ABSTRACT

This article considers Fanny Mendelssohn’s 1825 settings of poems from Goethe’s West-östlicher Divan in their manuscript context. I argue that Mendelssohn draws out narratives from Goethe’s ‘Buch Suleika’. She composes a cycle of six songs with two revolutions, each charting the path of love from separation through union to separation again. Investigation of Mendelssohn’s cycle brings her teacher, Carl Friedrich Zelter, into view. The article concludes with a Stammbuch presented by Felix Mendelssohn to his wife, Cécile, in 1844, which featured illustrated musical settings of the Divan by Wilhelm Hensel and Fanny (now) Hensel.

摘要

本文考虑了范妮·门德尔松 (Fanny Mendelssohn) 1825 年在其手稿背景下对歌德《West-östlicher Divan》中诗歌的设定。我认为门德尔松从歌德的“Buch Suleika”中提取了叙事。她创作了一个由六首歌曲组成的循环，其中包含两次革命，每一首都描绘了爱情从分离到结合再到分离的路径。对门德尔松周期的调查使她的老师卡尔弗里德里希泽尔特进入了视野。文章以费利克斯·门德尔松 (Felix Mendelssohn) 于 1844 年赠送给他的妻子塞西尔 (Cécile) 的Stammbuch作为结尾，其中展示了Wilhelm Hensel 和 Fanny（现为）Hensel绘制的Divan的插图音乐设置。