II. WORKS NOT PUBLISHED.

Sacred Music.

“Magnificat” for Chorus and Orchestra, in D. 1822.

“Juba Domine” for Chorus and Soli, without Orchestra. 1822.

“Gloria” for a four-part Chorus and Orchestra, in E flat.

“Kyrie” for two Choruses and Soli, in C minor.

“Jesus meine Zuversicht,” Chorale, four and five Voices. 1824.

“Ich bin durch der Hoffnung Band,” Chorale and Fugue, for four and five Voices.

“Kyrie” for a five-part Chorus and Orchestra. 1825.

“Und ob du mich züchtigest, Herr,” Canon for five Voices.

“O Beata,” Chorus for three Female Voices and Organ.

“Te Deum Laudamus,” for an eight-part Chorus. Eight movements. 1826.

“Tu es Petrus,” for a five-part Chorus and Orchestra. 1827.

“Christe, du Lamm Gottes,” Cantata for four Voices and stringed instruments.

“Ach Gott vom Himmel sieh darein,” Cantata for four Voices and Orchestra.

“Vom Himmel hoch, da komm’ ich her,” Christmas hymn for four voices and Orchestra. Rome. 1831.

“Hora est de somno surgere,” for four Four-part Choirs.

“Ad vesperas Dom. XXI. post Trinitatis. Responsorium et Hymnus,” for three-and four-part Male Chorus.

“Beati mortui,” for a four-part Male Chorus.

Two English Psalm-tunes for four voices. 1839.

Nine pieces in the Oratorio of “St. Paul,” subsequently omitted:—four Choruses, three Chorales, four Recitatives, a Soprano Aria, and a Duett for Tenor and Bass.

“Herr Gott, dich loben wir,” Chorale for double Chorus, Organ, four Trombones, and stringed instruments, for the celebration of the German Tausendjährige festival. 1843.

Psalm C., “Jauchzet dem Herrn,” for a four-part Chorus. 1844.

The German Liturgy, for two four-part Choirs.

“Wir glauben all’ an einen Gott,” for Chorus and Orchestra.

The most important of these works a capella, the “Te Deum,” the “Hora est,” etc., were written from 1826 to 1828 for the Berlin Singing Academy, at that time under Zelter’s management, and were constantly sung there. The four last-named pieces were composed for the Cathedral Choir at Berlin.

Secular Cantatas.

Grand Festival Music for the Dürer Festival. The Poem by Professor Levetzow. Performed in the Hall of the Singing Academy at Berlin, on the 12th of April, 1828. Instrumental Introduction, and fourteen Numbers—Solos, Grand fugued Choruses, etc.

Festival Music, for a festival given in the Hall of the Royal Theatre at Berlin, by Alexander von Humboldt. The words by L. Rellstab. For Male Voices, with accompaniment of Clarionets, Horns, Trumpets, Kettle-drums, Violoncello, and Double Bass. Seven numbers, Solos and Choruses. 1827.

Festal Song at the uncovering of the statue of Friedrich August the Just, at Dresden, on the 9th June, 1842, for two Male Choirs and Brass Band.

Dramatic.

“Die beiden Pädagogen,” Comic Operetta, in one Act, adapted from the French. Overture and ten numbers.

“Soldatenliebschaft,” Comic Operetta, in one Act. Overture and fourteen numbers.

“Die wandernden Komödianten,” Comic Opera in one Act. Overture and twelve numbers. 1821.

“Der Onkel aus Boston, oder die beiden Neffen,” Comic Opera in three Acts. 1822-1823. Overture and fourteen numbers, with much Ballet Music.

Music to Calderon’s Tragedy, “The Steadfast Prince.” Two Choruses for Male Voices, Battle-piece, Melodrama. 1834.

Written for a performance in Düsseldorf.

For Voice, with Orchestral Accompaniment or Stringed Instruments.

Recitative and Aria, “Che vuoi mio cor,” for a Contralto, accompanied by Stringed Instruments. 1824. Scena and Aria, for a Soprano, with Orchestra. 1834.

Much of this was afterwards made use of in the Aria, op. 94, the only instance in which Mendelssohn’s artistic energy permitted him so to do.

Air for Barytone and Orchestra, with English Words, written for Philipps, the singer, of London. 1846.

Songs for Voice, with Pianoforte Accompaniment.

Songs, finished ballads, several in Italian, chiefly from Mendelssohn’s earlier period to the year 1834. The words are, with few exceptions, by unknown poets, and the enumeration of the individual pieces can be of little interest. Their number is from twenty to thirty.

For Four Male Voices.

“A frischer Bua bin ich,” for Immermann’s “Andreas Hofer.” 1833.

“Der weise Diogenes war der erste der griechischen Sieben,” Canon for twice Two Voices. 1833.

“Musikanten Prügelei.” 1833.

“Im Nebelgeriesel, im tiefen Schnee,” Gipsy Song by Goethe, for two Two-part Choirs.

“Worauf kommt es überall an,” by Goethe. 1837.

“Auf ihr Herrn und Damen schön,” Hunting Song. 1837.

Morning Song of the Thuringian Vocal Association, “Seid gegrüsset, traute Brüder.” For the Festival in Eisenach. 1847.

For Full Orchestra.

Symphony, in D. 1822.

Grand Overture, in C. 1825.

Performed at the Musical Festival in Düsseldorf, at Whitsuntide, 1833.

Symphony for the celebration of the Reformation Festival, in D minor. 1830.

Performed in London and Berlin.

Marches for smaller Military Bands, composed for the use in Church Processions at Düsseldorf. 1833.

March for a full Orchestra, in D, in celebration of the visit of Cornelius the painter to Dresden.

For Strings.

Ten Four-, Five-, and Six-part Symphonies, in the years 1820 to 1823.

Concerto for the Violin, with accompaniment of Stringed Instruments, in D minor.

Quartett for Two Violins, Tenor and Violoncello, in E flat. 1823.

Many single Four-and Five-part pieces, Fugues, etc.

For Pianoforte, with Accompaniment.

Concerto for Two Pianos, with Orchestra, in E. 1823.

Concerto for Two Pianos, with Orchestra, in A flat. 1824.

Concerto for Pianoforte and Violin, with Stringed Instruments, in D minor. 1823.

Concerto for Pianoforte, with Stringed Instruments, in A minor.

Sextett for Pianoforte, Violin, Two Tenors, Violoncello, and Double Bass, in D. 1824.

Quartett for Pianoforte, Violin, Tenor, and Violoncello, in D minor.

Trio for Pianoforte, Violin, and Tenor, in C minor. 1820.

Sonata for Pianoforte and Tenor, in C minor. 1824.

Sonata for Pianoforte and Clarionet, in E flat.

Sonata for Pianoforte and Violin, in D minor.

Sonata for Pianoforte and Violin, in F. 1838.

“Song without Words,” for Pianoforte and Violoncello. For Fräulein Lisa Christiani.

For Pianoforte Solo.

Grand Fantasia. 1823.

Fantasia, four hands, in D minor. 1824.

Sonatina, in B flat minor. 1824.

Sonata, in B flat. 1827.

Andante and Allegro, in E major and E minor. 1837.

A vast number of Songs without Words, Studies, Preludes, Fugues, Juvenile Pieces, etc., of all dates.

For Clarionet and Corno di Bassetto, with Pianoforte Accompaniment.

Two Concertos for the Royal Bavarian Kammer-Musiker, Herren Bärmann, father and son, composed in Munich, in 1832.