“Jesus meine Zuversicht,” Chorale, four and five Voices. 1824.
“Ich bin durch der Hoffnung Band,” Chorale and Fugue, for four and five
Voices.
“Kyrie” for a five-part Chorus and Orchestra. 1825.
“Und ob du mich züchtigest, Herr,” Canon for five Voices.
“O Beata,” Chorus for three Female Voices and Organ.
“Te Deum Laudamus,” for an eight-part Chorus. Eight movements. 1826.
“Tu es Petrus,” for a five-part Chorus and Orchestra. 1827.
“Christe, du Lamm Gottes,” Cantata for four Voices and stringed
instruments.
“Ach Gott vom Himmel sieh darein,” Cantata for four Voices and
Orchestra.
“Vom Himmel hoch, da komm’ ich her,” Christmas hymn for four voices and
Orchestra. Rome. 1831.
“Hora est de somno surgere,” for four Four-part Choirs.
“Ad vesperas Dom. XXI. post Trinitatis. Responsorium et Hymnus,” for
three-and four-part Male Chorus.
“Beati mortui,” for a four-part Male Chorus.
Two English Psalm-tunes for four voices. 1839.
Nine pieces in the Oratorio of “St. Paul,” subsequently omitted:--four
Choruses, three Chorales, four Recitatives, a Soprano Aria, and a Duett
for Tenor and Bass.
“Herr Gott, dich loben wir,” Chorale for double Chorus, Organ, four
Trombones, and stringed instruments, for the celebration of the German
Tausendjährige festival. 1843.
Psalm C., “Jauchzet dem Herrn,” for a four-part Chorus. 1844.
The German Liturgy, for two four-part Choirs.
“Wir glauben all’ an einen Gott,” for Chorus and Orchestra.
The most important of these works _a capella_, the “Te Deum,” the “Hora
est,” etc., were written from 1826 to 1828 for the Berlin Singing
Academy, at that time under Zelter’s management, and were constantly
sung there. The four last-named pieces were composed for the Cathedral
Choir at Berlin.
SECULAR CANTATAS.
Grand Festival Music for the Dürer Festival. The Poem by Professor
Levetzow. Performed in the Hall of the Singing Academy at Berlin, on the
12th of April, 1828. Instrumental Introduction, and fourteen
Numbers--Solos, Grand fugued Choruses, etc.
Festival Music, for a festival given in the Hall of the Royal Theatre at
Berlin, by Alexander von Humboldt. The words by L. Rellstab. For Male
Voices, with accompaniment of Clarionets, Horns, Trumpets, Kettle-drums,
Violoncello, and Double Bass. Seven numbers, Solos and Choruses. 1827.
Festal Song at the uncovering of the statue of Friedrich August the
Just, at Dresden, on the 9th June, 1842, for two Male Choirs and Brass
Band.
DRAMATIC.
“Die beiden Pädagogen,” Comic Operetta, in one Act, adapted from the
French. Overture and ten numbers.
“Soldatenliebschaft,” Comic Operetta, in one Act. Overture and fourteen
numbers.
“Die wandernden Komödianten,” Comic Opera in one Act. Overture and
twelve numbers. 1821.
“Der Onkel aus Boston, oder die beiden Neffen,” Comic Opera in three
Acts. 1822-1823. Overture and fourteen numbers, with much Ballet Music.
Music to Calderon’s Tragedy, “The Steadfast Prince.” Two Choruses for
Male Voices, Battle-piece, Melodrama. 1834.
Written for a performance in Düsseldorf.
FOR VOICE, WITH ORCHESTRAL ACCOMPANIMENT OR STRINGED INSTRUMENTS.
Recitative and Aria, “Che vuoi mio cor,” for a Contralto, accompanied by
Stringed Instruments. 1824. Scena and Aria, for a Soprano, with
Orchestra. 1834.
Much of this was afterwards made use of in the Aria, op. 94, the only
instance in which Mendelssohn’s artistic energy permitted him so to do.
Air for Barytone and Orchestra, with English Words, written for
Philipps, the singer, of London. 1846.
SONGS FOR VOICE, WITH PIANOFORTE ACCOMPANIMENT.
Songs, finished ballads, several in Italian, chiefly from Mendelssohn’s
earlier period to the year 1834. The words are, with few exceptions, by
unknown poets, and the enumeration of the individual pieces can be of
little interest. Their number is from twenty to thirty.
FOR FOUR MALE VOICES.
“A frischer Bua bin ich,” for Immermann’s “Andreas Hofer.” 1833.
“Der weise Diogenes war der erste der griechischen Sieben,” Canon for
twice Two Voices. 1833.
“Musikanten Prügelei.” 1833.
“Im Nebelgeriesel, im tiefen Schnee,” Gipsy Song by Goethe, for two
Two-part Choirs.
“Worauf kommt es überall an,” by Goethe. 1837.
“Auf ihr Herrn und Damen schön,” Hunting Song. 1837.
Morning Song of the Thuringian Vocal Association, “Seid gegrüsset,
traute Brüder.” For the Festival in Eisenach. 1847.
FOR FULL ORCHESTRA.
Symphony, in D. 1822.
Grand Overture, in C. 1825.
Performed at the Musical Festival in Düsseldorf, at Whitsuntide, 1833.
Symphony for the celebration of the Reformation Festival, in D minor.
1830.
Performed in London and Berlin.
Marches for smaller Military Bands, composed for the use in Church
Processions at Düsseldorf. 1833.March for a full Orchestra, in D, in
celebration of the visit of
Cornelius the painter to Dresden.
FOR STRINGS.
Ten Four-, Five-, and Six-part Symphonies, in the years 1820 to 1823.
Concerto for the Violin, with accompaniment of Stringed Instruments, in
D minor.
Quartett for Two Violins, Tenor and Violoncello, in E flat. 1823.
Many single Four-and Five-part pieces, Fugues, etc.
FOR PIANOFORTE, WITH ACCOMPANIMENT.
Concerto for Two Pianos, with Orchestra, in E. 1823.
Concerto for Two Pianos, with Orchestra, in A flat. 1824.
Concerto for Pianoforte and Violin, with Stringed Instruments, in D
minor. 1823.
Concerto for Pianoforte, with Stringed Instruments, in A minor.
Sextett for Pianoforte, Violin, Two Tenors, Violoncello, and Double
Bass, in D. 1824.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in D minor.
Trio for Pianoforte, Violin, and Tenor, in C minor. 1820.
Sonata for Pianoforte and Tenor, in C minor. 1824.
Sonata for Pianoforte and Clarionet, in E flat.
Sonata for Pianoforte and Violin, in D minor.
Sonata for Pianoforte and Violin, in F. 1838.
“Song without Words,” for Pianoforte and Violoncello. For Fräulein Lisa
Christiani.
FOR PIANOFORTE SOLO.
Grand Fantasia. 1823.
Fantasia, four hands, in D minor. 1824.
Sonatina, in B flat minor. 1824.
Sonata, in B flat. 1827.
Andante and Allegro, in E major and E minor. 1837.
A vast number of Songs without Words, Studies, Preludes, Fugues,
Juvenile Pieces, etc., of all dates.
FOR CLARIONET AND CORNO DI BASSETTO, WITH PIANOFORTE ACCOMPANIMENT.
Two Concertos for the Royal Bavarian Kammer-Musiker, Herren Bärmann,
father and son, composed in Munich, in 1832.
INDEX.
N.B.--A * is prefixed to Mendelssohn’s own Compositions.
Alexander’s Feast, Handel’s, 15, 62.
André, of Offenbach, 119.
Andria of Terence, 442.
*Antigone, 274, 276, 282.
Athalie, 384, 385;
overture to, 342, 364.
*Ave Maria (op. 23, No. 2), 75, 80.
Bach, Sebastian, 73, 75, 76, 80, 128, 180, 208;
monument to, 191, 208, 317; cantata in E minor, 41;
‘Passion,’ 69;
Chromatic fantasia, 216;
Mass in B minor, 413.
Bauer, Pastor, letters to, 1, 3, 68, 96, 394.
Becker’s Rheinlied, 247.
Beethoven, 23;
concerto in G, 316, 364;
sonata op. 106, 390.
Bennett, Sterndale, 161.
Berlin, project for Academy at, 223, 226, 230,
235, 239, 254, 258, 261, 266, 273, 301, 303, 305, 376, 379;
state of music there, 271;
Mendelssohn’s appointment, 336, 417.
Bernus, letter to, 393.
Bendemann, letter to, 410.
Birmingham, 133, 210, 402, 404.
Birmingham Festival (1837), 133-5, 142;
(1846), 400-407.
Blümner, his legacy, 203, 206.
‘Bonifacius,’ Schubring’s, 164.
Bunsen, letters from and to, 353, 355.
Butler, Mrs., 283.
Cherubini, 27, 28, 60, 147, 187, 192.
Chopin, 38, 88, 89.
Chorley, 190, 283.
Composition, Mendelssohn’s desire to stick to, 139, 144.
Cramer’s Studies recommended, 189.
Creation, Haydn’s, 79.
Crown Prince, the, 11.
David, F., letters to, 153, 266, 274.
Dehn, letter to, 276.
Deidesheim, wine-cellars at, 371.
Dilettanti and Artists, 396.
Dirichlet, Professor, letter to, 414.
Dirichlet, Rebecca, letters to, 8, 57, 65, 121, 122, 148, 389, 425, 427.
‘Don Juan’ at Düsseldorf, 16-19.
Duprez, 283.
Düsseldorf, residence there, 8-87;
resignation of post, 53, 60.
Eckert, 214;
letters to, 284.
Education of a youth in music, 186.
Egmont, Beethoven’s, 22.
Eichhorn, Herr, letters from and to, 376, 379.
Elijah, oratorio of, 159, 164, 318, 396, 402, 410, 413, 432.
England, 364, 367.
Ernst, 198.
Eumenides, composition of, 353, 356, 382.
Extemporizing, Mendelssohn’s, 23.
Falkenstein, Von, letters to, 203.
Family, his, letters to, 22, 44, 115, 149, 161.
*Fantasia in F minor (op. 28), 24, 447.
Father, his, death of, 93, 94, 96;
character, 112.
Father, his, letters to, 16, 28, 80, 82;
letters from, 61, 74.
Florence, 182.
*Four-part songs, 35, 174, 176.
Franck, E., letter to, 143.
Frankfort, direction of the St. Cecilia Association, 109, 111, 116, 123, 170;
night fête at, 175;
entertainment to Mendelssohn, 178;
his delight in the place, 362, 366, 389, 393.
Frege, Madame, letters to, 404.
French painters, 164.
Fürst, letters to, 41, 195.
Gade, symphony in C minor, 325;
letters to, 326, 330.
Gluck, 152.
Goethe, 19, 79, 115, 121.
Grote, Mr., 430.
Grimsel, the, 292.
Guhr, 168-169.
Günther, 29.
Gusikow, 109.
Hähnel, Mademoiselle, 35.
Handel, 77, 105, 146, 151;
his judicious scoring, 26;
works presented to Mendelssohn, 90, 147.
Handel Society, 386.
Hauser, F., letter to, 273.
Haydn, Creation, 79;
“Farewell Symphony,” 148.
*Hebrides, overture, 7, 15.
Hensel, Fanny, 54, 125, 126;
her music, 102, 125, 128, 441;
her death, 422.
Hensel, Fanny, letters to, 34, 55, 101,
123, 163, 181, 192, 208, 215, 244, 325, 366, 368.
Hiller, F., 37, 38, 81, 98, 111, 117, 122, 124, 140, 193, 199;
his overture in D minor, 98;
letter to, 152.
Hixte, letter to, 87.
*Hymn of Praise (Lobgesang), 213, 219, 222, 242.
Immermann, 16, 20, 58;
his ‘Münchhausen,’ 242.
*‘Infelice,’ scena (op. 94), 25.
Interlachen, letter from, 288.
‘Israel in Egypt,’ 12;
Mendelssohn’s edition of, 364.
Italy, 141, 181, 209.
Jean Paul, 64, 329.
Johann, Mendelssohn’s servant, 362, 410, 412.
Jungfrau, the, 288.
King of Prussia, the, letters to, 302, 350;
from, 241, 313.
Klengel, 287.
Klingemann, 441;
letters to, 64, 171, 219, 263, 304, 327, 362, 412.
Köstlin, letters to, 277, 323.
Kücken, 292.
Lang, Josephine, 277.
Leipzig, 71, 85.
Leipzig Conservatorium, 203, 213, 311, 316, 409;
the town-orchestra of, 343;
concerts at, 85, 190.
Lessing, 162, 313.
Libretto of an Opera, 196.
Lindblad, 21.
Liszt, 201, 202.
*Liturgy composed for the King, 410.
London, 135, 210, 283.
Lower Rhine Festival, 145.
Mass in the Catholic Church, 70.
Massow, Von, letters to, 300.
Measles, Mendelssohn’s recovery from, 161.
Meeresstille, overture, 52, 91.
Meiringen, 309.
*Melusina, overture, 15, 34, 47, 73, 105.
Merk, 110.
Messiah, the, 69.
*Midsummer Night’s Dream Music, 338.
Moscheles, 90, 92, 406, 409;
letters to, 7, 25, 158, 189, 332, 385, 399.
Mother, letters to his, 37, 52, 108, 111, 114,
125, 126, 133, 167, 175, 200, 208, 212, 238, 280, 288, 290, 311;
her death, 324.
Mozart, D minor concerto, 103;
Do. for two Pianos, 199;
“Jupiter” Symphony, 387;
Zaïde, 148;
Zauberflöte, 333.
Müller, Herr, letters from and to, 382, 385.
Music as a part of worship, 69.
Music, the meaning of, 298.
*Musikanten-prügelei, 48.
Naumann, letter to, 186, 391.
Nausikaa, 148.
Neukomm, 26, 124, 134, 143.
Oberhofer, singer, of Carlsruhe, 373.
*Œdipus, 309, 384.
*Organ fugues (op. 37), 123.
Organ playing, 45.
Otten, G., letter to, 335.
Painters characterized, 182.
Palatinate, national song of, 372.
Palestrina, 2, 10.
“Passion” projected by Mendelssohn, 36.
Pasta, 272.
Paul Mendelssohn, letters to, 138, 198, 221,
223, 226, 229, 233, 239, 249, 261, 313, 320,
336, 339, 341, 342, 363, 402, 407, 426, 430, 434.
Philharmonic Society of London, 25, 364.
Planché, his opera-text, 173, 196.
Pleyel, Madame, 193.
*Preludes and fugues (op. 35), 123.
Preusser, Madame, letter to, 329.
Prince Albert, 404.
*Psalm xlii. (op. 42), 322.
*Quartett, D major (op. 44, No. 1), 154.
*Quartett, E minor (op. 44, No. 2), 139.
*Quartett, pianoforte, in C minor (op. 1), 140.
*Reformation Symphony, 252.
Reichardt, 19, 82, 419.
“Revolution” in music, 56, 65.
Rietz, Julius, letter to, 251;
his overture to ‘Hero and Leander,’ 251.
Rome, 184, 194.
*Rondo brillant in E flat (op. 29), 24, 25, 46.
Rosen, Dr. F., letter to, 106.
Rossini, 117, 118.
Ruhr, bathing in the, 45.
*Ruy Blas, overture to, 167.
Saarn, excursion to, 44.
Sacred Harmonic Society, 135.
“Saint,” Mendelssohn’s definition of, 162.
Samson, Handel’s, 116.
Saxony, King of, 213.
Schadow, the painter, 129.
Schelble, 110, 115.
Schirmer, letter to, 162.
Schleinitz, letters to, 70, 85, 113, 156.
Schröder-Devrient, 245, 312.
Schubring, Pastor, letters to, 5, 39, 49, 93, 159, 164, 246, 318, 397.
‘Seasons,’ Haydn’s, 79.
Sebastian Hensel, 429;
letter to, 420, 423.
*Serenade, etc. (op. 43), 149.
Seydelmann, actor, 32.
Simrock, A., letters to, 150, 166, 293, 296, 333.
Souchay, M. A., letter to, 298.
Spohr, 273; letter to, 72.
Spontini, 272.
Staudigl in Elijah, 405.
Steffens, Frau, letter to, 418.
Stern, J., letter to, 360.
*St. Paul, Oratorio of, 5, 25, 39, 40,
49, 54, 55, 67, 73, 84, 89, 95, 113,
120, 130, 174, 373;
first performance of, 113;
at Birmingham, 133.
St. Peter, projected oratorio on, 129, 130.
Switzerland, 288-9.
*Symphony No. 1, 439.
*Symphony, the Italian, 7.
*Symphony, the Scotch, 56, 155, 171, 310, 364.
“Tempest, The,” 309.
Thalberg, 200.
Theatre, the, its influence, 51.
Theodora, Handel’s, 124.
Tieck, 354, 356.
Titian, his pictures at Venice, 181;
at Rome, 194.
*Trio in D minor, 171, 174.
*Variations in B flat (op. 83), 266;
in D minor (op. 54), 265;
in E flat, 266.
Velten, letter to, 401.
Verhulst, letter to, 375.
Verkenius, letters to, 267, 270.
Victoria, Queen, 281.
‘Vier Fragen,’ pamphlet of Jacobi, 249.
*Violin concerto, 155.
*Walpurgis Nacht, 219, 312, 315, 328, 364, 440.
‘Wasserträger,’ Cherubini’s, 28.
Webern, von, letters to, 421, 431.
Werden, visit to, 45.
Zauberflöte, score of, 333.
JOHN EDWARD TAYLOR, PRINTER,
LITTLE QUEEN STREET LINCOLN’S INN FIELDS.
* * * * *
39, PATERNOSTER ROW:
LONDON: _December, 1863_.
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GENERAL LIST OF WORKS
PUBLISHED BY
MESSRS. LONGMAN, GREEN, AND CO.
39 PATERNOSTER ROW, LONDON.
=THE CAPITAL OF THE TYCOON=: A Narrative of a Three Years’ Residence
in Japan. By Sir RUTHERFORD ALCOCK, K.C.B., Her Majesty’s Envoy
Extraordinary and Minister Plenipotentiary in Japan. 2 vols. 8vo
with Maps and above 100 Illustrations.
=SIR JOHN ELIOT=: a Biography. By JOHN FORSTER. With Two Portraits,
from original Paintings at Port Eliot.
[_Just ready._
=HISTORY OF THE REFORMATION IN EUROPE IN THE TIME= OF CALVIN. By J.
H. MERLE D’AUBIGNÉ, D.D., President of the Theological School of
Geneva, and Vice-President of the Société Evangélique; Author of
_History of the Reformation of the Sixteenth Century_. VOLS. I. and
II. 8vo
=THE PENTATEUCH AND BOOK OF JOSHUA=, Critically Examined. PART I. The
Pentateuch Examined as an Historical Narrative. By the Right Rev.
JOHN WILLIAM COLENSO, D.D., BISHOP of NATAL. Second Edition,
revised. 8vo 6_s._ PART II. _The Age and Authorship of the
Pentateuch Considered_, is nearly ready.
=THE STORY OF A SIBERIAN EXILE.= By M. RUFIN PIETROWSKI. Followed by
a Narrative of Recent Events in Poland. Translated from the French.
Post 8vo 7_s_ 6_d_
=REMINISCENCES OF THE LIFE AND CHARACTER OF COUNT= CAVOUR. By WILLIAM
DE LA RIVE. Translated from the French by EDWARD ROMILLY. 8vo 8_s_
6_d_
=JEFFERSON AND THE AMERICAN DEMOCRACY=: An Historical Study. By
CORNELIS DE WITT. Translated, with the Author’s permission, by R.
S. H. CHURCH. 8vo 14_s_
=DEMOCRACY IN AMERICA.= By ALEXIS DE TOCQUEVILLE. Translated by HENRY
REEVE, Esq. New Edition, with an Introductory Notice by the
Translator. 2 vols, 8vo 21_s_
=AUTOBIOGRAPHY OF THE EMPEROR CHARLES V.= Recently Discovered in the
Portuguese Language by Baron Kervyn de Lettenhove, Member of the
Royal Academy of Belgium. Translated by LEONARD FRANCIS SIMPSON,
M.R.S.L. Post 8vo 6_s_ 6_d_