The Cambridge Companion to Mendelssohn

doi:10.1017/CCOL9780521826037

The Companion to Mendelssohn, is written by leading scholars in the field. In fourteen chapters they explore the life, work, and reception of a composer-performer once thought uniquely untroubled in life and art alike, but who is now broadly understood as one of the nineteenth century's most deeply problematic musical figures. The first section of the volume considers issues of biography, with chapters dedicated to Mendelssohn's role in the emergence of Europe's modern musical institutions, to the persistent tensions of his German-Jewish identity, and to his close but enigmatic relationship with his gifted older sister, Fanny. The following nine essays survey Mendelssohn's expansive and multi-faceted musical output, marked as it was by successes in almost every contemporary musical genre outside of opera. The volume's two closing essays confront, in turn, the turbulent course of Mendelssohn's posthumous reception and some of the challenges his music continues to pose for modern performers.

'This is the book that I would recommend to anyone who is keen to look more closely at any of the musical or contextual issues that are sure to be raised by the forthcoming festival.'

Source: Classical Music

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Contents

Frontmatter
pp i-xvi
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Introduction: Mendelssohn as border-dweller
pp 1-8
- By Peter Mercer-Taylor
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Part I - Issues in biography
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1 - Mendelssohn and the institution(s) of German art music
pp 9-25
- By Peter Mercer-Taylor
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2 - Mendelssohn and Judaism
pp 26-41
- By Michael P. Steinberg
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3 - Felix and Fanny: gender, biography, and history
pp 42-52
- By Marian Wilson Kimber
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Part II - Situating the compositions
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4 - Mendelssohn and the rise of musical historicism
pp 53-70
- By James Garratt
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5 - Mendelssohn as progressive
pp 71-88
- By Greg Vitercik
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Part III - Profiles of the music
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6 - Symphony and overture
pp 89-111
- By Douglass Seaton
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7 - The works for solo instrument(s) and orchestra
pp 112-129
- By Steve Lindeman
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8 - Mendelssohn's chamber music
pp 130-148
- By Thomas Schmidt-Beste
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9 - The music for keyboard
pp 149-166
- By Glenn Stanley
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10 - On Mendelssohn's sacred music, real and imaginary
pp 167-188
- By R. Larry Todd
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11 - Mendelssohn's songs
pp 189-205
- By Susan Youens
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12 - Felix Mendelssohn's dramatic compositions: from Liederspiel to Lorelei
pp 206-230
- By Monika Hennemann
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Part IV - Reception and performance
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13 - Mendelssohn received
pp 231-250
- By John Michael Cooper
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14 - Wagner as Mendelssohn: reversing habits and reclaiming meaning in the performance of Mendelssohn's music for orchestra and chorus
pp 251-268
- By Leon Botstein
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Notes
pp 269-296
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Select bibliography
pp 297-300
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Index
pp 301-315
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The Cambridge Companion to Mendelssohn

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Contents

Frontmatter
pp i-xvi

Introduction: Mendelssohn as border-dweller
pp 1-8

Part I - Issues in biography

1 - Mendelssohn and the institution(s) of German art music
pp 9-25

2 - Mendelssohn and Judaism
pp 26-41

3 - Felix and Fanny: gender, biography, and history
pp 42-52

Part II - Situating the compositions

4 - Mendelssohn and the rise of musical historicism
pp 53-70

5 - Mendelssohn as progressive
pp 71-88

Part III - Profiles of the music

6 - Symphony and overture
pp 89-111

7 - The works for solo instrument(s) and orchestra
pp 112-129

8 - Mendelssohn's chamber music
pp 130-148

9 - The music for keyboard
pp 149-166

10 - On Mendelssohn's sacred music, real and imaginary
pp 167-188

11 - Mendelssohn's songs
pp 189-205

12 - Felix Mendelssohn's dramatic compositions: from Liederspiel to Lorelei
pp 206-230

Part IV - Reception and performance

13 - Mendelssohn received
pp 231-250

14 - Wagner as Mendelssohn: reversing habits and reclaiming meaning in the performance of Mendelssohn's music for orchestra and chorus
pp 251-268

Notes
pp 269-296

Select bibliography
pp 297-300

Index
pp 301-315

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