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Marx became an intimate of the family of [[Felix Mendelssohn]], who was greatly influenced by Marx's ideas about the representational qualities of music—Marx's influence in the revision of Mendelssohn's overture to 'A Midsummer Night's Dream' (1826) was noted by their mutual friend [[Eduard Devrient]] in his memoirs. After Mendelssohn's revival of [[J. S. Bach]]'s ''[[Matthäuspassion|St. Matthew Passion]]'' in 1829, Marx persuaded Schlesinger to undertake the publication of this work, making Bach's masterpiece accessible to scholars for the first time. As Mendelssohn matured however the two drifted apart. At one time each agreed to write the [[libretto]] for an [[oratorio]] to be composed by the other. Mendelssohn wrote a text on the subject of ''[[Moses]]'', while Marx wrote one on the subject of ''[[Paul of Tarsus|St. Paul]]''. However Mendelssohn's later oratorio on St. Paul used an extensively revised text; and when Marx asked Mendelssohn to perform his ''Moses'' in 1841 in [[Leipzig]], Mendelssohn refused because of its poor quality. The enraged Marx thereupon threw his extensive correspondence with Mendelssohn into the river, and it has therefore been lost forever. ''Moses'' was eventually given a performance by [[Liszt]] at [[Weimar]] in 1853.<ref>Conway (2012), 189-91</ref>
In 1830, with Mendelssohn's recommendation, Marx was appointed to the new post of professor of music at [[Humboldt University of Berlin|Berlin University]]
==Bibliography==
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