music and symphony), and personal and political context for FMB and Leipzig. See also the studies by Wolfram Steinbeck (item 424) and Stephen Town (item 426).

385 Schmidt-Beste, Thomas. “Just How ‘Scottish’ is the ‘Scottish’ Symphony? Thoughts on Poetic Content and Form in Mendelssohn’s Opus 56.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 147–65.

Examines how and why the Symphony in A minor, Op. 56, came to be called the “Scottish” Symphony.

386 Seaton, Douglass. “A Draft for the Exposition of the First Movement of Mendelssohn’s ‘Scotch’ Symphony.” Journal of the American Musicological Society 30 (1) (Spring 1977): 129–35.

Investigates a single-page fragment of Op. 56, contained in Mus. ms. autogr. Mendelssohn 19 in the Staatsbibliothek zu Berlin–Preußischer Kulturbesitz (then the “Deutscher Staatsbibliothek). Includes a reproduction of the page, and discusses the place of the fragment in the composition history of the exposition of the symphony.

387 ——“Symphony and Overture.” In Peter Mercer-Taylor, ed., The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004, pp. 91–111.

Includes discussion of the youthful string symphonies, Symphony No. 1 in C minor, the overture to A Midsummer Night’s Dream, the Hebrides overture, the “Reformation” Symphony, the overtures to Die schöne Melusine and Ruy Blas, Lobgesang, and the “Scottish” Symphony. Emphasis on issues of Romanticism, narrative, and literary inspirations.

388 Silber [Ballan], Judith Karen. “Mendelssohn and His Reformation Symphony.” Journal of the American Musicological Society 40 (1987): 310–36.

A compact but remarkably pithy article, adapted from the author’s dissertation (item 389), then in progress. Silber corrects several oftrepeated errors concerning the D-minor Symphony and the circumstances of its composition and first performance.

389 ——“Mendelssohn and the Reformation Symphony: A Critical and Historical Study.” Ph.D. diss., Yale University, 1987.

The central document for any serious exploration of the D-minor Symphony. Silber examines the autograph score and draws extensively on unpublished documents to establish the personal and professional context for the Symphony’s commission, creation, performance, and rejection. She also examines the programmatic dimensions and the ways in which the work reveals FMB’s awareness of and concern with symphonic tradition (specifically the Beethovenian symphonic legacy). Aside from an evident unawareness of the 1837 Düsseldorf performance conducted by Julius Rietz, the documentation is exemplary.

390 Steinbeck, Wolfram. “‘Der klärende Wendepunkt in Felix Leben’: Zu Mendelssohns Konzertouvertüren.” In Christian Martin Schmidt, ed., Felix Mendelssohn Bartholdy: Kongreß-Bericht Berlin 1994. Wiesbaden: Breitkopf & Härtel, 1997, pp. 232–56.

The springboard for this essay is Felix Weingartner’s 1909 remark that if Mendelssohn had given to his one-movement orchestral pieces the felicitous title “symphonic poems,” which Liszt invented, he would likely be celebrated today as the inventor of program music and would be granted a position at the beginning of a new period in art rather than the end of an old one. Steinbeck argues that the four concert overtures Opp. 21, 26, 27, and 32 represented a breakthrough not only in FMB’s own compositional powers, but also for nineteenth-century programmatic composition in general.

391 Todd, R. Larry. “Of Seagulls and Counterpoint: The Early Versions of Mendelssohn’s Hebrides Overture.” 19th-Century Music 2 (1979): 197–213.

A compact introduction to the complicated source-situation for the work and the issues involved for FMB in revising the music and the title. It includes a list of surviving and lost manuscripts as well as a reproduction of FMB’s drawing of one of the islands. (See also Albrecht, item 1132, and Walker, item 1179.)

392 ——“An Unfinished Piano Concerto by Mendelssohn.” The Musical Quarterly 68 (1982): 80–101. Reprinted in R. Larry Todd, Mendelssohn Essays. New York: Routledge, 2008 pp. 285–304.

This article concerns an unfinished piano concerto in E minor preserved in a manuscript miscellany in the Bodleian Library, Oxford. Todd suggests that some ideas and themes from the concerto were rehabilitated in the Violin Concerto, Op. 64. Todd reconstructed this concerto, and provided it with a third movement that extends the argument of this article into practice: the finale of the violin concerto, transcribed for piano (published by Bärenreiter, 2008).

393 ——Mendelssohn: “The Hebrides” and Other Overtures. Cambridge: Cambridge University Press, 1993. 121 pp. ISBN 0521407648.

Despite its compact scale, this (like most other volumes in the Cambridge Music Handbooks series) is a remarkably substantive resource, treating not only the Hebrides, but also the Midsummer Night’s Dream Overture and Calm Sea and Prosperous Voyage. The introductory chapter on the background of the concert overture as a genre prior to FMB’s foray into that realm is followed by a chapter on the genesis of each overture and chapters devoted to musical influences, formal and, programmatic considerations, FMB’s orchestration, and the works’ influence and posthumous reception. Review: P. Ward Jones in Music & Letters 77 (1996): 128–29.

394 ——“Mendelssohn.” In D. Kern Holoman, ed., The Nineteenth-Century Symphony. New York: Schirmer Books, 1997, pp. 78–107.

A survey of the early string sinfonie and Opp. 11, 21, 26, 27, 32, 52, 56, and 60, as well as the posthumous opera 90 and 107.

395 ——“Nineteenth-Century Concertos for Strings and Winds.” In Simon P. Keefe, ed., The Cambridge Companion to the Concerto. Cambridge: Cambridge University Press, 2005, pp. 118–38.

A tour through the nineteenth-century concerto repertoire for instruments other than piano. Composers and performers mentioned include Beethoven, Berlioz, Brahms, Bruch, Dvoák, Mendelssohn, Paganini, Saint-Saëns, Schumann, Spohr, Strauss, Tchaikovsky, Vieuxtemps, Viotti, Weber, and Wieniawski.

396 ——“An Unfinished Symphony by Mendelssohn.” Music and Letters 61 (1980): 293–309. Reprinted in R. Larry Todd, Mendelssohn Essays. New York: Routledge, 2008 pp. 305–320.

Todd discusses an unfinished symphony in C major held in the Bodleian Library, Oxford. (See also Grove’s Dictionary, item 50.)

397 Unger, Renate. “Ein Jugendwerk Felix Mendelssohn Bartholdys: Anmerkungen zum Konzert d-Moll für Violine und Streichorchester, 1. und 2. Fassung.” Musikforum 17 (1972): 19–20.

Stylistic comments on the two versions of the D-minor Violin Concerto (1822) by the scholar who edited the work for the Leipzig Gesamtausgabe.

398 Viertel, Matthias S. “Vom ‘Blutenstaub der inneren Wahrheit’: Überlegungen zu einer ästhetischen Betrachtung des 2. Satzes aus der Italienischen Symphonie von Mendelssohn.” Musik und Bildung 20 (1988): 480–85.

A discussion of the critical reception history of the slow movement of the A-major Symphony, focusing on the programmatic/characteristic elements, melodic structure, and the importance of orchestral timbres.

399 Walton, Chris. “Act of Faith: Klemperer and the ‘Scottish’ Symphony.” The Musical Times 145 (1886) (Spring 2004): 35–50.

Discusses Otto Klemperer’s choices—and possible reasons for those choices—for a new coda for the “Scottish” Symphony. Includes a facscimile of the coda.

400 Weiss, Günther. “Eine Mozartspur in Felix Mendelssohn Bartholdys Sinfonie A-Dur Op. 90 (‘Italienische’).” In Constantin Floros, ed., Mozart: Klassik für die Gegenwart. Oldenburg: Stalling-Druck, 1978, pp. 87–89.

This article relates the third movement of FMB’s A-major Symphony to Mozart’s D-minor Piano Concerto, KV 466.

401 Werner, Eric. “Two Unpublished Mendelssohn Concertos,” Music and Letters 36 (1955): 126–38.

A study of the Concerto in E Major for Two Pianos (1823) and the Concerto in A-flat Major for Two Pianos (1824).

402 Wilson Kimber, Marian. “Mendelssohn’s Second Piano Concerto, Op. 40, and the Origins of his Serenade and Allegro giojoso, Op. 43.” Journal of Musicology 20 (3) (Summer 2003): 358–87.

Traces in detail the compositional history of Op. 43, examines the autograph sources, and explores links to Op. 40.

403 Witte, Martin. “Zur Programmgebundenheit der Sinfonien Mendelssohns.” In Carl Dahlhaus, ed., Das Problem Mendelssohn. Studien zur Musikgeschichte des 19. Jahrhunderts, Bd. 41. Regensburg: Gustav Bosse, 1974, pp. 119–27.

Of central importance in latter-day FMB research, even though many of the findings have been qualified or overturned by subsequent inquiries; this is a survey of the degree and nature of extramusical associations of the four purely instrumental mature symphonies (Opp. 11, 56, 90, and 107).

404 Wüster, Ulrich. “‘Ein gewisser Geist’: Zu Mendelssohns Reformations-Symphonie.” Die Musikforschung 44 (1991): 311–30.

Wüster proposes that previous evaluations of the programmaticism of the D-minor Symphony are misguided because they assess the extramusical references only in terms of a synthesized product; a more appropriate criterion for understanding the extramusical gesture is the idea of contrast. Viewed in this fashion, the work emerges as a study in contrasts: between sonata form and chorale composition; modern and older musical styles; programmatic and absolute music; (implicitly) vocal and instrumental composition; and sacred and secular function.

Accompanied Secular Choral Works

405 Cooper, John Michael. Mendelssohn, Goethe, and the Walpurgis Night: The Heathen Muse in European Culture, 1700–1850. Eastman Studies in Music, Rochester: University of Rochester Press, 2007. 284 pp. ISBN 1580462529.

Cooper explores the cultural and religious origins of the Walpurgis night tradition, examines Goethe’s depictions in his ballad and in Faust, and provides a study of FMB’s cantata, Die erste Walpurgisnacht, within this cultural framework. Review: J. Geary in Journal of Musicological Research 27 (2) (April–June 2008): 200–03; S. Reichwald in Notes 64 (3) (Mar. 2008): 500–02; J. Garratt in Nineteenth-Century Music Review 5 (2) (2008): 109–12; P. Williams in The Musical Times 148(1901) (Winter 2007): 110–11.

406 Dahlhaus, Carl. “‘Hoch symbolisch intentioniert: Zu Mendelssohns Erster Walpurgisnacht.” Österreichische Musikzeitschrift 36 (1981): 290–97.

The article focuses on the generic and compositional originality of the Walpurgisnacht and emphasizes the symbolic nature of the work’s gradual fusing together of initially disparate thematic and motivic elements by a process of thematic transformation. It also examines generic and melodic links between the cantata, the “Scottish” Symphony, and the Lobgesang.

407 Hatteberg, Kent Eugene. “Gloria (1822) and Große Festmusik zum Dürerfest (1828): Urtext Editions of Two Unpublished Choral-Orchestral Works by Felix Mendelssohn, with Background and Commentary.” D.M.A. diss., University of Iowa, 1995. 2 vols.

As per tradition, the text proper is in Volume 1 (comprising 223 pages). This text examines FMB’s early youth and musical training leading up to the 1822 Gloria, then moves on to the composer’s teenage years in Berlin leading up to the Festmusik.

408 Hauser, Richard. “‘In rührend feierlichen Tönen’: Mendelssohns Kantate Die erste Walpurgisnacht. Mit einem Exkurs: Goethes unvertonbarer Allvater.” In Heinz-Klaus Metzger and Rainer Riehn, eds. Felix Mendelssohn Bartholdy. Musik-Konzepte, Bd. 14/15. Munich: edition text + kritik, 1980, pp. 75–92.

This article emphasizes the seriousness of the Walpurgisnacht and draws parallels between the musical language FMB used to depict the “Allvater” in this work and the language used in his own setting of Psalm 95 and that in Schubert’s Ganymed. See Metzger’s response to this article (item 415).

409 Hellmundt, Christoph. “Mendelssohns Arbeit an seiner Kantate Die erste Walpurgisnacht: Zu einer bisher wenig beachteten Quelle.” In Christian Martin Schmidt, ed., Felix Mendelssohn Bartholdy: Kongreß-Bericht Berlin 1994. Wiesbaden: Breitkopf & Härtel, 1997, pp. 76–112.

A careful study of the genesis of Op. 60, the first such study to focus on the autograph score that most clearly represents the version of the work used for the 1833 premiere. Essay includes facsimiles from that score and compares selected passages with their counterparts in the published version. There is a 34-item appendix of FMB’s references to the work in his correspondence.

410 ——“‘Indessen wollte ich mich Ihnen gern gefällig beweisen’: On Some Occasional Works, with an Unknown Composition by Mendelssohn.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 169–80.

Reconsiders the definition of “occasional music,” and examines several such works from FMB’s œuvre. Hellmundt points out that in many cases FMB’s requests to withhold privately commissioned works from publication were violated, mostly after his death, but a few during his lifetime. The Festgesang “Möge das Siegeszeichen” is considered in detail.

411 Hoshino, Hiromi. “Ein neu entdecktes Mendelssohn-Autograph in Japan: Der Klavierauszug ‘Die erste Walpurgisnacht’ Op. 60.” Die Musikforschung 57 (2) (April–June 2004): 151–59. Published in English as, “A Newly Discovered Mendelssohn Autograph in Japan: The Piano-Vocal Score of Die erste Walpurgisnacht Op. 60.” In Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002 in Celebration of the 50th Anniversary of the Musicological Society of Japan. Tokyo: Ongaku-no-tomo, 2004, pp. 357–60.

Hoshino subsequently published a facsimile of the autograph of the piano score for Die erste Walpurgisnacht described in this article (Tokyo: Yushodo Press, 2005), which was reviewed by R. L. Todd in Notes 64 (2) (Dec. 2007): 358–60.

412 Kapp, Reinhard. “Lobgesang.” In Josef Kuckertz, Helga de la MotteHaber, Christian Martin Schmidt, and Wilhelm Seidel, eds., Neue Musik und Tradition: Festschrift Rudolf Stephan. Laaber: Laaber Verlag, 1990, pp. 239–49.

A combination of descriptive analysis and reception history, focusing on the gestures of the chorale and the symphony-cantata and their influence on the subsequent development of the symphony as a genre. Contains substantial references to Beethoven, Berlioz, Liszt, Mahler, and especially Bruckner.

413 Mayer, Hans. “Emanzipation und Eklektizismus: Gedanken über den Lobgesang Opus 52 von Mendelssohn Bartholdy.” In Heinz-Klaus Metzger and Rainer Riehn, eds., Felix Mendelssohn Bartholdy. Musik-Konzepte, Bd. 14/15. Munich: edition text + kritik, 1980, pp. 29–33.

Headed “a letter to [the editors],” this is a short meditation on the eclecticism of FMB’s world-view and the extent to which his Protestant upbringing shielded him from the world-weariness evident in the works of some other contemporary German-Jewish artists (most notably, Heine).

414 Melhorn, Catherine Rose. “Mendelssohn’s Die erste Walpurgisnacht.” D.M.A. diss., University of Illinois at Urbana-Champaign, 1983. 232 pp.

An extensive treatment of a much-debated work whose presence in the realm of FMB scholarship continues to outstrip that in the concert repertoire. Melhorn assigns the work to the genre of the concert cantata. She begins with a discussion of FMB’s relationship to Goethe; then explores the history of that genre prior to FMB’s Op. 60; discusses the music and performance history of Op. 60; and finally discusses later contributions to the genre (works by Gade, Schumann, Hiller, Bruch, and Brahms). This dissertation also includes an appendix of nineteenth-century German concert cantatas of ballad character after the Walpurgisnacht, and a report on one modern performance of the work.

415 Metzger, Heinz-Klaus. “Noch einmal: Die erste Walpurgisnacht—Versuch einer anderen Allegorese.” In Heinz-Klaus Metzger and Rainer Riehn, eds., Felix Mendelssohn Bartholdy. Musik-Konzepte, Bd. 14/15. Munich: edition text + kritik, 1980, pp. 93–96.

A response (if not rebuttal) to Richard Hauser’s observations on Op. 60 in the same volume (item 408). It asserts that the unvertonbarer Allvater of the work is not a pagan, pantheistic, idealized, pseudo-Celtic deity, but the God of the Jews—and therefore that the work centers around the theme of Jewish persecution.

416 Norris, James Weldon. “Mendelssohn’s Lobgesang Opus 52: An Analysis for Performance.” D.M.A. diss., Indiana University, 1974.

417 Prandi, Julie D. “Kindred Spirits: Mendelssohn and Goethe, Die erste Walpurgisnacht.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 135–46.

Considers FMB’s relationship with Goethe and his writings while composing Die erste Walpurgisnacht in Italy.

418 Rasmussen, M. “The First Performance of Mendelssohn’s Festgesang An die Künstler Op. 68.” Brass Quarterly 4 (1961): 151–55.

Although Op. 68 is actually mentioned only in the final two pages of the article, the previous material on the ways in which its composition and reception were influenced by the “emotional, textual, and social connotations of brass instruments” is worth reading.

419 Retallack, Diane Johnson. “A Conductor’s Study for Performance of Mendelssohn’s Die erste Walpurgisnacht.” D.M.A. diss., Indiana University, 1987. 413 pp.

Examines FMB’s relationship with Goethe and traces the genesis of Op. 60 through FMB’s published correspondence. Examines the structure of the work in descriptive analyses, emphasizing FMB’s talent for “portraying the fantastic within Classical restraints.”

420 Richter, Arnd. “Felix Mendelssohn Bartholdy: Die erste Walpurgisnacht.” Neue Zeitschrift für Musik 147 (11) (1986): 33–40.

This article grapples with the ambivalent reception history of the Walpurgisnacht, drawing upon musical similarities to two other important works: the “Hexenlied” Op. 8 No. 8; and the “Scottish” Symphony, Op. 56.

421 Schönewolf, Karl. “Mendelssohns Humboldt-Kantate.” Musik und Gesellschaft 9 (1959): 408–11.

Written shortly before Karl-Heinz Köhler’s important essay introducing the existence of the Berlin “Green Books” to the general world (item 750), this essay deals specifically with FMB’s 1828 cantata written for the International Congress of Natural Scientists and Doctors headed by Alexander von Humboldt. It describes the music, but unfortunately provides no music examples.

422 Seaton, Douglass. “The Romantic Mendelssohn: The Composition of Die erste Walpurgisnacht.” The Musical Quarterly 68 (1982): 398–410.

This article examines the ways in which the composition of the Walpurgisnacht refutes the cliché of FMB as a formalist or mannerist and reveals instead his mastery of quintessentially Romantic compositional issues such as thematic/motivic transformation, cyclicity, overtly subjective textual reinterpretation, and so on.

423 Sirker, Udo. “Goethe-Vertonungen von Berlioz und Mendelssohn.” In Matthias Brzoska, Hermann Hofer, and Nicole K. Strohmann, eds., Hector Berlioz: Ein Franzose in Deutschland. Laaber: Laaber Verlag, 2005, pp. 39–52.

Discusses and compares settings of Goethe by Berlioz and FMB, primarily Berlioz’s Huit Scènes de Faust and FMB’s Die erste Walpurgisnacht.

424 Steinbeck, Wolfram. “Die Idee der Vokalsymphonie: Zu Mendelssohns Lobgesang.” Archiv für Musikwissenschaft 53 (1996): 222–33.

Steinbeck suggests that commentators from A. B. Marx onwards have generally been excessively fixated on the ways in which FMB’s Op.52 relates to Beethoven’s Ninth Symphony, to such an extent that they have ignored its significance as a defining work of the Romantic period. Studies the converging elements in FMB’s Lobgesang— symphony, cantata, instrumental music, vocal music, etc. See the studies by Christian Martin Schmidt (item 384) and Stephen Town (item 426) for other angles on this topic.

425 Szeskus, Reinhard. “Die erste Walpurgisnacht, Op. 60, von Felix Mendelssohn Bartholdy.” Beiträge zur Musikwissenschaft 17 (1975): 171–80.

This article discusses the extent of Goethe’s influence on FMB, not only as a literary and aesthetic figure, but also as a model of the public reformer. It suggests that these ideals are evident in the choice of text and the musical style of the Walpurgisnacht.

426 Town, Stephen. “Mendelssohn’s ‘Lobgesang’: A Fusion of Forms and Textures.” Choral Journal 33 (1992): 19–26.

A narrative description of Op. 52. Argues that FMB went beyond the obvious model of Beethoven’s Ninth Symphony, reaching back to Bach and Handel to create a work that “falls outside the classification system of musical genres” and “must be evaluated on its own merits” (p. 25). See also the studies by Christian Martin Schmidt (item 384) and Wolfram Steinbeck (item 424).

Concert Arias

427 Cooper, John Michael. “Mendelssohn’s Two Infelice Arias: Problems of Sources and Musical Identity.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 43–97.

Considers problems with the concept of the “Fassung letzter Hand” in FMB’s works in light of his well-known revision habits. Takes the two Infelice arias (Infelice! Ah, ritorna, età dell’oro and Infelice! Ah, ritorna, età felice) as case studies.

428 ——“One Aria or Two? Mendelssohn, Metastasio, and Infelice.” Philomusica On-line 4 (2004). Available at: http://riviste.paviauniversitypress.it/index.php/phi/article/view/04-02-INT01/36.

Choral Songs

430 Abraham, Lars Ulrich. “Mendelssohns Chorlieder und ihre musik-geschichtliche Stellung.” In Carl Dahlhaus, ed., Das Problem Mendelssohn. Studien zur Musikgeschichte des 19. Jahrhunderts, Bd. 41. Regensburg: Gustav Bosse, 1974, pp. 79–87.

This article begins with a general discussion of FMB’s artistic reputation in the years since his death, based largely on various dictionary articles, and paying special attention to the anti-Semitic element to which strong impetus was given by Wagner’s(atfirst pseudonymous) Das Judenthum in der Musik of 1850 (item 932). A new orientation to FMB’s work must depend on analysis. In the case of the choral songs, it is difficult to find valid standards that can be applied to the large repertory; the general prejudice against the genre makes the task yet more difficult. As a beginning, attention is called to certain details of melody, rhythm, and form that can serve as points of comparison with other composers. [DM]

431 Brinkman, James M. “The German Male Chorus: Its Role and Significance from 1800–1850.” Ed.D.diss, University of Illinois, Urbana/ Champaign, 1966. 204 pp.

432 Goldhan, Wolfgang. “Felix Mendelssohn Bartholdys Lieder für gemischten und Männerchor.” Beiträge zur Musikwissenschaft 17 (1975): 181–88.

This is still the most extensive systematic survey of the choral songs. It considers the texts, approach to melody, harmony, form, and styles of text-setting and text/music relationships.

433 Ickstadt, Andrea. “Studien zu Felix Mendelssohn Bartholdys Chorliedern.” Ph.D. diss., Hochschule für Musik, Frankfurt am Main, [in progress].

434 Kopfermann, Albert. “Zwei musikalische Scherze Felix Mendelssohns.” Die Musik 8 (2) (1908–9): 179–80.

On Der weise Diogenes and Musikantenprügelei.

435 Robinson, Ray. “‘Quis desiderio sit’: A Newly Discovered Choral Work by Felix Mendelssohn.” Choral Journal 35 (10) (1994): 27–30.

More recent scholarship suggests that this work is probably not FMB’s, rather, a copy in FMB’s youthful hand of a work by Zelter (cf. New Grove Online and Musik in Geschichte und Gegenwart work-lists for Zelter).

436 Synofzik, Thomas. “Mendelssohn, Schumann und das Problem der Männergesangskomposition um 1840.” In Bernhard R. Appel, Ute Bär, and Matthias Wendt, eds., Schumanniana nova: Festschrift Gerd Nauhaus zum 60. Geburtstag. Sinzig: Studio-Verlag, 2002, pp. 739–66.

Discusses in detail the context and musical and stylistic details of Schumann’s “Sechs Lieder” for men’s voices, Op. 33 and FMB’s “Sechs Lieder” for men’s voices, Op. 50.

Songs and Vocal Duets

437 Barr, Raymond Arthur. “Carl Friedrich Zelter: A Study of the Lied in Berlin During the Late Eighteenth and Early Nineteenth Centuries.” Ph.D. diss., University of Wisconsin at Madison, 1968. 290 pp.

438 Bartsch, Cornelia. “Geburtstagslieder von Fanny und Felix Mendelssohn Bartholdy: Reflexionen über das Schreiben.” In Cordula Heymann-Wentzel and Johannes Laas, eds., Musik und Biographie: Festschrift für Rainer Cadenbach. Würzburg: Königshausen und Neumann, 2004, pp. 73–81.

439 Berry, Corre. “Duets for Pedagogical Use.” NATS Bulletin 34 (1977): 8–12.

Although it lags far behind latter-day scholarship in its techniques for approaching and interpreting texted music of the early nineteenth century, this article is one of only a few that deal specifically with FMB’s vocal duets, Opp. 63 and 77.

440 Bunke, Heinrich. “Die Barform im romantischen Kunstlied bei Franz Schubert, Johannes Brahms, Hugo Wolf und Felix Mendelssohn Bartholdy.” Ph.D. diss., Bonn, 1955. 136 pp.

441 Cooper, John Michael. “Words without Songs? Of Texts, Titles, and Mendelssohn’s Lieder ohne Worte.” In Hermann Danuser and Tobias Plebuch, eds., Musik als Text? Bericht über den internationalen Kongreß der Gesellschaft für Musikforschung, Freiburg im Breisgau 1993, Vol. 2. Kassel: Bärenreiter, 1999, pp. 341–46.

The essay draws on little-known correspondence to explore FMB’s views on the issues involved in publishing texted versions or programmatic interpretations of originally untexted music.

442 ——“Of Red Roofs and Hunting Horns: Mendelssohn’s Song Aesthetic, with an Unpublished Cycle (1830).” Journal of Musicological Research 21 (4) (2002): 277–317.

Examines Op. 9 No. 9 (“Ferne”) and an unpublished, dramatic cycle in light of FMB’s style choices in his Lieder, especially in comparison to the prevailing styles of his time.

443 Deaville, James A. “A Multitude of Voices: The Lied at Mid-Century.” In James Parsons, ed., The Cambridge Companion to the Lied. Cambridge: Cambridge University Press, 2004, pp. 142–67.

As the title suggests, this chapter discusses the Lieder of multiple composers, including Fanny Hensel, Felix Mendelssohn, and Clara Schumann.

444 Geck, Martin. “Sentiment und Sentimentalität im volkstümlichen Liede Felix Mendelssohn Bartholdys.” In Wilfried Brennecke and Hans Haase, eds., Hans Albrecht in Memoriam: Gedenkschrift mit Beiträgen von Freunden und Schülern. Kassel: Bärenreiter, 1962, pp. 200–06.

Explores the concept of “sentiment” and “sentimentality” in the early Romantic period, and how it can be understood in FMB’s folk songs (such as Op. 47 No. 2, Op. 57 No. 2, Op. 19 No. 5, etc.).

445 Gesse-Harm, Sonja. Zwischen Ironie und Sentiment: Heinrich Heine im Kunstlied des 19. Jahrhunderts. Stuttgart: Metzler, 2005. 676 pp. ISBN 9783476021496.

Publication of Ph.D. dissertation of the same title at Philipps-Universität, Marburg (2005). Includes a section each on repertoire by Schubert, Mendelssohn, Meyerbeer, Schumann, Liszt, Johann Vesque von Püttlingen (alias Johann Hoven), and Robert Franz. FMB on pp. 147–223. Studies selected solo Lieder from Opp. 19, 34, 47, and 86 and choral Lieder from Opp. 41 and 76, as well as several without opus numbers. Review: H.-G. Klein in Forum Musikbibliothek 28 (1) (2007): 81.

446 Hennemann, Monika. “Mendelssohn and Byron: Two Songs Almost Without Words.” Mendelssohn-Studien 10 (1997): 131–56.

An insightful exploration of the compositional history of the two Byron Romances (“There Be None of Beauty’s Daughters” and “Sun of the Sleepless”). Hennemann includes analytical remarks and useful considerations of the significance of public vs. private venues of musical dissemination in FMB’s œuvre.

447 Leven, Louise W. “Mendelssohn als Lyriker, unter besonderer Berücksichtigung seiner Beziehungen zu Ludwig Berger, Bernhard Klein und Adolph Bernhard Marx.” Ph.D. diss., Universität Frankfurt am Main, 1926.

Although it is not easily accessible in the U.S.A, this study remains an important resource in the critical literature concerning FMB’s approach to song composition.

448 ——“Mendelssohn’s Unpublished Songs.” Monthly Musical Record 88 (1958): 206–11. Translated into German by Gerhard Schuhmacher as “Mendelssohns unveröffentlichte Lieder.” In Gerhard Schuhmacher, ed., Felix Mendelssohn Bartholdy. Wege der Forschung, Bd. 494. Darmstadt: Wissenschaftliche Buchgesellschaft, 1982, pp. 37–43.

This article discusses declamation, texture, form, and text/music relationships in eight of fifteen early unpublished songs: “Ave Maria,” “Raste Krieger,” “Die Nachtigall,” “Der Verlassene,” “Von allen deinen zarten Gaben,” “Wiegenlied,” “Sanft wehe im Hauch,” and “Der Wasserfall.”

449 Schachter, Carl. “The Triad as Place and Action.” Music Theory Spectrum 17 (1995): 149–69.

Schachter examines the Lied ohne Worte in G Major, Op. 62 No. l, along with Chopin’s Prelude in E Minor, Op. 28 No. 4, and the fourth movement from Beethoven’s “Pastoral” Symphony, as instances in which “expressive character relates to the specific tonal environment provided by the composing out of the tonic triad.”

450 Seaton, Douglass. “The Problem of the Lyric Persona in Mendelssohn’s Songs.” In Christian Martin Schmidt, ed., Felix Mendelssohn Bartholdy: Kongreß-Bericht Berlin 1994. Wiesbaden: Breitkopf & Härtel, 1997, pp. 167–86.

The author explores the aesthetics of FMB’s Lieder, with an emphasis on the concept of voiced-ness: who speaks in poetry, vocal line, accompaniment, etc. The introductory section explores the ways in which FMB’s Lieder relate to the aesthetics of Hegel and Schopenhauer, and the remainder of the essay focuses on “the Romantic persona in Mendelssohn’s songs.” Special attention is given to “Holder klingt der Vogelsang” (Op. 8 No. 1), “Es ist bestimmt in Gottes Rath” (Op. 47 No. 4), and the six songs of Op. 71.

451 ——“With Words: Mendelssohn’s Vocal Songs.” In Douglass Seaton, ed., The Mendelssohn Companion. Westport, CT: Greenwood Press, 2001, pp. 661–700.

Discusses FMB’s place in the Lieder world of the early nineteenth century, then studies his Lieder in sections organized by text (organized by text source) and musical style (including sections on melody, piano parts, form, genre, and performance).

452 ——“Mendelssohn’s Cycles of Songs.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 203–29.

Proposes that although FMB did not generally publish his collections of Lieder as explicit cycles, they are organized in a way consistent with notions of the song cycle. Includes discussion of Opp. 9, 41, 48, 59, 71, and collections of unpublished Lieder. Includes extensive helpful tables and an appendix listing sources and dates. In footnote 15, on p. 218, Seaton references the 1845 song album for Cécile, which was then listed in the Sotheby & Co. catalog; it is now held by the Juilliard Manuscript Collection, see Appendix, item 1218 in this volume.

453 Stoner, Thomas Alan. “Mendelssohn’s Published Songs.” Ph.D. diss., University of Maryland, 1972. 428 pp.

Stoner provides an overview of Lieder production in Berlin during the 1820s and 1830s, and describes FMB’s Lieder as representing a transitional stage between Classical and Romantic schools of song composition. Discusses the musical style and textual content of the songs treated, as well as the societal milieu in which they were performed.

454 ——“Mendelssohn’s Lieder Not Included in the Werke.” Fontes Artis Musicae 26 (1979): 258–66.

In the corpus of studies of FMB manuscript sources, perhaps the one that illustrates most compellingly the incompleteness of the so-called “Complete Works” edited by Julius Rietz and published by Breitkopf & Härtel in the 1870s. The author examines the source situation for thirty-five Lieder: some of them unpublished but surviving in autograph sources; some published during FMB’s lifetime but not included in the Werke; some that seem to be only fragments; and some that are attributed but not definitely ascribable to FMB.

455 Tubeuf, André. Le lied allemand: Poètes et paysages. Paris: Editions François Bourin, 1993.

FMB is treated on pp. 429–31. A thoroughly conventional survey with precious few references to actual songs. The perspective is evident from the essay’s point of departure: the first heading is Richard Strauss’s dismissive “born with a wig on” [né coiffé]. This suggests that FMB’s Lieder do not succeed in performance because they were conceived for the salon, a performance venue that (for all practical purposes) has disappeared and is inconsistent with the exigencies of modern recital life. One telling sentence may account for the assessment—and the authority—of Tubeuf’s views: “In the garden of the German Lied, Mendelssohn was not at home, like the child of the house: without having anything of the Jew about him, he also has nothing German, save his impeccability.”

456 Woodward, Francis Lewis. “The Solo Songs of Felix Mendelssohn.” D.M.A. thesis, University of Texas at Austin, 1972. 224 pp.

457 Youens, Susan. “Mendelssohn’s Songs.” In Peter Mercer-Taylor, ed., The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004, pp. 189–205.

Broadly explores FMB’s Lieder, including deeper discussions of Op. 19 [a] No. 4, Op. 8 No. 4, and Op. 86 No. 6.

Chamber Music

458 Austin, George Clifford Everard. Formal Procedures in Three Works for Chamber Ensemble by Felix Mendelssohn Bartholdy. Ottowa: National Library of Canada, 1985. 72 pp. ISBN 0315149884.

459 Cadenbach, Rainer. “Zum gattungsgeschichtlichen Ort von Mendelssohns letztem Streichquartett.” In Christian Martin Schmidt, ed., Felix Mendelssohn Bartholdy: Kongreß-Bericht Berlin 1994. Wiesbaden: Breitkopf & Härtel, 1997, pp. 209–31.

The musical style of FMB’s Op. 80 represents a profound break with that of his earlier quartets, and one that likely would have rescued the genre from the quagmire it entered until the quartets of Brahms, had FMB lived to proceed further down the path he initiated with this work. This article analyzes several important revisions (see also Krummacher, items 468 and 469; and Klein, item 466). It also emphasizes that it took another half-century before other composers achieved a comparable balance between immediate expression and mastery of form.

460 Chittum, Donald. “Some Observations on the Pitch Structure in Mendelssohn’s Octet Op. 20.” Translated into German by Gerhard Schuhmacher as “Einige Beobachtungen zur Ton- und Intervallstruktur in Mendelssohns Oktett Op. 20.” In Gerhard Schuhmacher, ed., Felix Mendelssohn Bartholdy. Wege der Forschung, Bd. 494. Darmstadt: Wissenschaftliche Buchgesellschaft, 1982, pp. 277–304.

461 Dinglinger, Wolfgang. “Bemerkungen zur Sonate für Violoncello und Klavier Op. 58.” In Wilhelm Seidel ed., Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig. Leipzig: Musik und Stadt—Studien und Dokumente 1. Leipzig: C. F. Peters, 2004, pp. 241–47.

Argues that the second movement of Op. 58, with its arpeggiated chorale in the piano and vocal recitative in the cello, is composed in the style of FMB’s embellished performance of J. S. Bach’s Chromatische Fantasie as Felix described in a letter to Fanny.

462 ——“‘Die Arpeggien sind ja eben der Haupteffect’: Anmerkungen zum Adagio der zweiten Cellosonate Op. 58 von Felix Mendelssohn Bartholdy.” In Cordula Heymann-Wentzel and Johannes Laas, eds., Musik und Biographie: Festschrift für Rainer Cadenbach. Würzburg: Königshausen und Neumann, 2004, pp. 65–72.

Compares FMB’s embellished performance of Bach’s Chromatic Fantasy and Fugue with the arpeggiated chorale in Op. 58.

463 Golomb, Uri. “Mendelssohn’s Creative Response to Late Beethoven: Polyphony and Thematic Identity in Mendelssohn’s Quartet in A major Op. 13.” Ad Parnassum 4 (7) (April 2006): 101–19.

While acknowledging the thematic similarities between FMB’s Op.13 and Beethoven’s Op. 132, Golomb attempts to understand Op. 13 within FMB’s own developing style and unique reception of Beethoven.

464 Hefling, Stephen E. “The Austro-Germanic Quartet Tradition in the Nineteenth Century.” In Robin Stowell, ed., The Cambridge Companion to the String Quartet. Cambridge: Cambridge University Press, 2003, pp. 228–49.

Discusses composers writing quartets in the shadow of Beethoven, including Schubert, Spohr, Mendelssohn, Schumann, and Brahms.

465 Horton, John. Mendelssohn Chamber Music. BBC Music Guides, 24. Seattle: University of Washington Press, 1972.

Although the discussion of the repertoire is standard (focusing on the early piano quartets and the Sextet, the Octet, the two piano trios, and the string quartets), the opening chapters (on FMB and techniques of string playing and tradition and development in FMB’s chamber music) will prove useful to many readers.

466 Klein, Hans-Günter. “Korrekturen im Autograph von Mendelssohns Streichquartett Op. 80: Überlegungen zur Kompositionstechnik und Kompositionsvorgang.” Mendelssohn-Studien 5 (1982): 113–22.

Klein provides insightful observations regarding FMB’s compositional process as it is evidenced in the first movement of his last string quartet. He includes a useful classification of the changes.

467 Kohlhase, Hans. “Studien zur Form in den Streichquartetten von Felix Mendelssohn Bartholdy.” In Constantin Floros, Hans Joachim Marx, and Peter Petersen, eds., Zur Musikgeschichte des 19. Jahrhunderts. Hamburger Jahrbuch für Musikwissenschaft, Bd. 2. Hamburg: Karl Dieter Wagner, 1977, pp. 75–104.

Includes discussion of Opp. 12, 13, 44, and 80 particularly regarding FMB’s employment of sonata form. See also Kohlhase’s study on parallels between the chamber music for strings of Brahms and FMB, item 751.

468 Krummacher, Friedhelm. “Zur Kompositionsart Mendelssohns: Thesen am Beispiel der Streichquartette.” In Heinz-Klaus Metzger and Rainer Riehn, eds., Felix Mendelssohn Bartholdy, Musik-Konzepte, Band 14–15. Munich: edition text + kritik, 1980, pp. 46–74.

One of several important studies of Op. 80 (see also Cadenbach, item 459; and Klein, item 466). This essay focuses on the ways in which FMB’s revisions provide interpretive insights into the work.

469 ——“Mendelssohn’s Late Chamber Music: Some Autograph Sources Recovered.” In Jon W. Finson and R. Larry Todd, eds, Mendelssohn and Schumann: Essays on Their Music and Its Context. Durham, NC: Duke University Press, 1984, pp. 71–84.

The first major essay after the recovery of the autograph sources for the posthumously published chamber opera 80, 81, and 87 (now in the Biblioteka Jagiellon-ska, Kraków). Krummacher finds that while Op. 87 was clearly rejected because of the deficiencies in the musical material, Op. 80 was essentially complete and ready for publication. On Opus 80, see also Hans-Günter Klein’s study of the compositional process (item 466).

470 ——Mendelssohn—der Komponist: Studien zur Kammermusik für Streicher. Munich: Wilhelm Fink, 1987.

Adapted from the author’s Habilitations-Schrift by the same title (University of Erlangen, 1972). A major study, drawing on unpublished manuscripts and correspondence and exploring the compositional issues involved in FMB’s composition of chamber music with strings as these issues are revealed in manuscript revisions. Review: S. Großmann-Vendrey in Österreichische Musik-Zeitung 34 (1979): 233– 34; D. Seaton in Journal of the American Musicological Society 32 (1979): 356–60; R. L. Todd in Notes 36 (1979/80): 95–96.

471 ——“Zwischen Bürgerhaus und Konzertsaal. Mendelssohns Kammermusik in Leipzig.” In Wilhelm Seidel, ed., Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig. Leipzig: Musik und Stadt—Studien und Dokumente 1. Leipzig: C. F. Peters, 2004, pp. 221–40.

Traces FMB’s works for chamber ensembles from the Octet Op. 20, conceived in the rarified atmosphere of his youthful Berlin home, to the mature Piano Trio Op. 66, written during his professional career.

472 McDonald, J. A. “The Chamber Music of Felix Mendelssohn-Bartholdy.” Ph.D. diss., Northwestern University, 1970. 501 pp.

A careful examination, reviewing both well-known basics of the works’ genesis and little-known facts concerning sources. It includes an edition of the early Piano Trio in C Minor (1820), and contains other important source-critical observations on works such as the Clarinet Sonata and the Viola Sonata. Includes a thematic catalog of FMB’s chamber works, a listing of arrangements of FMB’s chamber works, and an overview of the fugues for string quartet.

473 Niemöller, Klaus Wolfgang. “Gattungstradition und neue Ausdrucksdramaturgie in den Klaviertrios von Felix Mendelssohn-Bartholdy.” In Wilhelm Seidel, ed., Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig. Leipzig: Musik und Stadt—Studien und Dokumente 1. Leipzig: C. F. Peters, 2004, pp. 261–72.

Examines FMB’s contributions to the genre of the piano trio, among these the incorporation of his signature scherzo and “Lied ohne Worte” styles.

474 Schmidt-Beste, Thomas. “‘Vier vernünftige Leute?’ Zur Textur in den Streichquartetten Felix Mendelssohn.” In Robert von Zahn, ed., Das Streichquartett im Rheinland. Beiträge zur rheinischen Musikgeschichte 167. Kassel: Merseburger, 2005, pp. 8–29.

An exploration of the “discursive” quality of FMB’s string quartets.

475 ——“Mendelssohn’s Chamber Music.” In Peter Mercer-Taylor, ed., The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004, pp. 130–48.

Explores the maturation of FMB’s compositional style through the Piano Quartets Opp. 1–3, the Violin Sonata Op. 4, the Octet for Strings, Op. 20, the String Quintet Op. 18, the string quartets Opp. 12, 13, and 44, the Cello Sonatas Opp. 45 and 58, and the Piano Trios Opp. 49 and 66. Concludes with the String Quartet in F minor, Op. post. 80.

476 Taylor, Benedict. “Musical History and Self-consciousness in Mendelssohn’s Octet, Op. 20.” 19th-Century Music 32 (2) (Fall 2008): 131–51.

A thought-provoking article, bringing philosophies of time and history to bear on FMB’s use of cyclic form in his Op. 20, with a particular focus on the influence of Hegel and Goethe.

477 Todd, R. Larry. “The Chamber Music of Mendelssohn.” In Stephen E. Hefling, ed., Nineteenth-Century Chamber Music. New York: Schirmer Books, 1998, pp. 170–207. Reprinted in R. Larry Todd, Mendelssohn Essays. New York: Routledge, 2008 pp. 135–169.

A thoughtful and source-critical overview of a repertoire conspicuously lacking such an authoritative survey in English, despite many of the constituent works’ enduring presence in the concert and scholarly canons. It discusses virtually all the chamber-music works, published and unpublished alike. Special attention is devoted to Opp. 1, 3, 12, 18, 20, 44, 49, 58, 66, and 80.

478 ——translated into German by Helga Beste. “Zu Mendelssohns ‘Allegro brillant’ Op. 92. Ein Duo für Clara Schumann.” In Wilhelm Seidel, ed., Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig. Leipzig: Musik und Stadt—Studien und Dokumente 1. Leipzig: C. F. Peters, 2004, pp. 249–57.

Examines the sketches for the “Allegro brillant,” at the Staatsbibliothek zu Berlin-Preußischer Kulturbesitz (MN 19), as well as manuscripts held in Krakow (MN 35) and Paris (Bibliothèque Nationale, Conservatoire Ms. 208). Includes an edition of an original slow introduction. See also Seaton, item 837, for more on MN 19.

479 Waldura, Markus. “Vier romantische Klaviertrios in d Moll im Vergleich: Mendelssohn-Schumann-Hensel-Berwald.” In Bernhard R. Appel, Ute Bär, and Matthias Wendt, eds., Schumanniana nova: Festschrift Gerd Nauhaus zum 60. Geburtstag. Sinzig: Studio-Verlag, 2002, pp. 785–813.

Compares FMB’s Piano Trio in D Minor No. 1 Op. 49, with three responses in the same key: Schumann’s Piano Trio No. 1 Op. 63, Franz Berwald’s Piano Trio No. 3, and Fanny Hensel’s Piano Trio Op. 11.

480 Ward Jones, Peter. “Mendelssohn’s Opus 1: Bibliographical Problems of the C Minor Piano Quartet.” In Chris Banks, Arthur Searle, and Malcolm Turne, eds., Sundry Sorts of Music Books: Essays on the British Library Collections, Presented to O. W. Neighbour on His 70th Birthday. London: The British Library, 1993, pp. 264–73.

This article discusses the complicated publication history of Op. 1 and illuminates the extensive editorial problems posed by the work and its source-transmission history.

481 Wiese, Walter. Kammermusik der Romantik: Schubert – Mendelssohn – Brahms. Winterthur: Amadeus Verlag, 2007. 419 pp. ISBN 103905786036.

FMB is discussed in Part Two, pp. 117–86. Essentially a heavily annotated catalog of works. Includes an essay situating FMB’s chamber music in his time, biographical sketches, pictures of FMB and friends, chronologies, and detailed annotations of each group of works, organized by genre (duos, piano trios, quartets, larger ensembles). Includes a final section discussing Fanny Hensel’s String Quartet in E-flat, and her Piano Trio in D minor, Op. 11.

Music for Solo Piano

482 Chuang, Yue-Fun. “The Piano Preludes and Fugues by Felix Mendelssohn-Bartholdy: A Study of Their Unity and Formal Structure.” Ph.D. diss., New York University, 1997. 299 pp.

483 Dinglinger, Wolfgang. “Sieben Charakterstücke Op. 7 von Felix Mendelssohn Bartholdy.” Mendelssohn-Studien 10 (1997): 101–30.

The Character Pieces constituted one of FMB’s early popular opera, but aside from the two fugues they have consistently eluded analytical discussion—one of many such problems in FMB reception history. This article explores the notion of the pieces as a cycle, as well as offering observations concerning stylistic gestures and the hermeneutic implications of the title.

484 Jost, Christa. “Nach Italien der wortlosen Lieder wegen: Die Klaviermusik des reiselustigen Felix Mendelssohn Bartholdy.” Musik und Medizin 8 (1982): 77–84.

485 ——Mendelssohns Lieder ohne Worte. Frankfurter Beiträge zur Musikwissenschaft, ed. Lothar Hoffmann-Erbrecht, Bd. 14. Tutzing: Hans Schneider, 1988. ISBN 3795205158.

The definitive study of these works. It draws on published and unpublished music manuscripts and correspondence to explore the musical style, aesthetics, and reception history of the Songs without Words.

486 ——trans. J. Bradford Robinson. “In Mutual Reflection: Historical, Biographical, and Structural Aspects of Mendelssohn’s Variations sérieuses.” In R. Larry Todd, ed., Mendelssohn Studies. Cambridge: Cambridge University Press, 1992, pp. 33–63.

Op. 54 has generally garnered praise even from FMB’s critics. This essay examines the ways in which the work reflects the occasion of its composition (an album that was to generate funds for the raising of Bonn’s first Beethoven monument) and explores the ways in which the compositional process reveals FMB striving to bring the work more in line with that objective.

487 ——“Zu den ‘Sechs Kinderstücken’ Op. 72.” In Wilhelm Seidel, ed., Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig. Leipzig: Musik und Stadt—Studien und Dokumente 1. Leipzig: C. F. Peters, 2004, pp. 197–204.

Gathers the sources, manuscript and copy, for FMB’s Op. 72, also known as the “Six Christmas Pieces,” in the Bodleian Library (MS. M. Deneke Mendelssohn, d. 56/1, d. 56/2, and c. 47). Composed as a present for the Benecke children in England, as a result of his visit there in 1842.

488 Kahl, Willi. “Zu Mendelssohns Lieder ohne Worte.” Zeitschrift für Musikwissenschaft 3 (1920–21): 459–69.

Kahl asserts that FMB’s first volume of Lieder ohne Worte (Op. 19[b]) was not a truly generic innovation, but was inspired by Wilhelm Taubert’s An die Geliebte: Acht Minnelieder für das Pianoforte, Op. 16. See also Jost (item 485) and Siebenkäs (item 495).

489 Kahn, Johannes. “Ein unbekanntes ‘Lied ohne Worte’ von Felix Mendelssohn.” Die Musik 16 (11) (1924): 824–26.

A commentary on a Lied ohne Worte in F Major (ca. 1841), with facsimile.

490 Reininghaus, Frieder. “Studie zur bürgerlichen Musiksprache: Mendelssohns ‘Lieder ohne Worte’ als historisches, ästhetisches und politisches Problem.” Die Musikforschung 28 (1975): 34–51.

Considers the host of problems in the reception of FMB’s Lieder ohne Worte, particularly relating to the ambiguities of genre.

491 Risch, Claudia. “Felix Mendelssohns Lieder ohne Worte.” Lizenz-Arbeit der Philosophischen-Historischen Fakultät, University of Bern, 1982.

492 Schleuning, Peter. “Felix Mendelssohn Bartholdys Klaviersonate in E-Dur, Op. 6.” Mendelssohn-Studien 16 (2009): 230–50.

Analyzes FMB’s exuberant, youthful sonata movement by movement in light of the other works FMB was then composing and discusses the influence of Beethoven.

493 Schmidt-Hensel, Roland Dieter. “‘Er änderte an einzelnen Stellen 5–6 mal’: Anmerkungen zu Mendelssohns Revisionspraxis im Beispiel des Liedes ‘The Garland.’” Mendelssohn-Studien 16 (2009): 251–71.

Schmidt-Hensel takes the sources for the Lied “The Garland” as a case study for FMB’s revision process. Included in the study are five handwritten sources (autographs and copies), and two printed sources from Ewer & Co. and J. P. Spehr.

494 Schwarting, Heino. “Die ‘Lieder ohne Worte’ von Felix Mendelssohn Bartholdy: Untersuchungen und Betrachtungen über das erste Heft (Op. 19).” Üben und Musizieren 5 (1988): 426–31.

495 Siebenkäs, Dieter. “Zur Vorgeschichte der Lieder ohne Worte von Mendelssohn.” Die Musikforschung 15 (1962): 171–73.

The article disputes Willi Kahl’s suggestion (item 488) that the “Songs without Words” were inspired by Taubert’s An die Geliebte, Op. 16, and suggests that they were instead inspired by one of Taubert’s texted Lieder: his unpublished setting of Wilhelm Müller’s “Der Neugierige” (also set by Schubert in Die schöne Müllerin).

496 Smith, Robert Carrol. “Felix Mendelssohn’s ‘Six Preludes and Fugues,’ Opus 35.” D.M.A. diss., Indiana University, 1989.

497 Stanley, Glenn. “The Music for Keyboard.” In Peter Mercer-Taylor, ed., The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004, pp. 149–66.

Explores FMB’s lifelong engagement with the keyboard as a composer and performer, at both the piano and organ. Discusses especially the Songs without Words, various preludes and fugues including Op. 35 for the piano and Op. 37 for the organ, Organ Sonatas Op. 65, and the Variations sérieuses, Op. 54.

498 Tischler, Louise H. and Hans Tischler. “Mendelssohn’s Songs without Words.” The Musical Quarterly 33 (1947): 1–16.

The authors discuss the generic novelty of the Lieder ohne Worte and identify the presence of the style in other works, including Opp. 40, 49, 52, and 66.

499 ——“Mendelssohn’s Style: The Songs without Words.” Music Review 8 (1947): 256–73.

This article groups the Lieder ohne Worte into three categories according to texture and style: (1) those modeled on solo Lieder; (2) those modeled on duets; and (3) those modeled on choral songs. It also traces the emergence of the style in a number of FMB’s works prior to 1832, including Opp. 22, 101, 24, 12, and 28.

500 Todd, R. Larry. “A Sonata by Mendelssohn.” Piano Quarterly 29 (1981): 30–41.

This essay includes commentary and the first edition of FMB’s 1823 Sonata in B Minor.

501 ——“From the Composer’s Workshop: Two Little-Known Fugues by Mendelssohn.” The Musical Times 131 (1990): 183–87.

Todd discusses two short piano fugues (in G minor and E-flat major) held in volume c. 8 of the M. Deneke Mendelssohn collection of the Bodleian Library, Oxford.

502 ——“‘Gerade das Lied wie es dasteht’: On Text and Meaning in Mendelssohn’s Lieder ohne Worte.” In Nancy Kovaleff Baker and Barbara Russano Harming, eds., Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca. Stuyvesant, NY: Pendragon, 1992, pp. 355–79.

The author discusses the aesthetics of musical and extramusical meaning in the Lieder ohne Worte, proceeding from FMB’s wellknown letter of 15 October 1842 to Marc-André Souchay, and drawing on additional little-known correspondence to expand the insights provided by that letter. He also focuses on contemporary texted versions of some of the Lieder ohne Worte (from Opp. 63, 19[b], 30, and 57).

503 ——“Me voilà perruqué: Mendelssohn’s Six Preludes and Fugues Op. 35 Reconsidered.” In R. Larry Todd, ed., Mendelssohn Studies. Cambridge: Cambridge University Press, 1992, pp. 162–99. Reprinted in R. Larry Todd, Mendelssohn Essays. New York: Routledge, 2008 pp. 181–213.

An essential article on an opus central to FMB’s posthumous reception history as well as his contemporary prestige. Observations on the pervasiveness of fugal writing in FMB’s œuvre are followed by a detailed study of the compositional process for the opus as a whole (including the rejected material posthumously published in Opp. 104[a] and 104[b]), explorations of thematic and tonal unity that create the gesture of a cycle for the entire opus, and a detailed analytical discussion of the Prelude and Fugue in E Minor, Op. 35 No. 1. Includes an extensive source-list for the works.

504 ——“Piano Music Reformed: The Case of Felix Mendelssohn Bartholdy.” In R. Larry Todd, ed., Nineteenth-Century Piano Music. New York: Schirmer Books, 1990, pp. 178–220. Reprinted in Douglass Seaton, ed., The Mendelssohn Companion. Westport, CT: Greenwood Press, 2001, pp. 579–624.

Although FMB did not make a career of his pianism, most contemporaries described him as possessing technique and musicianship to rival the celebrated virtuosos of the day. This essay is an indispensable overview that deals with FMB’s complete piano œuvre (including the piano-duet repertoire), published and unpublished, and identifies significant influences on FMB’s piano style. Divides the compositions into early (student) works (with special attention given to Opp. 6 and 7); Lieder ohne Worte; large forms in the mature works (focusing on Opp. 28, 35, 54, 82, and 83); and short forms in the mature works (focusing on Opp. 14, 15, 16, and 33, and the posthumous opera 104 [a], 104[b], 117, and 118). It identifies as salient in this repertoire an attitude of reform, with an eye to creating “an antidote to what he regarded as the excesses and mediocrity of much contemporary piano music.”

505 Toliver, Brooks. “Thoughts on Love and Marriage as Envisioned in Mendelssohn’s ‘Duetto.’” In Colleen Reardon and Susan Parisi, eds., Music Observed: Studies in Memory of William C. Holmes. Detroit Monographs in Musicology/Studies in Music 42. Warren, MI: Harmonie Park Press, 2004, pp. 469–87.

Examines in more detail the possibilities—musical, cultural, and biographical—for interpreting the male–female conversation in the Lied ohne Worte, Op. 38 No. 6.

506 Ward Jones, Peter. “Mendelssohn’s First Composition.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 101–13.

Reevaluates the identity of FMB’s first composition, arguing that it is neither the “Lied zum Geburtstag meines gutes Vater” nor “Quel bonheur pour mon cœur” as has been previously proposed, but rather the “Double sonata” for two pianos in D major, Oxford-Bodleian, Ms. M. Deneke Mendelssohn b. 5 (fols. 42ff.).

Organ Music

507 Beechey, Gwilym. “Mendelssohn’s Organ Music.” The Organ 58 (1979/80): 67, 69–89.

508 Bötet, Friedhold. Mendelssohns Bachrezeption und ihre Konsequenzen dargestellt an den Präludien und Fugen Op. 37. Beiträge zur Musikforschung, Bd. 14. Munich: Emil Katzbichler, 1984. 134 pp. ISBN 3873972638.

Adapted from the author’s dissertation (Heidelberg, 1982). Though FMB was brought up on organs made by Joachim Wagner, in the Schnitger tradition, he seems to have had sympathy for the then modern, orchestral instrument built according to Vögler’s principles. A letter to Schubring appears to suggest that FMB wanted a modern sound for these pieces. In addition to detailed analyses of Op. 37 (and of early versions of them where these have survived), the book also contains a list of all Bach organ works that FMB could have known, and a list of all of FMB’s known organ works. A long analysis of “Schmücke dich, O liebe Seele,” BWV 654, one of FMB’s favorite Bach pieces, seeks to explain its fascination for and influence on him. [DM]

509 Busch, Hermann J. “Einige Beobachtungen zu den Orgelsonaten Mendelssohns.” Ars Organi 36 (1988): 63–66.

This article consists of suggestions for the registration of the Op. 65 sonatas, based on FMB’s prefatory remarks and on nineteenth-century performance conventions.

510 Butler, Douglas Lamar. “The Organ Works of Felix Mendelssohn Bartholdy.” D.M.A. diss., University of Oregon, 1973. 268 pp.

Butler discusses FMB’s organ music in relation to: (1) organs and musical cultures encountered in Germany and Central Europe; (2) FMB’s activities as conductor and performer; and (3) the relationship of FMB’s organ sonatas to Baroque and Romantic “style procedures.” Various movements of the sonatas are related to several stylistic categories: (1) English Baroque voluntary style; (2) chorale-based procedures; (3) fugue and fugal procedures; (4) the toccata (Baroque revival procedures); and (5) melodic ornamentation practice. FMB’s organ works “fuse neo-Baroque counterpoint with uniquely graceful lyricism.” [DM]

511 ——“The Organ Works of Felix Mendelssohn Bartholdy.” The Diapason 69 (1974): 70, 71.

512 Edler, Arnfried. “Reisende Organisten im späten 18. und in der ersten Hälfte des 19. Jahrhunderts.” In Christian Meyer, ed., Le musicien et ses voyages: Pratiques, réseaux et representations. Berlin: Berliner Wissenschafts-Verlag (BWV), 2003, pp. 75–89.

Discusses traveling, performing organists such as Vogler, Hesse, Mendelssohn, and Liszt.

513 Edwards, Mark Douglas. “A Performer’s Study of Three Organ Sonatas from the Eighteenth to the Twentieth Centuries: Bach, Mendelssohn, and Hindemith.” D.M.A. diss., Southwestern Baptist Theological Seminary, 1993.

In effect, a study of the versatility of the structural application of the term “sonata” in the context of the organ repertoire. Asserts that despite their generic designation the Op. 65 Sonatas are “essentially church compositions because of Mendelssohn’s considerable use of the chorale.”

514 Gates, Eugene. “Felix Mendelssohn: Virtuoso Organist.” Journal of the American Liszt Society 37 (Jan.–June 1995): 13–25.

A concise chronological narrative of FMB’s activities as an organist, drawing on the comments of those who heard him play.

515 Großmann-Vendrey, Susanna. “Stilprobleme in Mendelssohns Orgelsonaten Op. 65.” In Carl Dahlhaus, ed., Das Problem Mendelssohn. Studien zur Musikgeschichte des 19. Jahrhunderts, Bd. 41. Regensburg: Gustav Bosse, 1974, pp. 185–94.

This essay—by far one of the most substantial concerning this important opus in the nineteenth-century organ literature—proceeds from the disturbingly true assertion that “the best known characteristic of Mendelssohn’s organ sonatas is the fact that they are hardly ever played,” and attributes this situation to the works’ considerable stylistic diversity.

516 Hathaway, J. W. G. An Analysis of Mendelssohn’s Organ Works: A Study of Their Structural Features. London: W. Reeves, 1898. 123 pp. Reprinted New York: AMS Press, 1978. ISBN 0404129560.

517 Henderson, A. M. “Mendelssohn’s Unpublished Organ Works.” The Musical Times 88 (1947): 347–348.

A description and discussion of the organ juvenilia of 1823, based on detailed notes from the author’s 1900 trip to Berlin. Although Henderson strongly advocated publication of the works, they remained unpublished until Wm. A. Little’s edition of 1991.

518 Klein, Hans-Günter. “Eine (fast) unendliche Geschichte: Felix Mendelssohn Bartholdys Hochzeitsmusik für seine Schwester.” MendelssohnStudien 12 (2001): 179–85.

Gives a full, and at times amusing, history of the manuscript of the work intended for Fanny’s wedding that became the first movement of the Organ Sonata in A major, Op. 65 No. 3.

519 Little, Wm. A. “Mendelssohn in Birmingham: The Composer as Organist, 1837 and 1840.” The American Organist 43 (3) (March 2009): 72–79.

520 ——Mendelssohn and the Organ. New York: Oxford University Press, 2010. 496 pp. ISBN: 9780195394382.

Not released in time to examine for this publication, but this substantial study will provide a detailed account of the organ music, organs, and organists in FMB’s career throughout Europe and England.

521 Mann, Robert C. “The Organ Music.” In Douglass Seaton, ed., The Mendelssohn Companion. Westport, CT: Greenwood Press, 2001, pp. 625–60.

Emphasizes FMB’s role in revitalizing nineteenth-century organ repertoire, and discusses FMB’s organ works from the early fugues to Op. 65. Includes “Henry Gauntlett on Mendelssohn as an organist” from The Musical World (15 September 1837): 8–10.

522 Moorehead, Douglas M. “Mendelssohn’s Organ Sonatas: A Look at Number 3.” The AGO-RCCO Magazine 9, No. 11 (1975): 28–33.

An overview of the Op. 65 sonatas followed by a look at issues of style, form, and performance practice in the A-major Sonata.

523 Na, Jin-Gyu. “Die langsamen Sätze in den Orgelsonaten von Mendelssohn bis Rheinbergen.” Ph.D. diss., University of Würzburg, 1997. 204 pp.

524 Osborne, William. “Mendelssohn the Organist.” The Diapason 98 (7) (July 2007): 19–21.

525 Petrash, David Lloyd. “Felix Mendelssohn as Organ Composer: Unpublished and Little-Known Works.” D.M.A. diss., North Texas State University, 1975. 25 pp.

An early discussion of seven little-known works for organ: the Fugue in D Major (Jan. 1821), the Andante in D Major (May 1823), the Passacaglia in C Minor (May 1823), the Fantasia in G Minor (ca. 1827), the Fugue in E Minor (July 1839), the Fugue in F Minor (July 1839), and the Sonata in A Major (1839).

526 Raidt, Jürgen. “Die Rezeption der Orgelsonaten Felix Mendelssohn-Bartholdys im ausgehenden 19. Jahrhundert unter besonderer Berücksichtigung Frankreichs und Englands.” Ph.D. diss., University of Bochum (in progress).

527 Sabatier, François. “Les grandes œuvres pour orgue de Mendelssohn.” L’Orgue: Cahiers et memoires 24 (2) (1980): 1–29. Translated into English by J. Christopher O’Malley as “Mendelssohn’s Organ Works.” American Organist 16 (1982): 46–56.

A survey of the influences of J. S. Bach on FMB’s Three Preludes and Fugues (Op. 37) and Six Sonatas (Op. 65), particularly in the predominance of genuinely polyphonic textures. It includes a section detailing the specifications of the organs in the cathedrals at Bern and Munich; the Abbey of Engelberg; the Katharinenkirche in Frankfurt am Main; the Johanneskirche in Kronberg; Buckingham Palace; St. Peter’s Cornhill, London; Christ Church on Newgate Street, London; and Town Hall, Birmingham.

528 Sandresky, Margaret Vardell. “Mendelssohn’s Sonata III: A Composer’s View.” The Diapason 99 (3) (Mar. 2008): 22–23.

A study of the A-major organ sonata, Op. 65 No. 3, with particular emphasis on its compositional history (originally intended for Fanny’s wedding) and the presence of the chorale melody, “Aus tiefer Not.”

529 Schmidt, Christian Martin. “Choral und Virtuosität: Anmerkungen zu den Orgelsonaten Op. 65 von Felix Mendelssohn Bartholdy.” In Heinz von Loesch, Ulrich Mahlert, and Peter Rummenhöller, eds., Musikalische Virtuosität. Klang und Begriff 1. Mainz: Schott, 2004, pp. 114–22.

530 Todd, R. Larry. “New Light on Mendelssohn’s Freie Fantasie (1840).” In Geoffrey C. Orth, ed., Literary and Musical Notes: A Festschrift for Wm. A. Little. Bern: Peter Lang, 1995, pp. 205–18.

An important essay concerning FMB’s activities as an organist and as an activist in the Bach revival. Focuses on FMB’s 1840 benefit organ recital for the Leipzig Bach monument, devoting special attention to the concluding “Freie Phantasie” on the chorale “O Haupt voll Blut und Wunden.” It focuses on the manuscript draft for this improvisation. For more on this concert, see item 710, as well as studies by Hartinger, items 684ff.

531 [Großmann-]Vendrey, Susanna. “Die Orgelwerke von Felix Mendelssohn Bartholdy.” Ph.D. diss., University of Vienna, 1965.

532 Wilson, Roger B. “Collecting for Recording the Organ Works of Mendelssohn: A Personal Odyssey.” The Diapason 64 (7) (1973): 3, 15.

533 Zappalà, Pietro. “I Preludi dei ‘Präludien und Fugen’ Op. 37 di Felix Mendelssohn Bartholdy.” In Maria Caraci Vela, ed., La Critica del testo musicale: metodi e problemi della filologia musicale. Studi e testi musicali: Nuova serie No. 4. Lucca: Libreria Musicale Italians, [1995], pp. 287–318. Translated into English by John Michael Cooper as “Editorial Problems in Mendelssohn’s Organ Preludes, Op. 37.” In John Michael Cooper and Julie D. Prandi, eds., The Mendelssohns: Their Music in History. Oxford: Oxford University Press, 2002, pp. 27–42.

Compares the two simultaneously published editions of Op. 37, by Breitkopf & Härtel and Novello. Provides a detailed discussion of the sources and editions, and the variants between each.

Sacred Works

Oratorios

534 Albrecht-Hohmaier, Martin. Mendelssohns Paulus: Philologisch-analytische Studien. Berlin: Mensch-und-Buch-Verlag, 2003. 295 pp. ISBN 9783898205955.

535 Armstrong, Thomas. Mendelssohn’s Elijah. London: Oxford University Press, 1931. 38 pp.

536 Bartelmus, Rüdiger. “Elia(s): Eine Prophetengestalt im Alten Testament und ihre musikalisch-theologische Deutung durch Felix Mendelssohn Bartholdy.” Musik und Kirche 65 (1995): 182–97.

This essay examines the theological implications of the libretto selected for Op. 70 and FMB’s musical responses to those implications.

537 Cooper, John Michael. “Mendelssohn’s Valediction.” Choral Journal 49 (10) (April 2009): 34–61.

Discusses the works performed at FMB’s commemorative concert at the Leipzig Gewandhaus the week following his death, which spawned confusion over an “a cappella motet for chorus and soloists, also composed in the summer of this year [1847], also manuscript.” Cooper investigates the possible works indicated, discussing Nunc dimittis, Magnificat, and Jubilate Deo (usually known in the German as Drei Motetten, Op. 69).

538 Edwards, F. G. “First Performances: I. Mendelssohn’s St. Paul.” The Musical Times 32 (1891): 137–38.

539 ——The History of Mendelssohn’s Oratorio “Elijah”. London: Novello, Ewer & Co., 1896. 141 pp. Reprinted. New York: AMS Press, 1976. ISBN 0404129013.

Though dated in its particulars, this book is still an important and insightful resource. It devotes special attention to the development of the libretto, the circumstances and reception of the first performance, and the reworking that followed that tremendously successful event.

540 Ellison, Ross Wesley. “Overall Unity and Contrast in Mendelssohn’s Elijah.” Ph.D. diss., University of North Carolina at Chapel Hill, 1978. 381 pp.

541 ——“Mendelssohn’s Elijah: Dramatic Climax of a Creative Career,” American Choral Review 22 (1980): 3–9.

Adapted from the author’s dissertation (item 540). Situates FMB’s last completed oratorio amid the events and other compositions of the last decade of the composer’s life.

542 Forchert, Arno. “Textanlage und Darstellungsprinzipien in Mendelssohns Elias.” In Carl Dahlhaus, ed., Das Problem Mendelssohn. Regensburg: Gustav Bosse, 1974, pp. 61–77.

Forchert addresses recurrent themes in negative critiques of Elijah: the notion that the approach to the drama is inappropriate for the genre of the oratorio; the notion that there are too many generalizing arias and choruses that disrupt the drama; and Eric Werner’s suggestion that the work suffers because the texts dealing with the Elijah plot are mixed with texts relating to much later developments in theological history.

543 Fink, Gottfried Wilhelm, “Paulus.” Allgemeine Musikalische Zeitung 39 (1837): cols. 497–506, 513–30.

544 Grove, George. “Mendelssohn’s Oratorio ‘St Paul.’” The Musical Times 50 (1909): 92–94.

This article focuses on the unpublished chorales, arias, and choruses, and suggests that their music is worthy of separate study and publication.

545 Hoensbroech, Raphael Graf von. Felix Mendelssohn Bartholdys unvollendetes Oratorium Christus. Kassel: Bosse, 2005. 254 pp. ISBN 3764927062.

Publication of Ph.D. dissertation, University of Cologne. Review: S. Hiemke in Musik und Kirche 76 (3) (May–June 2006): 204–05.

546 Holze, Friedrich. “Der Elias von Felix Mendelssohn Bartholdy und die biblische Gestalt des Elias: Ein Diskurs über Religion und Gewalt.” Forum Kirchenmusik 54 (2) (2003): 11–20.

547 Jahn, Otto. Über Felix Mendelssohn Bartholdys Oratorium “Paulus”. Kiel: n.p., 1842. Reprinted in O. Jahn, Gesammelte Aufsätze über Musik. Leipzig: Breitkopf & Härtel, 1866, pp. 13–39.

A lengthy study of FMB’s first oratorio, with running descriptive commentary on the music and plot of the work.

548 ——“Über F. Mendelssohn Bartholdy’s Oratorium Elias.” Allgemeine musikalische Zeitung [Leipzig] 50 (1848): cols. 113–22, 137–43. Translated into English by Susan Gillespie as “On F. Mendelssohn-Bartholdys Oratorio Elijah.” In R. Larry Todd, ed., Mendelssohn and His World. Princeton, NJ: Princeton University Press, 1991, pp. 364–89.

Jahn (1813–69) was an acquaintance of FMB, author of the first fullscale critical biography of Mozart (Leipzig: Breitkopf & Härtel, 1856–59), and author of a sizable study of St. Paul (item 547). Despite its early date, this is in many ways a comprehensive article that reveals not only the esteem with which Op. 70 was viewed from its premiere, but also much about its textual and musical structure.

549 Krummacher, Friedhelm. “Art—History—Religion: On Mendelssohn’s Oratorios St. Paul and Elijah.” In Douglass Seaton, ed., The Mendelssohn Companion. Westport, CT: Greenwood Press, 2001, pp. 299–393.

Examines the artistic and religious climate in which FMB wrote his oratorios. Discusses the influence of Handel and Bach, and differences between FMB’s own aesthetic and religious approaches to St. Paul and Elijah. Includes numerous musical examples and detailed discussion of the music.

550 Kurzhals-Reuter, Arntrud. Die Oratorien Felix Mendelssohn Bartholdys: Untersuchungen zur Quellenlage, Entstehung, Gestaltung und Überlieferung. Mainzer Studien zur Musikwissenschaft, 12. Tutzing: Hans Schneider, 1978.

Adapted from the author’s dissertation (University of Mainz, 1977). A landmark survey of the sources, plots, theological background, genesis, texts, and musical structure of Opp. 36, 70, and 97.

551 Mintz, Donald. “Mendelssohn’s Elijah Reconsidered.” Studies in Romanticism 3 (1963): 1–9.

A careful review of the drama and structure of the dramatic scenes in Op. 70.

552 Meiser, Martin. “Das Paulusbild bei Mendelssohn und Mendelssohns christliche Selbsterfahrung.” Musik und Kirche 62 (1992): 259–64.

New Testament scholars have formulated the scriptures’ presentation of several discrete images of St. Paul: as theologian, missionary, Christian, martyr, and apostolic authority of the early church. This article examines the ways in which these images are reflected in FMB’s treatment of his subject in Op. 36.

553 Mercer-Taylor, Peter. “Rethinking Mendelssohn’s Historicism: A Lesson from St. Paul.” Journal of Musicology 15 (1997): 208–29.

Adapted from the author’s dissertation (item 637). This study focuses on the chorales in Op. 36 and suggests that their increasingly complex settings reveal a culminating “self-reflexivity, or self-critique, in which the appropriateness of the chorale in this context is effectively raised as an issue within the musical discourse itself.”

554 Plank, Stephen. “Mendelssohn and Bach: Some New Light on an Old Partnership.” American Choral Review 32 (1–2) (1990): 23–28.

An article on the similarities between “Es ist genug” (Elijah) and “Es ist vollbracht” from Bach’s St. John Passion. See also item 569.

555 Reichwald, Siegwart. The Musical Genesis of Felix Mendelssohn’s ‘Paulus’. Lanham, MD: Scarecrow Press, 2001. 241 pp. ISBN 0810840472.

Based on Reichwald’s Ph.D. dissertation (Florida State University, 1998. 310 pp.). Explores traditions of the oratorio in the nineteenth century, details the sources, “phases of compositional process” for the whole work and for individual movements, and concludes with a discussion of larger issues of compositional process and context. Includes the codicological details of manuscripts containing St. Paul (Mendelssohn Nachlaß Mss. 53, 54, 55, and 28).

556 Reimer, Erich. “Textanlage und Szenengestaltung in Mendelssohns Paulus.” Archiv für Musikwissenschaft 46 (1) (1989): 42–69. Abridged as “Zur Szenengestaltung in Mendelssohns Paulus.” In Bernd Heyder and Christoph Spering, eds., Blickpunkt FELIX Mendelssohn Bartholdy: Programmbuch Drei Tage für Felix vom 30.10 bis 1.11.1994. Cologne: Dohr, 1994, pp. 81–88.

Reimer discusses the dramatic and musical structure of Op. 36, as well as its use of chorales.

557 ——“Mendelssohns ‘edler Gesang’: Zur Kompositionsweise der Sologesänge im ‘Paulus.’” Archiv für Musikwissenschaft 50 (1993): 44–70.

An important exploration of the mechanics and aesthetics of what Leon Botstein (item 612) terms “the Mendelssohnian project.” This article proceeds from Schumann’s cautiously expressed reservation that the popularity of the music in St. Paul almost suggested that FMB may have consciously written some of the numbers with the intention of effectiveness for “das Volk.” It examines the structure and musical language of the solo songs in exploring the aesthetic plausibility and ramifications of the music.

558 ——“Regenwunder und Witwenszene: Zur Szenengestaltung in Mendelssohns ‘Elias.’” Die Musikforschung 49 (1996): 152–71.

This study examines the dramatic structure of two scenes from Elijah from a textual and musical perspective to show that FMB’s concern with the drama of the oratorio led him to introduce modifications in the Biblical texts, while also demonstrating a concern for fidelity to the texts’ moral and ethical content.

559 ——Vom Bibeltext zur Oratorienszene: Textverarbeitung und Textvertonung in Felix Mendelssohn Bartholdys Paulus und Elias. Cologne: Dohr, 2002. 175 pp. ISBN 3925366873.

Review: R. Bartelmus in Musik und Kirche 72 (6) (Nov.–Dec. 2002): 400; L. M. Koldau in Die Tonkunst Online 5 (9) (1 September 2005); M. Loeser in Die Musikforschung 60 (1) (Jan.–Mar. 2007): 65.

560 Rothfahl, Wolfgang. “Zu den ‘Chorälen’ in Mendelssohns Elias.” Musik und Gottesdienst 44 (1990): 247–51.

561 Schröter, Ulrich. “‘Dir, Herr, dir will ich mich ergeben’: Bibel und Gesangbuch in Mendelssohns Paulus.” Archiv für Musikwissenschaft 64 (1) (2007): 35–55.

562 ——“‘Höre, Israel’: Die Bibel in Mendelssohns Elias.” Archiv für Musikwissenschaft 66 (1) (2009): 17–53.

563 Schuhmacher, Gerhard. “Felix Mendelssohn Bartholdys OratorienTriptychon.” Musik und Kirche 67 (1997): 376–81.

564 Seaton, Douglass. “‘But I don’t like it’: Observations and Reflections on the Two Finales of Elijah.” Choral Journal 49 (10) (April 2009): 24–33.

Seaton considers the two versions of the Schlusschor for Elijah in light of the fact that FMB had to rush the completion of the first version in the two weeks before its 1846 premiere in Birmingham. Argues that FMB did not throw out the first version in its entirety, and that a “comparison of the two movements illustrates [Mendelssohn’s] critical judgement of his own work and his creativity in finding a better solution” (p. 28).

565 Seidel, Wilhelm. “Felix Mendelssohn-Bartholdy: Elias—Über die religiöse und musikalische Konzeption des Oratoriums.” In Hans-Joachim Hinrichsen and Laurenz Lütteken, eds., Meisterwerke neu gehört: Ein kleiner Kanon der Musik—14 Werkporträts. Kassel: Bärenreiter, 2004, pp. 156–80.

566 Sposato, Jeffrey S. “‘For You Have Been Rebellious against the Lord’: The Jewish Image in Mendelssohn’s Moses and Marx’s Mose.” In Stephen A. Crist and Roberta Montemorra Marvin, eds., Historical Musicology: Sources, Methods, Interpretations. Eastman Studies in Music. Rochester: University of Rochester Press, 2004, pp. 256–79.

567 ——The Price of Assimilation: Felix Mendelssohn Bartholdy and the Nineteenth-Century Anti-Semitic Tradition. Oxford: Oxford University Press, 2006. 228 pp. ISBN 0195149742.

Adapted from his Ph.D. dissertation, Brandeis University, 2000. Sposato rethinks Mendelssohn’s engagement with the Lutheran religion and his Jewish heritage, reconsiders FMB’s treatment of J. S. Bach’s St. Matthew Passion, and then proceeds in a systematic fashion to dissect the labyrinthine path FMB took to the completion of each of his oratorio libretti. Choice Outstanding Academic Title for 2006. Also listed as item 928. Review: J. M. Cooper in Notes 64 (2) (2007): 275; R. Minor in the Journal of the Royal Musical Association 133 (2) (2008): 334–52; D. M. Mintz in Music & Letters 88 (3) (Aug. 2007): 519.

568 ——“Saint Elsewhere: German and English Reactions to Mendelssohn’s Paulus.” 19th-Century Music 32 (1) (Summer 2008): 26–51.

Discusses the differing ways in which German and English audiences responded to FMB’s Paulus—for the Germans, familiar with the Lutheran tradition, Paulus was a “devotional” work; for the English, St. Paul was for the most part a dramatic, Handelian oratorio, but the presence of Bachian chorales was a confusing element.

569 Staehelin, Martin. “Elias, Johann Sebastian Bach und der Neue Bund: Zur Arie ‘Es ist genug’ in Felix Mendelssohn Bartholdys Oratorium Elias.” In Rainer Cadenbach and Helmut Loos, eds., Beiträge zur Geschichte des Oratoriums seit Händel: Festschrift für Günther Massenkeil. Bonn: Voggenreiter, 1986, pp. 283–96. Translated into English by Susan Gillespie as “Elijah, Johann Sebastian Bach, and the New Covenant: On the Aria ‘Es ist genug’ in Felix Mendelssohn Bartholdy’s Oratorio Elijah.” In R. Larry Todd, ed., Mendelssohn and His World. Princeton, NJ: Princeton University Press, 1991, pp. 121–36.

This essay is by far the most substantive study to explore the similarities between the aria “Es ist genug” in Elijah and “Es ist vollbracht” in J. S. Bach’s St. John Passion. See also item 554.

570 Todd, R. Larry. “On Mendelssohn’s Sacred Music, Real and Imaginary.” In Peter Mercer-Taylor, ed., The Cambridge Companion to Mendelssohn. Cambridge: Cambridge University Press, 2004, pp. 167–88.

Discussion references sacred works besides the oratorios, including Lobgesang, Op. 52; Psalm 98, Op. 91; Psalm 42, Op. 42; Psalm 43, Op. 78 No. 2; and Lauda Sion, Op. 73.

571 Werner, Jack. Mendelssohn’s “Elijah.” [London]: Chappell, 1965. 109 pp.

572 Zywietz, Michael. Adolf Bernhard Marx und das Oratorium in Berlin. Schriften zur Musikwissenschaft aus Münster, No. 9. Hamburg; Wagner, 1996.

Chorale Cantatas

573 Griggs-Janower, D. “Mendelssohn’s Chorale Cantatas: A Well-Kept Secret.” Choral Journal 33 (4) (1992): 31–33.

An easily accessible and brief introduction to the chorale cantatas.

574 Pritchard, Brian W. “Mendelssohn’s Chorale Cantatas: An Appraisal.” The Musical Quarterly 62 (1976): 1–24.

The first published study of the chorale cantatas (although Wer nur den lieben Gott läßt walten is omitted) and a solid foundation for subsequent inquiries. It provides an overview of the glaring omissions from the so-called Gesamtausgabe (edited by FMB’s friend Julius Rietz in the 1870s) before turning to focal repertoire. Pritchard devotes special attention to O Haupt voll Blut und Wunden. It is amply illustrated with facsimiles and music examples.

575 Schulze, Willi. “Mendelssohns Choralkantaten.” In Rüdiger Görner, ed., Logos musicae: Festschrift für Albert Palm. Wiesbaden: Franz Steiner, 1982, pp. 188–93.

576 Todd, R. Larry. “A Passion Cantata by Mendelssohn.” American Choral Review 25 (1) (1983): 2–17.

On the chorale cantata “O Haupt voll Blut und Wunden.” Todd argues (on the basis of FMB’s correspondence) that the inspiration for work was a synthesis of J. S. Bach’s St. Matthew Passion and a painting by Antonio del Castillo y Saavedra (1616–68).

577 Wüster, Ulrich. Felix Mendelssohn Bartholdys Choralkantaten: Gestalt und Idee-Versuch einer historisch-kritischen Interpretation. Bonner Schriften zur Musikwissenschaft, Bd. 1. Frankfurt am Main: Peter Lang, 1996. 497 pp. ISBN 3631494599.

Adapted from the author’s dissertation by the same title (University of Bonn, 1993). An essential complement to Pietro Zappalà’s book on the works (item 578).

578 Zappalà, Pietro. Le ‘Choralkantaten’ di Felix Mendelssohn-Bartholdy. Collezioni di tesi Universitarie, Serie IV, 2. Venice: Fondazione Levi, 1991.

An expanded version of the author’s dissertation (University di Pavia, 1984). As a thorough and source-critical overview of major issues pertaining to an entire corpus of important but largely neglected works, a milestone in FMB research. Review: J. M. Cooper in Notes 49 (1993): 1005–06; A. Polignano in Rivista italiana di musicologia 28 (1993): 395–98.

Psalm Settings

579 Brodbeck, David. “Some Notes on an Anthem by Mendelssohn.” In R. Larry Todd, ed., Mendelssohn and His World. Princeton, NJ: Princeton University Press, 1991, pp. 43–64.

A study of “Why, O Lord, delay forever” (known in German as Hymne: Lass, O Herr, mich Hilfe finden), Op. 96.

580 Dinglinger, Wolfgang. “Ein neues Lied: Der preußische Generalmusikdirektor und eine königliche Auftragskomposition.” Mendelssohn-Studien 5 (1982): 99–111.

This article traces the composition of FMB’s setting of Psalm 98 (Op. posth. 91) and situates the work in the liturgical reforms undertaken by Prussian King Friedrich Wilhelm IV in 1843.

581 ——“‘ … der letzte Schluß will mir nicht so recht werden’: Anmerkungen zum 114. Psalm von Felix Mendelssohn Bartholdy.” In Helge de Le Motte-Haber, Christian Martin Schmidt, and Wilhelm Seidel, eds., Professor Rudolph Stephan zum 3. April 1985 von seiner Schulern, Berlin: n.p., 1985, pp. 77–80.

582 ——“Felix Mendelssohn Bartholdy: Der 95. Psalm Op. 46: ‘…von dem nur ein Stück mir ans Herz gewachsen war.’” Mendelssohn-Studien 7 (1990): 269–86.

An important study of the compositional history of the last of the psalms for chorus and orchestra that FMB elected to publish. It focuses on textual and musical changes, and suggests that FMB may have been more comfortable setting scenic/dramatic psalm texts than he was with opera librettos because of his identification with the ethical and moral content of the psalms.

583 ——Studien zu den Psalmen mit Orchester von Felix Mendelssohn Bartholdy. Berlin Musik Studien: Schriftenreihe zur Musikwissenschaft an den Berliner Hochschulen und Universitäten, 1. Cologne: Studio, 1993. ISBN 3861140365.

A study of Psalms 115 (Op. 31), 42 (Op. 42), 95 (Op. 46), 114 (Op. 51), and 98 (Op. 91). Parts of the chapters on Psalms 95 and 98 were adapted from articles in the Berlin Mendelssohn-Studien in 1982 and 1990 (see items 580 and 582). Not included: Psalm 150 for chorus and orchestra, originally intended for Op. 36 (MN 28); sketches for Op. 42 in MN 19. Review: K. Küster in Die Musikforschung 48 (1995): 86–87.

584 Hirsch, Lily E. “Felix Mendelssohn’s Psalm 100 Reconsidered.” Philomusica On-line 4 (2004). Available at: http://riviste.paviauniversitypress.it/index.php/phi/article/viewArticle/04-01-SG02/23.

Reconsiders and disproves Eric Werner’s claim that FMB wrote Psalm 100 for the New Israelite Temple in Hamburg (see item 589) in light of five letters exchanged with Maimon Fränkel (provided in their entirety with the article in both the original German and English translations). Argues that the work was intended instead for the Berlin Cathedral.

585 Reichwald, Siegwart. “Lost in Translation: The Case of Mendelssohn’s Psalm 95.” Choral Journal 49 (9) (March 2009): 28–47.

Reichwald challenges the mid-twentieth-century notion that Psalm 95 is “sentimental” by asking “did Mendelssohn really spend three years to write the best possible shallow, calculated, self-indulgent, and manipulative religious kitsch?” Examines the work from two perspectives: meaning and content determined through analysis of the compositional process; and reconsideration of contemporaneous reviews by Carl Ferdinand Becker.

586 Robinson, Daniel Vehe. “An Analysis of the Psalms for Chorus and Orchestra by Felix Mendelssohn.” D.M.A. diss., Stanford University, 1976. 125 pp.

587 Rüdiger, Adolf. “Stimmliche Hilfen für die Einstudierung des Psalmes 43 für achtstimmigen gemischten Chor von Felix Mendelssohn Bartholdy.” Musica sacra 108 (1988): 298–302.

588 Sposato, Jeffrey. “A New History of Mendelssohn’s Psalm 42.” Choral Journal 49 (9) (March 2009): 9–27.

Sposato delves into the compositional history of Psalm 42—usually assumed to be relatively straightforward—studying letters, diary entries, and musical drafts to show how it existed in several different versions.

589 Werner, Eric. “Felix Mendelssohn’s Commissioned Composition for the Hamburg Temple: The 100th Psalm (1844).” Musica Judaica: Journal of the American Society of Jewish Music 7 (1984): 54–57. See also Hirsch, item 584.

590 Wolff, Hellmuth Christian. “Der zweite Psalm Op. 78, 1 von Felix Mendelssohn Bartholdy.” In Heinrich Poos, ed., Chormusik und Analyse: Beiträge zur Formanalyse und Interpretation mehrstimmiger Vokalmusik, Vol. 1. Mainz: Schott, 1983, pp. 213–22.

591 Zappalà, Pietro. “I salmi di Felix Mendelssohn Bartholdy.” Ph.D. diss., University di Pavia, 1992. 401 pp.

Other Accompanied Sacred Choral Works

592 Brodbeck, David. “Eine kleine Kirchenmusik: A New Canon, A Revised Cadence, and an Obscure ‘Coda’ by Mendelssohn.” Journal of Musicology 12 (1994): 179–205. Also abridged in Hermann Danuser and Tobias Plebuch, eds., Bericht über den internationalen Kongreß der Gesellschaft für Musikforschung, Freiburg im Breisgau 1993, Vol. 2. Kassel: Bärenreiter, 1999, pp. 346–50.

A deft journey through the densely tangled jungle of the works composed during FMB’s service to Prussian King Friedrich Wilhelm IV in the winter of 1843–44, with emphasis on the psalm settings written during that winter and published posthumously. This essay concerns the Jubilate Deo published as the second part of the Te Deum in 1846, as well as Magnificat and Nunc dimittis (Op. 69 No. 2), the three psalms posthumously published as Op. 78, and the setting of Psalm 98 posthumously published as Op. 91. It explores the possibility of substantial editorial errors in the publication histories of these works.

593 Campbell, Robert Madison. “Mendelssohn’s Te Deum in D: Influences and the Development of Style.” D.M.A. diss., Stanford University, 1985. 172 pp.

This study summarizes FMB’s early development, largely on the basis of Todd (item 278). A close analysis of the piece in question, discussing the influences of Handel (Dettingen and Utrecht Te Deums) and Bach. There is a discussion of the bass realization in the Leipzig edition. Contains a list of publications of religious music by FMB recently published outside the bounds of the Leipzig edition. Nevertheless, the general impression is one of superficiality. [DM]

594 ——“Mendelssohn’s Te Deum in D.” American Choral Review 28 (2) (1986): 3–16.

Adapted from the author’s dissertation (item 593). Descriptive analysis of the work (which was first published in 1977), along with observations concerning evident stylistic influences.

595 Linden, Albert van der. “Un Fragment inédit du ‘Lauda Sion’ de F. Mendelssohn.” Acta musicologica 26 (1954): 48–64.

The late masterpiece Lauda Sion was one of the earliest posthumous publications, and the edition by which the work has always been known is seriously flawed. (A critical edition by R. Larry Todd is now available through Carus-Verlag.) This essay examines one important movement that was omitted from the edition.

596 ——“A propos du ‘Lauda Sion’ de Mendelssohn.” Revue Belge de musicologie 17 (1963): 124–25.

An important early study of FMB’s late masterpiece.

597 Wüster, Ulrich. “‘Aber dann ist es schon durch die innerste Wahrheit und durch den Gegenstand, den es vorstellt, Kirchenmusik …’: Beobachtungen an Mendelssohns Kirchen-Musik Op. 23.” In Christian Martin Schmidt, ed., Felix Mendelssohn Bartholdy: Kongreß-Bericht Berlin 1994. Wiesbaden: Breitkopf & Härtel, 1997, pp. 187–208.

An important examination of a collection in which the aesthetic merits rival the historical and theological interest. This study examines the implication of the stylistic and theological heterogeneity of the Op. 23 Kirchenmusiken. Like Todd, Wüster finds inspiration in a painting (in this case, Mitten wir im Leben sind, which may have been inspired by Titian’s Madonna di San Niccolò dei Frari).

Other Unaccompanied Sacred Choral Works

598 Zappalà, Pietro. “Di alcuni motetti giovanili di Felix Mendelssohn Bartholdy.” In Francesco Izzo and Johannes Streicher, eds., Ottocento e oltre: Scritti in onore di Raoul Meloncelli. Rome: Editoriale Pantheon, 1993, pp. 203–33.

Arrangements and Editions of Other Composers’ Works

Mendelssohn’s work as a scholar and editor forms the basis for this section. Here are included most of the studies on especially FMB’s arrangements of the continuo parts to Handel’s oratorios. See also Chapter 3, “Mendelssohn and the Music of the Past” for more on FMB’s work with the music of the past, especially Bach’s St. Matthew Passion and more on Handel’s oratorios.

599 Ahrens, Christian. “Bearbeitung oder Einrichtung? Felix Mendelssohn Bartholdys Fassung der Bachschen Matthäus-Passion und deren Aufführung in Berlin 1829.” Bach-Jahrbuch 87 (2001): 71–97.

600 Bennett, R. Sterndale. “Mendelssohn as Editor of Handel.” Monthly Musical Record 86 (1956): 83–94. Translated into German by Gerhard Schuhmacher as “Mendelssohn als Herausgeber Händelscher Werke.” In Gerhard Schuhmacher, ed., Felix Mendelssohn Bartholdy. Wege der Forschung, Bd. 494. Darmstadt: Wissenschaftliche Buchgesellschaft, 1982, pp. 44–63.

This article considers the correspondence between FMB and William Sterndale Bennett, focusing on the authors’ discussion of the edition-history of Samson.

601 Bowen, José A. “Mendelssohn, Berlioz, and Wagner as Conductors: The Origins of the Ideal of ‘Fidelity to the Composer.’” Performance Practice Review 6 (1993): 77–88.

Adapted from the author’s dissertation (Stanford University, 1994), this article attributes to FMB and Berlioz an attitude that saw the conductor’s task as “essentially re-creative,” while Wagner “was the first to regard it as a creative or interpretive act” (p. 77). The section discussing FMB focuses on his edition of Handel’s Israel in Egypt (published by the English Handel Society in 1846).

602 Chrysander, Friedrich. “Mendelssohns Orgelbegleitung zu Israel in Ägypten.” Jahrbücher für musikalische Wissenschaft 2 (1867): 249–67.

Because FMB’s editions of Handel (as well as his ideas on how to approach Handel’s music) still exert considerable influence, this essay remains a central source for those who use or consult FMB’s editions. Corrects FMB’s understanding of the sources for Israel and critiques his approach to continuo realization.

603 Cooper, John Michael. “Felix Mendelssohn Bartholdy, Ferdinand David und Johann Sebastian Bach: Mendelssohns Bach-Auffassung im Spiegel der Wiederentdeckung der ‘Chaconne.’” Mendelssohn-Studien 10 (1997): 157–79.

In 1840, Ferdinand David gave a performance of the “Chaconne” from Bach’s Partita in D Minor for Unaccompanied Violin, BWV 1004— with an improvised piano accompaniment by FMB (published in 1847). This article examines the ways in which salient themes in the early phases of the Bach revival shaped FMB’s and David’s interpretation of the work, combining FMB’s published edition of his heavily embellished rendition with FMB’s piano accompaniment.

604 Feder, Georg. “Bachs Werke in ihren Bearbeitungen.” Diss., Kiel, 1955. 378 pp.

Feder discusses the 1829 performance of the St. Matthew Passion, and the several cuts FMB made in the work.

605 ——“Geschichte der Bearbeitungen von Bachs Chaconne.” In Martin Geck, ed., Bach-Interpretationen. Göttingen: Vandenhoeck und Ruprecht, 1969, pp. 168–89. Translated into English by Egbert M. Ennulat as “History of the Arrangements of Bach’s Chaconne.” In Jon F. Eiche, ed., The Bach Chaconne for Solo Violin: A Collection of Views. Athens, GA: American String Teachers Association, 1985, pp. 41–61.