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An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing." Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time. Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discover many new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

Iconic violinist Izhak Perlman is joined by the London Symphony Orchestra conducted by Andre Previn for this recording of concertos by Mendelssohn and Bruch. Recorded at Studio No.1, Abbey Road, London on 27 & 28 November 1972 and released by Parlophone Records in 1973 this impressive release contains the Felix Mendelssohn Violin Concerto in E minor, Op. 64 and the Max Bruch Violin Concerto No. 1 in G minor, Op. 26. This is a pure analog tape recording mastered utilizing JVC 24bit AD Converter w

Beethoven & Mendelssohn: Violin Concertos Bach / Znaider / Chailly / Gewandhaus Orchestra - DVD 4260234830880

For your consideration...A Mendelssohn: Adagio and Presto Agitato in B flat Minor in Brand New condition! We attempt to highlight cosmetic defects ...

Otto Klemperer was very much a man of the theatre. Here, opera and drama were truly united, he said of his time at Berlins Kroll Theatre, a progressive and influential force in the heady years of the Weimar Republic. He was also a man with a sharp sense of humour: this performance of Mendelssohns incidental music to Shakespeares A Midsummer Nights Dream both glows with enchantment and sparkles with wit. - Heather Harper soprano (A-4, B-6) Janet Baker alto (A-4) The Philharmonia Orchestra &

If you listen carefully to this CD you will understand that whenever you think you have found the best, it's still possible to improve on it. Pure excitement; the brilliant technical skill of the three players is coupled with a style of interpretation which loves extremes and allows for a - positive - sobriety that simplifies Mendelssohn without becoming technocratic (NZ)

Mendelssohn: Symphonies 1-5 Mendelssohn / Nezet-Seguin / Chamber Orch Europe - CD 028947973379

Mendelssohn: Elias Op.70 Mendelssohn, Felix / Rias Kammerchor - CD 4260234831115

Praga brings together historical recordings of two masterpieces by Mendelssohn from two legendary conductors. Famous for its opening, where the dreamy cry of the horn perfectly captures the atmosphere of Shakespeare's play, Rafael Kubelk leads the Symphonie-Orchester des Bayerischen Rundfunks in this 1964 performance of A Midsummer Night's Dream. Kurt Masur leads the Gewandhaus Leipzig in this 1969 performance of The First Walpurgis Night. The poem by Goethe tells the story of Druids attempting

On the roof of Prague's concert hall, Julius Schlesinger, aspiring SS officer, is charged with the removal of the statue of the Jew Mendelssohn--but which one is he? Remembering his course on "racial science," Schlesinger instructs his men to pull down the statue with the biggest nose. Only as the statue topples does he recognize the face of Richard Wagner. This is just the beginning in Weil's novel, which traces the transformation of ordinary liveds in Nazi-occupied Prague.

An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing." Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time. Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discover many new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

Exploring many aspects of Felix Mendelssohn's multi-faceted career as musician and how it intersects with his work as composer, contributors discuss practical issues of music making such as performance space, instruments, tempo markings, dynamics, phrasings, articulations, fingerings, and instrument techniques. They present the conceptual and ideological underpinnings of Mendelssohn's approach to performance, interpretation, and composing through the contextualization of specific performance events and through the theoretic actualization of performances of specific works. Contributors rely on manuscripts, marked or edited scores, and performance parts to convey a deeper understanding of musical expression in 19th-century Germany. This study of Mendelssohn's work as conductor, pianist, organist, violist, accompanist, music director, and editor of old and new music offers valuable perspectives on 19th-century performance practice issues.

What is it that makes Mendelssohn's music recognizably unique? This study hopes to make a contribution to the answer through an analysis of an extensive sample of Mendelssohn's instrumental music. I identify a compositional practice which I believe to be a hallmark of his style: the smoothing over of formal junctures of various types. By and large, Mendelssohn's dynamic treatment of formal junctures reflects a general concern with enhancing continuity and momentum in longer forms, a compositional issue that has always presented a challenge to composers in the Western music tradition. The main purpose of our investigation, then, is to delineate the specific techniques that Mendelssohn used in his characteristic effort to bridge over formal divisions. Numerous of Mendelssohn's works reveal a clear (and evidently deliberate) propensity to create larger continuities by means of bridging over divisions, regardless of the formal prototype or level of structure. At the same time, an almost Mozartian clarity of form often is preserved. This might at first seem contradictory, but Mendelssohn, as I shall attempt to demonstrate, was able to find ingenious ways of having his his cake and eating it, too.

Exploring many aspects of Felix Mendelssohn's multi-faceted career as musician and how it intersects with his work as composer, contributors discuss practical issues of music making such as performance space, instruments, tempo markings, dynamics, phrasings, articulations, fingerings, and instrument techniques. They present the conceptual and ideological underpinnings of Mendelssohn's approach to performance, interpretation, and composing through the contextualization of specific performance events and through the theoretic actualization of performances of specific works. Contributors rely on manuscripts, marked or edited scores, and performance parts to convey a deeper understanding of musical expression in 19th-century Germany. This study of Mendelssohn's work as conductor, pianist, organist, violist, accompanist, music director, and editor of old and new music offers valuable perspectives on 19th-century performance practice issues.

Trade Paperback 1972 Scribner's Library # SL 461. Biographies of a very special & illustrious family. Publisher: Charles Scribner's Sons (New York) (Trade Paperback) First Edition and Printing. LCCN: 72-172947; ISBN-10: 0684134977 / ISBN-13: 978-0684134970; Title: Mendelssohns: Three Generation of Genius (Trade Paperback) (1972), by Herbert Kupferberg (Author); Ursula Suess (Cover Design); xvi+283 pp.

These 48 pieces were composed over a period of two decades, beginning in 1832, and published in eight groups of six each. Many of these songs were dedicated to the women in Mendelssohn's life and reflect the sunniest qualities of his melodiousness, spontaneity and invention. Maurice Hinson has skillfully researched and edited these works back to their original form and provides a very informative introduction, which includes many detailed suggestions for a stylistic interpretation and performance, as well as biographical information on the composer's life. The comb binding creates a lay-flat book that is perfect for study and performance.

By upbringing, family connections, and education, Felix Mendelssohn was ideally positioned to contribute to the historical legacies of the German people, who in the aftermath of the Napoleonic Wars discovered that they were a nation with a distinct culture. The number of cultural icons of German nationalism that Mendelssohn "discovered," promoted, or was asked to promote (by way of commissions) in his compositions is striking: Gutenberg and the invention of the printing press, Dürer and Nuremberg, Luther and the Augsburg Confession as the manifesto of Protestantism, Bach and the St. Matthew Passion, Beethoven and his claims to universal brotherhood. The essays in this volume investigate from a variety of perspectives Mendelssohn's relationship to the music of the past, including the significance of Bach's music for the Mendelssohn family, the homages to Bach in Mendelssohn's organ compositions, the influence of Beethoven in the Reformation Symphony, and Mendelssohn's reception and use of Handel's oratorios. Together, the essays shed light on the construction of legacies that, in some cases, served to assert German cultural supremacy only two decades after the composer's death in 1847. Contributors: Celia Applegate, John Michael Cooper, Hans Davidsson, Wm. A. Little, Peter Mercer-Taylor, Siegwart Reichwald, Glenn Stanley, Russell Stinson, Benedict Taylor, Nicholas Thistlethwaite, Jürgen Thym, R. Larry Todd, Christoph Wolff Jürgen Thym is professor emeritus of musicology at the Eastman School of Music and editor of Of Poetry and Song: Approaches to the Nineteenth-Century Lied (University of Rochester Press, 2010).

(Music Minus One). Performed by Geoffrey Applegate, violin Accompaniment: Vienna Symphony Orchestra Conductor: Franz Litschauer Felix Mendelssohn worked on this concerto for six years. It is truly one of the most beautiful and popular in concerto literature eloquent, passionate, lofty, and brilliant. A romantic-era classic of epic proportions. This new version with online audio of one of MMO's most popular editions features an "urtext" score with orchestral reduction. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Mendelssohn in Scotland written by David Jenkins and Mark Visocchi published by Chappell and Company

Julius Schlesinger, aspiring SS officer, has received orders to remove from the roof of Prague's concert hall the statue of the Jewish composer Felix Mendelssohn. But which of the figures adorning the roof is the Jew? Remembering his course on racial science, Schlesinger instructs his men to pull down the statue with the biggest nose. Only as the statue they have carefully chosen begins to topple does he recognize that it is not Mendelssohn; it is Richard Wagner.Thus begins a story of disarming simplicity that traces the transformation of ordinary lives in Nazi-occupied Prague. Death abetted by the petty malevolence of Nazi functionaries wins all the battles but ultimately loses the war, defeated by the fragile flowering of courage and defiance.