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A Portrait of Mendelssohn$
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Clive Brown

Print publication date: 2003

Print ISBN-13: 9780300095395

Published to Yale Scholarship Online: October 2013

DOI: 10.12987/yale/9780300095395.001.0001

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• Critical Consensus in England during the 1850s

• Critical Consensus in England during the 1850s

Chapter:
(p.447) 49 • Critical Consensus in England during the 1850s
Source:
A Portrait of Mendelssohn
Author(s):

Clive Brown

Publisher:
Yale University Press
DOI:10.12987/yale/9780300095395.003.0049

In the 1850s, many articles in the English press heaped praises on Felix Mendelssohn. This admiration in England stood in contrast to a gradually increasing tendency to challenge Mendelssohn's continuing dominance of contemporary music. Two dominant figures in English music journalism known for their unequivocal admiration of Mendelssohn were Henry Fothergill Chorley of the Athenaeum and William Henry Davison of the Times and the Musical World. In America, however, the sentiment was different. In 1856, for instance, the Boston-based Dwight's Journal of Music directly challenged the tendency in the British press to bolster Mendelssohn's position at the expense of his possible rivals. In response to this accusation, and its support for Robert Schumann, Musical World gave its opinion regarding the antithesis between Mendelssohn's music and that of the Young Germans.

Keywords:   press, England, Henry Fothergill Chorley, William Henry Davison, Musical World, America, Dwight's Journal of Music, Robert Schumann, music

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