29 . Berlin, MA Depos. Lohs 1, 27–28; Maurer, 96.
30 . MF I, 92.
31 . Felix to Lea, March 13, 1825, MLL , 29.
32 . Bode, 83.
33 . November 14, 1821, Felix to Berlin (NYPL No. 8); GM , 26.
34 . Rellstab, II, 140.
35 . Steiger and Reimann, VII, 98 (November 5, 1821).
36 . See Elvers: 1970; GM , 21.
37 . Facs. in Kleßmann, 124; and Selden-Goth, 24. The silhouettes are in MDM d. 8, fols. 31, 37–40; see also GM , p. 29n.
38 . Rellstab, II, 135–48.
39 . GM , 12 (after Rellstab, II, 141).
40 . Rellstab, II, 143.
41 . K. 396 (=K. 385f), Goethe und Schiller Archiv, Weimar. The fragment was “completed” by Mozart’s friend and fellow Mason, Anton Stadler, and published as a Fantasy for piano solo.
42 . GM , 14.
43 . Ibid., 15.
44 . See J. C. Lobe, “Conversations with Mendelssohn,” trans. S. Gillespie, in Todd: 1991, 187–205.
45 . Lobe: 1867, 6.
46 . In a letter of March 11, 1823, to Goethe, Zelter refers to Felix’s new Piano Quartet in C minor, Op. 1, and distinguishes it from the quartet performed for the poet in Weimar in 1821. Hecker, II, 201–2.
47 . GM , 17 (after Lobe).
48 . November 26, 1821, Abraham to Goethe, Friedlaender: 1891, 111.
49 . Vorvertrag of December 8, 1821; Klein: 1995b, 100–102; the closing and reorganization of the firm was announced on December 31. See Elvers and Klein, 161, No. 55, with facs.
50 . Henriette to her son Benjamin, January 4, 1822, in Reissner: 1976, 251.
51 . March 19, 1822, Felix to Goethe; Friedlaender: 1891, 78.
52 . April 21, 1822, Ludwig Berger to Jenny Sieber; Siebenkäs, 233.
53 . January 9, 1822, Felix to Casper. HHI, Sig. 50.538.
54 . MDM e. 14, 3; MN 9.
55 . See further Warrack: 1987, 275, 283; and Schünemann: 1923, 525–32.
56 . Warrack: 1987, 283.
57 . March 17, 1822, Zelter to Goethe; Hecker, II, 161.
58 . It was completed by the date of Zelter’s letter, and appears in Fanny’s list of Felix’s compositions from 1822, narrowing its date to ca. January–March 17, 1822. MF , I, 117–18.
59 . MN 2, 169–74; ed. by Pietro Zappalà in Felix Mendelssohn Bartholdy, 13 Psalmmotetten komponiert 1821/22 , Stuttgart, 1998, 60–68.
60 . MN 45, 109–72; two editions are available in Hatteberg, and Pietro Zappalà (Stuttgart, 1998).
61 . MN 45.
62 . R. Werner, 17.
63 . Elvers and Ward Jones, 89.
64 . “Introduction” to Wehner’s edition of Felix’s Magnificat in LAWFMB VI:5, Wiesbaden, 1997, xvi.
65 . Felix to Zelter, August 9, 1822; Schottländer: 1930, 240.
66 . March 29, 1822, Lea to Henriette von Pereira Arnstein; MDM c. 29 (extract).
67 . MF I, 118.
68 . For a modern ed., see H. Allan Craw, ed., The Symphony 1720–1840 , Series B, XI, N.Y., 1983.
69 . Dinglinger: 1993.
70 . Harmonicon 6 (1828), 251.
71 . Fanny included it in her 1822 list of Felix’s compositions; MF I, 118.
72 . See the preface to Renate Unger’s edition of both versions in LAWFMB II: 6, Leipzig, 1973.
73 . For examples, see Hoffmann-Erbrecht.
74 . Heyse, 3–6, 9–10, 12.
75 . Klein: 1993, 146.
76 . Crum: 1984, 87ff.
77 . Felix used two drawing books concurrently, now in MDM c. 5, e. 3. Only a few drawings have been published, including views of Wattwyl, the Grindelwald Glacier, Vevay, and Chamonix. See Crum: 1972, No. 6; Petitpierre, Romance , 25, 29; Koyanagi, 1 and 54; and Lambour: 1990, 176, which reproduces a view of Vevay drawn for the album of Julie Heyse.
78 . July 19, 1822, MLL , 12.
79 . MF I, 115.
80 . July 19, 1822, Felix to Zelter; MLL , 12.
81 . July 19, 1822, Felix and Fanny to Zelter; HHI, Sig. 51.4896.
82 . August 27, 1822, Felix to Casper; MDM c. 32, fols. 4–6.
83 . August 21, 1822, Lea to Henriette Mendelssohn, in Lambour: 1990, 172.
84 . Ibid.
85 . August 22, 1822, Felix to Zelter; MLL , 14.
86 . Ibid.
87 . August 21, 1822, Lea to Henriette Mendelssohn, Lambour: 1990, 173.
88 . August 22, 1822, Felix to Zelter. MLL , 16.
89 . Undated letter from Fanny to Marianne Mendelssohn, MF , I, 110.
90 . Sehnsucht nach Italien , August 17, 1822; for an ed., transposed from the original A major to G major, see Fanny Hensel, Ausgewählte Lieder , Düsseldorf, 1991, 8–9.
91 . About forty-five km. August 21–22, 1822, Lea to Henriette Mendelssohn; Lambour: 1990, 176.
92 . September 13, 1822, Felix to Zelter, in Selden-Goth, 25.
93 . The commentary supplementing the drawing is in MDM c. 49, fols. 1v–2.
94 . MF I, 112.
95 . “Von allen deinen zarten Gaben” and the lullaby “Schlummre sanft und milde” (September 18, 1822), published in Leven: 1926, 179–80. The Piano Quartet was begun two days later. Autographs of all three are in MN II.
96 . Felix to Zelter, September 13, 1822, Selden-Goth, 27–28.
97 . July 19, 1822, Fanny to Zelter. HHI, Sig. 51.4896.
98 . Hiller, Letters , 4; Schnyder von Wartensee, 369.
99 . E. Devrient, Recollections , 11–12.
100 . See further Bormann.
101 . E. Devrient, Recollections , 12.
102 . Two autographs survive, dated October 25, 1820 [recte 1822] (MN 45), and November 4, 1822 (Stadt- und Universitätsbibliothek Frankfurt), bearing a dedication to the Cäcilienverein.
103 . Jacobson: 1962, 25. The change was recorded in the Berlin Judenbürgerbuch on February 13, 1823; see Kliem, 130.
104 . Elvers: 1974, 49.
105 . C. H. Müller, 3.
106 . See Ward Jones: Mendelssohns on Honeymoon , 1997, xv.
107 . Steiger and Reimann, VII, 190.
108 . GM , 34.
109 . E. Devrient, Recollections , 10.
110 . MF I, 113.
111 . MDM, b. 3, fol. 1.
112 . See Montgomery, 201.
113 . AmZ 25 (1823), 55.
114 . Elvers and Klein, 171, No. 68.
115 . MF I, 101.
116 . Elvers and Klein, No. 78, 180–82, with facs.
117 . December 25, 1822, Lea to Wilhelm Hensel; Gilbert: 1975, 51.
118 . In a letter of June 4, 1822 to Zelter, Fanny lamented, “My quartet progresses slowly. I am in the middle movement. If you are not there, the work will not move at all.” Klein: 1997, 70.
119 . Ed. Renate Eggebrecht-Kupsa, Kassel, 1990.
120 . Cadenbach, 85.
121 . Heine, “Dritter Brief aus Berlin,” Sämtliche Werke , ed. K. Briegleb, Munich, 1959, II, 59 (June 7, 1822).
122 . BamZ 1 (1824), 168–69.
123 . Both versions are available in LAWFMB I: 2 (1965).
124 . See the more detailed analysis in Todd: 1991c, 167ff.
Chapter 4
1 . Dorn: 1872, 399.
2 . March 11, 1823; Hecker, II, 201–2.
3 . See Ward Jones: 1993.
4 . February 11, 1824, Henriette Mendelssohn to Lea, cited in ibid., 269–70.
5 . AmZ 26 (1824), 181–84.
6 . BamZ 1 (1824), 168–69.
7 . All five are available in LAWFMB , I:5, Leipzig, 1967.
8 . Mendelssohn, Complete Organ Works , Wm. A. Little, ed., London, 1990, V, 69–72.
9 . See the Preface to H. C. Wolff’s edition in LAWFMB , I:3.
10 . May 27, 1823, Lea to Henriette von Pereira Arnstein; Vossische Zeitung No. 78 (July 1, 1823), 8; both cited in Hellmundt (n. 12), xvi.
11 . MDM b. 5, fols. 73–79; the version with string orchestra is in Berlin, MN Band 4.
12 . Clemens Schmalstich, ed., Berlin, 1960; Christoph Hellmundt, ed. in LAWFMB ,
II:8 (1999).
13 . Berlin, MN 15; letters of December 9, 1823, Felix to Zelter, MLL , 18–19; and December 9, Fanny to Zelter, Klein: 1997, 138.
14 . See Lindeman: 1999, and his edition of the original version of the first movement (Madison, Wisc., 1999).
15 . Lindeman: 1999, 70.
16 . Orazio Frugoni, “The Case of the Captive Concertos,” High Fidelity 4/3 (May 1954), 26ff.
17 . Sonatensatz in E major (January 29, 1822), ed. L. G. Serbescu and B. Heller, Kassel, 1991.
18 . See further Lindeman: 1999b, 82.
19 . Berlin, MN 15; see the edition of Karl-Heinz Köhler, with facs., in LAWFMB , II:4 (1971).
20 . See most recently Leon Plantinga, Beethoven’s Concertos , N.Y., 1999, 290.
21 . They include Faunenklag, Am Seegestad, Durch Fichten , and Ich denke dein (MDM b. 5 and c. 47).
22 . See Walter Frisch, “Schubert’s Nähe des Geliebten (D. 162): Transformation of the Volkston,” Schubert: Critical and Analytical Studies , ed. Walter Frisch, Lincoln, 1986, 175–99.
23 . MN 2, 258–70 (February 23, 1823).
24 . Ed. R. L. Todd, N.Y., 1980; see also Todd: 1981.
25 . Mendelssohn Bartholdy, Complete Organ Works , V.
26 . Bormann, 99; ed. G. Graulich, Stuttgart, 1980.
27 . See further Wehner: 1996, 131.
28 . The first page of the autograph (BL Add Ms. 30900) bears the date March 25, 1823; the last page, March [April] 5. The quartet was first published in Berlin in 1879.
29 . In 1848, Felix’s widow Cécile gave the autograph, now lost, to the violinist Joseph Joachim, who later described the manuscript to Julius Rietz. See Joachim and Moser, II, 266.
30 . BamZ 2 (1825), 366.
31 . Especially in her Sonata o Capriccio in F minor for piano (February 1824).
32 . April 8, 1823, Lea to Amalia Beer; Meyerbeer, I, 467–69. See also the letter of September 27, 1823, Amalia Beer to Meyerbeer, in ibid., 554.
33 . MF , I, 118.
34 . The Allegro molto agitato in D minor of December 3, 1823, in Fanny Hensel-Mendelssohn, Frühe Klavierstücke (1823/24) , ed. Barbara Heller, Kassel, 1996, 24–27.
35 . AmZ 25 (1823), 271.
36 . Letter of April 8, 1823 (n. 32).
37 . AmZ 25 (1823), 337.
38 . MF I, 117.
39 . Wilhelm Müller to Adelheid Müller, July 29, 1823, in P. S. Allen and J. T. Hatfield, ed., Diary and Letters of Wilhelm Müller , Chicago, 1903, 112.
40 . Maurer, 80.
41 . December 1, 1823, Gilbert: 1975, 57–61.
42 . Ibid., 59.
43 . Author of the play Preciosa , set to music by Carl Maria von Weber in 1821.
44 . Goethe to Zelter, August 24, 1823; Hecker, II, 218; see also Löwenthal-Hensel: 1981, 43–44.
45 . MF , I, 103.
46 . Löwenthal-Hensel: 1981, 15.
47 . Ibid. For a facs. see Klein: 1997, 53.
48 . Abraham and Lea to Wilhelm Hensel, January 4, 1826, in Gilbert: 1975, 62–66.
49 . Wilhelm to Luise, December 1, 1823, ibid., 60.
50 . MF I, 102-03.
51 . E. Devrient, Recollections , 8.
52 . MF I, 119.
53 . Karl Baedeker, Northern Germany , Leipzig, 1900, 260.
54 . Ulrich Wegener, “Bad Reinerz: Herrliche Melodien um ein idyllisches Land,” cited in Rabien: 1990, 163.
55 . MF , I, 120.
56 . Paul Dengler, Geschichte des Bades Reinerz , Reinerz, 1903, cited in Rabien: 1990, 166.
57 . Ibid.
58 . December 6, 1823, Felix to Latzel, in Liepmannsohn, 64. Friedhelm Krummacher has proposed that a fragmentary violin sonata (MN 20, 73–79) was the work intended for Latzel. Krummacher: 1978, 84.
59 . E. Devrient, Recollections , 57.
60 . Ibid., 14–15. Rietz’s copy is in MDM c. 68. For a brief description, see Crum: 1983, 30.
61 . E. Devrient, Recollections , 13.
62 . Hiller, Mendelssohn: Letters and Recollections , 178.
63 . Marx: 1865, II, 85ff.
64 . Geck, 19.
65 . MDM Green Books IV, 204; see Elvers and Ward Jones, 90.
66 . In 1999, a significant part of the library, confiscated by the Russian Red Army at the end of World War II, reemerged in the Ukraine. See “International Sleuthing Adds Insight about Bach,” New York Times , August 16, 1999; and Christoph Wolff, “Recovered in Kiev: Bach et al .: A Preliminary Report on the Music Collection of the Berlin Sing-Akademie,” Notes of the Music Library Association 58 (2001), 259–71.
67 . Friedrich Smend, “Bachs Matthäus-Passion,” Bach-Jahrbuch 1928 , 1–95; Schünemann: 1928, 138–71. For a facs. of the Altnikol Ms., now in SBB, see NBA II/5a.
68 . SBB, Mus. Ms. Bachautogr. P. 25.
69 . Kritischer Bericht of Dürr’s edition of the Passion for the Neue Bach Ausgabe, II: 5, Kassel, 1974, 15–16, 71, and 94–96.
70 . Nos. 4–7, and 25–26. Schünemann: 1928, 148.
71 . Geiringer, 199; Carl von Winterfeld first applied the simile in the Evangelischer Kirchengesang , Leipzig, 1843–1847.
72 . Marx: 1865, II 85ff; for Zelter’s reworking of a recitative, see Schünemann: 1928, 149–50.
73 . MDM d. 14 (Crum: 1983, 92).
74 . The autograph, which fills two volumes (MN 10 and 11), bears the first title on its cover, the second at the head of the overture.
75 . E. Devrient, Recollections , 15; T. Devrient, 279.
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