Mendelssohn

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Mendelssohn FelixABAA

Briefe Aus Den Jahren 1830 Bis 1847 Von Felix Mendelssohn Bartholdy

MENDELSSOHN Felix 1809 1847ABAA

Op. 55. Musik zu Antigone von Sophokles Piano-vocal score

187635158Leipzig: Breitkopf & HÃ¤rtel PN M.B.114 Kl.A 1876. RIETZ Julius 1812-1877 ed. Folio. Modern mid-blue cloth-backed marbled boards with original publisher's light blue printed upper wrapper with titling within decorative border laid down to upper board titling to spine in black. 1f. title 62 pp. Engraved. Text in German. In the series "Felix Mendelssohn Bartholdy's Werke. Kritisch durchgesehene Ausgabe von Julius Reitz. Mit Genehmigung der Originalverleger Serie 15. GrÃ¶ssere weltiche Gesangwerke. Klavier-Auszug." From the Breitkopf edition of Mendelssohn's Complete Works No. 114. With small oval handstamp of Viennese musicseller Ludwig Doblinger and very small publisher's handstamp to foot of title. Binding very slightly worn rubbed and bumped. Occasional light wear and foxing; gutter of title reinforced with narrow strip of paper tape. Wehner MWV M 12 p. 207. Antigone was staged for the court at Potsdam in Berlin on 28 October 1841. "One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & HÃ¤rtel [PN M.B.114 Kl.A] unknown books

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MENDELSSOHN Felix 1809 1847ABAA

Op. 89. Heimkehr aus der Fremde. Piano-vocal score

187735155Leipzig: Breitkopf & HÃ¤rtel PN M.B.122 Kl.A 1877. RIETZ Julius 1812-1877 ed. Folio. Original publisher's full dark red cloth with titling gilt to upper within decorative blindstamped border titling gilt to spine; dark ivory endpapers. 1 title 2-83. i blank pp. Engraved. Text in German. With "Breitkopf & HÃ¤rtels MusikbÃ¼cher Nr. 181" to head of upper wrapper. With Hungarian translation in ink along with marked cuts to No. 6. Terzett "O wie verschweig' ich." In the series "Felix Mendelssohn Bartholdy's Werke. Kritisch durchgesehene Ausgabe von Julius Reitz. Mit Genehmigung der Originalverleger Serie 15. GrÃ¶ssere weltiche Gesangwerke. Klavier-Auszug." From the Breitkopf edition of Mendelssohn's Complete Works No. 122. Together with: An invitation to the 1931 production of the opera from the Budapest Choral and Orchestra Association Ã‰nek- Ã©s ZenekaregyesÅ±let partially laid down to front free endpaper signed by IstvÃ¡n Eisler for the commissioning group and with his name in ink along with a date of December 1930 to upper outer corner and handstamp of Hungarian publisher/musicseller RÃ³zsavÃ¶lgyi Ã©s tÃ¡rsa dated December 12 1930 to lower outer corner of endpaper. Together with: Heimkehr aus dem Fremde. Leipzig: Breitkopf & HÃ¤rtel 1885. Libretto. 16mo. Original publisher's light gray printed wrappers. 1f. recto title verso blank 12 2 pp. publisher's catalogue of piano-vocal scores and libretti with additional publisher's catalogue to verso of upper and recto and verso of lower wrapper. Later printing. Wehner MWV L 6 p. 196. Heimkehr aus der Fremde a Liederspiel in 1 act to a libretto by Karl Klingemann was given a private premiere in Berlin on 26 December 1829. The first public performance took place in Leipzig on 10 April 1851. "Mendelssohn's deft command of orchestral colour is evident throughout the work and his ability to create charming effects with the simplest of means is impressive." Clive Brown in Grove Dictionary of Opera "One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & HÃ¤rtel [PN M.B.122 Kl.A] unknown books

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MENDELSSOHN Felix 1809 1847ABAA

Op. 36. Paulus. Full score

187835280Leipzig: Breitkopf & HÃ¤rtel PN M.B. 85 1878. RIETZ Julius 1812-1877 ed. Folio. Original publisher's gray wrappers with titling within decorative border. 1f. recto title verso blank 1f. contents 328 pp. Engraved. Text in German. In the series: "Felix Mendelssohn Bartholdy's Werke. Kritisch durchgesehene Ausgabe von Julius Reitz. Mit Genehmigung der Originalverleger. Serie 13. Oratorien. Partitur." From the Breitkopf edition of Mendelssohn's Complete Works No. 85. From the library of composer Horace Middleton 1879-1961 with his small handstamp to upper wrapper and title. Small oval handstamp of Novello to upper wrapper and blank foot of title. Wrappers rather worn; corner of upper lacking; lower detached. Occasional light foxing heavier to some leaves; edges somewhat soiled; some signatures split. Wehner MWV A 14 p. 19. Paulus an oratorio to a libretto by Julius Schubring after Acts was first performed as part of the Niederrheinische Musikfest in DÃ¼sseldorf on 22 May 1836. Simrock printed the first edition of the piano-vocal score in December 1836 and the full score the following spring. Mendelssohn distinguished himself in many fields and his contributions to sacred choral music are no exception. He was the most prominent advocate for the music of J.S. Bach reviving the St. Matthew Passion in 1829 and helped to reestablish the oratorio by providing two superb examples: St. Paul 1836 and Elijah 1846. "From Bach's Passions and Handel's oratorios Mendelssohn borrowed the use of the traditional narrator to relate in recitatives the dramatic action of the work. Conspicuously Bachian are the chorales interspersed throughout the oratorio to demarcate the principal structural divisions diffusing according to Carl Klingemann 'a calmness through the whole'. On the other hand a debt to Handel is revealed in the rich variety of the choruses which include several that directly engage in the dramatic action and several cast in a variety of fugal styles. Prefacing the oratorio is an overture that evokes Paul's struggle for spiritual awakening by means of the chorale Wachet auf and a dissonant fugue with its subject derived from the first strain of the chorale." R. Larry Todd in Grove Music Online. Horace Middleton was a British-born musician who served on the faculty of Bennett College from 1919 to the mid-1930s. He was best known for the music he composed for the Greek plays performed at the college. See obituary Millbrook Round Table November 23 1961. Breitkopf & HÃ¤rtel [PN M.B. 85] unknown books

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MENDELSSOHN Felix 1809 1847ABAA

Op. 26. Drei Concerrt-Ouverturen . No. 2. Die Fingals-HÃ¶hle . Full score

185035152Leipzig: Breitkopf & HÃ¤rtel PN 5543 1850. Octavo. Dark ivory cloth-backed marbled boards with titling gilt to spine. 1f. recto title verso blank 52 pp. Engraved. With small publisher's and Theune Amsterdam to foot of title. Binding slightly worn. Minor internal wear browning soiling and foxing; contemporary signature illegible to blank upper margin of title. First Edition later issue. Wehner MWV P 7 p. 244; SD 10 pp. 472-3. Krause 141. Ward Jones III 401. Hoboken 10 167 first issue. Mendelssohn began work on the Hebrides overture in August 1829 while on the west coast of Scotland. There he visited the famous Fingal's Cave in the Inner Hebrides named after the mythological Gaelic hero Fingal largely a creation of Scottish poet James Macpherson. Mendelssohn revised portions of the overture numerous times including the title. It was first performed as The Isles of Fingal by the Philharmonic Society in London 14 May 1832. Although Mendelssohn finally settled on Die Hebriden as the title the first editions were published as Fingals-HÃ¶hle. One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & HÃ¤rtel [PN 5543] unknown books

J & J Lubrano Music Antiquarians LLC · États-Unis138,00 $US≈ 116,76 €

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