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(1980)
187. A useful survey of early-nineteenth-century musical culture in Berlin is given in Studien zur Musikgeschichte Berlins im frühen 19
Franz Kafka (1966)
Letter to His Father
(1984)
Mendelssohn und Goethe
Similarly, Mendelssohn's political and artistic views were strongly characterized by the idea of liberal "reform," as opposed to revolution (see the composer's letter to his sister Rebecca
(1971)
For an example of this "organic" approach in relation to Goethe's play, see Peter Salm, The Poem as Plant: A Biological View of Goethe's Faust
Leon Botstein has claimed in this context that we might profitably hear all of Mendelssohn's music as a "parallel to the second part of Goethe's Faust" ("Neoclassicism, Romanticism, and Emancipation
R. Todd (2003)
Mendelssohn: A Life in Music
Wilkinson has suggested that Goethe's Faust is the first great modern work that tries to keep the European tradition alive by constantly alluding to and recalling it
(1995)
Felix culpa: Mendelssohn, Goethe, and the Social Force of Musical Expression" and "The Lied as Cultural Practice: Tutelage, Gender, and Desire in Mendelssohn's Goethe Songs
(1989)
Goethe on Genius
(1999)
The two passages in question were originally discussed by Susanna Großmann-Vendrey in "Mendelssohn und die Vergangenheit
I. Graham (1977)
12 The grateful Moment: The Element of Time in ‘Faust’
(1974)
Mendelssohn und die musikalische Gattungstradition
(1975)
Die erste Walpurgisnacht, Op. 60, von Felix Mendelssohn Bartholdy
4395-98; Fanny Mendelssohn
(2002)
Kindred Spirits: Mendelssohn and Goethe, Die erste Walpurgisnacht
Werd' ich zum Augenblicke sagen: Verweile doch! du bist so schön! 93
Michael Steinberg (1994)
Schumann's Homelessness
I, 97; also see the composer's letter of 13 July 1831 to Eduard Devrient (Eduard Devrient, Meine Erinnerungen an Felix Mendelssohn-Bartholdy und seine Briefe an mich
(1997)
For another slant on this "historicist" tendency, see Peter Mercer-Taylor
Abstract The historical past played perhaps a more important role in Mendelssohn's music than in that of any other composer. This article approaches the work traditionally seen as his first major compositional achievement, the Octet in E♭ Major for Strings, op. 20 (1825), from the perspective of the composer's strong historical sense and takes up ideas of musical memory, history, and circular narrative journey as embodied in the cyclical structure of the piece. The Octet enacts a coming to self-consciousness of its own musical history, a process with close parallels in the writings of Goethe and Hegel, both of whom Mendelssohn knew personally. In its cyclical manipulations of musical time, Mendelssohn's Octet sets up a new formal and expressive paradigm for a musical work that would be of major significance for the instrumental music of the later nineteenth century.
19th-Century Music – University of California Press
Published: Oct 1, 2008
Keywords: Key words Mendelssohn , Goethe , Hegel , Octet in E♭ Major , cyclic form .
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