Mendelssohn: A Life in MusicOxford University Press, 2003 M10 23 - 736 páginas 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works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works.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. |
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Página 4
... bass. Exactly how far Moses pursued his studies with Kirnberger is unclear, though the theorist's influence remained potent in conservative Berlin into the opening decades of the nineteenth century. When Felix Mendelssohn began ...
... bass. Exactly how far Moses pursued his studies with Kirnberger is unclear, though the theorist's influence remained potent in conservative Berlin into the opening decades of the nineteenth century. When Felix Mendelssohn began ...
Página 43
... bass exercises, Zelter was a pedant of the old school offering uninspired technical training.101 But Zelter's instruction of Felix stands in marked contrast. For some seven years, beginning in 1819, Zelter remained the dominant musical ...
... bass exercises, Zelter was a pedant of the old school offering uninspired technical training.101 But Zelter's instruction of Felix stands in marked contrast. For some seven years, beginning in 1819, Zelter remained the dominant musical ...
Página 44
... bass and chorale and Marpurg's Abhandlung von der Fuge (1754) for counterpoint. Essentially, Zelter served as a musical hyphen to connect Felix to eighteenth-century German musical culture, epitomized by J. S. Bach and expounded in the ...
... bass and chorale and Marpurg's Abhandlung von der Fuge (1754) for counterpoint. Essentially, Zelter served as a musical hyphen to connect Felix to eighteenth-century German musical culture, epitomized by J. S. Bach and expounded in the ...
Página 45
... bass exercises betray a conspicuous debt to Kirnberger. For each one, Felix added figures to a bass line, and on the staves above, made two realizations in four- and three-part harmony. Finally, on a stave beneath the figured bass, he ...
... bass exercises betray a conspicuous debt to Kirnberger. For each one, Felix added figures to a bass line, and on the staves above, made two realizations in four- and three-part harmony. Finally, on a stave beneath the figured bass, he ...
Página 46
... bass line, tested it at the keyboard, and filled in the tenor and alto parts. Several melodies were Zelter's own invention, though they appear alongside such Protestant staples as Allein Gott in der Höh' sei Ehr, Nun danket alle Gott ...
... bass line, tested it at the keyboard, and filled in the tenor and alto parts. Several melodies were Zelter's own invention, though they appear alongside such Protestant staples as Allein Gott in der Höh' sei Ehr, Nun danket alle Gott ...
Contenido
The Road to Damascus | 199 |
Elijahs Chariot | 345 |
Abbreviations | 571 |
Notes | 573 |
Bibliography | 629 |
Index of Mendelssohns Works | 645 |
General Index | 653 |
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Términos y frases comunes
Abraham Andante appeared April aria August autograph Bach’s bass Beethoven’s Berlin cantata Cécile chorale chords chorus com composer composer’s composition con concert counterpoint December Devrient duet Düsseldorf Eduard Elijah English Fanny Fanny Hensel Fanny’s February Felix Mendelssohn Felix Mendelssohn Bartholdy Felix to Lea festival final Frankfurt French fugue German Gewandhaus Goethe Goethe’s Handel’s Henriette Hensel Hiller Ibid J. S. Bach January July June Klingemann Kraków later Leipzig Letters libretto Lied ohne Worte Lieder London major March Marx MDM GB melody Mendelssohn Bartholdy Midsummer Night’s Dream minor Moscheles Moses Moses Mendelssohn movement Mozart musicians November numbers NYPL October opera oratorio orchestra organ overture Paulus performed pianist Piano Concerto played premiere Prussian Psalm published Rebecka rehearsals Robert Schumann scherzo Schubring score September Singakademie solo soloists song soprano String Quartet Symphony theme tion Trio verses violin Ward Jones Weber Wilhelm Wilhelm Hensel Zelter