Reviewed by: Mendelssohn Perspectives Edited by Nicole Grimes and Angela R. Mace Siegwart Reichwald Mendelssohn Perspectives. Edited by Nicole Grimes and Angela R. Mace. Surrey: Ashgate Publishing, 2012. Pp. xxii + 368. Cloth £65.00. ISBN 978-1409428251. 2005 and 2009 were important Mendelssohn years, as they marked the 200th birthdays of the siblings Fanny Hensel and Felix Mendelssohn. Many events took place in those years, creating a flurry of new scholarship. This collection of essays falls into the category of conference proceedings, as it is the end result of the international conference “Mendelssohn in the Long Nineteenth Century” at Trinity College, Dublin, in July 2005. In the introduction, editors Nicole Grimes and Angela R. Mace list the impressive achievements of Mendelssohn scholarship over the last half century that have rehabilitated the composer’s distorted image caused by rising antisemitism soon after Mendelssohn’s death. This volume, therefore, is free “to celebrate multifaceted and engaging perspectives on Mendelssohn studies” (1). The wide range of topics “is informed by critical engagement with a wide range of source materials,” including “not only traditional musical analysis-based studies, but also … lines of inquiry that are crucial to other areas of the humanities, bringing these approaches to bear on historical and interpretative studies of the Mendelssohns” (3). The resulting sixteen essays by scholars from North America, Germany, the UK, Italy, and France cover a wide range of topics organized in five parts: Mendelssohn’s Jewishness, Between Tradition and Innovation, Mendelssohn and the Stage, Style and Compositional Process, and Contemporary Views and Posthumous Perspectives. This sensible categorization works well to give the reader a sense of continuity and homogeneity despite the diverse contributions. The level of scholarship of this volume is high, as the majority of contributors are seasoned Mendelssohn scholars. The non-Mendelssohnians, nevertheless, offer fresh insights by exploring new contexts. The extensive use of a variety of source materials is impressive, and they underline the originality of most contributions. Editors Grimes and Mace were able to strike the right balance of creating a uniform style without squelching the scholar’s individual voice. The first part on Mendelssohn’s Jewishness might seem at odds with the editors’ claim that Mendelssohn scholarship has gotten past image repair, as the four chapters trace elements of public perception of the composer’s Jewish identity. A closer reading, however, reveals new and different perspectives that are unconcerned about rehabilitation. Sinéad Dempsey-Garrat’s reevaluation of Wagner’s smear campaign against Mendelssohn, for example, argues surprisingly against its success, offering more potent reasons for the composer’s quickly faltering image around 1850. And just as Nicole Grimes seems to wade dangerously into recent controversies of Jewish perspectives in the interpretation of Mendelssohn’s works, she effectively broadens the discussion through her careful reading of Eduard Hanslick’s review of Mendelssohn’s Die erste Walpurgisnacht. Marian Wilson Kimber’s “Never Perfectly Beautiful: Physiognomy, Jewishness, and Mendelssohn Portraiture” is the most esoteric of the [End Page 659] group. Yet Kimber is able to not only ask broader cultural questions, but her fascinating research takes the reader beneath the surface of public perception through her exploration of portrayal of Jewishness in drawings, paintings, and caricatures throughout the nineteenth century. In doing so, Kimber strips away at our still simplistic image of the composer. While Colin Eatock’s “Mendelssohn’s Conversion to Judaism: An English Perspective” would seem to offer the least novel ideas, his contribution to Mendelssohn’s reception history is outstanding. Eatock shows convincingly how Mendelssohn’s Jewishness hinges on the question of race or religion—a question whose answers shift dramatically during the second half of the nineteenth century. The pairing of the second part of the book, Between Tradition and Innovation, seems at bit forced, as its three essays are quite different in scope and approach. That does not lessen the excellent content of these chapters, however. “Norm and Deformation in Mendelssohn’s Sonata Forms” by Paul Wingfeld and Julian Horton might be the most groundbreaking chapter of the book. Their excellent survey and discussion of Mendelssohn’s approach to sonata form offers not only fascinating insights into his compositional strategies, but they provide a new framework for analysis...
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