you give about coming here, which I seize with the utmost eagerness of
heart. I really did not know till to-day what to say about my plans. God
be praised, I am now daily getting better, and my strength returning
more and more; but to travel this day week to Vienna (and that is the
latest period which will admit of my arriving in time for a rehearsal of
their Musical Festival) is an idea which cannot possibly be thought
of.[95] It is certainly very unlucky that they should have made so many
preparations, and that my going there should be a second time put off.
There is no doubt, however, that my improvement in health is day by day
greater and more sure, so I have written to ask if I may delay coming
for a week; but, as I said, I place little faith in the practicability
of the whole thing, and it seems to me I must remain here. In no case
can I attempt to travel before eight days from this time; and as to the
state of my expedition to Berlin, has not Herr von Arnim reported it to
you in regular detail? If I cannot go to Vienna, the same reasons which
prevent my going there, must cause me to stay here for a fortnight or
three weeks, and to put off the performance in Berlin till the end of
November at the latest; and even if I do go to Vienna, this must of
course still be the case.
After, however, these interrupted performances, which must now be
carried through, that I positively undertake no new ones is quite
settled. If it were not necessary to keep one’s promise! but this must
be done, and now the only question is whether I shall see you again on
Saturday? Say Yes to this; I believe you would do me more good than all
my bitter medicine. Write me a couple of lines soon again, and be sure
you agree to come. My love to you all! and continue your love for your
FELIX.
* * * * *
On the 30th of October his brother was summoned to Leipzig, in
consequence of Mendelssohn being seized by another attack of illness. He
died on the 4th of November.
* * * * *
CATALOGUE
OF
ALL THE MUSICAL COMPOSITIONS
OF
FELIX MENDELSSOHN BARTHOLDY.
I. THE PUBLISHED WORKS, IN CHRONOLOGICAL ORDER.
II. THE UNPUBLISHED WORKS, CLASSIFIED UNDER DIFFERENT HEADS.
COLLECTED PRINCIPALLY FROM THE AUTHOR’S ORIGINAL MANUSCRIPTS,
AND ACCOMPANIED BY A PREFACE,
BY
JULIUS RIETZ.
PREFACE.
In the first section of this Catalogue a few compositions are omitted,
because the autograph notes, by which Mendelssohn was in the habit of
recording the date and place of composition of his pieces, are wanting;
the precise date at which these works were composed cannot therefore be
given. They are as follows:--
Op. 6. Sonata for Pianoforte.
7. Seven characteristic pieces for Pianoforte.
8. Twelve Songs.
9. Twelve Songs (with the exception of No. 3).
10. Symphony No. 1.
14. Rondo Capriccioso for Pianoforte.
These may all be placed between 1824 and 1828; the symphony, probably
the earliest of all, about 1824; it was not published, however, till
much later, and was then marked as Opus 11, that number happening to be
vacant. In marking his works with Opus figures, both at that time and
especially later, Mendelssohn invariably referred to the date, not of
their composition, but of their publication; years not unfrequently
intervening between the two. This fact is strikingly exemplified in the
“Walpurgis Nacht,” which, though composed in 1830, was not published
till 1843, when indeed it was much over-elaborated. In his books of
songs and other minor works, he was in the habit of selecting those
which answered his purpose, out of a large number composed in _different
years_. Thus, for example, the six songs in the first book of songs for
men’s voices (op. 50), were composed between 1837 and 1840. Dates are
also wanting for
Op. 15. Fantasia for Pianoforte.
19. Six Songs, (with the exception of No. 6) undoubtedly written
between 1830 and 1834.
44. String Quartett, No. 1.
66. Trio No. 2, for Pianoforte, Violin, and Violoncello.
72. Six Juvenile pieces.
13. Variations for Pianoforte.
All belonging to the last period, subsequent to 1840.
Besides these, the originals of many single songs, with and without
words, are so dispersed, that with the most anxious desire to render the
Catalogue complete, and notwithstanding all the efforts of the Editor,
they have not yet been discovered. Still, even in its incomplete and
imperfect condition, the Catalogue will be interesting to the friends
and admirers of this immortal composer. It cannot fail also to be of
great value to Mendelssohn’s future biographer, for the striking picture
it furnishes of his development, of which the Thematic Catalogue of
Breitkopf and Härtel can give no idea, since in its compilation it was
not possible to observe the chronological succession of the works.
This is the proper place to mention a widely-spread report, to the
effect that Mendelssohn’s sister, Fanny Hensel (who died on the 14th of
May, 1847), had a share in the composition of many of his works. Thus,
among others, she has been often named as the composer of the entire
first book of “Songs without Words” (op. 19). This has been much
exaggerated. We are now enabled to reduce it to its proper
proportions,[96] and to state positively that Mendelssohn included six
only of his sister’s songs with words in his first four books of songs,
_and beyond these not one of any kind whatsoever_. These songs are:--
“Heimweh,” No. 2 }
“Italien,” No. 3 } in Opus 8.
“Suleika and Hatem,” Duett, No. 12}
“Sehnsucht,” No. 7 }
“Verlust,” No. 10 } in Opus 9.
“Die Nonne,” No. 12}
We may further observe, that the song No. 12, “Die Blumenglocken mit
hellem Schein,” in the operetta “Heimkehr aus der Fremde” (Son and
Stranger), was set to music by Carl Klingemann, the author of the
libretto, Mendelssohn’s most intimate friend, who died very recently. It
had been already published by him in 1829, in a book of songs (Logier,
Berlin), with other words, and was afterwards most charmingly and
delicately instrumented by Mendelssohn for the operetta.
In addition to the list contained in the thematic catalogue of
Mendelssohn’s published works, the following have since appeared in
Germany.
1. Two Pianoforte Pieces: (_a_) Andante cantabile, in B flat; (_b_)
Presto agitato, in G minor (Senff, Leipzig).
2. Two Songs for four Men’s Voices: (_a_) “Schlummernd an des Vaters
Brust;” (_b_) “Auf, Freunde, lasst das Jahr uns singen,” in the
“Repertorium für Männergesang” (Kahnt, Leipzig).
A “Te Deum,” for a four-part chorus and organ, with English words, has
been published in London.
Lastly, we must not omit to mention a published work of Mendelssohn’s,
though not a musical one, namely a translation of the ‘Andria’ of
Terence. Its complete title is--
“The Maiden of Andros, a Comedy by Terence, in the metre of the
original, translated by F----; with an introduction and notes, edited by
K. W. L. Heyse. (Berlin, 1826, Ferdinand Dummler.)”
As the existence of this little work, or at any rate the fact that
“Felix Mendelssohn Bartholdy” is concealed beneath the “F----,” is not
hitherto generally known, this notice will be received with some
interest.
* * * * *
II. The second division of the Catalogue is intended to furnish a more
ready means of reference to what Mendelssohn has accomplished in the
most various styles of composition (besides the published works); it is
not arranged chronologically, but under different heads,--Church Music,
Dramatic, etc. etc. The immense number of the works it includes, bears
testimony to the strict and conscientious manner in which Mendelssohn
acted with regard to himself, and how many pieces he laid aside, which,
even if too much laboured, might have caused great delight and enjoyment
to the world. The list also testifies to the caution of his
representatives, and to their desire to act in the same spirit as
himself, by not publishing anything among his papers which might be
unworthy of his name, or of his importance in the history of art. Minor
compositions for special occasions, songs for family _fêtes_, canons in
albums, etc. etc., of which a vast number exist, are not included in the
Catalogue, chiefly because it was impossible to make even an approach to
a complete list. It may be mentioned, that Mendelssohn added full
obligato organ parts to two of Handel’s oratorios, viz. “Solomon” and
“Israel in Egypt,” as well as to the “Dettingen Te Deum.” Those for
“Solomon” and the “Te Deum” remain in manuscript; but those to “Israel
in Egypt” are published in the edition of the Handel Society of London,
for whom Mendelssohn edited the oratorio.
J. R.
* * * * *
I.
PUBLISHED WORKS,
IN CHRONOLOGICAL ORDER.
1822.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in C minor, op.
1. Berlin.[97]
1823.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in F minor, op.
2. Berlin.
Sonata for Pianoforte and Violin, in F minor, op. 4. Berlin.
1824.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in B minor, op.
3. Berlin.
“Die Hochzeit des Camacho,” Opera in Two Acts, op. 10. First Act.
Berlin.
Overture for a Military Band, in C major, op. 24. Dobberan.
Originally composed for the Band of the Dobberan Baths, and subsequently
arranged for a full Military Band.
1825.
“Die Hochzeit des Camacho,” Overture and Second Act.
This Opera was given once in the Berlin theatre, on the 29th April,
1827.
Capriccio for Pianoforte, in F sharp minor, op. 5. Berlin.
Octett for four Violins, two Tenors, and two Violoncellos, in E flat,
op. 20. Berlin.
1826.
Quintett for two Violins, two Tenors, and Violoncello, in A, op. 18.
Berlin.
The Intermezzo, Andante sostenuto, in F major, was composed subsequently
in Paris, in 1832. The Scherzo, in D minor, originally formed the second
movement; the third was a Minuetto, in F sharp, Allegro molto; with a
Trio, in D, Canone doppio.
Overture to Shakspeare’s ‘Midsummer’s Night’s Dream,’ in E major, op.
21. Berlin.
Song for Voice and Pianoforte, “Es lauschte das Laub,” op. 86, no. 1.
1827.
Quartett for two Violins, Tenor, and Violoncello, in A minor, op. 13.
Berlin.
Fugue for two Violins, Tenor, and Violoncello, in E flat, in op. 81.
Fugue for Pianoforte, in E minor. Berlin.
No. 7 in a collection entitled, “Notre Temps,” published by Schott, of
Mayence.
1828.
Quartett for two Violins, Tenor, and Violoncello, in E flat, op. 12.
Berlin.
At the period of its composition, this Quartett appeared as “the first
for stringed instruments.”
Overture, “Meeresstille und glückliche Fahrt,” in D, op. 27. Berlin.
Variations for Pianoforte and Violoncello, in D, op. 17. Berlin.
1829.
Song for Voice and Pianoforte, “Wartend,” op. 9, no. 3. Berlin.
Song for Voice and Pianoforte, “Der Blumenkranz.” London.
This appeared at a much later period, in an Album of Spehr’s, Brunswick.
Three Fantasias or Caprices for the Pianoforte, op. 16. Coed Du, in
Wales.
“Heimkehr aus der Fremde,” Operetta in One Act, op. 89. London and
Berlin.
Composed for the celebration of the silver wedding-day of his parents.
Performed in public for the first time on the 20th April, 1851, in
Leipzig.
1830.
Overture, “Die Hebriden,” in B minor, op. 26. Rome.
Psalm CXV., “Nicht unserm Namen, Herr,” for Chorus, Solo, and Orchestra,
op. 31. Rome.
Song for Voice and Pianoforte, “Reiselied,” op. 19, no. 6. Venice.
Song without words, “Gondellied,” op. 19, no. 6. Venice.
A book of songs with words, and one of songs without words, are each
marked as Opus 19.
Three pieces of Sacred Music for Solo and Chorus, with Organ, op. 23.
Rome.
Three Motetts for Female Voices with Organ, op. 39. Rome.
Composed for the Nuns in Trinità de’ Monti, in Rome; but not published
till 1838, when it was partly re-written.
1831.
“Die erste Walpurgis Nacht,” Ballad, for Chorus, Solo, and Orchestra,
op. 60. Milan and Paris.
Re-written in Leipzig in 1842, and published in 1843.
“Verleih’ uns Frieden,” Prayer, for Chorus and Orchestra. No opus
number. Rome.
Song for Voice and Pianoforte, “Da lieg’ ich unter den Bäumen,” op. 84,
no. 1. Düsseldorf.
Song for Voice and Pianoforte, “Die Liebende schreibt,” op. 86, no. 3.
Untersee.
1832.
Concerto for Pianoforte and Orchestra, in G minor, op. 25. Munich.
Capriccio Brillant, for Pianoforte with Orchestra, in B minor, op. 22.
London.
Fugue for Pianoforte, in B minor, op. 35, no. 3.
1833.
Symphony, in A major, op. 90. Berlin.
Repeatedly mentioned in Mendelssohn’s Letters from Italy, as the Italian
Symphony.
Overture, “Zum Mährchen von der schönen Melusine,” in F, op. 32. Berlin.
Fantasia for Pianoforte, in F sharp minor, op. 28. Berlin.
Entitled on the autograph, “Sonate Écossaise.”
Capriccio for Pianoforte, in F sharp minor, op. 33, no. 3. London.
“Lied ohne Worte,” in D, op. 30, no. 5. Düsseldorf.Vocal Chorus, “Lord,
have mercy,” in A minor. No opus number. Berlin.
Published in an Album, by Bösenberg, Leipzig.
1834.
Rondo Brillant for Pianoforte, in E flat, op. 29.
Capriccio for Pianoforte, in A minor, op. 33, no. 1.
“Lieder ohne “Worte:”--
Op. 30, Nos. 1 and 4.
Op. 85, No. 2.
Songs for Voice and Pianoforte:--
“Minnelied,” op. 34, no. 1.
“Auf Flügeln des Gesanges,” op. 34, no. 2.
“Sonntagslied,” op. 34, no. 5.
“Jagdlied,” op. 84, no. 3.
Romance for Voice and Pianoforte, “Schlafloser Augen.” No opus number.
Published in an Album. Breitkopf and Härtel, Leipzig.
Three “Volkslieder,” for Soprano, Alto, Tenor, and Bass, op. 41, nos. 2,
3, 4.
Commencement of the Oratorio of “St. Paul.”
“Todeslied der Bojaren,” from Immermann’s Tragedy of “Alexis,” for a
chorus of men’s voices in unison, and wind instruments; in E minor.
First published as a contribution to the fourth volume of Immermann’s
works. Schaub, Düsseldorf.
N.B.--All the works of this year were composed at Düsseldorf.
1835.
Oratorio of “St. Paul,” op. 36. Düsseldorf and Leipzig.
Performed for the first time at the Musical Festival of the Lower Rhine,
at Düsseldorf, on the 22nd of May, 1836.
Capriccio for Pianoforte, in E major, op. 33, no. 2. Düsseldorf.
Fugue for Pianoforte, in A flat, op. 35, no. 4. Düsseldorf.
Song for Voice with Pianoforte, “Das Waldschloss.” No opus number.
Berlin.
1836.
Preludes for Pianoforte, op. 35:--no. 2, in D; no. 3, in B minor; no. 5,
in F minor. Leipzig.
Fugue for Pianoforte, op. 35, no. 6, B flat. Leipzig.
Fugue for the Organ, in G, op. 37, no. 2. Leipzig.
Étude and Scherzo for the Pianoforte, in F minor. No opus number.
Leipzig.
Two-part Song, with Pianoforte, “Sonntagsmorgen,” op. 77, no. 1.
Leipzig.
1837.
Concerto for Pianoforte and Orchestra, in D minor, op. 40. Bingen and
Horchheim on the Rhine.
Quartett for Two Violins, Tenor, and Violoncello, in E minor, op. 44,
no. 2. Frankfort on the Main.
Psalm XLII., “Wie der Hirsch schreit,” for Chorus, Solo, and Orchestra.
Freyburg in Breisgau, and Leipzig.
Preludes for Pianoforte, op. 35:--no. 1, in E minor; no. 4, in A flat
major; no. 6, B flat. Leipzig.
Fugue for Pianoforte, op. 35, no. 2. Leipzig.
Three Preludes for the Organ, op. 37. Speyer.
Fugue for the Organ, op. 37, no. 1. Speyer.
Songs for Voice with Pianoforte:--
“Suleika,” op. 34, no. 4. }
“Reiselied,” op. 34, no. 6.} Leipzig.
“Suleika,” op. 57, no. 3. }
Songs for Four Male Voices:--
“Sommerlied,” op. 50, no. 3. }
“Wasserfahrt,” op. 50, no. 4. }
“So lang man nüchtern ist,” op. 75, no. 3.} Leipzig.
“Geben wir Rath,” op. 76, no. 1. }
Song for Soprano, Alto, Tenor, and Bass, “Im Grünen,” op. 59, no. 1.
Leipzig.
“Song without Words,” in A minor, op. 38, no. 5. Speyer.
1838.
Serenade and Allegro Giojoso for Pianoforte, with Orchestra, op. 43.
Leipzig.
Quartett for Stringed Instruments, in E flat, op. 44, No. 3. Leipzig.
Sonata for Pianoforte and Violoncello, in B flat, op. 45. Leipzig.
Psalm XCV., “Kommt, lasst uns anbeten,” for Chorus, Solo, and Orchestra,
op. 46. Leipzig.
Andante Cantabile and Presto Agitato, for the Pianoforte, in B. Without
any opus number. Berlin.
Appeared in an Album. Breitkopf and Härtel, Leipzig.
Song for Four Male Voices, “Türkisches Schenkenlied,” op. 50, No. 1.
Leipzig.
1839.
Psalm CXIV., “Da Israel aus Egypten zog,” for an eight-part Chorus and
Orchestra, op. 51. Horchheim.
Trio, for Pianoforte, Violin, and Violoncello, in D minor, op. 49.
Frankfort, Berlin, and Leipzig.
Sonata for the Organ, in C minor, op. 65, no. 2. Frankfort.
Overture to Victor Hugo’s drama, “Ruy Blas,” in C minor, op. 95.
Leipzig.
Chorus for Two Female Voices, with Quartett accompaniment, from “Ruy
Blas,” in A, op. 77, no. 3.
The foregoing two pieces were written for a performance of “Ruy Blas”
for the benefit of the Theatrical Pension Fund, at the request of the
Committee of the Fund.
Six Songs, for Soprano, Alto, Tenor, and Bass, op. 48. Frankfort and
Leipzig.
Besides these:--
“Hirtenlied,” op. 88, no. 3.} Frankfort.
“Im Wald,” op. 100, no. 4. }
Songs for Four Male Voices:--
“Liebe und Wein,” op. 50, no. 5.} “Abendständchen,” op. 75, no. 2.}
Leipzig. “Ersatz für Unbestand.” No opus number.}
Songs for One Voice with Pianoforte:--
“Frühlingslied,” op. 47, no. 3.}
“Volkslied,” op. 47, no. 4. } Leipzig.
“Wiegenlied,” op. 47, no. 6. }
“Altdeutsches Lied,” op. 57, no. 1. Horchheim.
“Hirtenlied,” op. 57, no. 2. }
“Herbstlied,” op. 84, no. 2. } Leipzig.
“Song without Words,” in F sharp minor, op. 67,}
no. 2. }
1840.
“Hymn of Praise,” Symphony Cantata, op. 52. Leipzig.
Performed for the first time on the 25th of June, 1840, in the Thomas
Church at Leipzig, at the Celebration of the Fourth Centenary of
Printing.
A “Festgesang,” for Male Voices and Brass Band, “Begeht mit heil’gem
Lobgesang.” No opus number.
For the opening of the same Festival in honour of Printing.
Songs for Four Male Voices:--
“Der Jäger Abschied,” op. 50, no. 2.
“Wanderlied,” op. 50, no. 6.
Song for Soprano, Alto, Tenor, and Bass, “Der wandernde Musikant,” op.
88, No. 6.
1841.
Music for “Antigone,” op. 55. Berlin.
Performed for the first time on the 6th November, 1841, in the New
Palace, at Potsdam, and in the theatre at Berlin on the 13th of April,
1842.
Variations Sérieuses, for the Pianoforte, in D minor, op. 54. Leipzig.
Variations for the Pianoforte, in E flat, op. 82. Leipzig.
Allegro Brillant for the Pianoforte, arranged as a Duett, in A, op. 92.
Leipzig.
Prelude for the Pianoforte, in E minor, for “Notre Temps.” Refer to
1827. Leipzig.
Songs for Voice, with Pianoforte accompaniment:--
“Frische Fahrt,” op. 57, no. 6. Leipzig.
“Erster Verlust,” op. 99, no. 1. Berlin.
“Das Schifflein,” op. 99, no. 4. Leipzig.
Song for Voice, with Pianoforte, “Ich hör’ ein Vöglein locken.” No opus
number.
Appeared first as a contribution to a Collection of Poetry by Adolph
Böttger.
“Songs without Words:”--
“Volkslied,” in A minor, op. 53, no. 5.}
“ in A major, op. 53, no. 6. } Leipzig.
“ in B flat, op. 85, no. 6. }
1842.
Symphony, in A minor, op. 56. Berlin.
Called the “Scotch Symphony,” in the Letters of 1830.
Songs for Voice with Pianoforte:--
“Gondellied,” op. 57, no. 5.
“Schilflied,” op. 71, no. 4.
Song for Two Voices, with Pianoforte, “Wie war so schön,” op. 63, no. 2.
“Song without Words,” in A major, op. 62, no. 6.
1843.
Music for the “Midsummer Night’s Dream,” op. 61. See year 1826. Leipzig.
Performed for the first time on the 14th of October, 1843, in the New
Palace, at Potsdam; and in the theatre at Berlin, on the 18th October,
1843.
Sonata for Pianoforte and Violoncello, in D, op. 58. Leipzig.
Choruses for Racine’s “Athalie.” Leipzig.
For female voices only, and with pianoforte accompaniment. This work was
performed, in its later shape, for the first time on December 1st, 1845,
in the Royal Theatre at Charlottenburg. See year 1845.
Concert Aria for Soprano with Orchestra, in B flat, op. 94. Leipzig.
Capriccio for Two Violins, Tenor, and Violoncello, in E minor, in op.
81. Leipzig.
Psalm XCI., “Singet dem Herrn ein neues Lied,” for Chorus and Orchestra,
op. 91. Berlin.
For the celebration of New Year’s Day, 1844, in the Dom Kirche, at
Berlin.
Psalm II., “Warum toben die Heiden?” for an eight-part Chorus, op. 78,
no. 1. Berlin.
Anthem, “Herr Gott, du bist unsre Zuflucht,” for a Chorus of Eight
Voices, op. 79, no. 2. Berlin.
Hymn for a Contralto, Chorus, and Orchestra, op. 96. Leipzig.
The elaboration of a work formerly published by Simrock, of Bonn,
without any opus-number, entitled “Three Sacred Songs for an Alto Voice,
Chorus, and Organ.”
Song for Voice with Pianoforte, “Es weiss und räth es doch Keiner,” op.
99, no. 6.
Songs for Soprano, Alto, Tenor, and Bass:--
“Frühzeitiger Frühling,”}
“Abschied vom Walde,” }
“Die Nachtigall,” } op. 59, nos. 2 to 6. Leipzig.
“Ruhethal,” }
“Jagdlied,” }
“Ich hab’ ein Liebchen,” op. 88, no. 2.}
“Die Waldvöglein,” op. 88, no. 4. } Leipzig.
“Lob des Frühlings,” op. 100, no. 2. }
“Songs without Words:”--
B, op. 62, no. 2. }
E minor, op. 62, no. 3.} Leipzig.
G, op. 62, no. 4. }
C, op. 67, no. 4. }
1844.
Concerto for the Violin, with Orchestra, in E minor, op. 64. Leipzig.
Overture to “Athalie,” in D minor, and March of the Priests, in F, op.
74. London.
Hymn, “Hör’ mein Bitten,” for a Soprano, Chorus, and Organ. No number.
Berlin.Sonatas for the Organ, op. 65:--
F minor, no. 1.}
C minor, no, 2.}
A major, no. 3.} Frankfort.
D minor, no. 6.}
Psalms for a Choir of Eight Voices, op. 78.
Psalm XLIII., “Richte mich Gott,” No. 2. }
Psalm XLII., “Mein Gott, warum hast Du,” no. 3.} Berlin.
Songs for Four Male Voices:--
“Wem Gott will,” op. 75, no, 1.}
“So rückt denn,” op. 75, no. 4.} Berlin.
“Rheinweinlied,” op. 76, no. 2.}
Songs for Soprano, Alto, Tenor, and Bass:--
“Neujahrslied,” op. 88, no. 1.
“Andenken,” op. 100, no. 1.
“Songs without Words:”--
G, op. 62, no. 1. Berlin.
E flat, op. 67, no. 1. Leipzig.
B minor, op. 51. Berlin.
Songs for Two Voices with Pianoforte:--
“Gruss,” op. 63, no. 2. }
“Herbstlied,” op. 63, no. 3.} Leipzig.
“Maiglöckchen und die Blümelein,” op. 63, no. 6. Berlin.
1845.
Music for “Oedipus von Kolonos,” op. 93. Leipzig and Frankfort.
Performed for the first time on the 1st November, 1845, in the New
Palace at Potsdam, and in the theatre at Berlin on the 10th November,
1845.
Quintett for two Violins, two Tenors, and Violoncello, in B flat, op.
87. Soden.“Athalie,” instrumentation and arrangement of the Choruses
for Soprano,
Alto, Tenor, and Bass. See the years 1843 and 1844. Op. 74.
Sonatas for the Organ:--
B flat, op. 65, no. 4. } Frankfort.
D minor, op. 65, no. 6.}
Songs for One Voice with Pianoforte:--
“Tröstung,” op. 71, no. 1. Leipzig.
“Frühlingslied,” op. 71, no. 2. Frankfort.
“Wenn sich zwei Herzen scheiden,” op. 99, no. 5. Leipzig.
“Songs without Words:”--
B flat, op. 67, no. 3. Leipzig.
D, op. 84, no. 4.} Frankfort.
A, op. 84, no. 5.}
Anthems for an Eight-part Chorus:--
“Frohlocket, ihr Völker,” op. 97, no. 1.
“Herr, gedenke,” op. 79, no. 4.
Commencement of the Oratorio of “Elijah.”
1846.
Cantata to the “Sons of Art,” Male Chorus and Brass Band, op. 68.
Written for the first German-Flemish Vocal Festival at Cologne.
“Lauda Sion,” for Chorus, Solo, and Orchestra, op. 73.
For the church of St. Martin, in Lüttich.
“Elijah,” Oratorio, op. 70.
Performed for the first time at Birmingham, August 25, 1846.
Song for Four Male Voices, “Was uns eint als deutsche Brüder,” op. 76,
no. 3.
For the Germans in Lyons.
Anthems for an Eight-part Chorus:--
“Erhaben, O Herr,” op. 79, no. 3.
“Lasset uns frohlocken,” op. 79, no. 5.
All the works of this year were composed in Leipzig.
1847.
Three Motetts for Chorus and Solo Voices, op. 69. Baden-Baden and
Leipzig.
Recitative and Choruses from the unfinished Oratorio, “Christus,” op.
97.
Finale of the first Act from the unfinished Opera of “Loreley,” op. 98.
Leipzig.
Besides this finale there are only extant, an Ave Maria for Soprano Solo
and Female Chorus, a grand March with Chorus, and the beginning of three
other pieces of music.
Quartett for Two Violins, Tenor, and Violoncello, in F minor, op. 80.
Interlachen.
Andante and Scherzo for Two Violins, Tenor, and Violoncello, in op. 81.
Songs for One Voice with Pianoforte:--
“An die Entfernte,” op. 71, no. 3. Leipzig.
“Auf der Wanderschaft,” op. 71, no. 5. Interlachen.
“Nachtlied,” op. 71, no. 6. Leipzig.
Song for Four Male Voices, “Comitat,” op. 76, no. 4. Frankfort.
Song for Two Voices with Pianoforte, “Das Aehrenfeld,” op. 77, no. 2.
Leipzig.
Song for Voice with Pianoforte, “Altdeutsches Frühlingslied,” op. 86,
no. 6.
Mendelssohn’s last composition, written on the 7th October, 1847, in
Leipzig.
II.
WORKS NOT PUBLISHED.
SACRED MUSIC.
“Magnificat” for Chorus and Orchestra, in D. 1822.
“Juba Domine” for Chorus and Soli, without Orchestra. 1822.
“Gloria” for a four-part Chorus and Orchestra, in E flat.