In this Book

Indiana University Press
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Exploring many aspects of Felix Mendelssohn's multi-faceted career as musician and how it intersects with his work as composer, contributors discuss practical issues of music making such as performance space, instruments, tempo markings, dynamics, phrasings, articulations, fingerings, and instrument techniques. They present the conceptual and ideological underpinnings of Mendelssohn's approach to performance, interpretation, and composing through the contextualization of specific performance events and through the theoretic actualization of performances of specific works. Contributors rely on manuscripts, marked or edited scores, and performance parts to convey a deeper understanding of musical expression in 19th-century Germany. This study of Mendelssohn's work as conductor, pianist, organist, violist, accompanist, music director, and editor of old and new music offers valuable perspectives on 19th-century performance practice issues.

Table of Contents

  1. Cover
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  1. Contents
  2. p. v
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  1. Foreword
  2. pp. vii-x
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  1. 1. Mendelssohn’s Audience
  2. pp. 1-18
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  1. 2. Mendelssohn and the Piano
  2. pp. 19-40
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  1. 3. Mendelssohn and the Organ
  2. pp. 41-58
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  1. 4. The Performance of Mendelssohn’s Chamber and Solo Music for Violin
  2. pp. 59-84
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  1. 5. Mendelssohn and the Orchestra
  2. pp. 85-100
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  1. 6. Mendelssohn as Composer/Conductor: Early Performances of Paulus
  2. pp. 101-114
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  1. 7. From Drawing Room to Theater: Performance Traditions of Mendelssohn’s Stage Works
  2. pp. 115-146
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  1. 8. Mendelssohn and the Performance of Handel’s Vocal Works
  2. pp. 147-170
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  1. 9. From Notation to Edition to Performance: Issues in Interpretation
  2. pp. 171-188
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  1. 10. Mendelssohn’s Tempo Indications
  2. pp. 189-206
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  1. 11. “For You See I Am the Eternal Objector”: On Performing Mendelssohn’s Music in Translation
  2. pp. 207-250
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  1. List of Contributors
  2. pp. 251-252
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  1. Index
  2. pp. 253-260
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