{"title":"Form through Sound","authors":"Thomas Schmidt","doi":"10.1093/oso/9780190611781.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0012","url":null,"abstract":"Felix Mendelssohn’s pioneering role in exploring instrumental colours and textures has never been in doubt. As much as that of any nineteenth-century composer, his ‘sound’ is unmistakable across all genres, whether piano, chamber, or orchestral. Yet texture and timbre have always been the poor sisters in the theory and practice of musical analysis, and little work has been undertaken in this field. This chapter offers the first systematic attempt to examine how Mendelssohn achieves his ‘sound’—how he manages, on the same material basis and using the same ensemble types as his contemporaries, to create something that sounds so unmistakably his own. In a second step, the chapter demonstrates how the composer, rather than deploying devices of texture and Klangfarbe as localized programmatic devices, uses them to articulate or indeed generate instrumental form.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"6 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114001503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Deformed Beauty?","authors":"T. Grey","doi":"10.1093/oso/9780190611781.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0002","url":null,"abstract":"The last of Felix Mendelssohn’s series of popular and influential concert overtures, the Overture to the Tale of the Fair Melusina of 1835 remains the least familiar of these works. It is also the most unusual with regard to formal design in its purposeful confounding of introduction and sonata-form elements alongside the dialogic relation of clearly gendered thematic materials. Such calculated ‘deformation’ of classic and early Romantic sonata form has been understood as a means of generating a kind of musical-narrative content, though the precise relation of formal experiment to such narrative content has remained elusive. This chapter reconsiders the problematic relation of experimental formal procedure to the narrative dimension and the role this may have played in the composer’s subsequent abandonment of the quasi-programmatic concert overture genre, despite his unparalleled artistic success in the field.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114825152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fanny Hensel’s Sechs Lieder, Op. 9","authors":"Stephen Rodgers","doi":"10.1093/oso/9780190611781.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0020","url":null,"abstract":"In October 1847, five months after Fanny Hensel died, her brother Felix Mendelssohn brought several of her manuscripts to his publisher. Three years later, these works appeared in print as Fanny’s Opp. 8, 9, 10, and 11, though who selected these pieces for publication remains unclear. The siblings’ music, however, provides another form of evidence that can shed light on Felix’s role in the dissemination of his sister’s music. This chapter examines Fanny’s Sechs Lieder, Op. 9, a collection that is intimately connected to one of Felix’s own song collections, Zwölf Lieder, Op. 9 (1830). Considering these intertextual resonances, it is difficult not to see Fanny’s Op. 9 as a sibling collaboration in its own right, a brother’s musical elegy to his departed sister.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132652935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Changes of Pace","authors":"H. Krebs","doi":"10.1093/oso/9780190611781.003.0018","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0018","url":null,"abstract":"Felix Mendelssohn’s lieder were subjected to severe criticism during the late nineteenth century, with his supposedly ‘sloppy declamation’ often criticized against an aesthetic ideal drawn from Hugo Wolf. Mendelssohn’s own song aesthetic was, however, quite different. This chapter investigates Mendelssohn’s text setting, examining the stress patterns of the poetry from which he constructs his vocal melodies. Covering both early and later songs, the chapter incorporates analyses of Mendelssohn’s song autographs, which reveal that declamation was the focus of a considerable amount of care by the composer. Distortions of the poetic rhythm (such as accelerations or decelerations) that occur in his mature songs can often be explained as deliberate expressive effects responding to the deeper meaning of the poem.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128200631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Epic Voice with Rhyme and Reason","authors":"S. Burnham","doi":"10.1093/oso/9780190611781.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0005","url":null,"abstract":"This chapter considers the particular qualities that make Felix Mendelssohn’s symphonic writing so distinctive, as exemplified in the Third (‘Scottish’) Symphony. Focusing on key features such as sound (the characteristic ‘Scottish’ Nebelstimmung), scenically evocative elements (such as the music’s suggestion of battles, storms, and daybreak), and the ballad-like tone, it sets Mendelssohn’s practice against precedents in the symphonic work of Beethoven, not in order to enact yet again the lopsided binary that defines some composer negatively in terms of Beethoven but rather better to profile what is striking in Mendelssohn’s symphony. A concluding section, comparing the symphonic art of the two composers to the contrasting translations of Homer by Chapman and Pope, asks why reception history has for so long ignored the mastery and skill of Mendelssohn’s own symphonic achievement.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129071300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sibling Love and the Daemonic","authors":"Angela Mace Christian","doi":"10.1093/oso/9780190611781.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0007","url":null,"abstract":"Sibling love in the relationship between Felix and Fanny Mendelssohn has become recognized in recent years as one of the most important formational aspects of their lives and music. Based on the wider publication of the letters and music of both composers, we have come to realize just how much each influenced the other. However, a few questions have remained unanswered regarding the nature of that relationship and the almost indescribably intense intellectual bond they shared. Using interdisciplinary methodologies provided by kinship studies and drawing extensively on Fanny’s correspondence, this chapter provides social context for understanding just how unusual the two siblings’ marriages were for the time and what that can tell us about their artistic relationship. The chapter introduces a new term, siberoticism, and tackles the meaning behind the strange letter in which Fanny tells Felix that he exerts a ‘daemonic’ influence over her.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126226690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mendelssohn’s Deutsche Liturgie in the Context of the Prussian Agende of 1829","authors":"Laura K. T. Stokes","doi":"10.1093/oso/9780190611781.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0016","url":null,"abstract":"Felix Mendelssohn’s 1846 setting of the Deutsche Liturgie is among the least understood of his sacred compositions. Far from being an isolated instance of music intended for the liturgy of the Prussian Union Church, Mendelssohn’s work participates in and responds to a tradition of such settings that can be traced back to the 1829 Prussian Agende, whose Musik-Anhang was compiled by Mendelssohn’s teacher Carl Friedrich Zelter. A comparison of Mendelssohn’s setting with those composed by Eduard Grell and Wilhelm Taubert offers a context for reappraising Mendelssohn’s sacred music in light of the historicist values of mid-nineteenth-century Berlin and for nuancing our understanding of Mendelssohn’s aesthetics, creative choices, and intellectual approach to sacred music.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125220601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mendelssohn and Droysen","authors":"C. Applegate","doi":"10.1093/oso/9780190611781.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0008","url":null,"abstract":"This chapter considers Felix Mendelssohn’s historicism—his cultural activities aimed at reviving the past in order to illuminate and improve the present—through the composer’s long-standing friendship with Johann Gustav Droysen. One of the most important and original of nineteenth-century historians, Droysen first entered Mendelssohn’s life as his tutor in the 1820s. Sharing a love of music as well as a veneration for the great achievements of the past, the two remained lifelong friends, and Mendelssohn would set several of Droysen’s poems. To compare their engagement with the past is to illuminate the relationship of practice to theory and of action to thought. At the same time, the comparison allows us to see two creative people grappling with the power and the insufficiency of the past in shaping the present.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121907099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Expansion and Recomposition in Mendelssohn’s Symphonic Sonata Forms","authors":"Steven Vande Moortele","doi":"10.1093/oso/9780190611781.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0010","url":null,"abstract":"This chapter rethinks Felix Mendelssohn’s position vis-à-vis the New Formenlehre by focusing on structural expansion and recomposition in the subordinate theme groups of his symphonic sonata forms. A recurring strategy in the exposition of these works is to present a short, tight-knit theme that is then repeated and progressively expanded, significantly delaying the arrival of the cadence that concludes the subordinate theme group. This process of expansion in the exposition then forms the starting point for the recomposition of the subordinate theme group in the recapitulation. Drawing on examples from the first movements of the ‘Reformation’ and the ‘Italian’ Symphonies as well as from the Hebrides and Ruy Blas overtures, this chapter seeks not only to offer a more balanced account of the relation between the old and the new in Mendelssohn’s symphonic music but also to use that music as a locus of theory formation that contributes to a definition of what constitutes ‘Romantic’ form.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130714111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Brass Topics, Abbreviated Recapitulations, and the Bildungsreise","authors":"P. Mercer-Taylor","doi":"10.1093/oso/9780190611781.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190611781.003.0003","url":null,"abstract":"This chapter proceeds from a memorable passage near the end of the first movement of Felix Mendelssohn’s ‘Italian’ Symphony, where the woodwinds and brass unite in a forceful rendition of the opening gesture of the movement’s first subject. This fanfare in the coda represents the climactic stage in a process that has been at work since the start of this movement, a process that can be understood as an ingenious convergence of two of Mendelssohn’s well-established habits in orchestral sonata-form composition: deploying brass-related topics to generate a sense of closure and his tendency towards the drastic telescoping of recapitulations. The chapter further proposes that an autobiographical register might be at work in the movement’s distinctive deployment of rhetorical forces, asking whether we might discern here a meditation on Mendelssohn’s own journey towards personal maturity and independence.","PeriodicalId":284495,"journal":{"name":"Rethinking Mendelssohn","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128239613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
