Rethinking Mendelssohn
Rethinking Mendelssohn
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Abstract
Rethinking Mendelssohn offers a new perspective on Felix Mendelssohn’s music and aesthetics, arguing for a fresh understanding of the composer, his music, and its central relationship to nineteenth-century culture. Building on the renaissance in Mendelssohn scholarship of the last two decades, the present book sets a new tone for research on Mendelssohn. It challenges the traditional modes of discourse about this composer in moving beyond rehabilitation and source studies to engage in rigorous criticism and analysis, seeking to rethink the issues that shaped Mendelssohn, his music, and its reception from his own day to the present. This volume includes contributions from younger, emerging scholars as well as from some of the most prominent figures outside specialist Mendelssohn circles in order to open up new ways of understanding the composer and set out future directions in Mendelssohn studies. Besides offering fresh accounts of some of his most familiar orchestral pieces, particular attention is given here to Mendelssohn’s contested views on the relationship between art and religion, the analysis of his instrumental music in the wake of recent controversies in Formenlehre, and the burgeoning interest in his previously neglected contribution to the German song tradition.
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Front Matter
- Introduction: Rethinking Mendelssohn
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I Interpreting the Orchestral Music
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1
Deformed Beauty? Narrative and Musical Form in Mendelssohn’s Overture to the Tale of the Fair Melusina, Op. 32
Thomas Grey
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2
Brass Topics, Abbreviated Recapitulations, and the Bildungsreise: A New Approach to the First Movement of Mendelssohn’s ‘Italian’ Symphony
Peter Mercer-Taylor
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3
‘Inner Necessity’: Fabulation, Frame, and Musical Memory in Mendelssohn’s Lobgesang
John Michael Cooper
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4
An Epic Voice with Rhyme and Reason: On Rehearing Mendelssohn’s ‘Scottish’ Symphony
Scott Burnham
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1
Deformed Beauty? Narrative and Musical Form in Mendelssohn’s Overture to the Tale of the Fair Melusina, Op. 32
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II Historical and Aesthetic Contexts
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III Analysing Mendelssohn
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8
Mendelssohn and Sonata Form: The Case of Op. 44 No. 2
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9
Expansion and Recomposition in Mendelssohn’s Symphonic Sonata Forms
Steven Vande Moortele
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10
Syntax and Process in the First Movement of Mendelssohn’s Piano Trio, Op. 66
Julian Horton
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11
Form through Sound: Klangfarbe and Texture in Mendelssohn’s Instrumental Compositions
Thomas Schmidt
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8
Mendelssohn and Sonata Form: The Case of Op. 44 No. 2
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IV Art, Ethics, and Religion
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12
The Philosophical Composer: The Influence of Moses Mendelssohn and Friedrich Schleiermacher on Felix Mendelssohn
Leon Botstein
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13
Mendelssohn’s Difference in FaithRethinking Kunstreligion in the Context of His Compositional Aesthetics
Sabine Koch
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14
Sacred Sound and Secular Space in Mendelssohn’s Instrumental Music
Lawrence Kramer
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15
Mendelssohn’s Deutsche Liturgie in the Context of the Prussian Agende of 1829
Laura K. T. Stokes
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12
The Philosophical Composer: The Influence of Moses Mendelssohn and Friedrich Schleiermacher on Felix Mendelssohn
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V Mendelssohn and the Lied
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16
Reassessing Mendelssohn’s Song Aesthetic through the Lens of Religion: The Case of ‘Entsagung’
Jennifer Ronyak
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17
Changes of Pace: Expressive Accelerations and Decelerations in Mendelssohn’s Vocal Rhythms
Harald Krebs
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18
‘Time Is, Time Was, Time Is Past’: Mendelssohn’s Songs of Travel
Susan Youens
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19
Fanny Hensel’s Sechs Lieder, Op. 9: A Brother’s Elegy
Stephen Rodgers
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16
Reassessing Mendelssohn’s Song Aesthetic through the Lens of Religion: The Case of ‘Entsagung’
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End Matter
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