SKU: BR.EB-9345

World premiere: Berlin, Januar 20, 2019 (Compulsory piece for the Prizewinner Concert of the Felix Mendelssohn Bartholdy Conservatory Competition, Berlin 2019)Commissioned by the Felix Mendelssohn Bartholdy Conservatory Competition 2019ISBN 9790004188095. 12 x 9 inches.

Lar in Roman mythology refers to the so-called Lares, gods of households, fields and pathways, deified souls of the deceased and tutelary deities, especially of the house and its inhabitants. Lar is also the fireplace in a house - and thus a place where you feel protected. Lar II is part of a cycle. Each piece focusses on a kind of movement or transition between the interior (the house) and the unknown (the outside, the adventure). Gilles Deleuze speaks of deterritorialization; it is precisely this process that is also used in music as a metaphor. For Deleuze, a melody can act as a ritornello, for example, representing the house, the acquainted. Lar II plays with ritornellos which are developed alternatingly - like breathing- with certain movements to the outside and back again. Musically, the instrument organ opens/introduces as a topos something within a space and focusses on the concept of space as the central point of a continuous musical transition. (Jose M. Sanchez-Verdu, 2018)

World premiere: Berlin, Januar 20, 2019 (Compulsory piece for the Prizewinner Concert of the Felix Mendelssohn Bartholdy Conservatory Competition, Berlin 2019) Commissioned by the Felix Mendelssohn Bartholdy Conservatory Competition 2019.

SKU: BA.BA09079-90

ISBN 9790006531448. 27 x 19 cm inches. Text Language: Latin, German. Preface: John Michael Cooper. Text: Felix Mendelssohn Bartholdy.

The first great orchestral psalm

Mendelssohn's first great orchestral psalm took almost six years to complete, from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.
Unlike his other orchestral psalms, Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.

This edition by the leading Mendelssohn authority John Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.
Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary.

The piano reduction stems from Mendelssohn himself.

* Informative Foreword in the score (Ger/Eng)
* Text underlay in two languages (Lat/Ger)
* Piano reduction by the composer

SKU: BR.BV-441

ISBN 9783765104411. 6.5 x 9.5 inches.

The 19 essays in this volume are a result of a symposium held in Leipzig in October 2007. It was the first congress of its kind to concern itself comprehensively and from a European viewpoint with the importance of the organ at the time of Felix Mendelssohn Bartholdy. Particular emphasis was placed there on the interconnection of aesthetics, genre history, performance practice and organology. Supplementing the book is a CD with a recording of Mendelssohns chorale fragment O Haupt voll Blut und Wunden completed by Rudolf Lutz. Scholarly research and historically informed practice come together in this audio contribution to the symposium.

SKU: AP.36-A773948

ISBN 9798892704991. UPC: 659359779060. English.

The prodigy Felix Mendelssohn Bartholdy (1809-1847) composed the CONCERTO FOR VIOLIN No. 1 in D minor, MWV O 3, in 1822 when he was only 13. Written for Eduard Rietz, a dear friend and teacher, the concerto was forgotten, and after Mendelssohn died, his widow gifted the score to Mendelssohn's friend Ferdinand David. The work remained unknown until violin virtuoso Yehudi Menuhin, in 1951, was shown the manuscript by a London rate books dealer. Menuhin, realizing the opportunity he had, quickly bought the rights for the work from the Mendelssohn family, edited the concerto, then offered the first performance in well over 100 years at Carnegie Hall on February 4, 1952. While not as popular as Mendelssohn's VIOLIN CONCERTO in E minor, the work does find frequent performances. Reprint of the Renate Unger edition. String count of 8-8-5-5-5 in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: BR.PB-5712

ISBN 9790004216491. 6.5 x 9 inches.

Felix Mendelssohn Bartholdy created a standard work with his final violin concerto in E minor op. 64 MWV O 14 that is now firmly established in today's concert repertoire. When in 1838 the composer indicated that he had in mind a violin concerto [...] in E minor [...], it was not only his friend Ferdinand David, the Gewandhaus concertmaster for whom it was intended, who was euphoric. The whole civilized violin world was awaiting this concerto - and yet it was another seven years before the much-anticipated composition was ultimately published by the Leipzig publishing house Breitkopf & Hartel in June 1845, as well as simultaneously in London and Milan. The concerto particularly appeals through its innovative treatment of the solo part, not only because the solo violin strikingly opens the first movement without a preceding orchestral tutti, but also because of its musical dialogue with the orchestra. The Leipzig Gewandhaus premiere on 13 March 1845 with Ferdinand David as soloist under the direction of Nils Wilhelm Gade served - as so frequently with Mendelssohn - virtually as a proofreading process. After the composer subsequently made extensive changes that also involved David, the work first appeared just short of nine months later. The first edition documents the composer's valid final revision, which is reproduced as the work's main version in the present Urtext edition.The matching piano reduction includes not only an unmarked string part, but also a part with the established markings by Igor Oistrach.