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TheCambridgeCompaniontoMendelssohn TheCompaniontoMendelssohniswrittenbyleadingscholarsinthe field.Infourteenchapterstheyexplorethelife,work,andreceptionof acomposer-performeroncethoughtuniquelyuntroubledinlifeand artalike,butwhoisnowbroadlyunderstoodasoneofthenineteenth century’smostdeeplyproblematicmusicalfigures.Thefirstsectionof thevolumeconsidersissuesofbiography,withchaptersdedicatedto Mendelssohn’sroleintheemergenceofEurope’smodernmusical institutions,tothepersistenttensionsofhisGerman-Jewishidentity, andtohisclosebutenigmaticrelationshipwithhisgiftedoldersister, Fanny.ThefollowingnineessayssurveyMendelssohn’sexpansiveand multi-facetedmusicaloutput,markedasitwasbysuccessesinalmost everycontemporarymusicalgenreoutsideofopera.Thevolume’s twoclosingessaysconfront,inturn,theturbulentcourseof Mendelssohn’sposthumousreceptionandsomeofthechallenges hismusiccontinuestoposeformodernperformers. peter mercer-taylor isAssociateProfessorofMusicologyat theUniversityofMinnesotaSchoolofMusic.HeistheauthorofThe LifeofMendelssohn(Cambridge,2000)andhaspublishedinanumber ofjournalsincludingTheJournalofMusicologyandPopularMusic. CambridgeCompanionstoMusic Topics TheCambridgeCompaniontoBluesand TheCambridgeCompaniontotheMusical GospelMusic EditedbyWilliamEverettandPaulLaird EditedbyAllanMoore TheCambridgeCompaniontotheOrchestra TheCambridgeCompaniontoConducting EditedbyColinLawson EditedbyJoseÁntonioBowen TheCambridgeCompaniontoPopandRock TheCambridgeCompanionto EditedbySimonFrith,WillStrawandJohn GrandOpera Street EditedbyDavidCharlton TheCambridgeCompaniontotheString TheCambridgeCompaniontoJazz Quartet EditedbyMervynCookeandDavidHorn EditedbyRobinStowell Composers TheCambridgeCompaniontoBach TheCambridgeCompaniontoElgar EditedbyJohnButt EditedbyDanielGrimleyandJulianRushton TheCambridgeCompaniontoBarto´k TheCambridgeCompaniontoHandel EditedbyAmandaBayley EditedbyDonaldBurrows TheCambridgeCompaniontoBeethoven TheCambridgeCompaniontoLiszt EditedbyGlennStanley EditedbyKennethHamilton TheCambridgeCompaniontoBerg TheCambridgeCompaniontoMendelssohn EditedbyAnthonyPople EditedbyPeterMercer-Taylor TheCambridgeCompaniontoBerlioz TheCambridgeCompaniontoMozart EditedbyPeterBloom EditedbySimonP.Keefe TheCambridgeCompaniontoBrahms TheCambridgeCompaniontoRavel EditedbyMichaelMusgrave EditedbyDeborahMawer TheCambridgeCompaniontoBenjamin TheCambridgeCompaniontoRossini Britten EditedbyEmanueleSenici EditedbyMervynCooke TheCambridgeCompaniontoSchubert TheCambridgeCompaniontoBruckner EditedbyChristopherGibbs EditedbyJohnWilliamson TheCambridgeCompaniontoSibelius TheCambridgeCompaniontoJohnCage EditedbyDanielGrimley EditedbyDavidNicholls TheCambridgeCompaniontoVerdi TheCambridgeCompaniontoChopin EditedbyScottL.Balthazar EditedbyJimSamson TheCambridgeCompaniontoDebussy EditedbySimonTrezise Instruments TheCambridgeCompaniontoBrass TheCambridgeCompanionto Instruments thePiano EditedbyTrevorHerbertandJohnWallace EditedbyDavidRowland TheCambridgeCompaniontotheCello TheCambridgeCompaniontotheRecorder EditedbyRobinStowell EditedbyJohnMansfieldThomson TheCambridgeCompaniontotheClarinet TheCambridgeCompaniontothe EditedbyColinLawson Saxophone TheCambridgeCompaniontotheGuitar EditedbyRichardIngham EditedbyVictorCoelho TheCambridgeCompaniontoSinging TheCambridgeCompaniontotheOrgan EditedbyJohnPotter EditedbyNicholasThistlethwaiteand TheCambridgeCompaniontotheViolin GeoffreyWebber EditedbyRobinStowell The Cambridge Companion to MENDELSSOHN ............ editedby PeterMercer-Taylor published by the press syndicate of the university of cambridge ThePittBuilding,TrumpingtonStreet,Cambridge,UnitedKingdom cambridge university press TheEdinburghBuilding,CambridgeCB22RU,UK 40West20thStreet,NewYork,NY10011–4211,USA 477WilliamstownRoad,PortMelbourne,VIC3207,Australia RuizdeAlarcoń13,28014Madrid,Spain DockHouse,TheWaterfront,CapeTown8001,SouthAfrica http://www.cambridge.org (cid:1)C CambridgeUniversityPress2004 Thisbookisincopyright.Subjecttostatutoryexceptionand totheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithout thewrittenpermissionofCambridgeUniversityPress. Firstpublished2004 PrintedintheUnitedKingdomattheUniversityPress,Cambridge TypefaceMinion10.75/14pt. SystemLATEX2ε [tb] AcataloguerecordforthisbookisavailablefromtheBritishLibrary ISBN0521826039hardback ISBN0521533422paperback Contents Notesoncontributors[page vi] Acknowledgments [ix] Chronology [x] Listofabbreviations [xv] Introduction:Mendelssohnasborder-dweller PeterMercer-Taylor [1] (cid:1) PartI Issuesinbiography 1 Mendelssohnandtheinstitution(s)ofGermanartmusic PeterMercer-Taylor [11] 2 MendelssohnandJudaism MichaelP.Steinberg [26] 3 FelixandFanny:gender,biography,andhistory MarianWilsonKimber [42] (cid:1) PartII Situatingthecompositions 4 Mendelssohnandtheriseofmusicalhistoricism JamesGarratt [55] 5 Mendelssohnasprogressive GregVitercik [71] (cid:1) PartIII Profilesofthemusic 6 Symphonyandoverture DouglassSeaton [91] 7 Theworksforsoloinstrument(s)andorchestra SteveLindeman [112] 8 Mendelssohn’schambermusic ThomasSchmidt-Beste [130] 9 Themusicforkeyboard GlennStanley [149] 10 OnMendelssohn’ssacredmusic,realandimaginary R.LarryTodd [167] 11 Mendelssohn’ssongs SusanYouens [189] 12 FelixMendelssohn’sdramaticcompositions:fromLiederspielto Lorelei MonikaHennemann [206] (cid:1) PartIV Receptionandperformance 13 Mendelssohnreceived JohnMichaelCooper [233] 14 WagnerasMendelssohn:reversinghabitsandreclaimingmeaningin theperformanceofMendelssohn’smusicfororchestraandchorus LeonBotstein [251] Notes [269] Selectbibliography [297] [v] Index [301] Contributors LeonBotstein isPresidentandLeonLevyProfessorintheArtsandHumanitiesat BardCollege.HeistheauthorofJudentumundModernita¨tandJefferson’sChildren: EducationandthePromiseofAmericanCulture.Heisalsotheeditorof TheCom- pleatBrahmsandTheMusicalQuarterly,aswellasmusicdirectorandprincipal conductoroftheAmericanSymphonyOrchestraandtheJerusalemSymphony Orchestra,andmusicdirectoroftheAmericanRussianYoungArtistsOrchestra. Hehasrecordedworksby,amongothers,Szymanowski,Hartmann,Bruch,Toch, Dohnańyi,Bruckner,Glie`re,Reger,RichardStrauss,andMendelssohnforTelarc, CRI,Koch,Arabesque,andNewWorldRecords. JohnMichaelCooper is Associate Professor of Music History at the University of NorthTexas.HeistheauthorofFelixMendelssohnBartholdy:AGuidetoResearch andMendelssohn’s“Italian”Symphony,andeditor,withJulieD.Prandi,of The Mendelssohns:TheirMusicinHistory.Hewasalsothegeneraleditorofathree- volumefacsimileeditionofthecompletesurvivingautographsforMendelssohn’s AmajorSymphony. JamesGarratt is Lecturer in Music and University Organist at the University of Manchester.Hismainresearchinterestsareinnineteenth-centuryGermanmusic, thought,andculture.HispublicationsincludePalestrinaandtheGermanRoman- ticImagination:InterpretingHistoricisminNineteenth-CenturyMusic,aswellas severalarticlesonMendelssohn. MonikaHennemann hasbeenamemberoftheMusicologyFacultyatFloridaState University, the German Faculty at the University of Rhode Island, and most recentlyaVisitingAssistantProfessorofMusicologyattheCollege-Conservatory ofMusic(UniversityofCincinnati).ShehaswrittenextensivelyonMendelssohn and also published articles on Webern and on nineteenth-century reception history. SteveLindeman isAssociateProfessorofMusicatBrighamYoungUniversity.His researchinterestsincludeMendelssohn,theconcertogenre,andjazz.Heistheau- thorofStructuralNoveltyandTraditionintheEarlyRomanticPianoConcerto,and ofarticlesonMendelssohnandothercomposer-pianistsinTheMusicalQuarterly, therevisededitionofTheNewGroveDictionary,andTheCambridgeCompanion totheConcerto. PeterMercer-Taylor isAssociateProfessorofMusicHistoryattheUniversityofMin- nesota.HisarticlesonMendelssohn,Weber,andvariouspopularmusictopicshave appearedin19th-CenturyMusic,TheJournalofMusicology,PopularMusic,Music &Letters,andPopularMusic&Society.Heistheauthorof TheLifeofMendelssohn. ThomasSchmidt-Beste receivedhisPh.D.in1995,withadissertationonMendels- sohn’s musical aesthetics. He served subsequently as Research Associate with theproject“CappellaSistina”oftheHeidelbergAcademyofArtsandSciences, and completed his Habilitation in 2001 with a thesis on text declamation in [vi] vii Notesoncontributors the fifteenth-century motet. Schmidt-Beste is currently a Heisenberg Research ScholaroftheDeutscheForschungsgemeinschaftandLecturerattheUniversityof Heidelberg. DouglassSeaton isWarrenD.AllenProfessorofMusicatTheFloridaStateUniver- sity.InadditiontoFelixMendelssohnBartholdy,hisresearchinterestscenteron theinteractionsbetweenmusicandliterature.HeisauthorofIdeasandStylesin theWesternMusicalTraditionandeditorofTheMendelssohnCompanionandof thecriticaleditionofMendelssohn’s“Lobgesang.” GlennStanley isProfessorofMusicattheUniversityofConnecticut.Heeditedthe Cambridge Companion to Beethoven, wrote the article on Schubert’s religious musicfortheCambridgeCompaniontoSchubertandwillcontributethechapter onParsifalfortheCambridgeCompaniontoWagner.Hismostrecentworkincludes essaysonthewritingofmusichistoryindividedGermanyafterWorldWarII, anddiscussionsoforchestrationinnineteenth-centurychoralmusicandtheFifth SymphonybyBeethoven. MichaelP.Steinberg isProfessorofModernEuropeanHistoryatCornellUniversity and associate editor of The Musical Quarterly. He is theauthor of Listening to Reason:Culture,Subjectivity,andNineteenth-CenturyMusicandAustriaasTheater andIdeology:TheMeaningoftheSalzburgFestival.Heistherecipientofgrants andfellowshipsfromtheGuggenheimFoundationandtheNationalEndowment fortheHumanitiesaswellastheAustrianStatePrizeforHistoryandtheBerlin PrizeoftheAmericanAcademyinBerlin. R.LarryTodd, ProfessorofMusicatDukeUniversity,haspublishedwidelyonmusic ofthenineteenthcentury,especiallythatoftheMendelssohns.Heistheauthorof Mendelssohn:ALifeinMusicandMendelssohn:TheHebridesandOtherOvertures, andeditorofMendelssohnandhisWorldandMendelssohnStudies.Toddhasalso editedseveralofMendelssohn’ssacredworks,includingtheoratoriosSt.Pauland Elijah. GregVitercik is Chair of the Music Department at Middlebury College where he teachesmusichistory,theory,analysis,interdisciplinarystudies,andperformance. HeistheauthorofTheEarlyWorksofFelixMendelssohn:AStudyintheRomantic SonataStyle. MarianWilsonKimber is Associate Professor of Musicology at the University of Iowa.Sheistheauthorofarticlesin19th-CenturyMusic,TheJournalofMusicology and19th-CenturyStudies,andchaptersinTheMendelssohnCompanion,Fanny Henselgeb.MendelssohnBartholdy,TheMendelssohns:TheirMusicinHistory,and Nineteenth-CenturyPianoMusic. SusanYouens isProfessorofMusicologyattheUniversityofNotreDameandthe authorofsevenbooksonthesongsofFranzSchubertandHugoWolf,including HugoWolfandhisMo¨rikeSongsandSchubert’sLateLieder:BeyondtheSongCycles. Acknowledgments IoffermyfirstthankstoJohnMichaelCooperforhishelpinidentifyingpotential contributors, and his encouragement throughout the development of this project. Partsofmyowncontributiontothisvolumewereread–andimproved–byMichael Cherlin,AlexLubet,andColleenSeguin.IamgratefultoAnnettRichterforofferinga nativespeaker’sinsightsonanumberofGermanpassages,andtoHeathMathewsand KurtMiyashiro,whosetthemusicalexamplesforthisvolume,andtoLucyCarolan, atCambridgeUniversityPress,forthekeeneditorialeyeshebroughttothewhole. Permissiontoincludefacsimilesandtextinthisvolumeisgratefullyacknowledged tothefollowing: The Staatsbibliothek zu Berlin – Preußischer Kulturbesitz Musikabteilung mit Mendelssohn-Archivforpermissiontoreproducethemanuscriptpagesthatappear inPlates12.1aand12.1b. Oxford University Press for permission to include in Chapter 2 material based on MichaelP.Steinberg,“Mendelssohn’sMusicandGerman-JewishCulture:AnInter- vention,”MusicalQuarterly83(1999),31–44.(cid:1)C OxfordUniversityPress. UniversityofCaliforniaPressforpermissiontoincludeinChapter3materialbased on“TheSuppressionofFannyMendelssohn:RethinkingFeministBiography,”19th- CenturyMusic26(2002),113–29.(cid:1)C TheRegentsoftheUniversityofCalifornia. [ix]