Mendelssohn Sources

Knowing Mendelssohn: A Challenge from the Primary Sources
Author(s): John Michael Cooper

Source: Notes, Second Series, Vol. 61, No. 1 (Sep., 2004), pp. 35-95
Published by: Music Library Association
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KNOWING MENDELSSOHN:
A CHALLENGE FROM THE PRIMARY SOURCES
BYJOHN MICHAEL COOPER
The name of Felix Mendelssohn Bartholdy (1809-1847) is

every serious musician, and many of his works are familiar t
who has had any exposure to Western art music. He is mentio
briefly in every general music-history and music-appreciation
and is granted an article in all major encyclopedias of m
been the subject of numerous biographies, and most libraries'
clude at least one of the many published collections of excerp
correspondence. His music was widely published during his
collected works edition was issued already in the 1870s, an
further editions have been issued since then.
On the face of it, these observations might suggest that the educat
musical public's knowledge of Mendelssohn's life and works is rea
ably well-founded. But this impression is misleading, for Mendelssohn
mains an elusive figure. Much of his music and the vast majority of h
letters remain unpublished; despite an impressive array of reliable ed
tions published in the last few decades, most of the works that have be
printed continue to be known primarily through corrupt or otherwis
unreliable texts; and substantial quantities of other significant primar
source materials have never been studied by scholars or considered
the biographical and critical literature. In short, the evidence on whic
most modern images of Mendelssohn are based is too limited to be con
sidered representative. Latter-day observers may be familiar with
composer's name,' with some aspects of his biography, and with a sma
John Michael Cooper is associate professor of music history at the University of North Texas. He i
author of Felix Mendelssohn Bartholdy: A Guide to Research (New York: Routledge, 2001) and Mendelsso
"Italian" Symphony (Oxford: Oxford University Press, 2003), and coeditor with Julie D. Prandi of
Mendelssohns: Their Music in History (Oxford: Oxford University Press, 2002).
This article is dedicated to the memory of Dr. Minor Myers Jr. (1942-2003), generous benefacto
Mendelssohn scholarship, tireless advocate of enterprise, learning, and creativity, and inspiration t
who knew him.
1. It must, however, be observed that the composer's name itself is anything but unproblematic, specif-
ically as regards the use of the Christian surname and whether it should be joined to the original fam
name with a hyphen. The general consensus among Mendelssohn scholars, based in large part on t
composer's own practice in his personal documents, is that the two should not be hyphenated. S
Max F. Schneider, Mendelssohn oder Bartholdy? Zur Geschichte eines Familiennamens (Basel: Internationale
Felix-Mendelssohn-Gesellschaft, 1962).
35
36 NOTES, September 2004
portion of his output, but in

composers such one-dimension
Over the last few decades, a r
eral interest in Mendelssohn
growing cognizance of the ext
of the primary documents of
increased general awareness t
and his historical significance
cious music-historiographic po
considerations.2 But these de
the relatively limited circles
textbooks, music criticism, an
of any broadened perspective o
cal significance.
The present remarks propose
cally viable view of Mendelss
cultural figure is the substant
that document his life and wo
opments in Mendelssohn's con
rize the historical and moder
graphic, and musical primary
studies in the insights offered
important developments in M
sioned at least in part by schol
material. For convenience, ap
cant Mendelssohn research p
year. The notes in this essay a
possible.3
PROBLEMS OF RECEPTION HISTORY
The widespread acclaim Mendelssohn enjoyed during his

rived in no small part from the compositions he published: s
numbered opera, plus an additional twenty-four minor publi
leased without opus numbers. Yet it would be misleading to a
prestige entirely or even primarily to his efforts as a compo
reputation from about 1835 onward also derived from his con
2. For a perceptive overview of these recent developments in Mendelssohn's scholarl

Friedhelm Krummacher, "Aussichten im Riickblick: Felix Mendelssohn Bartholdy
Forschung" (no. 84 in appendix 1).
3. For assistance in preparing this essay I wish to express my thanks to Elizabet
Performing Arts Division of the Library of Congress, Washington, DC; Hans-Giinter
the Mendelssohn-Archiv of the Staatsbibliothek zu Berlin-PreuBischer Kulturbesitz; P
head of the Music Section of the Bodleian Library, Oxford; and Ralf Wehner, head of
Forschungsstelle (Sichsische Akademie der Wissenschaften zu Leipzig).
Knowing Mendelssohn 37
in other areas of musical en

the other great piano virtuo
mid-nineteenth-century's gre
lifelong activities as a conduc
pearances on the podium, t
Diusseldorf, Leipzig, and Be
helm of the massed ensemb
earned a reputation for havin
ensembles and for performan
Lassus and Lotti through B
Liszt, and Wagner.5 He was known as a fastidious and innovative
programmer-not only one of the central figures in the formation of the
western European musical canon, but also an influential promoter of
the idea that the world of musical performance should consist of a cross-
section of historical styles. And his pedagogical influence was likewise
formidable, for he not only advised and promoted many aspiring young
composers, but also was the de facto founder, organizer, and director of
Germany's first conservatory of music (the Leipzig Conservatory, now
the Hochschule ffir Musik und Theater "Felix Mendelssohn Bartholdy").
In these ways he also assumed the role of music educator in a culture in-
tent on the role of music in the average citizen's musical Bildung.
Mendelssohn's reception between the mid-1820s and 1847 hardly fore-
tokened the developments of the century after his death. Widely re-
garded by the end of his life as his generation's most promising heir to
the compositional legacies of Haydn, Mozart, and Beethoven, he quickly
became a whipping-boy in the revolutionary fervor of the post-1848 years
-the personification of the fundamental values and attributes of the
Vormiirz culture that was the target of the midcentury revolutions.6 More-
over, in this increasingly anti-Semitic Europe he was an artist who bore a
name that was conspicuously Jewish, famous as such because of the con-
tributions of his illustrious grandfather, the Enlightenment philosopher
Moses Mendelssohn. Mendelssohn thus became emblematic of a culture
that (in words attributed to Franz Liszt) had "cultivated art to th

of invading it" and had "taken possession of all the genres," but t
"never known how to create art."' As Wagner put it in his infamou
4. See R. Larry Todd, "Piano Music Reformed" (no. 187 in appendix 1) and Wm. A. Lit
Mendelssohn and His Place in the Organ World of His Time" (no. 34 in appendix 1).
5. See Donald Mintz, "Mendelssohn as Performer and Teacher" (no. 36 in appendix 1).
6. On the effects of the 1848 revolutions on Mendelssohn's reception history, see Dona
"1848, Anti-Semitism, and the Mendelssohn Reception," in Mendelssohn Studies, ed. R. L
126-48 (Cambridge: Cambridge University Press, 1992).
7. Franz Liszt, Des Bohemiens et de leur musique en Hongrie (Paris: Librarie Nouvelle, 1859),
These words certainly exerted considerable influence because of their attribution to Liszt. Alt
also known that at least the second, significantly expanded and substantially more vitriolic ed
on 'jewry in Music,"8 Mendelss

self-expression was at best l
"shown that a Jew may have t
have the finest and most varie
sense of honor-yet even with
to call forth in us even once th
and soul, an effect which we await from music because we know her to
be capable of it.' 9
These criticisms of the success and influence Mendelssohn had at-
tained in prerevolutionary culture coincided with his follower

to sustain his presence in musical life through a series of p
editions of his music-publications that were regrettably un
also in the case of the posthumous editions of Schumann's m
after the composer's death, members of the musical press (esp
England, where the Mendelssohn cult had become a matte
idolatry) began proclaiming that the works he had left unpubl
the property of "the world," appealing for the immediate p
publication of the unknown compositions, and harshly crit
composer's heirs for the slow rate of release."' These appeal
with the dissemination in print of a number of composit
Mendelssohn had either simply left unpublished or actively
(see appendix 2 for an overview of the works published bet
and 1877, grouped by genre). These publications occurred in tw
the first, released between 1848 and 1852, extended through
the second, released between 1867 and 1873, included opera
totaled, these publications added 106 individual composition
uted over fifty posthumous opus numbers to the catalogs o
sohn's works.
Despite laudable intentions, these posthumous publications of

Mendelssohn's works also generated serious problems. To begin with, al-
though the early releases in these series were duly supplied with dis-
of this text and its contemporaneous English translation, like many other texts published under Liszt's
name, was demonstrably corrupted by Princess Carolyne von Sayn-Wittgenstein, the material quoted
here is taken from the original 1859 publication, the authorship of which is clearly attributable to Liszt
himself. On the publication history of the book see Alan Walker, Franz Liszt, vol. 2, The Weimar Years,
1848-1861 (New York: Alfred A. Knopf, 1989), esp. 356, 388-89.
8. Richard Wagner [K. Freigedank, pseud.], "Das Judenthum in der Musik," Neue Zeitschrift fiir Musik
33 (1850): 101-7, 109-12. The usual English translation for the title is 'Judaism in Music" (suggesting
above all the Jewish religion), but Wagner uses the term Judentum as a conceptual counterpart to
"Christentum," meaning the community of Christendom rather than the religion of Christianity per se.
9. Ibid., 107.
10. Musical World 31 (5 February 1853): 76. For a series of excerpts from the articles demanding the
rapid release of Mendelssohn's still-unpublished compositions in the early 1850s, see chapter 1 of my
Mendelssohn's "Italian" Symphony (no. 134 in appendix 1), esp. 15-17.
claimers acknowledging thei

posthumously published w
was eventually dropped. Thu
the "opus 81 string quarte
and whose identity was m
publication-were eventually
out even the benefit of the
posthumous." On the whole,
view of Mendelssohn's music
would have been confused
and D-minor ("Reformatio
Second and Third symphon
his fourth and fifth essays in
The dissemination history
casts important light on the
& Hdirtel under the general
Rietz between 1874 and 18
consequence of this series wa
tive form, the problematic
had been disseminated since
the editions were "critically
"with permission of the or
scholarly authority are misl
anything but complete; inde
only a collected works editio
critical, even by standards o
the Rietz collected works e
Mendelssohn's music is know
These problems of textual
limited to Mendelssohn's mu
ical editions of his corresp
A prolific and talented lette
11. Published posthumously in 1850 (par

und Fuge, opus 81 comprises either four
ments plus two independent ones. The A
in vol. 44 of the original Mendelssohn N
cludes the Scherzo in E major, as well a
E major; these three (of which the last
1847. The Capriccio of opus 81, in E min
vol. 382 of the Nachlafi (now in the Bibl
is dated 11 August (this manuscript is n
81, in the (for this opus) unlikely key o
1827, contained in vol. 18 of the Nachlaf
thousand letters between 1819

the nineteenth century's bur
and works of celebrities throu
composer's younger brother,
lection of Felix's corresponde
titled Reisebriefe von Felix Mende
This collection of letters-one of the first musical contributions to the
great tradition of quasi-biographical epistolary and novelistic trav
that included de Stail's Corinne; ou L'Italie (1807), Byron's Childe Har
Pilgrimage (1812), Goethe's Italienische Reise (1816-17), and M
Shelley's History of a Six Weeks' Tour through a Part of France, Switzerlan
Germany and Holland (1817), among others14--quickly went into
ond German edition as well as English and French translations; all we
reprinted and reissued numerous times. On the heels of these hi
successful collections, in 1863, there appeared a sequel-a collectio
letters from 1833-47, coedited by Paul Mendelssohn Bartholdy an
composer's eldest son, Carl (1838-1897) 15-and the two volumes
also combined into a single publication beginning in 1864.16 These
lications, too, quickly appeared in translation and were reissued in
merous subsequent editions."7
Many of Mendelssohn's friends, colleagues, and students also
served their correspondence and published it in the latter years of t
century, most often in the context of memoirs, some of them more s
serving for the authors than historically accurate. Earliest among th
was the autobiography of Adolph Bernhard Marx, a close friend
Mendelssohn until the two had a falling-out in the later 1830s, a
which Marx, a brilliant and influential writer, became an increas
12. Rudolf Elvers, "Die Bedeutung einer Mendelssohn-Briefausgabe" (no. 48 in appendix 1), 5
earliest surviving letter from Mendelssohn (which was preceded by at least two others that evidently
not survived) dates from 1 November 1819. See Rudolf Elvers, "Ein Jugendbrief von Felix Mendel
in Festschrift fir Friedrich Smend zum 70. Geburtstag (Berlin: Merseburger, 1963), 95-97.
13. (Leipzig: Hermann Mendelssohn, 1861); reprint, with new foreword by Beatrix Bor
(Potsdam: Verlag ffir Berlin-Brandenburg, 1997).
14. For a survey of this cultural tradition see Anthony Burgess, The Age of the Grand Tour: Con
Sketches of the Manners, Society and Customs of France, Flanders, the United Provinces, Germany, Switzerla
Italy in the Letters, journals and Writings of the Most Celebrated Voyagers between the Years 1720 and 1820,
Descriptions of the Most Illustrious Antiquities and Curiosities in these Countries, Together with the Story o
Traffic (New York: Crown, 1967).
15. Briefe aus den Jahren 1833 bis 1847 von Felix Mendelssohn Bartholdy ... nebst einem Verzeichnis
stimmtlichen musikalischen Compositionen von Felix Mendelssohn Bartholdy, zusammengestellt von Dr. Juliu
ed. Paul and Carl Mendelssohn Bartholdy (Leipzig: Hermann Mendelssohn, 1863); reprint, wit
foreword by Beatrix Borchard (Potsdam: Verlag ffir Berlin-Brandenburg, 1997).
16. Briefe aus den Jahren 1830 bis 1847, 2 vols., ed. Paul and Carl Mendelssohn Bartholdy (L
Hermann Mendelssohn, 1864-65).
17. The edition and translation histories of these two volumes are quite complex. The most complete
listing currently available is found in chapter 2 (pp. 86-88) of my Guide to Research (no. 103 in appendix 1).
vocal detractor of Mendelsso

ally sympathetic, epistolary
Devrient, an actor and thea
Mendelssohn, but who since 1849 had also collaborated with Richard
Wagner.19 Understandably, Devrient, writing more than twenty years
after Mendelssohn's death and after almost as many years of acquain-
tance with Wagner, tends to portray Mendelssohn through the lens of
the intervening watershed years of musical history; Wagner's ideas on
music and drama clearly inform his assessments and ideas. Other such
memoirs-most of them featuring a healthy sampling of previously un-
published letters-appeared in the coming decades,20 but by far the
most important was Die Familie Mendelssohn 1729-1847: Nach Briefen und
Tagebiichern, compiled and edited by Sebastian Hensel (son of
Mendelssohn's older sister, Fanny Hensel). Originally intended for pri-
vate dissemination only, this family memoir was first published in 1879
with the hope that it would be read "as the chronicle of a good middle-
class family in Germany."21 Like the previous collections of correspon-
dence, it, too, quickly became a best seller, and was widely translated and
reprinted. (The book was reissued as recently as 1995 by Insel-Verlag,
Frankfurt am Main.)
Although these nineteenth-century editions of primary sources con-
cerning Mendelssohn performed a valuable service by making available
to the public firsthand evidence of Mendelssohn's life and works, and by
preserving that evidence for later generations, they also often presented
the primary sources in corrupt versions. Among other things, in many
such collections letters were tacitly conflated and edited for content. The
18. Adolf Bernhard Marx, Erinnerungen aus meinem Leben (Berlin: Otto Janke, 1865); excerpts trans.
Susan Gillespie and annotated by R. Larry Todd as "From the Memoirs of Adolf Bernhard Marx," in
Mendelssohn and His World, ed. R. Larry Todd, 206-20 (Princeton: Princeton University Press, 1991). On
the relationship between Mendelssohn and Marx, see Christina Siegfried, " 'Der interessanteste und
problematischste seiner Freunde': Adolf Bernhard Marx," in Blickpunkt FELIX Mendelssohn Bartholdy:
Programmbuch Drei Tagefiir Felix vom 30.10 bis 1. 11.1994, ed. Bernd Heyder and Christoph Spering, 35-44
(Cologne: Dohr, 1994); further, Judith Silber Ballan, "Marxian Programmatic Music: A Stage in
Mendelssohn's Musical Development," in Todd, Mendelssohn Studies, 149-61.
19. Eduard Devrient, Meine Erinnerungen an Felix Mendelssohn-Bartholdy und seine Briefe an mich (Leipzig:
J. J. Weber, 1869); trans. Natalia Macfarren as My Recollections of Felix Mendelssohn-Bartholdy, and His Letters
to Me (London: Richard Bentley, 1869; reprint, New York: Vienna House, 1972).
20. Ferdinand Hiller, Felix Mendelssohn-Bartholdy: Briefe und Erinnerungen (Cologne: M. DuMont-
Schauberg, 1874); trans. "with the consent and revision of the author" by M. E. von Glehn as Mendels-
sohn: Letters and Recollections (London: Macmillan, 1874); Briefe von Felix Mendelssohn-Bartholdy an Ignaz
und Charlotte Moscheles, ed. Felix Moscheles (Leipzig: Duncker & Humblot, 1888; reprint, Walluf-Nedeln:
Sandig, 1976); Julius Schubring, Briefwechsel zwischen Felix Mendelssohn Bartholdy und Julius Schubring:
Zugleich ein Beitrag zur Geschichte und Theorie des Oratoriums (Leipzig: Duncker & Humblot, 1892; reprint,
Walluf bei Wiesbaden: Sdndig, 1973).
21. Sebastian Hensel, ed., Die Familie Mendelssohn 1729-1847: Nach Briefen und Tagebitchern, 3 vols.
(Berlin: Behr, 1879), 1:ix.
problems were obvious enough

Yet those reviews quickly rece
umes that were their subjects
dertaking the sort of substant
sary to warrant description as
Rietz edition, then, scholars an
seemingly comprehensive an
sions of completeness and crit
Little headway was made in
decades of the twentieth cen
tions,23 early-twentieth-centur
sively on the Rietz editions o
century editions of the corre
family, and earlier secondary
1910 to about 1950 represen
scholarly documents concernin
was banned in Germany, and
other countries diminished to
Dream Overture, the "Italian"
Violin Concerto, and the Variat
willing scholarly colluders in
1940s25-did nothing to addr
had little repertoire upon whic
the end of World War II Mend
eral musical public's awarene
century music, had sustained s
Since the 1950s, however, gen
resources, and the general read
increased steadily. Already in 1
reliable edition of the Reisebri
22. For a summary of this situation, with

dence with Eduard Devrient, see J. Rigbie T
Some Gaps," in Todd, Mendelssohn Studies, 2
23. Of particular importance here is the
Berfhmte Musiker, 17 (Berlin: Harmonie, 1
24. For well-documented explorations of M
cially Reiner Nigele, " 'Zu viel Mendelssoh
Rezeption in Stuttgart 1847 bis 1947" (no.
Diskussion fiber den Wert der Komposition
NS-Staat" (no. 93). The strongest study of
Mintz's "1848, Anti-Semitism and the Men
25. Especially noteworthy among these writi
in Pers6nlichkeit und Werk; Beitraige zur Erkenn
neunzehnten Jahrhunderts (Berlin: B. Hahnef
Mahler: Drei KapitalJudentum in der Musik a
B. Hahnefeld, 1939); and Blessinger, Judentum
B. Hahnefeld, 1944).
ous editions; this volume still

of these were corrected in Su
ters, beginning in 1958.26 In
guished as a scholar of Judaic
European musical style-issued
draw extensively on unpublis
in his Mendelssohn article for the first edition of Die Musik in Geschichte
und Gegenwart in 1959.27 This text, important as one of the first to d

frankly with the importance of the composer's Jewish heritage for his
and works, became the foundation of Werner's full-length Mendelssoh
biography, which appeared first in English translation in 1963 and th
in a substantially revised version of its original German in 1980.28 Un
fortunately, these three contributions are afflicted by problems serio
enough to threaten Werner's scholarly credibility (see p. 70-71, below
for many of the documents Werner adduces cannot now be traced, wh
others are demonstrably misquoted or otherwise misrepresented;29 in
dition, many events and circumstances he presents as fact are simply
correct. Nevertheless, Werner's contributions to Mendelssohn scholar-
ship are undeniably important, for not since George Grove's original
Mendelssohn article (and Ernst Wolff's biography based largely on it)"3
had any life-and-works studies undertaken so seriously to surmount their
dependence on the unreliable sources then available in print.
The 1950s and 1960s also witnessed the relocation of a number of
vital collections of Mendelssohn primary sources into publi

and libraries, a development that facilitated a surge in scholars
ing on the previously unpublished documents of Mendelss
The principal contributors to this newly emergent discourse w
ars charged with preserving and curating the manuscript s
their public domains. Working with Hugo von Mendelssohn
26. Felix Mendelssohn Bartholdy: Lebensbild mit Vorgeschichte, ed. Peter Sutermeister (Zuri
1949); Felix Mendelssohn Bartholdy: Briefe einer Reise durch Deutschland, Italien und die Schweiz, u
. . mit Aquarellen und Zeichnungen aus Mendelssohns Reisekizzenbiichern, ed. Peter Suterm
M. Niehans, 1958; reprint, Tiibingen: Heliopolis, 1979).
27. Die Musik in Geschichte und Gegenwart (Kassel: Birenreiter, 1949-86), s.v. "Mendel
Werner.
28. Eric Werner, Mendelssohn: A New Image of the Composer and His Age, trans. Dika Newlin (New York
Free Press of Glencoe, 1963; reprint, Westport, CT: Greenwood, 1978); Werner, Mendelssohn: Leben u
Werk in neuer Sicht (Ziirich: Atlantis, 1980).
29. For discussions of specific instances of this problematical treatment of evidence, see Marian Wil
[Kimber], "Mendelssohn's Wife: Love, Art and Romantic Biography," Nineteenth Century Studies 6 (19
1-18; further, Wolfgang Dinglinger, Studien zu den Psalmen mit Orchester von Felix Mendelssohn Barthold
Berliner Musik Studien, 1 (Cologne: Studio, 1993), passim, esp. 62-64 and 117; and especially Jeff
Stuart Sposato, "The Price of Assimilation: The Oratorios of Felix Mendelssohn and the Nineteen
Century Anti-Semitic Tradition" (no. 205 in appendix 1). As will be shown below, these issues have led
serious challenges to the viability of Werner's work.
30. George Grove, "Mendelssohn," in A Dictionary of Music and Musicians (A.D. 1450-1880), ed. Geor
Grove, 4 vols. (London: Macmillan, 1880-89), 2:253-310; Wolff, Felix Mendelssohn Bartholdy, n. 23.
(1894-1975, great-grandson of t
the Internationale Felix-Mendelssohn-Gesellschaft (Basel) in 1958; this
society sponsored a research institute and an archive containing unpub-
lished manuscripts of the composer, and the holdings of this archive
were transferred to the Staatsbibliothek der Stiftung PreuBischer Kultur-
besitz in 1964, becoming the Mendelssohn-Archiv. This collection came
under the curatorship of Rudolf Elvers, who in the coming decades is-
sued a series of exemplary transcriptions and interpretations of impor-
tant Mendelssohniana that had remained in manuscript.31 These schol-
ars' efforts to disseminate previously obscure Mendelssohn sources were
followed by comparable studies by Hans-Giinter Klein, Margaret Crum,
and Peter Ward Jones,32 as well as inventories of several other important
collections.
The turn to the 1960s also witnessed an increased scholarly reconside

ation of the primary sources for Mendelssohn's music. On the one han
the new decade witnessed the birth of a new critical edition of Mendels-
sohn's works-the Leipziger Ausgabe der Werke Felix Mendelssohn Bartholdys"
-the most explicit recognition up to that point of the philological a
editorial inadequacies of the Rietz editions. Although the new Leipz
series evidently was launched with an eye to impact-publishing first of
all the Concerto in E Major for two pianos and orchestra (1960), then it
counterpart in A-flat major (1961), and then the series of youthful strin
sinfonie Mendelssohn composed between 1821 and 1824 (1965-72) a
well as the youthful opera Die beiden Paidagogen (1966) and the first fi
string quartets (1976-77)-it was unable to sustain its momentum
Having added twenty-one substantial and previously unknown works to
the published repertoire by a major composer, the series had certain
made its point: if nothing else, these editions demonstrated that schola
ship concerning Mendelssohn had much ground left to cover. On t
other hand, because these newly published compositions represente
only a small percentage of the unpublished works, general awareness of
the quantity and quality of those other works remained low.
31. See appendix 1 to this essay and the entries in my Guide to Research (no. 103 in appendix 1) for
representative but incomplete bibliography of Elvers's contributions to the Mendelssohn literature.
32. Catalogue of the Mendelssohn Papers in the Bodleian Library, Oxford, vol. 1, Correspondence of Feli
Mendelssohn Bartholdy and Others, comp. Margaret Crum; vol. 2, Music and Papers, comp. Margaret Crum
vol. 3, Printed Music and Books, comp. Peter Ward Jones; Musikbibliographische Arbeiten, 7-9 (Tutzi
Hans Schneider, 1980-91); Hans-Giinter Klein, "Verzeichnis der im Autograph fiberlieferten We
Felix Mendelssohn Bartholdys im Besitz der Staatsbibliothek zu Berlin" (no. 114 in appendix 1); Klein
Felix Mendelssohn Bartholdy: Autographe und Abschniften (no. 112).
33. (Leipzig: Deutscher Verlag fiur Musik, 1960-77; Wiesbaden: Breitkopf & Hirtel, 1997-). Th
Leipzig edition has now revised its official title to Leipziger Ausgabe der Werke von Felix Mendelss
Bartholdy (changing the genetive construct). For a thumbnail sketch of its history and production pla
see http://www.saw-leipzig.de/sawakade/3vorhabe/femebart.html (accessed 15 May 2004).
Obviously, the emergence o

been impossible without sch
script materials. But the syst
tional process, long since ac
other major composers of the
remained largely absent fr
music. This situation, too, ch
the momentum generated b
sohn's compositional process.3
doxes, ironies, and concept
Mendelssohn, Mintz undert
sessment of the composer and
on the basis of surviving evid
as reflected in the revisions
Piano Trio, Elijah, and the A
ments were strong enough to
sohn scholarship-one that h
not only Mendelssohn's wor
including his earliest composi
songs,38 the sacred works,39
34. Donald Mintz, "The Sketches and Dr

diss., Cornell University, 1960).
35. See Douglass Seaton, "A Study of a C
Material: Deutsche Staatshibliothek Berl
University, 1977); further, R. Larry Todd
Selected Studies Based on Primary Sou
Krummacher, Mendelssohn, der Komponist:
1978).
36. Of particular importance here are R.
Edition of His Exercises in Composition, Oxf
Cambridge University Press, 1983), and Ralf
Mendelssohn Bartholdy, Musik und Musik
Studio, 1996). See also Peter Ward Jones's
dix 1).
37. See especially Friedhelm Krummac
Based on the Example of the String Qua
Late Chamber Music: Some Autograph S
Schumann: Essays on Their Music and Its
NC: Duke University Press, 1984); and Ha
sohns Streichquartett Op. 80: Uberlegung
Mendelssohn-Studien 5 (1982): 113-22.
38. Seaton, "Mendelssohn's Cycles of Son
39. Arntrud Kurzhals-Reuter, Die Oratorien
Entstehung, Gestaltung und Uberlieferun
Schneider, 1978); Sposato, "The Price of
The Musical Genesis of Felix Mendelssohn's "
(no. 252).
40. Thomas Krettenauer, Felix Mendelssohn Bartholdys "Heimkehr aus der Fremde": Untersuchungen und
Dokumente zum Liederspiel op. 89, Collectanea Musicologica, 5 (Augsburg: Bernd WiBner, 1994); R. Larry
Todd, "On Mendelssohn's Operatic Destiny: Die Lorelei Reconsidered" (no. 186 in appendix I); Susanne
Boetius, " ' ... da componirte ich aus Herzenslust drauflos...' " (no. 126 in appendix 1).
organ,41 and orchestra.42 Equal

sented scholars and musicians who were concerned about the intractable
web of specious arguments concerning Mendelssohn with a pro

methodology for reinvestigating the subject: no longer could it be
so comfortable simply to use conceptually slippery but ideolog
potent labels such as "romantic classicist" and "classical roman
justification for an assessment of Mendelssohn that had been
largely of political rather than artistic considerations, and that was
on evidence that was neither pure, systematically chosen, nor criti
presented.
Clearly, the work done since World War II has yielded fertile soil
the ongoing general reassessment of Mendelssohn. Ironically, howev
single body of evidence lies at the heart of both the latter-day Men
sohn renaissance and his problematical reception history: the autog
documents that transmit the events and activities of his life and the
music he produced.
THE SOURCES
The widespread increase in source-critical scholarship

twentieth century was particularly propitious for Mendels
for this development coincided with the relocation of man
dispersed source materials into far fewer collections that w
centralized and (in large part) publicly accessible. For purp
remarks, the sources at the core of these collections may
two broad classes: the letters, diaries, and other nonmusica
and the musical manuscripts themselves.43
Letters, Chronographic Archivalia, and Library Items
As mentioned above, Mendelssohn penned some seven

ters, of which about six thousand are traceable today (eith
41. R. Larry Todd and Robert Parkins, "Mendelssohn's Fugue in F Minor: A Dis
the First Organ Sonata," Organ Yearbook 14 (1983): 61-77; R. Larry Todd, "
Mendelssohn," in Todd, Mendelssohn and His World, 158-84; Todd, " 'Me voilh perru
Preludes and Fugues op. 35 Reconsidered," in Todd, Mendelssohn Studies, 162-99; S
"Mendelssohn and Moscheles: Two Composers, Two Pianos, Two Scores, One Con
appendix 1).
42. Reinhold Gerlach, "Mendelssohns Kompositionsweise: Vergleich zwischen Skizzen und
Letztfassung des Violinkonzerts op. 64," Archiv fir Musikwissenschaft 28 (1971): 119-33; Gerlach,
"Mendelssohns Kompositionsweise (II): Weitere Vergleiche zwischen den Skizzen und der Letztfassung
des Violinkonzerts op. 64," in Das Problem Mendelssohn, ed. Carl Dahlhaus, 149-67, Studien zur
Musikgeschichte des 19. Jahrhunderts, 41 (Regensburg: Gustav Bosse, 1974); R. Larry Todd, "Of Sea
Gulls and Counterpoint: The Early Versions of Mendelssohn's Hebrides Overture," 19th Century Music
2 (1979): 197-213; Marian Wilson [Kimber], "Mendelssohn's Works for Solo Piano and Orchestra:
Sources and Composition" (Ph.D. diss., Florida State University, 1993); and Hiromi Hoshino's book on
the "Scottish" Symphony (no. 152 in appendix 1). See also my book on the "Italian" Symphony (no. 134).
43. For a compact and useful exploration of the latter category, see Ralf Wehner, " 'It seems to have
been lost' " (no. 121 in appendix 1).
contemporary copies, or later

haps one-third of the survivi
tion, the composer was an act
passing impressions and maki
lets and Schreibkalender betw
surviving diaries have been
remain in manuscript.44 Fin
precious manuscripts as well
works, and a remarkable am
vives.45 These materials trans
interests, tastes, and proclivi
scores of music by other c
those items.
The sheer quantity of these documents is daunting enough, but the

challenges they pose have multiplied over the course of their complex
transmission histories.46 Prospects for recovering the composer's corre-
spondence were generally good in the years immediately following his
death, for many of Mendelssohn's correspondents, appreciative of his en-
gaging prose style and aware that the documents were valuable, retained
the letters in safekeeping and passed them on to their heirs. Indeed, in
several instances this familial mode of transmission led to remarkably
well-preserved collections that were published while still intact (e.g., the
collections of correspondence with Hiller, Moscheles, Klingemann, and
Lindblad47). More than a decade elapsed between the composer's death
and his heirs' first systematic efforts to regain access for preservation and
possible publication, however, and no sooner had these endeavors been
launched than they were threatened by familial problems.48
Already in the hands of a diverse and geographically far-flung group
of recipients, the vast majority of Mendelssohn's outgoing letters were
44. For an inventory of surviving diaries, see Crum, Catalogue: Musical Papers, esp. 100-106. It should
be noted that Mendelssohn's diaries as a rule are not confessional in nature; rather, they function pri-
marily as notes and jottings. The diary kept by Mendelssohn and his new bride, Cdcile, on their honey-
moon in 1837 forms a prominent exception to this rule (see discussion below).
45. Much of this material is to be found in the Bodleian Library; see Crum, Catalogue: Musical Papers,
esp. 25-48, and Ward Jones, Catalogue: Printed Music and Books. See also Rudolf Elvers, "Felix Mendels-
sohns Beethoven-Autographe," in Bericht iiber den Internationalen Musikwissenschaftlichen Kongre/f Bonn
1970, ed. Carl Dahlhaus et al., 380-82 (Kassel: Barenreiter, 1973).
46. The following discussion is indebted principally to Rudolf Elvers, "Felix Mendelssohn Bartholdys
NachlaB," in Dahlhaus, Das Problem Mendelssohn, 35-46; and Elvers, "Auf den Spuren der Autographen
von Felix Mendelssohn Bartholdy," in Beitraige zur Musikdokumentation: Franz Grasberger zum 60. Geburtstag,
ed. Giinther Brosche, 83-91 (Tutzing: Hans Schneider, 1975).
47. Hiller, Felix Mendelssohn-Bartholdy: Briefe und Erinnerungen; Felix Moscheles, ed., Briefe von Felix
Mendelssohn-Bartholdy an Ignaz und Charlotte Moscheles (Leipzig: Duncker & Humblot, 1888; reprint,
Walluf-Nendeln: Sandig, 1976); Karl Klingemann [Jr.], ed., Felix Mendelssohn-Bartholdys Briefwechsel mit
Legationsrat Karl Klingemann in London (Essen: G. D. Baedeker, 1909); L. Dahlgren, ed., Bref till Adolf
Fredrik Lindbladfrdn Mendelssohn... och andra (Stockholm: Albert Bonnier, 1913).
48. For an explanation of these difficulties, see Elvers, "Auf den Spuren," esp. 83-84.
further dispersed during the g

early twentieth century: with
heirs of many of Mendelssohn'
to sell off part of their family
were auctioned and disappeare
of these letters were auctioned
tions were permanently dispers
and 1940s witnessed an enorm
(especially Germany), and som
their family valuables along wi
letters to the United States and
these events account for most of the Mendelssohn letters we now have to
consider lost or missing.
As mentioned above, however, thousands of letters still survive, includ-
ing most of those Mendelssohn received. Many of these are preserved in
remarkably focused collections throughout the U.S. and Europe:
Staatsbibliothek zu Berlin-PreuJlischer Kulturbesitz, Musikabteilung mit Mendelssohn-

Archiv. The Berlin Staatsbibliothek, home to the world's single largest collec
tion of Mendelssohniana, was the original recipient of the composer's music
manuscripts in 1878. Its holdings include approximately six hundred letters
from Mendelssohn as well as a rich variety of other family papers, portraits
contemporaneous programs, etc. For a more detailed discussion of this co
lection and its history, see pp. 52-56, below.
The Bodleian Library, Oxford.49 The Bodleian's collection of Mendelssohniana
came into being primarily because of the friendship between Paul Victo
Mendelssohn Benecke (1868-1944), grandson of Felix Mendelssohn Bartholdy,
and Margaret Deneke (1882-1969), honorary fellow and choirmaster of Lady
Margaret Hall, Oxford. At Miss Deneke's death her sister Helena donated the
nucleus of this collection of papers to the Bodleian Library, and the rest of
the collection was also bequeathed to the library at Helena Deneke's death
Since then, the Bodleian has been an assiduous collector and curator of valu-
able Mendelssohniana of every sort. These holdings, which have been meticu-
lously described and annotated by Margaret Crum and Peter Ward Jones,
may be summarized as follows:
* Approximately sixty-five hundred letters sent to Mendelssohn between

1821 and 1847. These invaluable complements to the composer's own let-
ters are preserved in the volumes that Mendelssohn himself compiled and
had bound. Interspersed among the incoming letters are numerous drafts
of Mendelssohn's responses to the letters he received.
* Various important Mendelssohn autographs, including the corrected fair
copy of the composer's translation of Terence's The Woman from Andros
49. See also discussion on p. 55, below.
into German, in the original

mathematics, history, and geo
music by other composers, and
his concert programming; and
* Numerous books and volumes
and Cecile Mendelssohn. Thes
library of music by other co
rected personal performing co
many works published during h
* The originals of fifty-nine "t
tensively edited form by Pa
through numerous subsequent
original documents.5' The co
other letters from Mendelssohn.
* The original thematic catalog of Mendelssohn's collected music man
scripts, prepared in 1848 by the attorney Heinrich Conrad Schleini
close friend of the composer.52 This document, of which several o
manuscript copies exist, provides valuable information regarding the ea
posthumous disposition of many of the composer's musical manuscripts
* The family papers of William Horsley (1774-1858).5" Along with signific
autographs and copies of musical works by Mendelssohn, these papers in
clude the printed program booklet for the 1847 Exeter Hall performanc
of Elijah, twenty autograph letters from Mendelssohn to members of t
Horsley family, and more.
* Portraits and drawings of and by Felix and Cecile Mendelssohn Barthold
diaries, account books, librettos and dialogs for the early operettas;
diplomas.
The New York Public Library for the Performing Arts. This collection features au-
tographs of approximately seven hundred letters from Mendelssohn to his
family. These letters comprise the core of the well-known family letters pub-
lished beginning in the 1860s, but many of them remain unpublished.54
The Library of Congress, Washington, DC, Performing Arts Division. Along with
numerous important musical autographs of Mendelssohn, the Library of
50. This project, undertaken when Mendelssohn was sixteen so that he could enroll in the University
of Berlin, was published later in 1826, and is remarkable not only as Mendelssohn's only formal publica-
tion in prose, but also as a document of the young composer's emergent but strikingly well-
defined artistic, aesthetic, and ethical views. Leon Botstein has suggested that Mendelssohn pursued this
particular subject and published his work at least in part because of his aesthetic affinity with the views
of the poem's author, the Roman poet Terence (ca. 190-159 B.c.); see Leon Botstein, "Neoclassicism,
Romanticism, and Emancipation: The Origins of Felix Mendelssohn's Aesthetic Outlook" (no. 12 in ap-
pendix 1).
51. MS M. Deneke Mendelssohn d.13 (see Crum, Catalogue: Correspondence, 284-85).
52. MS M. Deneke Mendelssohn c.28 (see Crum, Catalogue: Musical Papers, 1).
53. MS M. Deneke Mendelssohn b.1 (see Ward Jones, Catalogue: Printed Music and Books, 308-11).
54. For basic information on the provenance of the collection of Familienbriefe in the New York Public
Library, see Eric Werner, "The Family Letters of Felix Mendelssohn Bartholdy," Bulletin of the New York
Public Library 65 (1961): 5-20, esp. 5-6; reprint in Werner's Three Ages of Musical Thought: Essays on Ethics
and Aesthetics, Da Capo Press Music Reprint Series (New York: Da Capo, 1981), 351-65. This essay, like
much of Werner's work, contains basic errors, but it remains useful as a general introduction to the col-
lection and its provenance.
Congress is home to about three

main unpublished). These lette
Whittall Foundation Collection and the Moldenhauer Archives; additional
materials are located in other deposit collections.
In addition to these major collections, smaller significant aggregations

of autograph papers survive in libraries around the globe, including col-
lections in Darmstadt,55 Dilsseldorf, Leeds, Leipzig,56 New York City,57
Paris,"" and Stockholm,59 to name but a few. The relative ease with which
these collections may be accessed underscores the irony of the fact that,
to the vast majority of the musical and scholarly public, most of these
documents remain unaccounted for or utterly unknown.
In closing this section on Mendelssohn's papers, it is worth noting four
sectors of the correspondence that have fared better than most. First, as
mentioned above (pp. 42-43), the Reisebriefe are now available in critical
editions by Peter Sutermeister; although the first of these (1949) stil
contained significant errors and omissions, the later ones reliably pre-
sent a corpus of letters that portray a crucial episode of Mendelssohn's
biography.
Also well served has been Mendelssohn's correspondence with publish-
ers. Particularly important among these efforts is Rudolf Elvers's meticu-
lous edition of the composer's correspondence with his German publish-
ers.61 This volume, to which surprisingly few items need to be added in
the wake of letters that have subsequently turned up, not only offers a
critical text with extensive annotations, but also provides valuable in-
sights into the genesis of many works published during Mendelssohn's
lifetime as well as the dynamics of his relationships with publishers.
Although it stands as an exemplary critical exploration of correspon-
dence pertaining to the composer's music, it also has the unfortunate
distinction of having been projected as the first volume of an epistolary
Gesamtausgabe that remains a thing of the future.61 Similar editions of
55. See Oswald Bill, "Unbekannte Mendelssohn-Handschriften in der Hessischen Landes- und
Hochschulbibliothek Darmstadt," Die Musikforschung 26 (1973): 345-49.
56. See Peter Krause, ed., Autographen, Erstausgaben und Friihdrucke der Werke von Felix Mendelss
Bartholdy in Leipziger Bibliotheken und Archiven, Bibliographische Ver6ffentlichungen der Musikbibliot
der Stadt Leipzig, 6 (Leipzig: Musikbibliothek, 1972).
57. See J. Rigbie Turner, Nineteenth-Century Autograph Music Manuscripts in the Pierpont Morgan Library: A
Check List (New York: The Library, 1982).
58. See Yvonne Rokseth, "Manuscrits de Mendelssohn A la Bibliotheque du Conservatoire," Revue d
musicologie 18 (1934): 103-6. This inventory contains several errors, but it remains useful as a basic list.
59. See Bonnie Lomnas, Stiftelsen Musikkulturens friimjande (Nydahl Collection): Catalogue of Letters a
Other Documents, Music in Sweden = Musik i Sverige, 11 (Stockholm: Statens musikbibliotek, 1999).
60. Felix Mendelssohn-Bartholdy Briefe, vol. 1, Briefe an deutsche Verleger, ed. Rudolf Elvers, Veroffe
lichungen der Historischen Kommission zu Berlin beim Friedrich-Meinecke-Institut der Freie
Universitait Berlin (Berlin: Walter de Gruyter, 1968).
61. The letters, diaries, and other writings are to comprise series XI of the Leipziger Ausgabe der Werk
von Felix Mendelssohn Bartholdy.
his correspondence with ot

quired before a full under
achieved. The latter underta
be drawn to completion.62
A third important contribution to scholarly presentations of
Mendelssohn's correspondence appeared in 1972, in the first critical edi-
tion of the complete letters then housed in archives in Leipzig.63 These
146 letters include previously unknown correspondence with the direc-
tors of the Leipzig Gewandhaus and Leipzig Conservatory, the Leipzig
City Council, and numerous other important participants in the com-
poser's professional activities. As the editors point out in the introduc-
tion, these letters also reveal oft-overlooked dimensions of Mendels-
sohn's personality and activities, including his support of Berlioz and
Wagner, his concern over contemporary politics, and his interest (often
enthusiasm) for musical and artistic innovations.
These collections of letters have generated widespread awareness of
the need for scholarly editions of still-unknown sectors of Mendelssohn'
correspondence, but in the meantime this awareness has also begun t
extend to other important documents. Most obvious among these are
the honeymoon diary compiled by Felix and C6cile Mendelssohn
Bartholdy in 1837,64 and the diaries Mendelssohn kept during his grand
tour.65 The importance of the insights offered by other, generally un-
known archivalia for the latter important episode in Mendelssohn's life
and works was further corroborated by an exhibit hosted in the Staats-
bibliothek zu Berlin-Preul3ischer Kulturbesitz from 6 December 2002
to 18January 2003, titled Die Mendelssohns in Italien. A richly illustrated
catalog edited by Hans-Giinter Klein commemorates that exhibition.66
The honeymoon diary and the diary from the "Italian" journey also
are instructive in several ways (see pp. 57-58, below). For the moment we
may observe the troubling fact that these and other documents that have
finally been published in reliable editions even today remain largely un-
consulted in general studies of Mendelssohn and his music. Clearly, the
unmediated exploration of the massive amounts of unpublished primary
documentation is a responsibility (or rather an opportunity) that fall
first to those who specialize in Mendelssohn; and clearly, references to
62. See Peter Ward Jones, "Mendelssohn and His English Publishers," 240-55, in Todd, Mendelssohn
Studies.
63. Hans-Joachim Rothe and Reinhard Szeskus, eds., Felix Mendelssohn Bartholdy: Briefe aus Leipziger
Archiven (Leipzig: Deutscher Verlag fiir Musik, 1972).
64. Peter Ward Jones, The Mendelssohns on Honeymoon (no. 52A in appendix 1).
65. Pietro Zappalh, "Dalla Spree al Tevere" (no. 53 in appendix 1).
66. Hans-Guinter Klein, Die Mendelssohns in Italien (no. 30 in appendix 1). Materials pertaining directly
to Felix Mendelssohn's generation of the Mendelssohn family (including Chcile as well as both of the
composer's sisters) are found on pp. 42-101.
easily accessible but unreliable

references to their more reliab
at least in the short run. But b
sources is a central problem in
it is all the more important th
more complete publications o
in recent decades.
Musical Sources
The challenges posed by the sources for Mendelssohn's music

comparably complex, and these, too, are brimming with promise fo
and significant insights into his works. As mentioned above, Me
sohn left most of his compositional output unpublished at his death
there were often multiple manuscript sources for the works he did
to publish as well as those left in manuscript. Consequently, the tas
providing a reasonably critical edition of even a single lied or ca
fraught with peril, for the differences among the musical sourc
often substantive and complicated.67
Moreover, Mendelssohn himself periodically had many of his s
bound, in some cases for presentation to an individual or instit
(such as the Berlin Singakademie or the Philharmonic Society
London68), but mostly for his own reference and ease in maint
and organizing them. After the composer's death in 1847 Paul Mend
sohn Bartholdy began collecting the surviving musical autograph
cluding those not found in the bound volumes already available.
after Paul's death in 1874, however, the heirs began to consider mak
these materials accessible to the public. In 1878 they turned most of
musical estate over to the K6nigliche-PreuBische Bibliothek, Berlin,
forty-four bound volumes, on the condition that a Mendelssohn sch
ship foundation be established simultaneously for the benefit of gif
music students of modest means.70 This musical Nachlafi was event
augmented to comprise sixty volumes.7' A reasonably clear sense of
67. For an exploration of these issues with regard to the "Venetianisches Gondellied," op. 62,
see Wehner, " '. .. ich zeigte Mendelssohns Albumblatt vor und Alles war gut' " (no. 120 in appen
68. On the scores presented to the Philharmonic Society, see especially Peter Ward J
"Mendelssohn Scores in the Library of the Royal Philharmonic Society" (no. 119 in appendix 1).
69. From 1945 until 1992 the Deutsche Staatsbibliothek, East Berlin; now Haus 1 of the Staats-
bibliothek zu Berlin-Preufischer Kulturbesitz. The former Staatsbibliothek Preul3ischer Kulturbesitz is
now Haus 2.
70. On the early history of the Mendelssohn Nachlafi and the founding of the Mendelssoh
Stipendium see especially Elvers, "Auf den Spuren," esp. 83-85.
71. For information on the Nachlaf volumes, together with identifications of manuscript sources fo
most of Mendelssohn's works, see my "Mendelssohn's Works: Prolegomenon to a Comprehensiv
Inventory" (no. 104 in appendix 1).
contents of the volumes as

death is possible from the m
in 1848, and a comparison of
ventories72 and later ones cle
collection was in fact in an e
If the disposition of the Na
lenges to scholars might be
World War II witnessed a de
to the manuscript sources.
raids on Berlin, the staff of
many of the library's more
moved from the center of t
of the previously centrali
that generated more than
today complicates access t
hand, the materials that were returned to Berlin after the war were
placed in the Deutsche Staatsbibliothek (located in the Soviet sector),
and Western scholars' access to these materials was severely restricted
What is more, seventeen of the sixty volumes of the prewar NachlaJf, in-
cluding the volumes that contained the autographs for some of Mendels-
sohn's best-known works, were not returned to Berlin. For decades, most
scholars could only speculate that these volumes had been either de-
stroyed, lost, or sent to another library elsewhere in the Soviet bloc. By the
early 1980s, it had been confirmed that these missing volumes were in fact
housed in the BibliotekaJagielloriska, Cracow. Although this situation still
posed logistical complications for Western scholars, it was now at least
possible to identify the whereabouts of the manuscripts and, that accom-
plished, to subject them to scholarly examination.
The situation was further complicated by the fact that the contents of
the Nachlafi volumes represented only a portion of the manuscripts for
Mendelssohn's works, for even the composer's efforts to maintain con-
trol of his scores had left many autographs unaccounted for at his death.
Some of these manuscripts had remained in the libraries or archives of
institutions to which Mendelssohn himself had given them; some had
been retained by individuals with whom he had left them or to whom he
had given them as gifts; others had been lost or stolen during his life-
time; and still others had been given as gifts after his death.73
72. Schleinitz's catalog is held in the Bodleian Library (MS M. Deneke Mendelssohn c.28). The most
important of the composer's own inventories of his music library is the one he compiled as he was
preparing to leave Berlin in November 1844; see appendix A in Ward Jones, Catalogue: Printed Music and
Books, 283-302.
73. For an introduction to the problems involved in tracking these (and other) Mendelssohn sources,
see especially RalfWehner, " 'It seems to have been lost' " (no. 121 in appendix 1).
These "other" autographs are

Mendelssohn's music and its
them play important roles in th
transmit, any critical edition of
remain provisional and, in all
the content, disposition, an
sources. Moreover, some of the
graph sources for the works t
Morgan Library holds the sol
Sonata in E-flat Major (1824)7
t'abbandono (1825).75 The Bib
sole surviving autograph for th
piano (1835, published with
Schlesinger in Paris); and the N
viving autograph for the choral
Ambiguous descriptions in his
areas in some manuscripts' tran
explorations of the extant co
with the fact that numerous so
are largely inaccessible to schola
late a truly definitive inventor
and its sources. Nevertheless, th
lish central collections of these
cated than it might be. Several
ment here:
Staatsbibliothek zu Berlin-Preujischer Kulturbesitz. Beginning in the early 1960s

the Staatsbibliothek Preulischer Kulturbesitz (SPK) in West Berlin under
took to acquire and serve as a repository for Mendelssohn autographs,
thereby developing a collection that would be more accessible to Wester
scholars than the counterpart collection in the Deutsche Staatsbibliothek in
the eastern sector of the city. This effort entailed the coordinated develop-
74. Unfortunately, most clarinetists still seem to know this composition only through the edition pu
lished by Eric Simon and Felix Guenther in 1941 (New York: Sprague-Coleman). That edition is bas
not on the autograph but on a contemporaneous copy held in the Staatsbibliothek zu Berlin
PreuBischer Kulturbesitz (Ms. mus. autogr. F. Mendelssohn Bartholdy 42); even as such, the edition is
quite corrupt. A critical edition based on the autograph and prepared by Gerhard Allroggen is now ava
able (Kassel: Birenreiter, 1987).
75. The concert aria has recently been the focal point of a D.M.A. dissertation by Charles Turley
"'Ch'io t'abbandono' by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and
Aptitudes of the Composer" (D.M.A. diss., University of North Texas, 2002). For an online version, se
http://www.library.unt.edu/theses/open/20022/turley_charles/Dissertation.pdf (accessed 15 M
2004).
76. Shelfmark Case MS VM 2.1 M537j. A facsimile edition, edited by Oswald Jonas, was published by
the Newberry Library in 1966.
ment of three major subcollect

graphs procured and owned b
in the SPK; and autographs
Gesellschaft, likewise placed on
After the reunification of the

to unify the Deutsche Staatb
Kulturbesitz. The library now
Berlin and one in the west, under the collective name of the Staatsbibliothek
zu Berlin-Preul3ischer Kulturbesitz. This union, which occurred on 1 Janu-
ary 1992, brought with it the unification of the two libraries' Mendelssohn
holdings. As a result, the world's single largest collection of Mendels-
sohniana, including not only music manuscripts but also autograph letters
and other papers, valuable first editions and concert programs, and more,
now resides in Haus 1 of the library, located at Unter den Linden 8, a few
blocks east of the Brandenburg Gate.
Biblioteka Jagielloriska, Cracow. The Cracow manuscripts include some of the

most valuable components of the Mendelssohn NachlafJ as it existed in the
early twentieth century. The seventeen volumes include autographs for the
Midsummer Night's Dream incidental music and overture; the unfinished late
opera Die Lorelei; the A-Minor ("Scottish") Symphony; the first version (1830-
33) of Die erste Walpurgisnacht; many lieder and choral songs; the F-Minor
String Quartet, op. 80; the Variations srieuses, op. 54, and numerous other
works for piano solo and organ; all three oratorios; several of the accompa-
nied and a cappella psalm settings; and other sacred works.
The Bodleian Library, Oxford. As already discussed, the Bodleian Library has a
distinguished history as a repository for Mendelssohniana; its holdings in-
clude musical manuscripts as well as the letters and other papers surveyed
earlier in these pages. In addition to numerous valuable first editions, these
holdings include Mendelssohn's composition studies;78 his earliest surviving
composition;"7 and autographs pertaining to early as well as late versions of
numerous major works: the A-major and A-minor symphonies, the begin-
nings of a Symphony in C Major,8" the concert overtures, the opus 65 organ
sonatas, the three oratorios, the posthumously published Kyrie in D Minor
(see below, pp. 59-60), and more.
The British Library, London. The British Library, too, offers a remarkable collec-
tion of Mendelssohn source materials. Some of these are the result of special
77. See Hans-Guinter Klein, "Verzeichnis der im Autograph fiberlieferten Werke Felix Mendelssohn
Bartholdys im Besitz der Staatsbibliothek zu Berlin" (no. 114 in appendix 1), 181.
78. See Todd, Musical Education, n. 36.
79. On Mendelssohn's first composition-a different work than the one to which most scholars have
ascribed that status-see WardJones, "Mendelssohn's First Composition" (no. 190 in appendix 1).
80. The material for this symphony is presented in piano reduction in the early versions of George
Grove's Mendelssohn article. See George Grove, "Mendelssohn," 2:253-310; revised and reprinted in
George Grove, Beethoven, Schubert, Mendelssohn (London: Macmillan, 1951), esp. 392-94. For a discussion
of the work, see R. Larry Todd, "An Unfinished Symphony by Mendelssohn," Music & Letters 61 (1980):
293-309.
procurements,8' while others, fo

of London, became property of
The Library of Congress, Washin

Gertrude Clarke Whittall Foundation Collection and the Moldenhauer
Archives.82 They include the corrected proofs for the "Scottish"
correction sheets for the Second Piano Concerto, op. 40, autog
merous lieder and part songs, the first complete version of th
Strings,"8 psalm settings and motets, and more.
The Pierpont Morgan Library, New York. The Morgan Library's m

graphs by Mendelssohn are found principally in the Heinem
Collection, the Mary Flagler Cary Music Collection, and the R
Lehman Collection. These manuscripts include the sole survivin
of the early concert aria Ch'io t'abbandono, the autograph full
Heimkehr aus der Fremde, op. posth. 89, two important manuscri
Calm Sea and Prosperous Voyage Overture as well as one for t
Overture, the first complete version of the String Quintet in A M
and more.84
In addition to these central collections there are smaller collections
around the globe, and numerous individual manuscripts tha

often the sole Mendelssohniana in their respective holding instit
nevertheless are indispensable for an understanding of the s
the composer's music. And to these we must add yet another clas
portant musical manuscripts: autographs that are in private p
and only rarely accessible to scholars and the general public. Unl
owner has placed the manuscript on deposit in a library or archi
complete or partial facsimile of the source has been published in
ample) an auction catalog, scholars are forced to proceed wit
clear knowledge of the contents or structure of these manuscript
CASE STUDIES IN THE SOURCES
If the above remarks have made clear that substantia

valuable resources have gone unconsidered in current a
ages of Mendelssohn as cultural figure and composer, t
81. Most significant among these procurements are a copyist's manuscript for t
On Lena's Gloomy Heath, the Stichvorlage for the Variations srieuses, op. 54, and the a
63 vocal duets, presented to Stephan Zweig by Marianne von Willemer.
82. On the contents of the Moldenhauer Archives, see Jon Newsom and Alf
Rosaleen Moldenhauer Memorial: Music History from Primary Sources; A Guide to the
(Washington, DC: Library of Congress, 2000).
83. For a facsimile of the early version of the Octet, see Jon Newsom, ed., Felix Men
Octet for Strings, Op. 20 (Washington, DC: Library of Congress, 1976).
84. See Turner, Nineteenth-Century Autograph Music Manuscripts, n. 57.
the extent and nature of the

Again, there is ample eviden
Letters and Diaries
Recent years have seen the first publication of two diaries that pro
much insight into important aspects of Mendelssohn's life and w
The first of these is the 160-page journal kept by Mendelssohn and h
bride, Cecile, from 29 March to 27 September 1837 (no. 52A in appe
1). Documenting the issues, ideas, events, places, and people that fig
in the early months of the couple's marriage, this diary provides b
the most vivid and extensive direct record of the couple's relationsh
an important contribution not least of all because of Mendelssoh
ographers' tendency to portray the marriage as an artistically detri
tal influence in his life. Indeed, while the honeymoon diary pr
exceptional insight into the issues and expectations of a newlywed m
cal couple in the family-centered cultures of the German Restoration
also fleshes out this episode in the composer's life in a way that lar
contradicts most biographers' portrayal of C6cile and her influen
Felix.86 Along with the original diary entries themselves, the editio
cludes high-quality reproductions of the diary's illustrations, which
from the hand of Cecile as well as Felix and reflect both newlyweds'
in the visual arts. The edition also includes facsimiles and transcript
of three compositions included in the diary--an Allegretto in A
for piano composed on 22 April 1837, the song "Zarter Blumen
Gewinde," and a canon in B minor87--as well as most of the extensive
respondence that the newlyweds maintained with their families dur
85. See the review by John Daverio, Music & Letters 79 (1998): 434-37. As Ward Jones points ou
introduction to the English edition of the diary (p. xxix), Robert and Clara Schumann also kep
diary, and in it commented on the Mendelssohns' journal.
86. On biographers' specious portrayals of the relationship between Felix and Cecile, see
Wilson Kimber, " 'For art has the same place in your heart as mine' " (no. 44 in appendix 1), an
cially Wilson Kimber, "Mendelssohn's Wife" (n. 29, above).
87. All three compositions appear to have been written into the diary as a record of, or resp
events of the couple's honeymoon. The Allegretto in A Major, for example, is copied (with some
ancies) from its original manuscript, which bears the same date (Staatsbibliothek zu Berlin-Preu
Kulturbesitz, Mus. ms. autogr. F. Mendelssohn Bartholdy 29, pp. 53-54). This appears to be the
manuscript of "Zarter Blumen leicht Gewinde" ("Die Freundin"; 12 July 1837), on a text wr
Marianne von Willemer (attributed to Goethe) and chosen by Cecile for musical setting on the
of the birthday of her friend Marie Bernus; the separate autograph dated the next day (13 Ju
held in the Kippenberg Collection of the Goethe-Museum, Dilsseldorf, is the one the Mendelssoh
to Frdiulein Bernus. The canon, appearing at the end of Felix's honeymoon diary entry
September, is also preserved in two other manuscripts bearing that date: the composer's pocke
(Bodleian Library, Oxford, MS M. Deneke Mendelssohn g.4, fol. 40v) and a separate aut
(Staatsbibliothek zu Berlin-PreuBischer Kulturbesitz, Mus. ms. autogr. F. Mendelssohn Barthold
The composer wrote out this canon as part of album-leaves for friends at least fourteen times in the
decade.
their travels: thirty-nine lette

published only in excerpt. It a
riety of important composit
Preludes and Fugues for Organ
the setting of Psalm 42 ("Wie
op. 42); and the Second Piano
Also important is Pietro Zapp
diary Mendelssohn kept from
in appendix 1), a period that b
which latter place the young
time with Goethe) and exten
poser's "grand tour."88 Held in
a valuable complement to the t
indication of how Mendelssoh
tion, performances, social com
and visual arts of Italy. It also
activities that were cancelled a
spondence), records his expen
ments his responses to events
with an austere immediacy. It
longer be traced,"'- records th
his oft-discussed meeting with
stantial and personal associatio
rective information to some po
After more than a century of
amount of surviving unpubl
archivalia, much work remains
yet they will remain unfulfill
on the manuscript sources for
The Musical Sources
Recent scholarship concerning the sources for Mendelssohn's

has contributed valuable insights into his works and his compos
personality. On the one hand, more scholars than ever before are a
88. The diary for the remainder of Mendelssohn's grand tour, found in the Bodleian Library
Deneke Mendelssohn g.3), remains unpublished.
89. For example, on fol. 18v, under the date 27 September 1830, "Lied ffir Catharine," a man
that appears to be lost. See Zappala, "Dalla Spree al Tevere" (no. 53 in appendix 1), 728.
90. Zappala, "Dalla Spree al Tevere," 729-30.
91. For example, the date of 16 October 1830 includes references to a "Lied in E Minor" ("Bri
treusten Herzens Grfisse," op. 19[a], no. 6) and to a "Lied ffir Delph[ine von Schauroth]"
"Venezianisches Gondellied" in G minor, op. 19[b], no. 6), both now preserved in the Staatsbib
zu Berlin-PreuBischer Kulturbesitz, Mus. ms. autogr. F. Mendelssohn Bartholdy 18.
of the extant sources and th

uscripts shed light on his co
has facilitated recognition
mand substantial reconsidera
flected in the music. We may
those that affect our image o
or require reinterpretation o
familiar through earlier sch
The first of these two class
est sort of scholarly interven
inventories of the composer
common during the decade
tempted to gain control of
view of his oeuvre that would also take into account the hundreds of
compositions he had left unpublished;92 in this sense, scholarshi
cerning Mendelssohn runs roughly parallel to that for the other m
nineteenth-century composers by whom "new" works are occasi
discovered even today.93 Nevertheless, the quantity and substance o
revisions necessitated by recent scholarship remain remarkable,
cially since efforts to formulate an overview of Mendelssohn's
began as early as the 1830s.
A review of some of these findings illustrates both the diversity o
little-explored areas of Mendelssohn's output and the potential i
tance of findings from source-critical Mendelssohn investigations.
from the string sinfonie, the early concertos and operas, and
juvenilia-compositions that were the focal point of the Leipziger Me
sohn Ausgabe during the early years of its existence-source-cri
Mendelssohn scholarship unearthed already early on a number of sa
works that had remained utterly unknown. One such recovery was
Kyrie in D Minor for five-part chorus and orchestra, composed in
and completed on 6 May 1825.94 Missing by the time of George Gr
Mendelssohn article in the 1880 edition of his dictionary, the Kyrie
considered lost for most of the twentieth century; the autograph m
way through the possession of C. F. Peters or the Musikbibliothek P
into the private possession of Walter Hinrichsen and thence into Mar
92. For an overview and explanation of the early inventories, see especially Anhang
'Thematischen Verzeichnisse' der Werke Mendelssohns") in Elvers, Briefe an deutsche Verleger, 353-5
93. For example, Berlioz's Messe solennelle (see Hugh Macdonald, "Berlioz's Messe solennell
Century Music 16 [1993]: 267-85) and the recently discovered (or reconstructed) prelude by Ch
Jeffrey Kallberg, "Chopin and the Aesthetic of the Sketch: A New Prelude in E, Minor?" Early
[2001]: 408-22).
94. On the transmission history of the D-Minor Kyrie, see Wehner, " 'It seems to have been lost',"
Deneke's collection of Mendelssohniana. Ralph Leavis published a

piano-vocal score of the work in 1964, but the choral/orchestral original
remained unpublished until 1986.95 That the Kyrie was a milestone in
Mendelssohn's compositional development is obvious, since the 1825
Paris sojourn (in which the Kyrie figured prominently) won him the im-
portant professional endorsement of Luigi Cherubini. Nevertheless,
scholars are only beginning to explore the work's musical rewards.96
A similar situation obtains in the case of Mendelssohn's chorale can-
tatas. Written between 1827 and 1832, these seven works of the com-
poser's early musical maturity are in some sense counterparts to the
string Sinfonie he had composed between 1821 and 1823. Both groups of
works represent an extended and systematic compositional engagement
with a genre that the young Mendelssohn surely knew would be impor-
tant in his future as a composer; both groups begin with works that are
clearly derivative and studious in nature; and both reveal the gradual
emergence of a distinctively Mendelssohnian idiom within the conven-
tions of their respective genres. Yet unlike the Sinfonie, which are regu-
larly performed and recorded, the chorale cantatas have remained at the
periphery of musical life, despite their pronouncedly greater musical
maturity and their obvious musical interest as the first extensive mature
engagement with sacred music by a composer whose latter-day fame rests
not least of all on sacred works. They have, however, been carefully con-
sidered in the scholarly literature, a situation that may bode well for
their eventual presence in the sacred repertoire.9"
These recoveries are by no means limited to Mendelssohn's sacred
works. On the cusp between the sacred and secular compositions lie a
number of full-length pieces composed in 1844-45 for organ. Some of
these pieces were eventually adapted for inclusion in the opus 65
sonatas, but the remaining ones received their first complete critical edi-
tion in the early 1990s.98 More overtly secular in nature is a Festgesang
95. Ralph Leavis, ed., Felix Mendelssohn Bartholdy: Kyrie for S.S.A.T7B. Chorus and Orchestra (or Organ)
(London: Oxford University Press, 1964), vocal score; R. Larry Todd, ed., Felix Mendelssohn Bartholdy:
Kyrie in d: Fiir Chor und Orchester (Stuttgart: Carus, 1986), full score.
96. See R. Larry Todd, "Mozart According to Mendelssohn: A Contribution to Rezeptionsgeschichte," in
Perspectives on Mozart Performance, ed. R. Larry Todd and Peter Williams, 158-203, Cambridge Studies in
Performance Practice, 1 (Cambridge: Cambridge University Press, 1991); further, Wehner, Studien zum
geistlichen Chorschaffen, esp. 155-88.
97. On the chorale cantatas, see Brian W. Pritchard, "Mendelssohn's Chorale Cantatas: An Appraisal,"
Musical Quarterly 62 (1976): 1-24; further, Pietro Zappala, Le "Choralkantaten" di Felix Mendelssohn-
Bartholdy, Serie IV [i.e., VI]: Collezioni di tesi universitarie, 2 (Venice: Fondazione Levi, 1991); and
Ulrich Wiister, Felix Mendelssohn Bartholdys Choralkantaten: Gestalt und Idee; Versuch einer historisch-kritischen
Interpretation, Bonner Schriften zur Musikwissenschaft, 1 (Frankfurt am Main: Peter Lang, 1996).
98. Wm. A. Little, ed., Felix Mendelssohn Bartholdy: Complete Organ Works, 5 vols. (London: Novello,
1987-90). The edition of the complete organ works for the Leipziger Ausgabe der Werke von Felix
Mendelssohn Bartholdy, ed. Christian Martin Schmidt, is to appear in 2004 in 3 vols.
composed for four-part chor

of 1838-a work that escaped
published until 1997, and sign
ties to the work that signale
of the early 1840s, the symp
recent research has revealed
length concert arias that pre
of these is an 1834 aria that
version of an 1843 aria pos
94 (the earlier aria was simp
in worklists).100 The later ar
the literature in 1984 and went unmentioned in Mendelssohn worklists
until 1985; judging from the number of surviving manuscript copies, t
aria evidently enjoyed some popularity in the decades after Mende
sohn's death.1'0 Yet another "new" composition has been identified qui
recently: an orchestral movement performed in the ceremonies for th
opening of the Dfisseldorf Stadttheater in October 1834. This brief co
position, still unpublished and absent from all worklists currently
print, was first discussed in the scholarly literature in 2002."12
Perhaps less glamorous, but equally essential to a historically accurat
view of Mendelssohn's compositional output, are findings derived from
primary sources that substantively inform our understanding of how t
familiar versions of established works came into existence, or that
change the Notentext by which those works are known. One such instance
is the Phantasie und Variationen iiber Preziosa, a composition that arose as
the product of a collaboration between Mendelssohn and Ignaz Moscheles
(1794-1870), the conductor, pianist, and Beethoven biographer who was
also one of Mendelssohn's closest musical confidants.
The story of this composition is indicative of the complexities th
have historically bewildered scholars attempting to make their w
through the sources and histories of Mendelssohn's little-known work
The work was originally intended as one to be written by Moschel
alone for a concert in London on 1 May 1833 that would feature
pianistic talents. Moscheles and his household, however, fell prey
99. Christoph Hellmundt, ed., Felix Mendelssohn Bartholdy: Festgesang, fiir vierstimmigen gemischten C
und Orchester, Chor-Bibliothek, 5279 (Leipzig: Breitkopf & Hairtel, 1997). See also Hellmundt's essay
this work (no. 145 in appendix 1).
100. See my "Mendelssohn's Two Infelice Arias" (no. 135 in appendix 1).
101. See R. Larry Todd, "Mendelssohn's Ossianic Manner, with a New Source: On Lena's Gloo
Heath," in Mendelssohn and Schumann: Essays on Their Music and Its Context, ed. Jon W. Finson and R. La
Todd, 137-60 (Durham, NC: Duke University Press, 1984).
102. See Ralf Wehner, " '... das sei nun alles fur das Dusseldorfer Theater und dessen Heil .. .' " (n
191 in appendix 1).
influenza that spring, and as o

concert had yet to be written.
the new work was still not
London on 25 April. After so
write and perform jointly a set
on the "Gypsy March" from W
day.1 03Mendelssohn's letters a
the piece over the next few d
morning of 29 April.1'04 The ru
house, the following day's ha
performance on 1 May were
scribed as aides-memoires. Desp
performance was a success.
This story bears materially
"Preziosa" Variations, for Mend
the work. It was published in
(without orchestra) as Mosche
in 1834 did Mendelssohn learn
younger composer evidently
indeed, he wrote to Moschele
certain substantial general chan
-but Fanny Hensel (who knew
anyone except the composer
found there.'05 The question
Variations as published, perfor
sions of the collaborative com
1833, how are modern scholars
cally accurate version of the
Mendelssohn's full involvement?
Happily, the answers to this question involve less conjecture than mos
scholars would have feared even five years ago, for the composite auto-
graph materials for the May 1833 version of the "Preziosa" Variations ha
been located in the Scientific Music Library of the St. Petersburg Co
103. The two had already collaborated in a similar fashion in the Concerto in E Major for Two Pian
and Orchestra, first published in 1960. See Stephan D. Lindeman, "Mendelssohn and Moscheles: T
Composers, Two Pianos, Two Scores, One Concerto" (no. 160 in appendix 1).
104. The date is confirmed by Mendelssohn's diary entry for that date (MS M. Deneke Mendelssoh
g.4, fol. 12r).
105. Letter to Felix dated 18 February 1834. See MarciaJ. Citron, ed., The Letters of Fanny Hensel to Fel
Mendelssohn (Stuyvesant, NY: Pendragon, 1987), 124, 454.
106. The recording by Anthony and Joseph Paratore, with Uro1 Lajovic conducting the RIAS
Sinfonietta (Schwann Musica Mundi VMS 2088 [1982], LP) attributes the work to "Felix Mendelssohn
Bartholdy and Ignaz Moscheles."
servatory (Russia).'07 Their

script remained in Ignaz M
ture from London, and aft
The latter presented it as a
1889, and Rubinstein donate
servatory.'08 There it rem
manuscript entries from bo
overs and supplemental shee
as a musical text for at least
nale (see figures 1 and 2). De
possible, for the first time s
construction of this work.
Another important instance of a recently emerged autograph obtains

in the case of the Hebrides Overture, op. 26. Since the 1940s scholars hav
been fascinated by this work's extended and complicated genesis,'0
from the evocative pencil drawing of 7 August 1829, written in Oban and
titled "Ein Blick auf die Hebriden und Morven" and the sketch of the
opening in short score in a letter to his family begun that same
through a variety of sketches, drafts, and complete versions, to the
lished versions released between October 1833 and April 1835. Th
vere self-critical faculty that Mendelssohn termed his "revision dev
"revision sickness" is much in evidence in this work. Indeed, more than
two years after its inception he wrote to Fanny Hensel that he did "not
regard it as finished," and that the development section "taste[d] more
of counterpoint than of train oil, gulls, and salted cod.""" As R. Larry
Todd has shown, Mendelssohn continued to introduce changes (albeit
mostly minor ones) until he returned the proofs for the score to Breit-
kopf & Hartel on 15 November 1834."'
Crucial among the extensive musical revisions of the Hebrides Overture
are the changes entered between the first London performances
(14 May and 1 June 1832) and two Berlin performances given in January
and February 1833, for the latter two were the last performances before
the composer sent the score to Breitkopf & Hirtel for engraving on
107. Special thanks are due to the Scientific Music library of the St. Petersburg Conservatory for its
gracious assistance in providing access to this valuable manuscript source. In particular, I wish to thank
Helena V. Nekrasova (director of the Scientific Music Library), Tamara Z. Skvirskaya (supervisor of the
Department of Manuscripts), and Larissa A. Miller for their patience and resourcefulness along the way.
108. See Wehner, " 'It seems to have been lost'," 14-15.
109. Ernest Walker, "Mendelssohn's Die einsame Insel," Music & Letters 26 (1945): 148-50; Gerald
Abraham, "The Scores of Mendelssohn's Hebrides," Monthly Musical Record 78 (1948): 172-76; see also
Todd, "Of Sea Gulls and Counterpoint."
110. R. Larry Todd, Mendelssohn: "The Hebrides" and Other Overtures (Cambridge: Cambridge University
Press, 1993), 31, 33.
111. Ibid., 33-34.
.60
-mop",
..... ....K
: - - - ..a..,, -.. ,. .. .
...........3
....... 41 .........
- 5 _: 1
ir
- . 4.- -- ".. ..
,4w. ... .4- .
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Fig. 1.
und V
Scient
?LZJV
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.....................
P-M, 077, TAfl.*, :?
WW
MRPTY, 4,?,?- P?J *z
4?XNX
AR Mi
SX
o
-2
kq
,5Z 4wl
Fig. 2. First page of Finale from autograph orc

Moscheles, Fantasie und Variationen iiber "Prezio
Courtesy of the Scientific Music Library of the
29 November 1833. The compo

during these months he comple
duet (dated London, 19June 183
score (the final page of which
lier of these two sources is reaso
for the piano-duet arrangem
Breitkopf & Hdirtel in Leipzig
corresponds to the autograph
the Bodleian Library (MS M. D
lems remain. First, there are numerous substantive differences between
the piano-duet version of the work and the final (published) text of its
orchestral counterpart-a surprising situation, especially given the ex-
tremely close chronological proximity of the two 1832 autographs.
Second, until quite recently the autograph orchestral score of 20 June
1832, which had been in the private possession of T. G. Odling when
Ernest Walker and Gerald Abraham were preparing their articles, had
disappeared from scholarly sight. Attempts to sort out more of this criti-
cal phase of the work's gestation and revision history thus were hobbled.
Fortunately, the missing Hebrides autograph orchestral score turned up
on the auction block of Sotheby's London on 17 May 2002, and was pur-
chased by the Bodleian Library."13 This important acquisition addresses
one of the last and most pressing lacunae in the musical sources for that
work, clearing up many problems in the problematical stemma codicum
and explaining some (but not all) significant variants between the piano-
duet arrangement and its orchestral counterpart. Moreover, an under-
standing of these relationships among the manuscripts permits a reason-
ably secure reconstruction of the version of the work that was performed
in London in May and June 1832; indeed, it likely also explains how
George Grove was able to program what he called the "original version"
alongside the published version in a Mendelssohn commemorative con-
cert by the Crystal Palace Society during the 1871-72 season."14 Although
these answers also raise yet more questions, the Odling manuscript's
stabilized existence among the Bodleian's holdings has cleared the way
for scholars to gain further insights into the processes by which this
Mendelssohn masterpiece was created-a task that must, however, be un-
dertaken elsewhere.)15
112. See Elvers, Briefe an deutsche Verleger, 30-31 n. 4.

113. The autograph now carries the shelfmark MS M. Deneke Mendelssohn d.71.
114. Andreas Eichhorn, Felix Mendelssohn-Bartholdy: Die Hebriden, Ouvertiirefiir Orchester, op. 26 (no. 1
in appendix 1), 15.
115. See my "Philological and Textual Issues of Mendelssohn's Hebrides Overture," Philomusi
(forthcoming 2004), http://philomusica.unipv.it.
The Hebrides autograph of 2

tant Mendelssohn music autog
it is by no means the only ins
insights into Mendelssohn's
are offered by careful study
symphonies, piano and organ
music, as well as various secu
and orchestra."116 Collectively
not only facilitating, but nec
Mendelssohn and his historica
THE SOURCES' CONTRIBUTIONS TO SCHOLARSHIP: FOUR THEMES
If scholars' work on the primary sources is fueling a gene

the late-nineteenth- and early-twentieth-century tende
Mendelssohn as a composer and contributor to music his
still inquire what it is that has finally managed to reverse s
cal disinclination to tackle the problems posed by the p
for this composer. One factor, of course, has been rewards
deavors to date, but there is also another factor that was m
ously absent from most early-twentieth-century Mendelss
healthy streak of self-criticism within the discourse. More
ever before are reluctant to take at face value the worn-out
ideologically predicated assessments that were born of late
century polemics; consequently, for the first time in t
Mendelssohn research scholars are subjecting their own col
to rigorous scholarly critique. The result has been a wid
structive dialog that has engendered greater diversity amo
stantive perspectives, as well as a widespread consensus tha
going reassessment of the composer is needed. A few brief
suffice to illustrate these developments:
The nature and significance of Mendelssohn's engagement with the

composers. Beginning around the mid-1840s, and in increas
subsequent decades, some critics asserted that Mendelssohn'
fluency in musical genres, styles, and techniques associated wi
posers (especially Bach and Handel) had exerted a detrimenta
overall development of the musical art; some further suggeste
ingness to cultivate "old forms and genres" necessarily bet
hearted commitment to musical progress. Over the course of t
century these interpretations came to play a central role in cr
116. For annotated bibliographic entries for these studies, see chapters 5 and 6 of my
(no. 103 in appendix 1).
composer, usually with an air o

who never quite grew out his "pe
plications of thinly veiled charlat
kitsch, to borrow the memorable
Recent research, however, has su
or at best oversimplifications of
Mendelssohn's choices of materi
with, these historicizing stylistic
contribution to nineteenth-centur
historical and political dimension
scholars have argued (drawing o
process, musical form and genr
tions about the historical reperto
atical allusions, and of course the
historicizing gestures in Mendelss
versions or complacent accommod
represented a kind of engagemen
and listeners. In the eyes of Men
allusions were acts of translation,
by no means the artistically unim
course that it is now considered t
Setting aside anachronistic value
and fueled not least of all by sub
of what, in the eyes of Mendelsso
feature of his modernity, the ch
his music emerge as gestures that
gators of and participants in a dia
modern rather than reactionary in
The visual impulse in Mendelssoh

impulse was acknowledged long
Overture to be a "masterpiece" by
traditional critiques admit little r
evidently, a composer who contin
whose tastes differed so greatly f
potential for this aesthetic affi
found that the visual and the m
bound up in Mendelssohn's ima
Mendelssohn's visual artworks
117. Charles Rosen, "Mendelssohn and the In

(Cambridge, MA: Harvard University Press,
118. See Wolfgang Dinglinger, "Bach und d
119. See James A. Garratt, "Mendelssohn's
211 in appendix 1).
120. This point is developed in my essay "M
121. Edward Dannreuther, "Wagner," in A
George Grove, 4 vols. (London: Macmillan, 1
aspects of his biography, '2 w

pulse critically influenced his m
Mendelssohn's artistic and fami

features of the artistic and pe
well known. During their lif
Felix was a highly public music
tivities were largely limited to
ing the patriarchal values of th
tion of Fanny undertaking a
even took credit for some of h
his own name in his opera 8 an
ginalization of Fanny occurre
could state, in his article on Hensel in the first edition of the New Grove
Dictionary of Music and Musicians, that her "historical importance consists in
her having provided, both in her diary and in her correspondence, much es-
sential source material for the biography of Felix, to whom she was very
close."'25
Some of the brush strokes of this rough portrait stand up to scrutiny in th
light of primary sources, but most require revision. Drawing on previously
unpublished correspondence and other little-known contemporary evidence,
recent research has suggested that Hensel was better known and appreciated
in the mid- and later nineteenth century than she was until perhaps th
1990s.126 Moreover, Mendelssohn's oft-discussed concern over the prospect
of Hensel's activity as a public musical figure seems to have been born no
primarily of paternalistic, exploitive, or otherwise sexist attitudes on his own
part, but of issues of class and religious background that faced both sib
lings;'27 and the musical interaction between the two was far less one-sided
than the inclusion of songs by Fanny within Felix's collections would sug
gest.'1" Despite enormous strides in recent years, however, the corpus o
122. See the essays by Hans-Gfinter Klein and R. Larry Todd in Reiko Koyanagi, ed., Menderusuzon
Mendelssohn, Mujinkan, 7 (Tokyo: Iwasaki Bijutsusha, 1992); further, Hans Christoph Worbs, "Mende
sohn as Maler und Zeichner und sein Verhaltnis zur bildenden Kunst," in Felix Mendelssohn Bartholdy
ed. Gerhard Schuhmacher, 100-137, Wege der Forschung, 494 (Darmstadt: Wissenschaftliche Buc
gesellschaft, 1982).
123. See especially Thomas S. Grey, "Tableaux vivants: Landscape, History Painting, and the Visu
Imagination in Mendelssohn's Orchestral Music" (no. 254 in appendix 1), and Todd, "On the Visual
Mendelssohn's Music" (no. 255). Also essential is Margaret Crum, "Mendelssohn's Drawing and t
Doubled Life of Memory," in Festschrift Albi Rosenthal, ed. Rudolf Elvers, 87-103 (Tutzing: Han
Schneider, 1984).
124. Nos. 2, 3, and 12 in opus 8, and nos. 7, 10, and 12 in opus 9.
125. Karl-Heinz K6hler, "Mendelssohn(-Bartholdy) [Hensel], Fanny (Cacilie)," in The New Grov
Dictionary of Music and Musicians (London: Macmillan, 1980), 12:134.
126. See Marian Wilson Kimber, trans. Bettina Brand, "Zur fruihen Wirkungsgeschichte Fann
Hensels," in Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligkeitsideal und romantischer
Musikiisthetik, ed. Beatrix Borchard and Monika Schwarz-Danuser, 248-62 (Stuttgart: Metzler, 1999);
Wilson Kimber, "The 'Suppression' of Fanny Mendelssohn: Rethinking Feminist Biography" (no. 45 in
appendix 1).
127. See especially Nancy B. Reich, "The Power of Class: Fanny Hensel," in Todd, Mendelssohn and His
World, 86-99; further, Francoise Tillard, "Felix Mendelssohn and Fanny Hensel: The Search for
Perfection in Opposing Private and Public Worlds" (no. 40 in appendix 1).
128. See R. Larry Todd, "On Stylistic Affinities in the Works of Fanny Hensel and Felix Mendelssohn
Bartholdy" (no. 216 in appendix 1).
unpublished correspondence an
Hensel's life and works rivals tha
views of the relationship between
cal reality than they are like tor
serve that scholars' and other mu
relationship between the two s
generally desirable to explore th
cially Felix) without careful consid
The significance of the Jewish heri

has centered on the nature of M
itage. As stated above, Eric Wern
scholars to argue forcefully that
well as his musical compositions m
his Jewish family circles, and by
legacy of Moses Mendelssohn. The
tive were enhanced by Werner's e
primary sources: in his work pos
wrongs that had been wrought on
cal fact of Mendelssohn's Jewish
poser and his age that drank de
from earlier writings by the c
Some scholars have viewed thes
those explored by Werner, as cen
ect that coalesced in Mendelssoh
mid-1830s; in this view, the comp
nant of his artistic identity, partic
In recent years, however, long-s
unreliability in transcribing and
spread to his handling of the issu
sohn's life and creativity. Some s
sources provide precious little e
identification in Abraham and
while others have shown that ma
presentations of primary sources
this issue. In this view, treating
flections of Mendelssohn's Jewish
positions might be better conside
statements that downplay the com
129. Of special importance here are Leon B

Reconstructing the Career of Felix Mende
Mercer-Taylor, "Mendelssohn and the Mu
University of California at Berkeley, 1995);
The Origins of Felix Mendelssohn's Aestheti
130. For a review of some such deficiencies
appendix 1).
131. For example, Thomas Christian Schmidt[-Beste], in his study of the aesthetic foundations of
Mendelssohn's instrumental music, Die aisthetischen Grundlagen der Instrumentalmusik Felix Mendelssohn
Bartholdys (Stuttgart: M & P Verlag fiir Wissenschaft und Forschung, 1996), 21-22.
ther Jewishness nor Christian-n

tual obliteration of these issues
These issues-the Jewish herit
problems and strengths of Wer
pages of the Musical Quarterly i
that one or the other viewpo
scenario necessarily desirable. It
creasingly widespread scholarly
for this scrutiny betokens a
largely absent from the pseud
nated the late nineteenth and e
ever now realize that despite th
day Mendelssohn revival, Wern
ter and verse, even if they also
at creating a more historically
poser and his age.
Finally, it must be noted t

Mendelssohn Gesamtausgabe
Werke von Felix Mendelssohn
Christian Martin Schmidt (Te
was brought under the acad
der Wissenschaften zu Leipzig
since 1977 appeared in 1997
the meantime, and five more
editions of most of the sacre
gart) between 1977 and 1997,
pearance of the first volumes
concert overtures, edited by
Moreover, the Sdichsische A
the Mendelssohn-Forschung
Wehner serves as a clearingh
ects involving Mendelssohn
documentary biography by C
sights based on important lit
of 2003-4 saw the publicatio
Todd, a new full-length Mend
132. This issue lies at the heart ofJeffre

133. This debate was initiated by Sposato'
play an important role in Werner's portra
works; see Sposato, "Creative Writing: Th
dix 1). See also the responses by Leon Bo
WardJones (no. 73), as well as Sposato's re
134. My thanks to Ralf Wehner for inform
leased in 2004.
135. Clive Brown, A Portrait of Mendelssohn (no. 6 in appendix 1).
on little-known source material,

tween Felix and Fanny, the signi
and of Moses Mendelssohn, and
and from Hans-Gfinter Klein a
epistolary manuscript resourc
PreulBischer-Kulturbesitz. 136
CONCLUSIONS: THE MENDELSSOHN PROBLEMS
Despite these welcome trends and developments, it would

to suggest that the tangled web of overt and covert value ju
cious and valid arguments, and paradoxical historical fac
tions that Carl Dahlhaus in 1972 dubbed "The Mendelssohn Problem" has
been entirely eradicated.17 Indeed, the questionable methods and as-
sumptions identified under that rubric continue to suffuse literature in-
tended for general audiences of every sort, from musical amateurs to
music students in university and conservatory curricula. Fortunately, de-
liberate perpetuations of the unfounded stereotypes and anti-Semitic
ideologies that led to Mendelssohn's aesthetic devaluation in the late
nineteenth and early twentieth centuries are few in recent writings.'38
Nevertheless, numerous other sources, including some of outstanding
scholarly authority, unwittingly perpetuate those stereotypes and those
ideologies when they use the same familiar published documents to ex-
plain the same familiar music in similar language, finally offering a pic-
ture of Mendelssohn as a composer that differs but little from the por-
traits submitted by Liszt and Wagner.
This takes us to what is, aufond, the core challenge to latter-day explo-
rations of Mendelssohn's life and works. It is neither necessary nor ap-
propriate for considerations of this problematical composer to continue
to limit themselves to the notoriously unreliable and incomplete body of
evidence that was available to scholars in the early and mid-twentieth
century, or even to proceed unaware of the evidentiary problems in
136. R. Larry Todd, Mendelssohn: A Life in Music (no. 9 in appendix 1); Hans-Giinter Klein, Felix
Mendelssohn Bartholdy: Autographe und Abscriften (no. 112). No. 112 also includes an inventory of the
Mendelssohniana held in the Cracow volumes of the original Mendelssohn Nachlofl. I wish to thank
Professor Todd and Dr. Klein foir providing advance information regarding these books' content and
organization.
137. The term was originally the title of a symposium organized by Dahlhaus and held in West Berlin
for the occasion of the 125"' anniversary of Mendelssohn's death; the resulting collection of essays stands
as a milestone in the latter-day Mendelssohn revival: Das Problem Mendelssohn, ed. Carl Dahlhaus, Studien
zur Musikgeschichte des 19.Jahrhunderts, 41 (Regensburg: Gustav Bosse, 1974).
138. But see Albrecht Riethmlller, "Das 'Problem Mendelssohn' " (no. 92 in appendix 1); Marian
Wilson Kimber, "The Composer as Other: Gender and Race in the Biography of Felix Mendelssohn"
(no. 99); and especially Hans-Werner Boresch, "Neubeginn mit Kontinuitit: Tendenzen der Musik-
literatur nach 1945" (no. 76).
Werner's writings. In view of

siderable amount of previousl
the unprecedented availabili
warding compositions by Men
incumbent on responsible sch
the comparatively obscure bu
idence, and to endeavor to in
is that performers and schola
authoritative editions released in recent decades and treat the now-
standard Rietz editions primarily for what they are: historical ar
counterparts of (for example) the editions of the Bach-Gesells
the Mozart-Werke series. Certainly the vast quantities of still-un
primary sources concerning Mendelssohn, together with the cons
lacunae and other philological problems, will continue to cha
scholars for years to come. But they will also offer new, still-unfor
perspectives on his life, works, and historical significance-a fact
clear cause for optimism, since an idealized Mendelssohn myth
pose historiographic problems no less troubling than those posed
mythologized images of Bach, Mozart, Beethoven, Schubert, Schum
or others.
The core challenge, then, is to extend the healthy discourse that cur-
rently flourishes in ever-wider circles of Mendelssohn scholars beyond
the peripheries of those circles and into the broader discourses of musi-
cal life, while continually exploring the abundant little-known evidence
that has propelled the ongoing Mendelssohn renaissance. If this chal-
lenge can be met, musical scholars and the musical public will be able to
reap the rewards of a variety of historically and methodologically viable
ways of not just viewing Mendelssohn through the lens of previous com-
mentaries, but of knowing him-and doing so as few have done since the
1840s.
APPENDIX 1. CONTRIBUTIONS TO RESEARCH LITERATURE

CONCERNING FELIX MENDELSSOHN BARTHOLDY, 1997-2003:
A SELECTIVE BIBLIOGRAPHY
In addition to items published or committed to print by 30 Augu

appendix includes some items that are at press or are document
progress. Titles of in-progress items are given in their latest verified
sertations registered with Doctoral Dissertations in Musicology-Onlin
.indiana.edu/ddm/), the DDM code is also provided. Items are classi
ing to their primary function, as appropriate to the categories giv
lowing list of contents.
CONTENTS OF APPENDIX
I. Life-and-works studies
A. Collections of Specialized Essays, Conference Reports ........... 74
B. Surveys of Mendelssohn's Life and Works ...................... 75
C. Special Aspects of Mendelssohn's Biography ................... 75
II. Memoirs, Recollections, Letters, and Diaries
A. Memoirs and Recollections ................................. 78
B. Letters and Diaries ........................................ 78
III. Sociological and Cultural Studies
A. The Mendelssohn Family ................................... 78
B. Studies ofJewish Issues ..................................... 79
C. Reception History ......................................... 80
IV. Documentary Studies
A. Worklists, Bibliographies, and Bibliographic Essays .............. 82
B. Documentary Inventories and Overviews of Editions,
Exhibitions, Music Manuscripts, and Papers .................... 82
V. Studies of Individual Works and Repertoires
A. Secular Works ....... ......... ...................... 83
B. Sacred W orks ............................................. 88
VI. General Studies of Mendelssohn's Music
A. Surveys and General Approaches ............................. 89
B. Mendelssohn and the Music of the Past ....................... 90
C. Secular Works ...................................... 90
D. Sacred W orks .................................. .......... 91
E. Performance Practice ...................................... 91
F. Compositional Process ..................................... 92
G. Mendelssohn and the Visual Arts ............................ 92
I. Life-and-Works Studies
A. Collections of Specialized Essays, Conference Reports
1. Cooper, John Michael, and Julie D. Prandi, eds. The Mendelssohns: T

Music in History. Oxford: Oxford University Press, 2002.
2. Mercer-Taylor, Peter. The Cambridge Companion to Mendelssohn. Cambr
Cambridge University Press, 2004.
3. Reichwald, Siegwart, ed. Mendelssohn Performance Studies. Bloomin
Indiana University Press, in preparation.
4. Schmidt, Christian Martin, ed.

Berlin 1994. Wiesbaden: Breitkopf
5. Seaton, Douglass, ed. The Men
wood, 2001.
B. Surveys of Mendelssohn's Life and Works
6. Brown, Clive. A Portrait of Men

2003.
7. Mercer-Taylor, Peter. The Life of Mendelssohn. Cambridge: Cambridge Uni-
versity Press, 2000.
8. . "Introduction: Mendelssohn as Border-Dweller." In The Cam-
bridge Companion to Mendelssohn. Cambridge: Cambridge U
2004.
9. Todd, R. Larry. Mendelssohn: A Life in Music. Oxford: Oxford University
Press, 2003.
10. - . "Mendelssohn(-Bartholdy), (Jacob Ludwig) Felix." In The New
Grove Dictionary of Music and Musicians, 2d ed., ed. Stanley Sadie and John
Tyrrell, 16:389-424. New York: Grove, 2001.
C. Special Aspects of Mendelssohn's Biography
11. Bledsoe, Robert Terrell. "Elizabeth Barrett and Felix Mendelssohn." In

Henry Fothergill Chorley: Victorian Journalist, 73-116. Brookfield, VT: Ashgate,
1998.
12. Botstein, Leon. "Neoclassicism, Romanticism, and Emancipation: The
Origins of Felix Mendelssohn's Aesthetic Outlook." In The Mendelssohn
Companion, ed. Douglass Seaton, 1-27. Westport, CT: Greenwood, 2001.
13. Bowles, Edmund A. "Mendelssohn, Schumann, and Ernst Pfundt: A Pivotal
Relationship between Two Composers and a Timpanist." Journal of the
American Musical Instrument Society 24 (1998): 5-26.
14. Cherington, Michael, Richard Smith, and Peter J. Nielsen. "The Life,
Legacy and Premature Death of Felix Mendelssohn." Seminars in Neurology
19 (1999): 47-52.
15. Cooper, John Michael. "Mendelssohn's Concert Programming." In
Mendelssohn Performance Studies, ed. Siegwart Reichwald. Bloomington:
Indiana University Press, in preparation.
16. Currie, Norman. "Hector Berlioz, Robert Schumann, Felix Mendelssohn:
Three Early Romantic Composers and Their Publishers." Ph.D. diss., City
University of New York, in progress (DDM: 68puCurN*).
17. Dinglinger, Wolfgang. " 'Er war immer mit hinein verflochten': Die
Freunde Eduard Rietz und Felix Mendelssohn Bartholdy und ihre Briefe."
18. - . "Felix Mendelssohn Bartholdys Berliner Intermezzo Juni 1832 bis
April 1833." Mendelssohn-Studien 13 (2003): 101-23.
19. . "Mendelssohn: General-Musik-Direktor fiir kirchliche und
geistliche Musik." In Felix Mendelssohn Bartholdy: Kongrefn-Bericht Berlin 1994,
ed. Christian Martin Schmidt, 23-36. Wiesbaden: Breitkopf & Hdirtel, 1997.
20. Duggan, Audrey. A Sense of Occasion: Mendelssohn in Birmingham, 1846.
Studley, Warwickshire, UK: Brewin, 1998.
20a. Elvers, Rudolf. "Auch kleins

Album der Sophia Horsley." In Im
Gertraut Haberkamp zum 65. Geb
Schneider, 2002.
21. -. "Friihe Quellen zur Biographie Felix Mendelssohn Bartholdys." In
Felix Mendelssohn Bartholdy: Kongrefi-Bericht Berlin 1994, ed. Christian Martin
Schmidt, 17-22. Wiesbaden: Breitkopf & Hartel, 1997.
21a. - . "Die Goethes und Mendelssohn." In Wechselwirkungen: Kunst und
Wissenschaft in Berlin und Weimar im Zeichen Goethes, ed. Ernst Osterkamp,
107-16. Publikationen zur Zeitschrift fiir Germanistik, n.F., 5. Bern: Peter
Lang, 2002.
22. Feuchte, Andreas. "Felix Mendelssohn Bartholdy als Lehrer und Freund
von Eduard Franck." Mendelssohn-Studien 10 (1997): 57-76.
23. - . Hermann Franck, 1802-1855: Persinlichkeit zwischen Philosophie, Politik
und Kunst im Vormiirz. Forschungen zum Junghegelianismus, 3. Frankfurt
am Main: Peter Lang, 1998; adapted from the author's dissertation (Univer-
sity of Bremen, 1998).
24. Golz, Jochen. "Goethe in seinem Verhaltnis zu Beethoven." In "Meine
Harmonie mit der Ihrigen verbunden ": Beethoven und Goethe; Eine Ausstellung des
Beethoven-Hauses und der Stiftung Weimarer Klassik/Goethe- und Schiller-Archiv
in Zusammenarbeit mit dem Arbeitskreis selbstdndiger Kulter-Institute e. V.: Katalog,
ed. Jochen Golz and Michael Ladenburger, 9-22. Ver6ffentlichungen des
Beethovenhauses in Bonn, Ausstellungskataloge, 7. Bonn: Beethoven-Haus,
1999.
25. Hellmundt, Christoph. "Anton Christanell und seine Beziehungen zu Felix
Mendelssohn Bartholdy." Mendelssohn-Studien 11 (1999): 77-102.
26. Jost, Christa. "Wagner und Mendelssohn: Anmerkungen zu einem Zerr-
bild." In Richard Wagner und seine "Lehrmeister": Bericht der Tagung am Musik-
wissenschaftlichen Institut der Johannes-Gutenberg-Universitdt Mainz, 6.-7. Juni
1997; Egon Voss zum 60. Geburtstag, ed. Christoph-Hellmut Mahling and
Kristina Pfarr, 155-72. Mainz: Are, 1999.
27. Kast, Patrick. "Mendelssohn als Pdidagoge." Ph.D. diss., Universitat Leipzig,
in progress (DDM: 61pdKasP*).
28. -. "Die Musikanschauung Friedrich Rochlitz': Basis fuir Felix Mendels-
sohn Bartholdys Erfolge in Leipzig." Mendelssohn-Studien 12 (2001): 187-204.
29. Klein, Hans-Guinter. "Abraham Mendelssohn Bartholdy in England: Die
Briefe aus London im Sommer 1833 nach Berlin." Mendelssohn-Studien 12
(2001): 67-127.
30. -, ed. Die Mendelssohns in Italien: Ausstellung des Mendelssohn-Archivs d
Staatsbibliothek zu Berlin--Preuflischer Kulturbesitz, 6. Dezember 2002 bis
Januar 2003. Staatsbibliothek zu Berlin-PreufBischer Kulturbes
Ausstellungskataloge, n.F., 46. Wiesbaden: Ludwig Reichert Verlag, 2002.
31. - . "Theodor Hildebrandt und Felix Mendelssohn Bartholdy in Italien
Aus den Tagebuchaufzeichnungen des Malers 1830/31." Mendelssohn
Studien 13 (2003): 81-100.
32. . " 'Wir erleben einige Freude an diesem jungen Mann': Die Briefe
von Abraham Mendelssohn Bartholdy vom Niederrheinischen Musikfest
1833 nach Berlin." Mendelssohn-Studien 11 (1999): 49-75.
33. Kopitz, Klaus Martin. Der Diisse

zwischen Beethoven, Spohr, Men
34. Little, Wm. A. "Felix Mendel
Time." In The Mendelssohns: Th
and Julie D. Prandi, 291-302. O
35. Mercer-Taylor, Peter. "Men
Music." In The Cambridge Comp
11-25. Cambridge: Cambridge U
35a. Miller, Norbert. "Musikal
Zelter und die Frenndschaft
Briefwechsel erliutert." In Wech
und Weimar im Zeichen Goethe
zur Zeitschrift ffir Germanisti
36. Mintz, Donald. "Mendelssohn as Performer and Teacher." In The Mendels-
sohn Companion, ed. Douglass Seaton, 87-142. Westport, CT: Greenwood, 2001.
37. Parrott, Isabel V. "A Parallel Life: Felix Mendelssohn's Conducting Career
and His Control of Concerts." Ph.D. diss., University of Wales at Bangor, in
progress (DDM: 61cnParI*).
38. Richter, Brigitte. Frauen um Felix Mendelssohn Bartholdy, in Texten und Bildern
vorgestellt. Frankfurt am Main: Insel, 1997; 2d ed., 1998.
39. Seaton, Douglass. "Mendelssohn's Audience." In Mendelssohn Performance
Studies, ed. Siegwart Reichwald. Bloomington: Indiana University Press, in
preparation.
40. Tillard, Francoise. "Felix und Fanny Mendelssohn Bartholdy: Verk6r-
perung biirgerlicher Perfektion." In Fanny Hensel geb. Mendelssohn Bartholdy:
Komponieren zwischen Geselligkeitsideal und romantischer Musikdsthetik, ed.
Beatrix Borchard and Monika Schwarz-Danuser, 237-47. Stuttgart: Metzler,
1999; Eng. trans., "Felix Mendelssohn and Fanny Hensel: The Search for
Perfection in Opposing Private and Public Worlds," in The Mendelssohns:
Their Music in History, ed. John Michael Cooper and Julie D. Prandi, 279-88
(Oxford: Oxford University Press, 2002).
41. Todd, R. Larry. "'Ein wenig still und scheu': Clara Wieck / Schumann as
Colleague of Felix Mendelssohn Bartholdy." In Schumanniana Nova:
Festschrift Gerd Nauhaus zum 60. Geburtstag, ed. Bernhard R. Appel, Ute Bair,
and Matthias Wendt, 767-84. Sinzig: Studio, 2002.
42. Ward Jones, Peter. "Felix Mendelssohn Bartholdys Tod: Der Bericht seiner
Frau." Mendelssohn-Studien 12 (2001): 205-25.
43. Wehnert, Martin. "Was den alten Goethe am jungen Mendelssohn fesselte:
Auf den Spuren einer denkwiirdigen Begegnung." In "Denn in jenen Tonen
lebt es": Wolfgang Marggraf zum 65. Geburtstag, ed. Helen Geyer, Michael
Berg, and Matthias Tischer, 91-112. Weimar: Hochschule ffir Musik Franz
Liszt, 1999.
44. Wilson Kimber, Marian. " 'For art has the same place in your heart as mine':
Family, Friendship, and Community in the Life of Felix Mendelssohn." In
The Mendelssohn Companion, ed. Douglass Seaton, 29-85. Westport, CT:
Greenwood, 2001.
45. . "The 'Suppression' of Fanny Mendelssohn: Rethinking Feminist
Biography." 19th Century Music 26 (2002): 113-29.
78 NOTEs, September 2004
II. Memoirs, Recollections, Letters, and Diar

A. Memoirs and Recollections
46. Nichols, Roger. Mendelssohn Remembered. London: Faber and Faber, 1997.
B. Letters and Diaries
47. Back, Regina. "Der Briefwechsel von Felix Mendelssohn Bartholdy und Carl
Klingemann: Betrachtungen zu einer Freundschaft in Briefen und zu einer
Kultur des schriftlichen Dialogs in der ersten Halfte des 19. Jahrhunderts."
Ph.D. diss., Universitit Leipzig, in progress (DDM: 61wrBacR*).
48. Elvers, Rudolf. "Die Bedeutung einer Mendelssohn-Briefausgabe." In
Komponistenbriefe des 19. Jahrhunderts: Bericht des Kolloquiums Mainz 1994, ed.
Hanspeter Bennwitz, Gabriele Buschmeier, and Albrecht Riethmfiller,
58-63. Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jg.
1997, v. 4. Stuttgart: F. Steiner, 1997.
49. - . "Durchgerutscht: Einige Bemerkungen zur Ausgabe des Brief-
wechsels zwischen Fanny Hensel und Felix Mendelssohn Bartholdy."
50. -. "Der fingierte Brief Ludwig van Beethovens an Fanny Mendelssohn
Bartholdy." Mendelssohn-Studien 10 (1997): 97-100.
51. Schmidt-Beste, Thomas. " 'Alles von ihm gelernt?': Die Briefe von Carl
Friedrich Zelter an Felix Mendelssohn Bartholdy." Mendelssohn-Studien 10
(1997): 25-56.
52. Weissweiler, Eva, ed. Fanny und Felix Mendelssohn: "Die Musik will gar nicht
rutschen ohne Dich "' Briefiechsel 1821 bis 1846. Berlin: Propylaen, 1997.
52A. Ward Jones, Peter, ed. The Mendelssohns on Honeymoon: The 1837 Diary of
Felix and Cecile Mendelssohn Bartholdy, Together with Letters to Their Families. Ox-
ford: Clarendon Press, 1997; German ed., with translations of front matter
by Thomas Schmidt-Beste as Felix und Ccile Mendelssohn Bartholdy: Das Tage-
buch der Hochzeitsreise, nebst Briefen an die Familien (Zurich: Atlantis, 1997).
53. Zappala, Pietro. "Dalla Spree al Tevere: I1 diario del viaggio di Felix
Mendelssohn Bartholdy verso l'Italia (1830-1831): Edizione e commento."
In Album amicorum Albert Dunning in occasione del suo LXV compleanno, ed.
Giacomo Fornari, 713-88. Turnhout: Brepols, 2002.
III. Sociological and Cultural Studies

A. The Mendelssohn Family
54. Blankenburg, Elke Mascha. "Gedanken fiber eine Geschwisterliebe: Fanny

und Felix Mendelssohn." Neue Zeitschrift fir Musik 159 (May-June 1998):
50-52.
55. Borchard, Beatrix. "Opferaltire der Musik." In Fanny Hensel geb. Mendels-
sohn Bartholdy: Komponieren zwischen Geselligkeitsideal und romantische
Musikdsthetik, ed. Beatrix Borchard and Monika Schwarz-Danuser, 27-44.
Stuttgart: Metzler, 1999.
56. Kfihm, Helga-Maria. "'In diesem ruhigen Kleinleben geht so schrecklic
viel vor': Rebecka Lejeune Dirichlet, geb. Mendelssohn Bartholdy, in
Gottingen 1855-1858." Mendelssohn-Studien 11 (1999): 145-56.
57. Lowenthal-Hensel, CQcile. "Wilhelm Hensel: Fanny und Felix im Portrait."
58. Maurer, Annette. "Biograph

Hensels." In Fanny Hensel, geb. M
Helmig, 33-41. Munich: edition t
59. Milller, Gisela A. " 'Alter ego
lichen' Geschwisterverhaltnisses
Bartholdy." In Das Andere: Eine Sp
20. Jahrhunderts, ed. Annett
Jahrbuch fuir Musikwissenschaft
B. Studies ofJewish Issues
60. Botstein, Leon. "Mendelssohn

210-19.
61. -. "Mendelssohn, Werner, and the Jews: A Final Word." Musical
Quarterly 83 (1999): 45-50.
62. Conway, David Allen. 'jewry in Music, 1780-1850." Ph.D. diss., University
College, University of London, in progress (DDM: 60reConD*).
63. Dinglinger, Wolfgang. " 'Die Glaubensform der meisten gesitteten
Menschen': Aspekte der christlichen Erziehung der Geschwister
Mendelssohn." In Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwis-
chen Geselligkeitsideal und romantischer Musikdsthetik, ed. Beatrix Borchard and
Monika Schwarz-Danuser, 288-304. Stuttgart: Metzler, 1999.
64. Hahn, Barbara. "Hdiuser ffir die Musik: Akkulturation in Ton und Text um
1800." In Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen
Geselligkeitsideal und romantischer Musikdsthetik, ed. Beatrix Borchard and
Monika Schwarz-Danuser, 3-26. Stuttgart: Metzler, 1999.
65. Jourdan, Paul. "The Hidden Pathways of Assimilation: Mendelssohn's First
Visit to London." In Music and British Culture, 1785-1914: Essays in Honour
of Cyril Ehrlich, ed. Christina Bashford and Leanne Langley, 99-119.
Oxford: Oxford University Press, 2000.
66. Klein, Hans-Giinter. "Eine (fast) unendliche Geschichte: Felix Mendels-
sohn Bartholdys Hochzeitsmusik ffir seine Schwester." Mendelssohn-Studien
12 (2001): 179-85.
67. Knopf, Christian. "Synagoge und Ecclesia." In Fanny Hensel geb. Mendelssohn
Bartholdy: Komponieren zwischen Geselligkeitsideal und romantischer Musik-
dsthetik, ed. Beatrix Borchard and Monika Schwarz-Danuser, 280-87.
Stuttgart: Metzler, 1999.
68. Schoeps, Julius H. "Christliches Bekenntnis oder modernes Marranentum?
Der Ubergang vom Judentum zum Christentum: Das Beispiel Abraham
und Felix Mendelssohn Bartholdy." In Fanny Hensel geb. Mendelssohn
Bartholdy: Komponieren zwischen Geselligkeitsideal und romantischer Musikisthe-
tik, ed. Beatrix Borchard and Monika Schwarz-Danuser, 265-79. Stuttgart:
Metzler, 1999.
69. Sposato, Jeffrey S. "Creative Writing: The [Self-] Identification of Mendels-
sohn asJew." Musical Quarterly 82 (1998): 190-209.
70. -. "Mendelssohn, Paulus, and the Jews: A Response to Leon Botstein
and Michael Steinberg." Musical Quarterly 83 (1999): 280-91.
71. Steinberg, Michael P. "Mendelssohn and Judaism." In The Cambridge
Companion to Mendelssohn, ed. Peter Mercer-Taylor, 26-41. Cambridge:
72. -. "Mendelssohn's Music and German-Jewish Culture: An Inter-

vention." Musical Quarterly 83 (1999): 31-44.
73. Ward Jones, Peter. "Letter to the Editor." Musical Quarterly 83 (1999):
27-30.
C. Reception History
74. Adler, Gesine. "Das Leipziger Mendelssohn-Denkmal (1892-1936)." In

Musikstadt Leipzig im NS-Staat: Beitraige zu einem verdrdngten Thema, ed.
Thomas Schink6th, 395-404. Altenburg: Kamprad, 1997.
75. Baur, Steven. "Music, Morals, and Social Management: Mendelssohn in
Post-Civil War America." American Music 19 (2001): 64-130.
76. Boresch, Hans-Werner. "Neubeginn mit Kontinuitat: Tendenzen der
Musikliteratur nach 1945." In Die dunkle Last: Musik und Nazionalsozialismus,
ed. Brunhilde Sonntag, Hans-Werner Boresch, and Detlef Gojowy, 286-
317, esp. 304-6, discussion of Mendelssohn's reception. Cologne: Bela,
1999.
77. Botstein, Leon. "Wagner as Mendelssohn: Reversing Habits and Reclaiming
Meaning in the Performance of Mendelssohn's Music for Orchestra and
Chorus." In The Cambridge Companion to Mendelssohn, ed. Peter Mercer-
Taylor, 251-68. Cambridge: Cambridge University Press, 2004.
78. Brock, Hella. " '... kling hinaus ins Weite!' Edvard Grieg und Felix
Mendelssohn Bartholdy." Studia Musicologica Norvegica 25 (1999): 59-70.
79. Brodbeck, David. "Brahms's Mendelssohn." American Brahms Society News-
letter 15 (Fall 1997): 1-3; abridged from article of the same title in Brahms
Studies II, ed. David Brodbeck, 209-31 (Lincoln: University of Nebraska
Press, 1998).
80. Carlomagno, Paola. "Le istituzioni concertistiche e la ricezione del reperto-
rio strumentale." In Milano musicale, 1861-1897, ed. Bianca Maria Antolini,
147-68. Quaderni del corso di musicologia del Conservatorio "G. Verdi" di
Milano, 5. Lucca: Libreria musicale italiana, 1999.
81. Cooper, John Michael. "Mendelssohn Received." In The Cambridge
Companion to Mendelssohn, ed. Peter Mercer-Taylor, 233-50. Cambridge:
82. Elste, Martin. "Recording Trends of Mendelssohn's Music." In Mendelssohn
Performance Studies, ed. Siegwart Reichwald. Bloomington: Indiana Univer-
sity Press, in preparation.
83. Kleinertz, Rainer. "Rossini und Felix Mendelssohn: Zu den Voraussetz-
ungen von Heines Mendelssohn-Kritik." In "Denn in jenen Tonen lebt es":
Wolfgang Marggraf zum 65. Geburtstag, ed. Helen Geyer, Michael Berg, and
Matthias Tischer, 113-27. Weimar: Hochschule ffur Musik Franz Liszt, 1999.
84. Krummacher, Friedhelm. "Aussichten im Riuckblick: Felix Mendelssohn in
der neueren Forschung." In Felix Mendelssohn Bartholdy: Kongrefl-Bericht
Berlin 1994, ed. Christian Martin Schmidt, 279-96. Wiesbaden: Breitkopf &
Hartel, 1997.
85. *. "Epigones of an Epigone? Concerning Mendelssohn's String
Quartets-and the Consequences," trans. John Michael Cooper. In The
Mendelssohns: Their Music in History, ed. John Michael Cooper and Julie D.
Prandi, 303-34. Oxford: Oxford University Press, 2002.
86. Mfirker, Michael. "Hat Bruckner das Adagio der 'Zweiten' im 'Mendels-
sohnschen Stil mit H6nigsiisse' komponiert? Uber die Mendelssohn-
Rezeption Anton Bruckners." In

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87. Naigele, Reiner. " 'Zu viel M
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88. Neumann, Peter Horst. "A
sch6ner Zwischenfall der d
Eichendorff-Gesellschaft fir die
89. Nofze, Mathias. "Mendelsso
Universitait Detmold, in prog
90. Nowack, Natalie. "Felix Me
das Kulturleben der Stadt Le
versitat Liineburg, in progres
91. Raidt, Jfirgen. "Die Rez
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92. Riethmilller, Albrecht. "Das
senschaft 59 (2002): 210-21.
93. Schink6th, Thomas. " 'Es s
Kompositionen angeschnitte
NS-Staat." Mendelssohn-Studien
94. - . "Zwischen Anpassung und Widerstand: Anmerkungen zum
Leipziger Musikleben, 1918-1945." In Musikstadt Leipzig im NS-Staat: Beitrdge
zu einem verdrdngten Thema, ed. Thomas Schink6th, 11-185. Altenburg:
Kamprad, 1997.
95. Stephan, Rudolf. "Uber einige Ansichten, Felix Mendelssohn Bartholdy be-
treffend." In Felix Mendelssohn Bartholdy: Kongrefl-Bericht Berlin 1994, ed.
Christian Martin Schmidt, 12-16. Wiesbaden: Breitkopf & Hairtel, 1997.
96. Thierbach, Cornelia M. "Die Mendelssohn-Rezeption im 19. und 20. Jahr-
hundert." Ph.D. diss., Universitait Leipzig, in progress (DDM: 61rzThiC*).
97. Tyre, Jess Bennett. "The 'Neoclassicists': Mendelssohn, Schumann, and
Brahms" in the chapter "Beethoven's Legacy." In "The Reception of
German Instrumental Music in France between 1870 and 1914," 335-84.
Ph.D. diss., Yale University, 2000.
98. Webster, James. "Ambivalenzen um Mendelssohn: Zwischen Werk und
Rezeption." In Felix Mendelssohn Bartholdy: Kongref-Bericht Berlin 1994, ed.
Christian Martin Schmidt, 257-78. Wiesbaden: Breitkopf & Hdirtel, 1997.
99. Wilson Kimber, Marian. "The Composer as Other: Gender and Race in the
Biography of Felix Mendelssohn." In The Mendelssohns: Their Music in
History, ed. John Michael Cooper and Julie D. Prandi, 335-51. Oxford:
Oxford University Press, 2002.
100. - . "Felix and Fanny: Gender, Biography, and History." In The
Cambridge Companion to Mendelssohn, ed. Peter Mercer-Taylor, 42-52.
Cambridge: Cambridge University Press, 2004.
101. Worbs, Hans Christoph. "Zwischen Kult und Verdikt: Zu Felix Mendelssohn
Bartholdys 150. Todestag." Das Orchester: Zeitschrift fiir Orchesterkultur und
Rundfunk-Chorwesen 45 (November 1997): 2-7.
102. Zappala, Pietro. "Giovanni Bottesini e la conoscenza dell'opera di

Mendelssohn: Un'introduzione ad una indagine." In Giovanni Bottesini, con-
certista e compositore: Esecuzione, ricezione e definizione del testo musicale; Atti della
giornata di studi, Crema, 26 ottobre 1996, ed. Flavio Arpini, 101-14. Quaderni
del Centro Culturale S. Agostino, 15. Crema: Centro Culturale S. Agostino,
1999.
IV. Documentary Studies
A. Worklists, Bibliographies, and Bibliographic Essays
103. Cooper, John Michael. Felix Mendelssohn Bartholdy: A Guide to Research, with
an Introduction to Research concerning Fanny Hensel. Composer Resource
Manuals, 54. New York: Routledge, 2001.
104. . "Mendelssohn's Works: Prolegomenon to a Comprehensive Inven-
tory." In The Mendelssohn Companion, ed. Douglass Seaton, 701-85. West-
port, CT: Greenwood, 2001.
105. Elvers, Rudolf. "Unbekannte Auffiuhrungsdaten einiger Werke Mendels-
sohns." Mendelssohn-Studien 13 (2003): forthcoming.
106. Giesau, Peter. "Das Palais Mendelssohn Bartholdy in Berlin und die
Entwfirfe Carl Theodor Ottmers zum Umbau aus dem Jahr 1825."
107. Klein, Hans-Giinter. Das Mendelssohn-Archiv der Staatsbibliothek zu Berlin:
Bestandiibersicht. Berlin: Staatsbibliothek zu Berlin-PreuBischer Kultur-
besitz, 2003.
108. -. "Similarities and Differences in the Artistic Development of
and Felix Mendelssohn Bartholdy in a Family Context: Observations B
on the Early Berlin Autograph Volumes," trans. Julie D. Prandi.
Mendelssohns: Their Music in History, ed. John Michael Cooper and J
109. Poroila, Heikki. Yhtendistetty Felix Mendelssohn Bartholdy teosten yhtendi
nimekkeiden ohjeluettelo [Felix Mendelssohn Bartholdy: Work list with
form titles]. Suomen musiikkikirjastoyhdistyksen julkaisusarja, 75. Hel
Suomen Musiikkikirjastoyhdistys, 1998.
110. Todd, R. Larry. Worklist in "Mendelssohn(-Bartholdy), (Jacob L
Felix." In The New Grove Dictionary of Music and Musicians, 2d ed., ed.
Sadie and John Tyrrell, 16:410-18. New York: Grove, 2001.
111. Wehner, Ralf. "Bibliographie des Schrifttums zu Felix Mendelss
Bartholdy von 1972 bis 1994." In Felix Mendelssohn Bartholdy: Kongref3-B
Berlin 1994, ed. Christian Martin Schmidt, 297-351. Wiesbaden: Breit
& Hdirtel, 1997.
B. Documentary Inventories and Overviews of Editions, Exhibitions, Music Manuscr

Papers
112. Klein, Hans-Giinter. Felix Mendelssohn Bartholdy: Autographe und Abschriften.

Staatsbibliothek zu Berlin-PreuBischer Kulturbesitz, Kataloge der
Musikabteilung, 5. Munich: G. Henle, 2003.
113. - , ed. Das verborgene Band: Felix Mendelssohn Bartholdy und seine Schwester
Fanny Hensel; Ausstellung der Musikabteilung der Staatsbibliothek zu Berlin-
Preufischer Kulturbesitz zum 150. Todestag der beiden Geschwister, 15. Mai bis 12.
Juli 1997. Wiesbaden: Ludwig Reichert, 1997.
114. . "Verzeichnis der im Autograph fiberlieferten Werke Felix

Mendelssohn Bartholdys im Besitz der Staatsbibliothek zu Berlin."
115. Naigele, Reiner. Felix Mendelssohn Bartholdy und Wiirttemberg: Katalog zur
Ausstellung der Wiirttembergischen Landesbibliothek Stuttgart vom 17. April bis 31.
Mai 1997. Ed. Vera Trost. Stuttgart: Die Bibliothek, 1997.
116. Newsom, Jon, and Alfred Mann, eds. The Rosaleen Moldenhauer Memorial:
Music History from Primary Sources; A Guide to the Moldenhauer Archives.
Washington, DC: Library of Congress, 2000; Mendelssohn manuscripts on
pp. 621-22.
117. Schmidt, Christian Martin. "Zum Stand der Leipziger Ausgabe der Werke
von Felix Mendelssohn Bartholdy." Forum Musikbibliothek: Beitrige und
Informationen aus der musikbibliothekarischen Praxis 22 (2001): 49-53.
118. Ward Jones, Peter, ed. Mendelssohn: An Exhibition to Celebrate the Life of Felix
Mendelssohn Bartholdy (1809-1847), June-August 1997. Oxford: Bodleian
Library, 1997.
119. . "Mendelssohn Scores in the Library of the Royal Philharmonic
Society." In Felix Mendelssohn Bartholdy: KongrefJ-Bericht Berlin 1994, ed.
Christian Martin Schmidt, 64-75. Wiesbaden: Breitkopf & Hirtel, 1997.
120. Wehner, Ralf. " '... ich zeigte Mendelssohns Albumblatt vor und Alles war
gut': Zur Bedeutung der Stammbucheintragungen und Albumblatter von
Felix Mendelssohn Bartholdy." In Felix Mendelssohn Bartholdy: Kongref3-Bericht
Berlin 1994, ed. Christian Martin Schmidt, 37-63. Wiesbaden: Breitkopf &
Hirtel, 1997.
121. -. " 'It seems to have been lost': On Missing and Recovered
Mendelssohn Sources," trans. John Michael Cooper. In The Mendelssohns:
Their Music in History, ed. John Michael Cooper and Julie D. Prandi, 3-25
Oxford: Oxford University Press, 2002.
122. Zappala, Pietro. "Autographe von Felix Mendelssohn Bartholdy in Italien."
Mendelssohn-Studien 10 (1997): 77-95; expanded version of his Autogra
mendelssohniani in Italia (Cremona: the author, 1991).
V. Studies of Individual Works and Repertoires

A. Secular Works
123. Andraschke, Peter. "Felix Mendelssohns Antigone." In Felix Mendelssohn

Bartholdy: Kongrefl-Bericht Berlin 1994, ed. Christian Martin Schmidt, 141-66.
Wiesbaden: Breitkopf & Hirtel, 1997.
124. Bartsch, Cornelia. "Lieder ohne Worte von Fanny und Felix Mendelssohn
als musikalische Korrespondenz." Ph.D. diss., Hochschule der Kiinste,
Berlin, in progress (DDM: 61keBarC*).
125. Baxmann, Svantje. "Mendelssohns Klavierkonzerte." Ph.D. diss., Universitdit
Kiel, in progress (DDM: 61keBaxS*).
126. Boetius, Susanne. " '... da componirte ich aus Herzenslust drauf los...':
Felix Mendelssohn Bartholdys kompositorische Urschrift der Schauspiel-
musik zur 'Antigone' des Sophokles, op. 55." Die Musikforschung 55 (2002):
162-83.
127. . "Die Wiedergeburt der griechischen Trag6die in der Mitte des 19.
Jahrhunderts: Potsdamer Biihnenfassungen mit Schauspielmusik von Felix
Mendelssohn Bartholdy und Wilhelm Taubert." Ph.D. diss., Universitait
Munich, 2003.
128. Cadenbach, Rainer. "Vom Ga

teifern in Klavierquartetten." In F
Werk, ed. Martina Helmig, 81-9
129. - . "Zum gattungsgeschichtlichen Ort von Mendelssohns letztem
Streichquartett." In Felix Mendelssohn Bartholdy: Kongrefl-Bericht Berlin 1994,
ed. Christian Martin Schmidt, 209-31. Wiesbaden: Breitkopf & Hiirtel,
1997.
130. Carl, Beate. "Eichendorff und Mendelssohn: Eine romantische Seelenver-
wandtschaft: Beobachtungen zu den Chorliedern am Beispiel Der Gliickliche
op. 88/2." Neues musikwissenschaftlichesJahrbuch 7 (1998): 161-83.
131. Caspari, Volker. "Die Hochzeit des Camacho von F. Mendelssohn-Bartholdy."
Ph.D. diss., Universitat Cologne, in progress (DDM: 61opCasV*).
132. Chuang, Yue-Fun. "The Piano Preludes and Fugues by Felix Mendelssohn-
Bartholdy: A Study of Their Inter-Movement Unity." Ph.D. diss., New York
University, 1997.
133. Cooper, John Michael, and Hans-Giinter Klein, eds. Felix Mendelssohn
Bartholdy: Sinfonie A-dur Op.90: Alle eigenhdndigen Niederschriften im Faksimile
Partitur 1833, "Oxforder Fragmente, " Teil-Partitur 1834. 2 vols. Wiesbaden:
Ludwig Reichert, 1997.
134. - . Mendelssohn's "Italian" Symphony. Oxford Studies in Musical Genesis
and Structure. Oxford: Oxford University Press, 2003; adapted from the au-
thor's dissertation (Duke University, 1994).
135. - . "Mendelssohn's Two Infelice Arias: Problems of Sources and Musical
Identity." In The Mendelssohns: Their Music in History, ed. John Michael
Cooper andJulie D. Prandi, 43-97. Oxford: Oxford University Press, 2002.
136. - . "Of Red Roofs and Hunting Horns: Mendelssohn's Song Aesthetic,
with an Unpublished Cycle (1830)." Journal of Musicological Research 21
(2002): 277-317.
137. - . "Words without Songs? Of Texts, Titles, and Mendelssohn's Lieder
ohne Worte." In Musik als Text? Bericht fiber den internationalen Kongrefi
der Gesellschaft fiir Musikforschung, Freiburg im Breisgau 1993, 2 vols., ed.
Hermann Danuser and Tobias Plebuch, 2:341-45. Kassel: Barenreiter,
1999.
138. Dinglinger, Wolfgang. "The Programme of Mendelssohn's 'Reformation'
Symphony, Op. 107," trans. John Michael Cooper. In The Mendelssohns:
Their Music in History, ed. John Michael Cooper and Julie D. Prandi, 115-
33. Oxford: Oxford University Press, 2002.
139. - . "Sieben Charakterstucke op. 7 von Felix Mendelssohn Bartholdy."
140. Eichhorn, Andreas. Felix Mendelssohn-Bartholdy: Die Hebriden, Ouvertiire fir
Orchester, op. 26. Meisterwerke der Musik, 66. Munich: H. Fink, 1998.
141. Flashar, Hellmut. Felix Mendelssohn-Bartholdy und die griechische Trag6die:
Biihnenmusik im Kontext von Politik, Kultur und Bildung. Abhandlungen der
Saichsischen Akademie der Wissenschaften zu Leipzig, philologisch-
historische Klasse, 78, no. 1. Stuttgart: Sichsischen Akademie der
Wissenschaften zu Leipzig, 2001.
142. Gesse-Harm, Sonja. "Facetten der Heine-Rezeption im Kunstlied des 19.
Jahrhunderts." Ph.D. diss., Universitait Marburg, in progress (DDM:
60rzGesS*).
143. G6mann, Silke. "Die Orchestersinfonien Felix Mendelssohn Bartholdys:
Studien zum gegenwairtigen Fachdiskurs." Ph.D. diss., Universitait Bonn,
1999; available online at http:/

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144. Grey, Thomas. "The Orches
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145. Hellmundt, Christoph. " 'In
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146. Hennemann, Monika. "Fel
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148. - . "Mendelssohn and the Stage." In Mendelssohn Performance Studies,
ed. Siegwart Reichwald. Bloomington: Indiana University Press, in
preparation.
149. . "Mendelssohns Opernprojekte in ihrem kulturellen Kontext."
Ph.D. diss., Universitat Mainz, in progress (DDM: 61opHenM*).
150. . " 'So kann ich es nicht componieren': Mendelssohn, Opera, and
the Libretto Problem." In The Mendelssohns: Their Music in History, ed. John
Michael Cooper and Julie D. Prandi, 181-201. Oxford: Oxford University
Press, 2002.
151. Hoffmann, Martin. "Studien zur Fermate." Ph.D. diss., Universitit Salzburg,
1997.
152. Hoshino, Hiromi. Menderusuzon no Sukottorando kokyokyoku [Felix
Mendelssohn Bartholdy and the "Scottish" Symphony]. Tokyo: Ongaku no
Tomosha, 2003.
153. Huber, Annegret. "Das Lied ohne Worte Mendelssohns: Zu seiner Zeit und
zur 'Biedermeierdiskussionszeit'." In Zeit in der Musik, Musik in der Zeit: 3.
Kongress fir Musiktheorie, 10.-12. Mai 1996, Hochschule fiir Musik und darstel-
lende Kunst Wien, ed. Clemens Kiihn, 105-21. Frankfurt am Main: Peter
Lang, 1997.
154. Janisch, Joseph H. "Felix Mendelssohn-Bartholdy's Music for Men's Voices,
Including a Detailed Analysis of Festgesang: An die Kunstler, opus 68, and
Zwei geistliche Mdnnerch6re, opus 115, with Suggestions for Rehearsal and
Performance." D.M.A. diss., Ohio State University, 1998.
155. John, Hans. "Felix Mendelssohn Bartholdys Kantate Erste Walpurgisnacht op.
60." In Werner Felix zum 70. Geburtstag, ed. Torsten Fuchs and Michael Zock,
152-68. Frankfurt an der Oder: Frankfurter Oder Editionen, 1997.
156. Kiddle, Ann M. "Mendelssohn's String Quartets: Analysis and Source
Studies." Ph.D. diss., Oxford University, in progress (DDM: 61snKidA*).
157. Kottmann, Franziska. "Heine in Liedern Mendelssohns." Ph.D. diss.,
Universitit Frankfurt am Main, in progress (DDM: 61voKotF*).
158. Krause, Peter. "Mendelssohns dramatische Kantate Die erste Walpurgisnacht:
Erganzende Bemerkungen zur Werkgeschichte auf der Grundlage von
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159. Krummacher, Friedhelm. "On Mendelssohn's Compositional Style:
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160. Lindeman, Stephan D. "Mendelssohn and Moscheles: Two Composers, T
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161. . Structural Novelty and Tradition in the Early Romantic Piano Concerto.
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162. - . "The Works for Solo Instrument(s) and Orchestra." In The Cam-
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163. Mahling, Christoph-Hellmut. "Zur Entwicklung des Streichquartetts zum
professionellen Ensemble, insbesondere in der Zeit Felix Mendelssohns."
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164. Mann, Robert C. "The Organ Music." In The Mendelssohn Companion, ed.
Douglass Seaton, 625-60. Westport, CT: Greenwood, 2001.
165. Mfiller, Gisela A. " 'Leichen-' oder 'Blithenduft'? Heine-Vertonungen
Fanny Hensels und Felix Mendelssohn Bartholdys im Vergleich." In Fanny
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166. Na, Jin-Gyu. "Die langsamen Satze in den Orgelsonaten von Mendelssohn
bis Rheinberger." Ph.D. diss., Univesitit Wiurzburg, in progress (DDM:
61keNaxJ*).
167. Paley, Elizabeth Sara. "Narratives of 'Incidental' Music in German
Romantic Theater." Ph.D. diss., University of Wisconsin at Madison, 1998.
168. Pessina, Marino. "I Lieder ohne Worte di Felix Mendelssohn: Una ricog-
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169. Prandi, Julie D. "Kindred Spirits: Mendelssohn and Goethe, Die erste Wal-
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170. Schmidt-Beste, Thomas. "Just How 'Scottish' is the 'Scottish' Symphony?
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181. Synofzik, Thomas. "Mendelssohn, Schumann und das Problem der Man-
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183. Todd, R. Larry. "The Chamber Music of Mendelssohn." In Nineteenth-
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184. -. "Felix Mendelssohn-Bartholdy: Overture to Elijah, Arrangement for
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from Primary Sources; A Guide to the Moldenhauer Archives, ed. Jon Newsom and
Alfred Mann, 313-20. Washington, DC: Library of Congress, 2000.
185. - . "Mendelssohn." In The Nineteenth-Century Symphony, ed. D. Kern
Holoman, 78-107. Studies in Musical Genres and Repertories. New York:
Schirmer Books, 1997.
186. -. "On Mendelssohn's Operatic Destiny: Die Lorelei Reconsidered." In
Felix Mendelssohn Bartholdy: Kongrefl-Bericht Berlin 1994, ed. Christian Martin
Schmidt, 113-40. Wiesbaden: Breitkopf & Hirtel, 1997.
187. - . "Piano Music Reformed: The Case of Felix Mendelssohn Bartholdy."
In The Mendelssohn Companion, ed. Douglass Seaton, 579-624. Westport, CT:
Greenwood, 2001; reprinted from Nineteenth-Century Piano Music, ed.
R. Larry Todd, 178-220 (New York: Schirmer Books, 1990).
188. Turley, Charles. "'Ch'io t'abbandono' by Felix Mendelssohn Bartholdy: A
Dramatic Image of the Education and Aptitudes of the Composer." D.M.A.
diss., University of North Texas, 2002; available online at http://www
.library.unt.edu/theses/open/2002/ turley_charles/Dissertation.pdf (ac-
cessed 20 May 2004).
189. Waldura, Markus. "Vier romantische Klaviertrios in d-Moll im Vergleich:
Mendelssohn-Schumann-Hensel-Berwald." In Schumanniana Nova:
Festschrift Gerd Nauhaus zum 6

and Matthias Wendt, 785-813. S
190. Ward Jones, Peter. "Mendels
Their Music in History, ed. Joh
Oxford: Oxford University Pres
191. Wehner, Ralf. " '... das sei
dessen Heil...': Mendelssohns M
Johann Wilhelm im Theater' (1
192. Waidelich, Till Gerrit. " 'Wer zog gleich aus der Manteltasche ein
Opernsujet?': Helmina von Chezys gescheiterte Libretto-Projekte ffir Felix
Mendelssohn Bartholdy." Mendelssohn-Studien 12 (2001): 149-77.
193. Wildstein, Robin E. "Romantic Irony in the String Quartets of Felix
Mendelssohn Bartholdy and Robert Schumann." Ph.D. diss., Florida State
University, in progress (DDM: 61snWilR*).
194. Youens, Susan. "Mendelssohn's Songs." In The Cambridge Companion to
Mendelssohn, ed. Peter Mercer-Taylor, 189-205. Cambridge: Cambridge
University Press, 2004.
195. Zappala, Pietro. "Editorial Problems in Mendelssohn's Organ Preludes, op.
37." In The Mendelssohns: Their Music in History, ed. John Michael Cooper
and Julie D. Prandi, 27-42. Oxford: Oxford University Press, 2002.
B. Sacred Works
196. Brodbeck, David. "Eine kleine Kirchenmusik: A New Canon, A Revised

Cadence, and an Obscure 'Coda' by Mendelssohn." In Musik als Text?
Bericht iiber den internationalen Kongrefi der Gesellschaft fiir Musikforschung,
Freiburg im Breisgau 1993, 2 vols., ed. by Hermann Danuser and Tobias
Plebuch, 2:346-51. Kassel: Barenreiter, 1998; abridged from article of the
same title in Journal of Musicology 12 (1994): 179-205.
197. Butt, John. "Choral Music." In The Cambridge History of Nineteenth-Century
Music, ed. Jim Samson, 212-36, esp. 226-36, "The Role of the Composer
and the Special Case of Mendelssohn." Cambridge: Cambridge University
Press, 2001.
198. Feder, Georg. "On Felix Mendelssohn Bartholdy's Sacred Music," trans.
Monika Hennemann. In The Mendelssohn Companion, ed. Douglass Seaton,
257-98. Westport, CT: Greenwood, 2001; trans. by Monika Hennemann of
"Zu Felix Mendelssohn Bartholdys geistlicher Musik," in Religi6se Musik
in nicht-liturgischen Werken von Beethoven bis Reger, ed. Walter Wiora with
Guinther Massenkeil and Klaus Wolfgang Niem6ller, 97-117, Studien zur
Musikgeschichte des 19. Jahrhunderts, 51 (Regensburg: Gustav Bosse,
1978).
199. Fekete, Zsofia. "Liturgikus kotottseg vagy zeneszerzoi szabadsag? Mendels-
sohn motettai" [Liturgical limitations or poetic licence? The motets of
Mendelssohn]. Magyar egyhazzene 5 (1997): 43-56.
200. Hagel, Doris. "Untersuchungen zu den musikalisch-theologischen Voraus-
setzungen der vokalen Kirchenmusik Mendelssohns unter besonderer
Berficksichtigung des Chorals." Ph.D. diss., Universitait Mainz, in progress
(DDM: 61reHagD*).
201. Hoensbroech, Raphael. "Felix Mendelssohn Bartholdys unvollendetes
Oratorium Erde, Holle und Himmel, genannt Christus." Ph.D. diss., Universitiit
Cologne, in progress (DDM: 61saHoeR*).
202. Krummacher, Friedhelm. "Art-History-Religion: On Mendelssohn's

Oratorios St. Paul and Elijah." In The Mendelssohn Companion, ed. Douglass
Seaton, 299-393. Westport, CT: Greenwood, 2001.
203. Leisinger, Ulrich. "Felix Mendelssohn Bartholdy und das Oratorium Elias."
In Cari amici: Festschrift 25 Jahre Carus-Verlag, ed. Barbara Mohn and Hans
Ryschawy, 69-76. Stuttgart: Carus, 1997.
204. Schuhmacher, Gerhard. "Felix Mendelssohn Bartholdys Oratorien-
Triptychon." Musik und Kirche 67 (1997): 376-81.
205. Sposato, Jeffrey Stuart. "The Price of Assimilation: The Oratorios of Felix
Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition." Ph.D.
diss., Brandeis University, 2000.
206. Steinbeck, Wolfram. "Vokalsymphonien im 19. Jahrhundert." In Beethoven,
Goethe und Europa: Almanach zum Internationalen Beethovenfest, Bonn 1999, ed.
Thomas Daniel Schlee, 195-223. Laaber: Laaber-Verlag, 1999.
207. Todd, R. Larry. "On Mendelssohn's Sacred Music, Real and Imaginary." In
The Cambridge Companion to Mendelssohn, ed. Peter Mercer-Taylor, 167-88.
Cambridge: Cambridge University Press, 2004.
208. White, Chris D. "Mendelssohn's Der zweite Psalm, 'Warum toben die
Heiden': Personal Perspective or Political Enlightenment?" ChoralJournal
39 (September 1998): 17-22.
209. Wfister, Ulrich. " 'Aber dann ist es schon durch die innerste Wahrheit un
durch den Gegenstand, den es vorstellt, Kirchenmusik...': Be-
obachtungen an Mendelssohns Kirchen-Musik op. 23." In Felix Mendelssohn
Bartholdy: Kongrefl-Bericht Berlin 1994, ed. Christian Martin Schmidt,
187-208. Wiesbaden: Breitkopf & Hirtel, 1997.
VI. General Studies of Mendelssohn's Music
A. Surveys and General Approaches
210. Dreyer, Ernst-Jilrgen. "Der gordische Knoten: Felix Mendelssohn Bar

als Vorlaufer der Moderne." Musiktheorie 17 (2002): 3-24.
211. Garratt, James A. "Mendelssohn's Babel: Romanticism and the Poe
Translation." Music & Letters 80 (1999): 23-49.
212. Giani, Maurizio. "Felix Mendelssohn-Bartholdy: Un romantico per il n
tempo." Musica/Realta 20 (1999): 79-91.
213. Glaser, Silke. "Die sch6pferische Auseinandersetzung zwischen Fa
Hensel und Felix Mendelssohn Bartholdy." Ph.D. diss., Univer
Cologne, in progress (DDM: 61geGlaS*).
214. Koch, Armin. Chordle und Choralhaftes im Werk von Felix Mende
Bartholdy. Abhandlungen zur Musikgeschichte, 12. G6ttingen: Van
hoeck und Ruprecht, 2003.
215. Rapoport, Erez. "The Smoothing Over of Formal Junctures as a St
Element in Mendelssohn's Instrumental Music." Ph.D. diss., City Unive
of New York, in progress (DDM: 69srRapE*).
216. Todd, R. Larry. "On Stylistic Affinities in the Works of Fanny Hense
Felix Mendelssohn Bartholdy." In The Mendelssohns: Their Music in Hist
ed. John Michael Cooper and Julie D. Prandi, 245-61. Oxford: Oxfo
217. Vitercik, Greg. "Mendelssohn as Progressive." In The Cambridge Comp
to Mendelssohn, ed. Peter Mercer-Taylor, 71-88. Cambridge: Camb
B. Mendelssohn and the Music of the Past
218. Cooper, John Michael. "Feli

und Johann Sebastian Bach: M
der Wiederentdeckung der 'Ch
157-79.
219. Dinglinger, Wolfgang. "Bach und die Familie Mendelssohn." In Bach:
Thema und Variationen; Ein Lese-Buch zum Konzertprojekt, Konzerthaus Berlin,
Saison 1999-2000, ed. Habakuk Traber, 75-97. G6ttingen: Wallstein, 1999.
220. Garratt, James."Mendelssohn and the Berlin Palestrina Revival." In his
Palestrina and the German Romantic Imagination: Interpreting Historicism in
Nineteenth-Century Music, 78-93. Cambridge: Cambridge University Press,
2002.
221. 1. "Mendelssohn and the Rise of Musical Historicism." In The
Cambridge Companion to Mendelssohn, ed. Peter Mercer-Ta
bridge: Cambridge University Press, 2004.
222. Keil, Werner. "Zur Rezeption Palestrinas, Bachs und H
scher Kirchenmusik." Aurora: Jahrbuch der Eichendorff-Ge
klassisch-romantische Zeit 57 (1997): 113-27.
223. Kobayashi, Yoshitake. Bahha fukatsu [The Bach renais
teenth century]. Tokyo: Shunju, 1997.
224. Landgraf, Annette. "Ein 'leibhaftiger Enkel Handelsch
Mendelssohn Bartholdys Musikschaffen unter dem Einfluss seiner
Auseinandersetzung mit den oratorischen Werken Hindels." Hiindel-
Jahrbuch 44 (1998): 76-88.
225. Lehmann, Karen. "Mendelssohn und die Bach-Ausgabe bei C. F. Peters:
Missgliickter Versuch einer Zusammenarbeit." Bach-Jahrbuch 83 (1997):
87-95.
226. Mercer-Taylor, Peter. "Rethinking Mendelssohn's Historicism: A Lesson
from St. Paul." Journal of Musicology 15 (1997): 208-29.
227. Niem6ller, Klaus Wolfgang. "Die Handel-Pflege auf den niederrheinischen
Musikfesten." Haindel-Jahrbuch 44 (1998): 89-99.
228. Redepenning, Dorothea. "Alte Techniken als Impuls zur Innovation? Felix
Mendelssohn Bartholdy und Johann Sebastian Bach." In "Denn in jenen
Toinen lebt es": Wolfgang Marggraf zum 65. Geburtstag, ed. Helen Geyer,
Michael Berg, and Matthias Tischer, 69-90. Weimar: Hochschule fiir Musik
Franz Liszt, 1999.
229. Sieling, Andreas. " 'Selbst den alten Vater Sebastian suchte man nicht mehr
so langstielig abzuhaspeln': Zur Rezeptionsgeschichte der Orgelwerke
Bachs." In Bach und die Nachwelt. Vol. 2, 1850-1900, ed. Michael Heine-
mann and Hans-Joachim Hinrichsen, 299-339. Laaber: Laaber-Verlag,
1999.
230. Stinson, Russell. "Mendelssohns groBe Reise: Ein Beitrag zur Rezeption von
Bachs Orgelwerken." Bach-Jahrbuch 88 (2002): 119-37.
231. Wehner, Ralf. "Mendelssohn and the Performance and Edition of Baroque
Music." In Mendelssohn Performance Studies, ed. Siegwart Reichwald.
Bloomington: Indiana University Press, in preparation.
C. Secular Works
232. Ickstadt, Andrea. "Studien zu Felix Mendelssohn-Bartholdys Chorliedern."

Ph.D. diss., Universitait Frankfurt am Main, in progress (DDM: 61ciIckA*).
D. Sacred Works
233. Hoshino, Hiromi. "Mendelssohns geistliche Vokalmusik." Musik und Kirche

69 (1999): 31-41.
234. Reininghaus, Frieder. " 'Religi6se Effecte' oder 'O Gott, so zeige Dich doch
nur!' Der Ton des (Schein-)Heiligen bei Meyerbeer und Mendelssohn." In
Meyerbeer und das europdische Musiktheater, ed. Sieghart D6hring and Arnold
Jacobshagen, 288-301. Thurnauer Schriften zum Musiktheater, 16. Laaber:
Laaber-Verlag, 1998.
E. Performance Practice
235. Brown, Clive. "Mendelssohn and the Violin." In Mendelssohn Performance

preparation.
236. Busch, Hermann J. " 'Es kommt ... auf richtige Wahl der Register sehr viel
an': Zur Orgelpraxis Felix Mendelssohn Bartholdys." In Zur deutschen
Orgelmusik des 19. Jahrhunderts, ed. Hermann J. Busch and Michael
Heinemann, 139-46. Studien zur Orgelmusik, 1. Sinzig: Studio, 1998.
237. Cooper, John Michael. "Source-Critical Performance: Mendelssohn's
Notation and the Printed Score." In Mendelssohn Performance Studies, ed.
Siegwart Reichwald. Bloomington: Indiana University Press, in preparation.
238. Hamilton, Kenneth. "Mendelssohn and the Piano." In Mendelssohn
Performance Studies, ed. Siegwart Reichwald. Bloomington: Indiana Uni
sity Press, in preparation.
239. Kimura, Sachiko. "Mendelssohns Wiederauffiihrung der Matthaus-Passio
(BWV 244): Eine Untersuchung der Quellen unter aufffihrungsprak
schem Aspekt." Bach-Jahrbuch 84 (1998): 93-120.
240. Laukvik, Jon. Orgelschule zur historischen Auffiihrungspraxis, Teil 2: Orgel
Orgelspiel in der Romantik von Mendelssohn bis Reger und Widor. Stuttg
Carus, 2000.
241. Milsom, David. "Mendelssohn and the Orchestra." In Mendelssohn Per-
formance Studies, ed. Siegwart Reichwald. Bloomington: Indiana University
Press, in preparation.
242. Reichwald, Siegwart. "Mendelssohn as Orchestral Conductor." In Mendels-
sohn Performance Studies, ed. Siegwart Reichwald. Bloomington: Indiana
University Press, in preparation.
243. - . "Mendelssohn's Tempo Markings." In Mendelssohn Performance
preparation.
244. Robinson, Ray. "Mendelssohn and the Choral Art." In Mendelssohn Per-
Press, in preparation.
245. Walter, Joachim. "The Heaving Ocean of Tones": Nineteenth-Century Organ
Registration Practice at St. Marien, Liibeck. Skrifter frain Musikvetens kapliga in-
stitutionen, G6teborg, 60. G6teborg: G6teborg University, Dept. of Musi-
cology and G6teborg Organ Art Center, 2000.
246. Ward Jones, Peter. "Mendelssohn and the Organ." In Mendelssohn Per-
Press, forthcoming.
247. Wind, Burkhard. "Mendelssohns Orgelwerke unter dem Aspekt der his-
torischen Aufffihrungspraxis." Ph.D. diss., Universitiat des Saarlandes, in
progress (DDM: 61keWinB*).
F. Compositional Process
248. Albrecht-Hohmaier, Martin.

sohns Paulus." Ph.D. diss., Tec
(DDM: 61saAlbM*).
249. Hellmundt, Christoph. "Mendelssohns Arbeit an seiner Kantate Die erste
Walpurgisnacht: Zu einer bisher wenig beachteten Quelle." In Felix
Mendelssohn Bartholdy: Kongrefl-Bericht Berlin 1994, ed. Christian Martin
Schmidt, 76-112. Wiesbaden: Breitkopf & Hartel, 1997.
250. Hoshino, Hiromi. "Menderusuzon no 'Sukottorando' kokyokyoku no seirit-
sushi kenkyu" [A historical study on the creation of Mendelssohn's
"Scottish" Symphony]. 2 vols. Ph.D. diss., Tokyo Geijutsu Daigaku, 1999.
251. Reichwald, Siegwart. The Musical Genesis of Felix Mendelssohn's "Paulus. "
Lanham, MD: Scarecrow, 2001; adapted from the author's dissertation
(Florida State University, 1998).
252. Reimer, Erich. Vom Bibeltext zur Oratorienszene: Textbearbeitung und
Textvertonung in Felix Mendelssohn Bartholdys "Paulus" und "Elias." Cologne:
Dohr, 2002.
G. Mendelssohn and the Visual Arts
253. Appold, Juliette Laurence. "Landschaften in Mendelssohns Briefen,

Zeichnungen und Musik." Ph.D. diss., Universitit Leipzig, in progress
(DDM: 61arAppJ*).
254. Grey, Thomas S. "Tableaux vivants: Landscape, History Painting, and th
Visual Imagination in Mendelssohn's Orchestral Music." 19th Century Music
21 (1997): 38-76.
255. Todd, R. Larry. "On the Visual in Mendelssohn's Music." In Cari amici:
Festschrift 25 Jahre Carus-Verlag, ed. Barbara Mohn and Hans Ryschawy,
115-24. Stuttgart: Carus, 1997.
APPENDIX 2. WORKS BY MENDELSSOHN

PUBLISHED POSTHUMOUSLY, 1848-1877:
CLASSIFIED BY GENRE
NB: When the surviving primary sources provide no evidence that

considered the constituent parts of a work were conceived as a unit
provided after the date of composition, and the title is enclosed in
clarity, some entries specify scoring; instruments are referred to by
used in the New Grove Dictionary of Music and Musicians, 2d ed.
Secular Works: 90
Stage works: 4
Opus Composed Published Title

74 1844-45 1848 Incidental Music to Racine's Athalia
89 1829 1851 Die Heimkehr aus der Fremde
93 1845-46 1851 Incidental Music to Sophocles's Oedipus at
Colonos
98 1847 1852 Die Lorelei
Orchestral works: 6

90 1833 1851 Symphony in A Major ("Italian") (first version)
95 1839 1851 Overture to Hugo's Ruy Blas
101 1825-26; 1867 Overture in C Major ("Trumpet")
1833
103 1836 1868 Trauermarsch
107 1830-32 1868 Symphony in D Minor ("Reformation")
108 1841 1868 Marsch [in D] componirt zur Feyer der
Anwesenheit des Malers Cornelius in Dresden
Concert aria: 1

94 1843 1851 Infelice! / Ah, ritorna, eta felice
Choral songs: 23

75 1837-44* 1849 [ 4 Liederfiir vierstimmigen Mdnnerchor, vol. 2]
76 1837-47* 1849/1850 [ 4 Liederfiir vierstimmigen Mdnnerchor, vol. 3]
88 1839-44* 1850/1851 [6 vierstimmige Lieder, vol. 4]
100 1839-44* 1852 [4 vierstimmige Lieder, vol. 5]
116 1845 1869 "Sahst du ihn herniederschweben"
[ Trauergesang]
120 1837-47* 1874 [ 4 Liederfiir vierstimmig
Songs and vocal duets: 18

77 1836-47* 1848/1849 [3 Zweistimmige Lieder]
84 1831-39* 1850/1851 [3 Gesiinge]
86 1826-45* 1850/1851 [6 Gesdnge]
99 1830-45* 1852 [ 6 Gesdnge]
Chamber works: 10

80 1847 1850 String Quartet in F Minor
81 1827-47* 1850 [Andante, Scherzo, Capriccio, and Fugue]
87 1845 1850 String Quintet in B6 Major
109 1845 1868 Lied ohne Worte in D Major (vc, pf)
110 1824 1868 String Sextet in D Major
113 1832 1869 Concert Piece in F Major (cl, basset-hn, pf)
114 1833 1869 Concert Piece in D Minor (cl, basset-hn, pf)
Piano alone: 27 (pf solo unless otherwise indicated)

82 1841 1850 Variations in E6 major
83 ca. 1842 1850 Variations in Bb major
83a 1842-44 1850 Andante and Variations in Bb major
(pf 4 hands)
85 1835-46* 1850/1851 [6 Lieder ohne Worte]
92 1841 1851 Allegro brillant in A Major (pf duet)
102 1841-45* 1867/1868 [6 Lieder ohne Worte]
104[a] 1836* 1868 [3 Preludes]
104[b] 1834-36* 1868 [3 Studies]
105 1821 1868 Sonata in G Minor
106 1827 1868 Sonata in Bb Major
117 ca. 1836 1859/18701 [Albumblatt: Lied ohne Worte]
118 1837 1872 Capriccio in E Major
119 1826-29 1873 Perpetuum mobile in C Major
Organ: 1

1841 18682 Prelude in C Minor
1. This Allegro in E Minor (titled "Albumblatt: Lied ohne W

published in 1859 (London: Ewer & Co.; and Leipzig: Leede), b
117 in its later editions (London: Novello, [1870]; and Leipzig: K
2. This publication was a facsimile of the autograph, and appea
of Sacred Music 1 (1868). The first posthumous edition of t
Mendelssohn Bartholdy: Complete Organ Works, vol. 1 (London: Nov
Sacred Works: 21
Oratorio: 1

97 ? 1847 1852 [ Christus]
Psalm settings: 7

78 1843-44* 1849 [3 Psalms] (8 vv)
91 1843 1851 "Singet dem Herrn ein neues Lied" (Ps. 98)
(dbl ch, orch, org)
96 1840-433 1852 "Why, O Lord, Delay/Hymne: Lass, o Herr,
mich Hillfe finden" (Ps. 13) (A, ch, org)
1844 1863 'Jauchzet dem Herrn alle Welt" (Ps.100, SATB)
Other accompanied sacred works: 5

73 1846 1849 "Lauda Sion"
111 1827 1868 "Tu es Petrus"
112 1835* 1868 [2 geistliche Lieder]
121 1833 1873 Responsorium und Hymnus ("Vespergesang")
(TTBB, male ch, vcl, org)
Other a cappella sacred works: 8

79 1843-46* 1849 [6 Anthems/6 Spriiche]
115 1833-34* 1869 [2 Sacred Choruses/ 2 geistliche Chore]
3. The first three movements of this setting, with organ accompaniment, were published without opus
number during Mendelssohn's lifetime (London: Cramer, Addison & Beale; and Bonn: Simrock,
[1841]). The fourth movement, also with organ accompaniment, was published as a separate supple-
ment, also during the composer's lifetime, by the same publishers in 1843. The orchestral version, com-
bining all four movements, was published under the collective posthumous opus number 96 in 1852.
See David Brodbeck, "Some Notes on an Anthem by Mendelssohn," in Mendelssohn and His World, ed.
R. Larry Todd, 43-64 (Princeton: Princeton University Press, 1991).

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Knowing Mendelssohn: A Challenge from the Primary Sources

Author(s): John Michael Cooper

The name of Felix Mendelssohn Bartholdy (1809-1847) is

portion of his output, but in

PROBLEMS OF RECEPTION HISTORY

The widespread acclaim Mendelssohn enjoyed during his

2. For a perceptive overview of these recent developments in Mendelssohn's scholarl

in other areas of musical en

that (in words attributed to Franz Liszt) had "cultivated art to th

on 'jewry in Music,"8 Mendelss

tained in prerevolutionary culture coincided with his follower

Despite laudable intentions, these posthumous publications of

claimers acknowledging thei

11. Published posthumously in 1850 (par

thousand letters between 1819

vocal detractor of Mendelsso

problems were obvious enough

22. For a summary of this situation, with

ous editions; this volume still

und Gegenwart in 1959.27 This text, important as one of the first to d

vital collections of Mendelssohn primary sources into publi

The turn to the 1960s also witnessed an increased scholarly reconside

Obviously, the emergence o

34. Donald Mintz, "The Sketches and Dr

organ,41 and orchestra.42 Equal

web of specious arguments concerning Mendelssohn with a pro

The widespread increase in source-critical scholarship

Letters, Chronographic Archivalia, and Library Items

As mentioned above, Mendelssohn penned some seven

contemporary copies, or later

The sheer quantity of these documents is daunting enough, but the

further dispersed during the g

Staatsbibliothek zu Berlin-PreuJlischer Kulturbesitz, Musikabteilung mit Mendelssohn-

* Approximately sixty-five hundred letters sent to Mendelssohn between

49. See also discussion on p. 55, below.

into German, in the original

Congress is home to about three

In addition to these major collections, smaller significant aggregations

his correspondence with ot

easily accessible but unreliable

The challenges posed by the sources for Mendelssohn's music

contents of the volumes as

These "other" autographs are

Staatsbibliothek zu Berlin-Preujischer Kulturbesitz. Beginning in the early 1960s

ment of three major subcollect

After the reunification of the

Biblioteka Jagielloriska, Cracow. The Cracow manuscripts include some of the

procurements,8' while others, fo

The Library of Congress, Washin

The Pierpont Morgan Library, New York. The Morgan Library's m

In addition to these central collections there are smaller collections

around the globe, and numerous individual manuscripts tha

CASE STUDIES IN THE SOURCES

If the above remarks have made clear that substantia

the extent and nature of the

Letters and Diaries

their travels: thirty-nine lette

The Musical Sources

Recent scholarship concerning the sources for Mendelssohn's

of the extant sources and th

Deneke's collection of Mendelssohniana. Ralph Leavis published a

composed for four-part chor

influenza that spring, and as o