| Abstract [eng] |
The focus of this thesis is the oratorio "Elias" by Felix Mendelssohn Bartholdy. He is a rather controversial figure in the history of world music. He is alternately criticized for his conservatism, his financially secure life as the son of a banker, his Jewish ancestry, and even his devout Lutheran faith. Yet, it is almost impossible to imagine the European cultural landscape without his participation. His contributions include conducting the first performance of Bach's St Matthew Passion, managing the Gewandhaus, and, last but not least, founding Germany's first conservatory in Leipzig. This educational institution became the prototype for many other conservatories in Eastern Europe. Felix Mendelssohn was crowned the "second Mozart." Robert Schumann referred to him as "the Mozart of the 19th century, the brightest musician who sees through the contradictions of the time most clearly and reconciles them first" (Quoted from: Ror J. Reisen zu Felix Mendelssohn Bartholdy: Stationen seines Lebens und Wirkens. Berlin, 2008. p. 5). Additionally, the German researcher J. Popp describes Mendelssohn as the "second Bach," stating: "...the composer of Jewish origin took over the direction of the Gewandhaus Orchestra in Leipzig at the age of twenty-six - admired by the public - and also became one of the most important creators of Protestant church music after Johann Sebastian Bach" (Popp. J. Travelling to Felix Mendelssohn Bartholdy: Stages of his life and work. Berlin, 2008. pp. 9-10). How does Mendelssohn's artistic personality combine the characteristics of two such important and, in terms of compositional methods, absolutely irreconcilable composers as Bach and Mozart? His music embodies a mathematical precision of counterpoint and pronounced melodicism, a reserved concentration of North German Lutheranism, and the exaltation of sunny Austrian Catholicism, absolute piety alongside bubbling joie de vivre, and an emotional depth akin to the Passions intertwined with an infatuation with operatic dramaturgy. It is precisely this combination that gives Mendelssohn's music its unmistakable uniqueness, and it is this combination that we will focus on in this Master's thesis. There is no doubt that Felix Mendelssohn Bartholdy's artistic method is based on a profound knowledge of music from previous epochs. P. Mercer-Taylor, for example, highlights Mendelssohn's acquaintance with the Palestrina expert Giuseppe Baini in Rome in 1830/31. In the 19th century, Mendelssohn played a leading role in the dissemination of Baroque music and works by Johann Sebastian Bach. His knowledge of music from the 16th and 17th centuries was equally profound (Mercer-Taylor Р. Mendelssohn and the Institution(s) of German Art Music // The Cambridge Companion to Mendelssohn. Cambridge, 2004. Р. 19). An exploration of Mendelssohn's oratorio "Elijah" provides insight into the astonishing diversity and artistic ingenuity in terms of form structure and dramatic depth usually inherent in stage works. His artistic method embodies a deep philosophical fulfillment and a lyrical perception of the world. These peculiarities of Mendelssohn's music serve as one of the main focal points of this work. Now, let us turn to an overview of the literature that significantly influenced the course of this research. From recently published monographic works, we have Larry Todd's book "Mendelssohn. Life in Music" (Todd L. Mendelssohn. A Life in Music. New York, 2003), "The Mendelssohns: Their Music in History" (The Mendelssohns: Their Music in History. Oxford, 2002), published by Oxford University, and "The Cambridge Companion to Mendelssohn" (The Cambridge Companion to Mendelssohn. Cambridge, 2004), prepared and published by Cambridge University. Additionally, "Sämtliche Briefe von Mendelssohn" in 8 volumes by J. Appold (Felix Mendelssohn Bartholdy. Sämtliche Briefe. Kassel, 2008) is also of significant importance. Among earlier published research, the following editions are of enduring significance: "Mendelssohn Bartholdy's Church Music: New Studies in History, Form and Content" by A. Clostermann (Mainz, 1989), "Lutheran Liturgy" by L. D. Rid (Dunkanville, 2003), "J. Bach, Handel, Mendelssohn. Die protestantische Kirchenmusik in Lebensblidern" by J. Schumann (Calw, 1904), "Felix Mendelssohn Bartholdy - Wesen und Wirken im Spiegel von Selbstzeugnissen und Berichten der Zeitgenossen" by H. Ch. Worbs (Leipzig, 1958), and "Felix Mendelssohn Bartholdy" by K. H. Köchler (Leipzig, 1966). Additionally, the research "Zyklische Form, Zeit und Erinnerungen im Quartett a-moll, Op. 13, by Mendelssohn" by B. Taylor (Taylor B., 2010) is of particular importance. |
