Anna Harwell Celenza is a professor at Johns Hopkins University, where she holds a joint appointment in the Writing Seminars (Krieger School of Arts and Sciences) and the Musicology Department (Peabody Conservatory). She is the author of several scholarly books, including Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra, and editor of Music and Human Flourishing. Katharina Uhde, a violinist-musicologist and specialist on nineteenth-century music, is Akademische Oberrätin at LMU Munich and an Associate Professor of Music at Valparaiso University, Indiana. She is the author of The Music of Joseph Joachim and the coauthor, with R. Larry Todd, of The Art of Musical Ciphers, Riddles, and Other Sundry Curiosities.

• AcknowledgementsPrefaceNotes on ContributorsI. THE LIFE AND WORK OF FELIX MENDELSSOHN 1. Singing without Words: Applying Mendelssohn's Aesthetics Douglass Seaton 2. Mendelssohn's Fugue in E flat (R 23) and the Echo of Beethoven Benedict Taylor 3. A Brief Exploration of Mendelssohn's Cellists Marc Moskowitz 4. Heart's Jewel: The "Sense" of Mendelssohn's Violin Concerto, Op. 64Robert Whitehouse Eshbach 5. Three Postludes to Mendelssohnian Research Peter Ward Jones II. MENDELSSOHN RECEPTION 6. Felix Mendelssohn's English Countenance as Reflected in London Publications of His Vocal Chamber Music to ca. 1850John Michael Cooper 7. Mendelssohn and the Question of German Guilt Leon Botstein 8. To the Tomb of Genius: Heinrich, Mendelssohn, and American Musical Ambition Marian Wilson Kimber 9. "That Mesmerizing Mendelssohn Tune": from Tin Pan Alley to the Silver Screen Anna Harwell Celenza III. FANNY MENDELSSOHN HENSEL 10. Chorale Transformation and Triumph in Felix Mendelssohn's Sinfonia VI and Fanny Hensel's Das Jahr Claire Fontijn 11. From Excavation to Analysis: The Lieder of Fanny Hensel Marcia J. Citron 12. Comprehending Heine in Fanny Hensel's "Schwanenlied" Susan Youens 13."Other" Mendelssohns: The Lied ohne Worte op. 19[b] no. 2 Angela R. Mace IV. MENDELSSOHN'S CIRCLE 14. "The Woman for the New Era?": Johanna Kinkel's Musical Exile in London Monika Hennemann 15. Hearing Forward and Backward: Clara Schumann's Romance in B Minor als Denkmal und Ruine Emily Shyr 16. Schumann Fantasies: Scene and Style in Robin Holloway's Music Philip Rupprecht 17. "My Last Hope in this Respect": The Saga of the Swedish Composer Wilhelm Bauck's Correspondence with Felix Mendelssohn Kirsten Santos Rutschman 18. Joseph Joachim in Oxford Susan Wollenberg 19. "I felt as if I had found a diamond": The Mozart-Enthusiast Sir William Sterndale Bennett in the Context of His Multifaceted Mozart Revival Walter Kurt Kreyszig 20. Ferdinand Hiller and Franz Liszt: A Friendship Built at the Keyboard, Then Sundered and Never Healed Jürgen Thym and Ralph P. Locke 21. "Becoming" Joseph Joachim, or, "Becoming" 283 Johannes Brahms, the Composer of Violin Concerto Op. 77 (1878) Katharina Uhde Index

Anna Harwell Celenza is a professor at Johns Hopkins University, where she holds a joint appointment in the Writing Seminars (Krieger School of Arts and Sciences) and the Musicology Department (Peabody Conservatory). She is the author of several scholarly books, including Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra, and editor of Music and Human Flourishing. Katharina Uhde, a violinist-musicologist and specialist on nineteenth-century music, is Akademische Oberrätin at LMU Munich and an Associate Professor of Music at Valparaiso University, Indiana. She is the author of The Music of Joseph Joachim and the coauthor, with R. Larry Todd, of The Art of Musical Ciphers, Riddles, and Other Sundry Curiosities.

• AcknowledgementsPrefaceNotes on ContributorsI. THE LIFE AND WORK OF FELIX MENDELSSOHN 1. Singing without Words: Applying Mendelssohn's Aesthetics Douglass Seaton 2. Mendelssohn's Fugue in E flat (R 23) and the Echo of Beethoven Benedict Taylor 3. A Brief Exploration of Mendelssohn's Cellists Marc Moskowitz 4. Heart's Jewel: The "Sense" of Mendelssohn's Violin Concerto, Op. 64Robert Whitehouse Eshbach 5. Three Postludes to Mendelssohnian Research Peter Ward Jones II. MENDELSSOHN RECEPTION 6. Felix Mendelssohn's English Countenance as Reflected in London Publications of His Vocal Chamber Music to ca. 1850John Michael Cooper 7. Mendelssohn and the Question of German Guilt Leon Botstein 8. To the Tomb of Genius: Heinrich, Mendelssohn, and American Musical Ambition Marian Wilson Kimber 9. "That Mesmerizing Mendelssohn Tune": from Tin Pan Alley to the Silver Screen Anna Harwell Celenza III. FANNY MENDELSSOHN HENSEL 10. Chorale Transformation and Triumph in Felix Mendelssohn's Sinfonia VI and Fanny Hensel's Das Jahr Claire Fontijn 11. From Excavation to Analysis: The Lieder of Fanny Hensel Marcia J. Citron 12. Comprehending Heine in Fanny Hensel's "Schwanenlied" Susan Youens 13."Other" Mendelssohns: The Lied ohne Worte op. 19[b] no. 2 Angela R. Mace IV. MENDELSSOHN'S CIRCLE 14. "The Woman for the New Era?": Johanna Kinkel's Musical Exile in London Monika Hennemann 15. Hearing Forward and Backward: Clara Schumann's Romance in B Minor als Denkmal und Ruine Emily Shyr 16. Schumann Fantasies: Scene and Style in Robin Holloway's Music Philip Rupprecht 17. "My Last Hope in this Respect": The Saga of the Swedish Composer Wilhelm Bauck's Correspondence with Felix Mendelssohn Kirsten Santos Rutschman 18. Joseph Joachim in Oxford Susan Wollenberg 19. "I felt as if I had found a diamond": The Mozart-Enthusiast Sir William Sterndale Bennett in the Context of His Multifaceted Mozart Revival Walter Kurt Kreyszig 20. Ferdinand Hiller and Franz Liszt: A Friendship Built at the Keyboard, Then Sundered and Never Healed Jürgen Thym and Ralph P. Locke 21. "Becoming" Joseph Joachim, or, "Becoming" 283 Johannes Brahms, the Composer of Violin Concerto Op. 77 (1878) Katharina Uhde Index

Anna Harwell Celenza is a professor at Johns Hopkins University, where she holds a joint appointment in the Writing Seminars (Krieger School of Arts and Sciences) and the Musicology Department (Peabody Conservatory). She is the author of several scholarly books, including Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra, and editor of Music and Human Flourishing. Katharina Uhde, a violinist-musicologist and specialist on nineteenth-century music, is Akademische Oberrätin at LMU Munich and an Associate Professor of Music at Valparaiso University, Indiana. She is the author of The Music of Joseph Joachim and the coauthor, with R. Larry Todd, of The Art of Musical Ciphers, Riddles, and Other Sundry Curiosities.

• AcknowledgementsPrefaceNotes on ContributorsI. THE LIFE AND WORK OF FELIX MENDELSSOHN 1. Singing without Words: Applying Mendelssohn's Aesthetics Douglass Seaton 2. Mendelssohn's Fugue in E flat (R 23) and the Echo of Beethoven Benedict Taylor 3. A Brief Exploration of Mendelssohn's Cellists Marc Moskowitz 4. Heart's Jewel: The "Sense" of Mendelssohn's Violin Concerto, Op. 64Robert Whitehouse Eshbach 5. Three Postludes to Mendelssohnian Research Peter Ward Jones II. MENDELSSOHN RECEPTION 6. Felix Mendelssohn's English Countenance as Reflected in London Publications of His Vocal Chamber Music to ca. 1850John Michael Cooper 7. Mendelssohn and the Question of German Guilt Leon Botstein 8. To the Tomb of Genius: Heinrich, Mendelssohn, and American Musical Ambition Marian Wilson Kimber 9. "That Mesmerizing Mendelssohn Tune": from Tin Pan Alley to the Silver Screen Anna Harwell Celenza III. FANNY MENDELSSOHN HENSEL 10. Chorale Transformation and Triumph in Felix Mendelssohn's Sinfonia VI and Fanny Hensel's Das Jahr Claire Fontijn 11. From Excavation to Analysis: The Lieder of Fanny Hensel Marcia J. Citron 12. Comprehending Heine in Fanny Hensel's "Schwanenlied" Susan Youens 13."Other" Mendelssohns: The Lied ohne Worte op. 19[b] no. 2 Angela R. Mace IV. MENDELSSOHN'S CIRCLE 14. "The Woman for the New Era?": Johanna Kinkel's Musical Exile in London Monika Hennemann 15. Hearing Forward and Backward: Clara Schumann's Romance in B Minor als Denkmal und Ruine Emily Shyr 16. Schumann Fantasies: Scene and Style in Robin Holloway's Music Philip Rupprecht 17. "My Last Hope in this Respect": The Saga of the Swedish Composer Wilhelm Bauck's Correspondence with Felix Mendelssohn Kirsten Santos Rutschman 18. Joseph Joachim in Oxford Susan Wollenberg 19. "I felt as if I had found a diamond": The Mozart-Enthusiast Sir William Sterndale Bennett in the Context of His Multifaceted Mozart Revival Walter Kurt Kreyszig 20. Ferdinand Hiller and Franz Liszt: A Friendship Built at the Keyboard, Then Sundered and Never Healed Jürgen Thym and Ralph P. Locke 21. "Becoming" Joseph Joachim, or, "Becoming" 283 Johannes Brahms, the Composer of Violin Concerto Op. 77 (1878) Katharina Uhde Index