Choral fantasies : music, festivity, and nationhood in nineteenth-century Germany / by Minor, Ryan, 1974-

Table of Contents: “…Choral fantasies from Beethoven to the Vormarz --…”
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Mendelssohn, the organ, and the music of the past : constructing historical legacies /

Table of Contents: “…Larry Todd -- Mendelssohn and the Catholic tradition : Roman influences on his Kirchen-Musik, op. 23 and Drei Motetten, op. 39 / Siegwart Reichwald -- Mendelssohn and the legacy of Beethoven's Ninth : vocality in the "Reformation" symphony / Peter Mercer-Taylor -- Mendelssohn and the organ / Wm. …”
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Mendelssohn, the organ, and the music of the past : constructing historical legacies /

Table of Contents: “…Larry Todd -- Mendelssohn and the Catholic tradition : Roman influences on his Kirchen-Musik, op. 23 and Drei Motetten, op. 39 / Siegwart Reichwald -- Mendelssohn and the legacy of Beethoven's Ninth : vocality in the "Reformation" symphony / Peter Mercer-Taylor -- Mendelssohn and the organ / Wm. …”
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The romantic composers by Mason, Daniel Gregory, 1873-1953

The European symphony from ca. 1800 to ca. 1930 : Germany and the Nordic countries / by Brown, A. Peter

Table of Contents: “…The German classic/romantic symphony from ca. 1800 to 1857. After Beethoven : Leipzig as the epicenter of the symphony -- The symphonies of Carl Maria von Weber and Richard Wagner : two symphonic composers turn to opera -- The symphonies of Louis Spohr -- The symphonies of Felix Mendelssohn-Bartholdy -- The symphonies of Robert Schumann.…”

Piano notes. by Mendelssohn-Bartholdy, Felix, 1809-1847

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Mendelssohn, time and memory : the romantic conception of cyclic form / by Taylor, Benedict, 1981-

Table of Contents: “…Combined- or single-movement cyclic forms; Historical context and development; The shape of history and historical self-consciousness; Subjectivity; Organicism; Origins and precursors of nineteenth-century cyclicism; Beethoven and Romantic cyclicism; Cyclic form in Mendelssohn's early works; 2 Musical history and self-consciousness: The Octet Op. 20.…”
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