Chapter XIII: Part 13

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.

“Kyrie” for two Choruses and Soli, in C minor.

“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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