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Felix Mendelssohn

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Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
... by their supple form-content synergies serve as case studies: the Andante from Mendelssohn’s octet for strings in E♭ major, op. 20, and the first movement from Dvořák’s string quartet in E♭ major, op. 51. Copyright © 2019 by Yale University 2019 sonata form reversed recapitulation Felix Mendelssohn...
Journal Article
Journal of Music Theory (2006) 50 (2): 291–301.
Published: 01 October 2006
... cantata from Felix Mendelssohn, a family friend, on the occasion of the 1828 Versammlung meeting. With words by the prominent Berlin music Reviews    Steege on Jackson & Rieger 295 critic Ludwig Rellstab, the so-called “Humboldt Cantata...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
... feature the hymn melody as highly elabo- Mendelssohn Hensel. See Stinson 2006, 52–53. After his rated in the upper line (soprano): “Das alte Jahr,” “O Mensch revival of Bach’s St. Matthew Passion in 1829, Felix also con- bewein dein Sünde gross,” and “Wenn wir in Höchsten ducted the passion...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
...), and thus might well merit inclusion in the general category of “closing theme.” Like the other closing themes considered above, it is clearly end- 136 accented, at both the half-measure and one-measure levels.14 Example 10, from Mendelssohn’s Song Without Words op. 67, no. 4, presents another...
Journal Article
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
... of Felix Schumann’s name- sake Mendelssohn.11 We know from the testimony of the singer George Henschel that Brahms acknowledged a similarity between this movement and Mendelssohn’s Piano Trio in C minor op. 66, and recently David Brodbeck has more fully explored this allusion (1999, 120–22). Moreover...
Journal Article
Journal of Music Theory (2015) 59 (1): 1–61.
Published: 01 April 2015
.... � � • �Felix� �Mendelssohn, String Quartet in A major, op. 13, movement 1: � Adagio–allegro vivace (final measures). The first violin’s final cadence of the movement uses schema 7 with a delayed cadence in the other 4...
Journal Article
Journal of Music Theory (2004) 48 (1): 25–68.
Published: 01 April 2004
... II V43 I Example 7. Brahms, “Meine Lieder,” op. 106/4 (1888) 38 Table 2. play and Wiegenlieder Schubert, “Des Baches Wiegenlied,” D. 795/20 (dsM, 1823) Schubert, “Im Dorfe,” D. 911/17 (Wint, 1827) Schubert, “Wiegenlied,” D. 498 (1829) Mendelssohn, “Auf Flügeln des Gesanges,” op. 34...
Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
... and straightforward. A passage from Mendelssohn’s Song without Words, op. 62/1, shown in Example 10, illustrates the sort of simple phrase expansion that is included in the category: the evaded cadence, the clear repeat of melodic material...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
.... Allen Cadwallader, 245 –78. New York: Georg Olms. Salzer, Felix and Carl Schachter. 1969 . Counterpoint in Composition . New York: McGraw-Hill. Schachter, Carl. 1983 . “The First Movement of Brahms's Second Symphony: The Opening Theme and Its Consequences.” Music Analysis 2 : 55 –68...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
...- mann’s immediate precursors in the genre (Beethoven, nence of these genres in the oeuvre of Schenker’s com- Mendelssohn, Burgmüller). I suggest here a still broader posers of ‘genius,’ it is surprising that little Schenkerian...
Journal Article
Journal of Music Theory (2001) 45 (2): 470–483.
Published: 01 October 2001
... analyses of the work, including those of Lennox Berkeley, William Rothstein, Heinrich Schen- ker, and Felix Salzer, which concur that a coda begins in bar 25 and ex- tends for another ten bars. Two other analyses, by Hugo Leichtentritt and Wilhelm von Lenz, clash, identifying a climax much closer...
Journal Article
Journal of Music Theory (2003) 47 (1): 41–101.
Published: 01 April 2003
... of the Fantasia theme in that key as a remote area of B major (mm. 49–56). The foreignness of that key area in the second movement is all the more emphasized since the key areas immediately preceding and following A≤ are both tonic B major. Felix Salzer (1976, 171–82) describes the A≤ episode as the chromatic...
Journal Article
Journal of Music Theory (2006) 50 (1): 25–63.
Published: 01 April 2006
... obituary (Burkhart 1997) was dedicated to JMT’s first editor, David Krahenbuehl, and was on the border between memories and historiography of the modern field. One might have expected additional obituaries, for example, on the occasion of Felix Salzer’s death in 1986. Hin- demith, an important...