Mendelssohn

Todd, R. Larry

doi:10.1017/s1479409800002718

Nineteenth-Century Music Review

2008

DOI: 10.1017/s1479409800002718

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Mendelssohn

R. Larry Todd

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“…66See R. Larry Todd's summary ([1998] 2008, p. 154). Krummacher's account of the quartet (1978) is extremely perfunctory and one of the least satisfactory parts of his landmark study, which contains fairly detailed analyses of several other chamber works.…”

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The Mendelssohn of the Eighteenth Century: Tonal Growth, Functional Fluidity and Formal Complication in the First Movement of the D Major Quartet, Op. 44 No. 1

Taylor

2024

Music Analysis

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This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music. Most conspicuous of these features is the role taken by the key of F♯ minor, iii of the tonic, which assumes increasing prominence over the course of the exposition, culminating in a curious ostensible secondary theme (bar 71) which appears initially to contradict the tonality of A major just confirmed. This harmonic argument runs alongside a fluid approach to phrase and interthematic structure, in which not only are the erstwhile first theme and transitional material subject to functional transformation but the latter is further elided with potential secondary material, while no terminating cadence (or EEC) is present either. Current analytical approaches – foremost here, sonata theory – cannot fully elucidate the subtlety of Mendelssohn's procedure (one might variously argue for an overridden medial caesura, a secondary theme starting in multiple places, a continuous or even a failed exposition), and nonetheless, clear precedents for individual elements of Mendelssohn's design can be found earlier in the music of Haydn and Mozart. Mendelssohn's movement raises significant questions about recent approaches to theorising nineteenth‐century form and its relation to Classical precedents, not all of which can be easily answered.

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The Mendelssohn of the Eighteenth Century: Tonal Growth, Functional Fluidity and Formal Complication in the First Movement of the D Major Quartet, Op. 44 No. 1

Taylor

2024

Music Analysis

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Noting Images: Understanding the Illustrated Manuscripts of Mendelssohn’sSchilfliedand Hindemith’sLudus Tonalis

Walden

2010

MTO

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Felix Mendelssohn and Paul Hindemith, composing about one hundred years apart, integrated visual elements, including drawings and illustrated notations, into musical manuscripts they designed as gifts for women they admired. The two documents, illustrating Mendelssohn’s Schilflied (1842) and Hindemith’s Ludus Tonalis (1942), are strong declarations of compositional and artistic ideology. This article examines the scores as reflecting, respectively, aspects of nineteenth-century and early twentieth-century conceptions of musical composition and form, and their relation to visual media.

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Mendelssohn

Cited by 2 publications

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The Mendelssohn of the Eighteenth Century: Tonal Growth, Functional Fluidity and Formal Complication in the First Movement of the D Major Quartet, Op. 44 No. 1

The Mendelssohn of the Eighteenth Century: Tonal Growth, Functional Fluidity and Formal Complication in the First Movement of the D Major Quartet, Op. 44 No. 1

Noting Images: Understanding the Illustrated Manuscripts of Mendelssohn’sSchilfliedand Hindemith’sLudus Tonalis

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