Felix Mendelssohn Bartholdy by Cooper John Michael

Author:Cooper, John Michael.
Language: eng
Format: epub
Tags: Arts
Publisher: Taylor & Francis (CAM)
Published: 2010-07-20T16:00:00+00:00

Mendelssohn and the Music of the Past (Including Beethoven, Weber, and Schubert)

This section presents essays on what is essentially the anchor of Mendelssohn’s musical identity as especially a conductor—the music of the past. Here you will find essays on Mendelssohn’s revival of J. S. Bach’s St. Matthew Passion and Schubert’s “Great” symphony, his reception of Beethoven, Mozart, and Weber, his historical programming at the Leipzig Gewandhaus, and much more. For more articles focusing on Mendelssohn’s arrangements of Handel’s oratorios, see Chapter 2, “Arrangements and Editions of Other Composers’ Works.”

658 Applegate, Celia. Bach in Berlin: Nation and Culture in Mendelssohn’s Revival of the St. Matthew Passion. Ithaca, NY: Cornell University Press, 2005. 288 pp. ISBN 9780801443893.

Approaches the familiar narrative of FMB’s revival of the St. Matthew Passion from a broad perspective, placing it in its proper context as a facet of a much larger cultural and national phenomenon, rather than as the isolated triumph of a prodigy. Review: R. Coles in The Times Literary Supplement 5423 (9 March 2007): 18; J. Garratt in Music & Letters 88 (2) (May 2007): 364; R. Minor in the Journal of the Royal Musical Association 133 (2) (2008): 334–52.

659 Bäßler, Hans. “…die Verbindung alten Sinns mit neuen Mitteln? Die Auseinandersetzung mit der Geschichte in der romantischen Musik am Beispiel Felix Mendelssohn.” Musik und Bildung 20 (1988): 570–77.

A post-Dahlhaus look at FMB’s aesthetics. Discusses especially Symphony No. 5, the “Reformation,” focusing on FMB’s use of the “Dresden Amen” and the chorale “Ein’ feste Burg ist unser Gott.”

660 Bockholdt, Rudolf. “Zum vierstimmigen Choralsatz J. S. Bachs.” In Henrik Glahn, Søren Sørensen, and Peter Ryom, II, eds., The International Musicological Society: Report of the Eleventh Congress Copenhagen 1972. Copenhagen: Wilhelm Hansen, 1974, pp. 277–87.

FMB’s setting of “Allein Gott in der Höh sei Ehr” (from St. Paul)is used as a foil in a discussion of Bach’s chorale style. Mendelssohn’s chorales are based on the “relation of chords to foreign tones” as opposed to Bach’s “genuinely polyphonic” chorales.

661 Bowen, José Antonio. “The Conductor and the Score: A History of the Relationship Between Interpreter and Text in the Generation of Mendelssohn, Berlioz, and Wagner.” Ph.D. diss., Stanford University, 1994. 3 vols.

This study considers theories of how conductors were to interpret orchestral scores in the mid-nineteenth century, especially the ways in which the older understanding of a musical artwork as a unique, contextually defined temporal moment was transformed into a view of the artwork as a stable text. It presents valuable information on Berlioz, Wagner, Hegel, and Schumann, among others.

662 ——“Mendelssohn, Berlioz, and Wagner: Early Practitioners of ‘Fidelity to the Composer.’” Performance Practice Review 6 (1) (Spring 1993): 77–88; Reprinted in Journal of the Conductors Guild 18 (2) (Summer/Fall 1997): 76–85.

Explores the concept of “authenticity” and examines the ways in which the personal preferences and education of Mendelssohn, Berlioz, and Wagner influenced the way they dealt with performance problems in the music of other composers.

663 Cooper, John Michael. “Impulse Bachs im Geiste der Gegenwart: Bemerkungen zu einigen wenig bekannten Sätzen aus Mendelssohns Paulus.

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