I. PUBLISHED WORKS, IN CHRONOLOGICAL ORDER.
Grace Wallace translation
1822.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in C minor, op. 1. Berlin.[97]
1823.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in F minor, op. 2. Berlin.
Sonata for Pianoforte and Violin, in F minor, op. 4. Berlin.
1824.
Quartett for Pianoforte, Violin, Tenor, and Violoncello, in B minor, op. 3. Berlin.
“Die Hochzeit des Camacho,” Opera in Two Acts, op. 10. First Act. Berlin.
Overture for a Military Band, in C major, op. 24. Dobberan.
Originally composed for the Band of the Dobberan Baths, and subsequently arranged for a full Military Band.
1825.
“Die Hochzeit des Camacho,” Overture and Second Act.
This Opera was given once in the Berlin theatre, on the 29th April, 1827.
Capriccio for Pianoforte, in F sharp minor, op. 5. Berlin.
Octett for four Violins, two Tenors, and two Violoncellos, in E flat, op. 20. Berlin.
1826.
Quintett for two Violins, two Tenors, and Violoncello, in A, op. 18. Berlin.
The Intermezzo, Andante sostenuto, in F major, was composed subsequently in Paris, in 1832. The Scherzo, in D minor, originally formed the second movement; the third was a Minuetto, in F sharp, Allegro molto; with a Trio, in D, Canone doppio.
Overture to Shakspeare’s ‘Midsummer’s Night’s Dream,’ in E major, op. 21. Berlin.
Song for Voice and Pianoforte, “Es lauschte das Laub,” op. 86, no. 1.
1827.
Quartett for two Violins, Tenor, and Violoncello, in A minor, op. 13. Berlin.
Fugue for two Violins, Tenor, and Violoncello, in E flat, in op. 81.
Fugue for Pianoforte, in E minor. Berlin.
No. 7 in a collection entitled, “Notre Temps,” published by Schott, of Mayence.
1828.
Quartett for two Violins, Tenor, and Violoncello, in E flat, op. 12. Berlin.
At the period of its composition, this Quartett appeared as “the first for stringed instruments.”
Overture, “Meeresstille und glückliche Fahrt,” in D, op. 27. Berlin.
Variations for Pianoforte and Violoncello, in D, op. 17. Berlin.
1829.
Song for Voice and Pianoforte, “Wartend,” op. 9, no. 3. Berlin.
Song for Voice and Pianoforte, “Der Blumenkranz.” London.
This appeared at a much later period, in an Album of Spehr’s, Brunswick.
Three Fantasias or Caprices for the Pianoforte, op. 16. Coed Du, in Wales.
“Heimkehr aus der Fremde,” Operetta in One Act, op. 89. London and Berlin.
Composed for the celebration of the silver wedding-day of his parents. Performed in public for the first time on the 20th April, 1851, in Leipzig.
1830.
Overture, “Die Hebriden,” in B minor, op. 26. Rome.
Psalm CXV., “Nicht unserm Namen, Herr,” for Chorus, Solo, and Orchestra, op. 31. Rome.
Song for Voice and Pianoforte, “Reiselied,” op. 19, no. 6. Venice.
Song without words, “Gondellied,” op. 19, no. 6. Venice.
A book of songs with words, and one of songs without words, are each marked as Opus 19.
Three pieces of Sacred Music for Solo and Chorus, with Organ, op. 23. Rome.
Three Motetts for Female Voices with Organ, op. 39. Rome.
Composed for the Nuns in Trinità de’ Monti, in Rome; but not published till 1838, when it was partly re-written.
1831.
“Die erste Walpurgis Nacht,” Ballad, for Chorus, Solo, and Orchestra, op. 60. Milan and Paris.
Re-written in Leipzig in 1842, and published in 1843.
“Verleih’ uns Frieden,” Prayer, for Chorus and Orchestra. No opus number. Rome.
Song for Voice and Pianoforte, “Da lieg’ ich unter den Bäumen,” op. 84, no. 1. Düsseldorf.
Song for Voice and Pianoforte, “Die Liebende schreibt,” op. 86, no. 3. Untersee.
1832.
Concerto for Pianoforte and Orchestra, in G minor, op. 25. Munich.
Capriccio Brillant, for Pianoforte with Orchestra, in B minor, op. 22. London.
Fugue for Pianoforte, in B minor, op. 35, no. 3.
1833.
Symphony, in A major, op. 90. Berlin.
Repeatedly mentioned in Mendelssohn’s Letters from Italy, as the Italian Symphony.
Overture, “Zum Mährchen von der schönen Melusine,” in F, op. 32. Berlin.
Fantasia for Pianoforte, in F sharp minor, op. 28. Berlin.
Entitled on the autograph, “Sonate Écossaise.”
Capriccio for Pianoforte, in F sharp minor, op. 33, no. 3. London.
“Lied ohne Worte,” in D, op. 30, no. 5. Düsseldorf.
Vocal Chorus, “Lord, have mercy,” in A minor. No opus number. Berlin.
Published in an Album, by Bösenberg, Leipzig.
1834.
Rondo Brillant for Pianoforte, in E flat, op. 29.
Capriccio for Pianoforte, in A minor, op. 33, no. 1.
“Lieder ohne “Worte:”—
Op. 30, Nos. 1 and 4. Op. 85, No. 2.
Songs for Voice and Pianoforte:—
“Minnelied,” op. 34, no. 1. “Auf Flügeln des Gesanges,” op. 34, no. 2. “Sonntagslied,” op. 34, no. 5. “Jagdlied,” op. 84, no. 3.
Romance for Voice and Pianoforte, “Schlafloser Augen.” No opus number.
Published in an Album. Breitkopf and Härtel, Leipzig.
Three “Volkslieder,” for Soprano, Alto, Tenor, and Bass, op. 41, nos. 2, 3, 4.
Commencement of the Oratorio of “St. Paul.”
“Todeslied der Bojaren,” from Immermann’s Tragedy of “Alexis,” for a chorus of men’s voices in unison, and wind instruments; in E minor.
First published as a contribution to the fourth volume of Immermann’s works. Schaub, Düsseldorf.
N.B.—All the works of this year were composed at Düsseldorf.
1835.
Oratorio of “St. Paul,” op. 36. Düsseldorf and Leipzig.
Performed for the first time at the Musical Festival of the Lower Rhine, at Düsseldorf, on the 22nd of May, 1836.
Capriccio for Pianoforte, in E major, op. 33, no. 2. Düsseldorf.
Fugue for Pianoforte, in A flat, op. 35, no. 4. Düsseldorf.
Song for Voice with Pianoforte, “Das Waldschloss.” No opus number. Berlin.
1836.
Preludes for Pianoforte, op. 35:—no. 2, in D; no. 3, in B minor; no. 5, in F minor. Leipzig.
Fugue for Pianoforte, op. 35, no. 6, B flat. Leipzig.
Fugue for the Organ, in G, op. 37, no. 2. Leipzig.
Étude and Scherzo for the Pianoforte, in F minor. No opus number. Leipzig.
Two-part Song, with Pianoforte, “Sonntagsmorgen,” op. 77, no. 1. Leipzig.
1837.
Concerto for Pianoforte and Orchestra, in D minor, op. 40. Bingen and Horchheim on the Rhine.
Quartett for Two Violins, Tenor, and Violoncello, in E minor, op. 44, no. 2. Frankfort on the Main.
Psalm XLII., “Wie der Hirsch schreit,” for Chorus, Solo, and Orchestra. Freyburg in Breisgau, and Leipzig.
Preludes for Pianoforte, op. 35:—no. 1, in E minor; no. 4, in A flat major; no. 6, B flat. Leipzig.
Fugue for Pianoforte, op. 35, no. 2. Leipzig.
Three Preludes for the Organ, op. 37. Speyer.
Fugue for the Organ, op. 37, no. 1. Speyer.
Songs for Voice with Pianoforte:—
“Suleika,” op. 34, no. 4.—Leipzig.
“Reiselied,” op. 34, no. 6.
“Suleika,” op. 57, no. 3.
Songs for Four Male Voices:—
“Sommerlied,” op. 50, no. 3. — Leipzig.
“Wasserfahrt,” op. 50, no. 4.
“So lang man nüchtern ist,” op. 75, no. 3.
“Geben wir Rath,” op. 76, no. 1.
Song for Soprano, Alto, Tenor, and Bass, “Im Grünen,” op. 59, no. 1. Leipzig.
“Song without Words,” in A minor, op. 38, no. 5. Speyer.
1838.
Serenade and Allegro Giojoso for Pianoforte, with Orchestra, op. 43. Leipzig.
Quartett for Stringed Instruments, in E flat, op. 44, No. 3. Leipzig.
Sonata for Pianoforte and Violoncello, in B flat, op. 45. Leipzig.
Psalm XCV., “Kommt, lasst uns anbeten,” for Chorus, Solo, and Orchestra, op. 46. Leipzig.
Andante Cantabile and Presto Agitato, for the Pianoforte, in B. Without any opus number. Berlin.
Appeared in an Album. Breitkopf and Härtel, Leipzig.
Song for Four Male Voices, “Türkisches Schenkenlied,” op. 50, No. 1. Leipzig.
1839.
Psalm CXIV., “Da Israel aus Egypten zog,” for an eight-part Chorus and Orchestra, op. 51. Horchheim.
Trio, for Pianoforte, Violin, and Violoncello, in D minor, op. 49. Frankfort, Berlin, and Leipzig.
Sonata for the Organ, in C minor, op. 65, no. 2. Frankfort.
Overture to Victor Hugo’s drama, “Ruy Blas,” in C minor, op. 95. Leipzig.
Chorus for Two Female Voices, with Quartett accompaniment, from “Ruy Blas,” in A, op. 77, no. 3.
The foregoing two pieces were written for a performance of “Ruy Blas” for the benefit of the Theatrical Pension Fund, at the request of the Committee of the Fund.
Six Songs, for Soprano, Alto, Tenor, and Bass, op. 48. Frankfort and Leipzig.
Besides these:—
“Hirtenlied,” op. 88, no. 3. — Frankfort.
“Im Wald,” op. 100, no. 4.
Songs for Four Male Voices:—
“Liebe und Wein,” op. 50, no. 5. —Leipzig.
“Abendständchen,” op. 75, no. 2.
“Ersatz für Unbestand.” No opus number.
Songs for One Voice with Pianoforte:—
“Frühlingslied,” op. 47, no. 3. — Leipzig.
“Volkslied,” op. 47, no. 4.
“Wiegenlied,” op. 47, no. 6.
“Altdeutsches Lied,” op. 57, no. 1. Horchheim.
“Hirtenlied,” op. 57, no. 2. — Leipzig.
“Herbstlied,” op. 84, no. 2.
“Song without Words,” in F sharp minor, op. 67, no. 2.
1840.
“Hymn of Praise,” Symphony Cantata, op. 52. Leipzig.
Performed for the first time on the 25th of June, 1840, in the Thomas Church at Leipzig, at the Celebration of the Fourth Centenary of Printing.
A “Festgesang,” for Male Voices and Brass Band, “Begeht mit heil’gem Lobgesang.” No opus number.
For the opening of the same Festival in honour of Printing.
Songs for Four Male Voices:—
“Der Jäger Abschied,” op. 50, no. 2.
“Wanderlied,” op. 50, no. 6.
Song for Soprano, Alto, Tenor, and Bass, “Der wandernde Musikant,” op. 88, No. 6.
1841.
Music for “Antigone,” op. 55. Berlin.
Performed for the first time on the 6th November, 1841, in the New Palace, at Potsdam, and in the theatre at Berlin on the 13th of April, 1842.
Variations Sérieuses, for the Pianoforte, in D minor, op. 54. Leipzig.
Variations for the Pianoforte, in E flat, op. 82. Leipzig.
Allegro Brillant for the Pianoforte, arranged as a Duett, in A, op. 92. Leipzig.
Prelude for the Pianoforte, in E minor, for “Notre Temps.” Refer to 1827. Leipzig.
Songs for Voice, with Pianoforte accompaniment:—
“Frische Fahrt,” op. 57, no. 6. — Leipzig.
“Erster Verlust,” op. 99, no. 1. Berlin.
“Das Schifflein,” op. 99, no. 4. Leipzig.
Song for Voice, with Pianoforte, “Ich hör’ ein Vöglein locken.” No opus number.
Appeared first as a contribution to a Collection of Poetry by Adolph Böttger.
“Songs without Words:”—
“Volkslied,” in A minor, op. 53, no. 5. — Leipzig.
“in A major, op. 53, no. 6.
“in B flat, op. 85, no. 6.
1842.
Symphony, in A minor, op. 56. Berlin.
Called the “Scotch Symphony,” in the Letters of 1830.
Songs for Voice with Pianoforte:—
“Gondellied,” op. 57, no. 5. “Schilflied,” op. 71, no. 4.
Song for Two Voices, with Pianoforte, “Wie war so schön,” op. 63, no. 2.
“Song without Words,” in A major, op. 62, no. 6.
1843.
Music for the “Midsummer Night’s Dream,” op. 61. See year 1826. Leipzig.
Performed for the first time on the 14th of October, 1843, in the New Palace, at Potsdam; and in the theatre at Berlin, on the 18th October, 1843.
Sonata for Pianoforte and Violoncello, in D, op. 58. Leipzig.
Choruses for Racine’s “Athalie.” Leipzig.
For female voices only, and with pianoforte accompaniment. This work was performed, in its later shape, for the first time on December 1st, 1845, in the Royal Theatre at Charlottenburg. See year 1845.
Concert Aria for Soprano with Orchestra, in B flat, op. 94. Leipzig.
Capriccio for Two Violins, Tenor, and Violoncello, in E minor, in op. 81. Leipzig.
Psalm XCI., “Singet dem Herrn ein neues Lied,” for Chorus and Orchestra, op. 91. Berlin.
For the celebration of New Year’s Day, 1844, in the Dom Kirche, at Berlin.
Psalm II., “Warum toben die Heiden?” for an eight-part Chorus, op. 78, no. 1. Berlin.
Anthem, “Herr Gott, du bist unsre Zuflucht,” for a Chorus of Eight Voices, op. 79, no. 2. Berlin.
Hymn for a Contralto, Chorus, and Orchestra, op. 96. Leipzig.
The elaboration of a work formerly published by Simrock, of Bonn, without any opus-number, entitled “Three Sacred Songs for an Alto Voice, Chorus, and Organ.”
Song for Voice with Pianoforte, “Es weiss und räth es doch Keiner,” op. 99, no. 6.
Songs for Soprano, Alto, Tenor, and Bass:—
“Frühzeitiger Frühling,” — op. 59, nos. 2 to 6. Leipzig.
“Abschied vom Walde,”
“Die Nachtigall,”
“Ruhethal,”
“Jagdlied,”
“Ich hab’ ein Liebchen,” op. 88, no. 2. — Leipzig.
“Die Waldvöglein,” op. 88, no. 4.
“Lob des Frühlings,” op. 100, no. 2.
“Songs without Words:”—
B, op. 62, no. 2. — Leipzig.
E minor, op. 62, no. 3.
G, op. 62, no. 4.
C, op. 67, no. 4.
1844.
Concerto for the Violin, with Orchestra, in E minor, op. 64. Leipzig.
Overture to “Athalie,” in D minor, and March of the Priests, in F, op. 74. London.
Hymn, “Hör’ mein Bitten,” for a Soprano, Chorus, and Organ. No number. Berlin.
Sonatas for the Organ, op. 65:—
F minor, no. 1. — Frankfort.
C minor, no, 2.
A major, no. 3.
D minor, no. 6.
Psalms for a Choir of Eight Voices, op. 78.
Psalm XLIII., “Richte mich Gott,” No. 2. — Berlin.
Psalm XLII., “Mein Gott, warum hast Du,” no. 3.
Songs for Four Male Voices:—
“Wem Gott will,” op. 75, no, 1. — Berlin.
“So rückt denn,” op. 75, no. 4.
“Rheinweinlied,” op. 76, no. 2.
Songs for Soprano, Alto, Tenor, and Bass:—
“Neujahrslied,” op. 88, no. 1. “Andenken,” op. 100, no. 1.
“Songs without Words:”—
G, op. 62, no. 1.Berlin.
E flat, op. 67, no. 1.Leipzig.
B minor, op. 51.Berlin.
Songs for Two Voices with Pianoforte:—
“Gruss,” op. 63, no. 2. — Leipzig.
“Herbstlied,” op. 63, no. 3.
“Maiglöckchen und die Blümelein,” op. 63, no. 6. Berlin.
1845.
Music for “Oedipus von Kolonos,” op. 93. Leipzig and Frankfort.
Performed for the first time on the 1st November, 1845, in the New Palace at Potsdam, and in the theatre at Berlin on the 10th November, 1845.
Quintett for two Violins, two Tenors, and Violoncello, in B flat, op. 87. Soden.
“Athalie,” instrumentation and arrangement of the Choruses for Soprano, Alto, Tenor, and Bass. See the years 1843 and 1844. Op. 74.
Sonatas for the Organ:—
B flat, op. 65, no. 4. — Frankfort.
D minor, op. 65, no. 6.
Songs for One Voice with Pianoforte:—
“Tröstung,” op. 71, no. 1. Leipzig. “Frühlingslied,” op. 71, no. 2. Frankfort. “Wenn sich zwei Herzen scheiden,” op. 99, no. 5. Leipzig.
“Songs without Words:”—
B flat, op. 67, no. 3. Leipzig.
D, op. 84, no. 4. — Frankfort.
A, op. 84, no. 5.
Anthems for an Eight-part Chorus:—
“Frohlocket, ihr Völker,” op. 97, no. 1. “Herr, gedenke,” op. 79, no. 4.
Commencement of the Oratorio of “Elijah.”
1846.
Cantata to the “Sons of Art,” Male Chorus and Brass Band, op. 68.
Written for the first German-Flemish Vocal Festival at Cologne.
“Lauda Sion,” for Chorus, Solo, and Orchestra, op. 73.
For the church of St. Martin, in Lüttich.
“Elijah,” Oratorio, op. 70.
Performed for the first time at Birmingham, August 25, 1846.
Song for Four Male Voices, “Was uns eint als deutsche Brüder,” op. 76, no. 3.
For the Germans in Lyons.
Anthems for an Eight-part Chorus:—
“Erhaben, O Herr,” op. 79, no. 3. “Lasset uns frohlocken,” op. 79, no. 5.
All the works of this year were composed in Leipzig.
1847.
Three Motetts for Chorus and Solo Voices, op. 69. Baden-Baden and Leipzig.
Recitative and Choruses from the unfinished Oratorio, “Christus,” op. 97.
Finale of the first Act from the unfinished Opera of “Loreley,” op. 98. Leipzig.
Besides this finale there are only extant, an Ave Maria for Soprano Solo and Female Chorus, a grand March with Chorus, and the beginning of three other pieces of music.
Quartett for Two Violins, Tenor, and Violoncello, in F minor, op. 80. Interlachen.
Andante and Scherzo for Two Violins, Tenor, and Violoncello, in op. 81.
Songs for One Voice with Pianoforte:—
“An die Entfernte,” op. 71, no. 3. Leipzig. “Auf der Wanderschaft,” op. 71, no. 5. Interlachen. “Nachtlied,” op. 71, no. 6. Leipzig.
Song for Four Male Voices, “Comitat,” op. 76, no. 4. Frankfort.
Song for Two Voices with Pianoforte, “Das Aehrenfeld,” op. 77, no. 2. Leipzig.
Song for Voice with Pianoforte, “Altdeutsches Frühlingslied,” op. 86, no. 6.
Mendelssohn’s last composition, written on the 7th October, 1847, in Leipzig.