In The Violin Concerto Op. 64 and Chamber Music For Strings. Par BROWN CLIVE. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Livre / Livre

Ouvertüre-Die sch?ne Melusine (The Fair Melusine) Op.32Concert OvertureB?renreiter's new editions of Felix Mendelssohn Bartholdy’s great orchestral overtures edited by the internationally acclaimed conductor and scholar Christopher Hogwood are pioneer publications of his most ?important and ?popular concert overtures.This overture in its ?first version dedicated to his sister Fanny as a birthday gift in 1833 is published in the new B?renreiter Urtext edition for the first time together with the later version. This later version which Felix Mendelssohn Bartholdy saw into print (1836) isalso not available today.In the new B?renreiter Urtext edition of “Die sch?ne ?Melusine” Christopher Hogwood makes use of all known sources. It contains both versions back-to-back in score and parts.The preface addresses the compositions' genesis and sources. There is also a critical report.This publication of Mendelssohn’s “Die sch?ne Melusine” marks the first instance of a scholarly-critical edition of one of Felix Mendelssohn Bartholdy’s concert overtures. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Ouvertüre-Die sch?ne Melusine (The Fair Melusine) Op.32Concert OvertureB?renreiter's new editions of Felix Mendelssohn Bartholdy’s great orchestral overtures edited by the internationally acclaimed conductor and scholar Christopher Hogwood are pioneer publications of his most ?important and ?popular concert overtures.This overture in its ?first version dedicated to his sister Fanny as a birthday gift in 1833 is published in the new B?renreiter Urtext edition for the first time together with the later version. This later version which Felix Mendelssohn Bartholdy saw into print (1836) isalso not available today.In the new B?renreiter Urtext edition of “Die sch?ne ?Melusine” Christopher Hogwood makes use of all known sources. It contains both versions back-to-back in score and parts.The preface addresses the compositions' genesis and sources. There is also a critical report.This publication of Mendelssohn’s “Die sch?ne Melusine” marks the first instance of a scholarly-critical edition of one of Felix Mendelssohn Bartholdy’s concert overtures. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

from Christus-From Felix Mendelssohn's oratorio Christus this masterwork adaptation tastefully presents a classical work for church and academic choirs. This chorus is from one of Mendelssohn's final works which was never completed. The rolling triplet accompaniment pushes the composition forward with wave-like arches supporting the choir in all of its sonorous glory. A smooth contrapuntal style contrasts with dramatic accents and powerful crescendos displaying the confident scripture-based text with appropriate excitement! John Leavitt has provided a new piano accompaniment as well as a new sparkling orchestration that supports the work while staying faithful to the Mendelssohnoriginal.

Par MENDELSSOHN-BARTHOLDY FELIX. Sämtliche Briefe In 12 Bänden. Ausführliche Erläuterungen, Kommentar Und Register In Jedem Band. Hrsg Helmut Loos Und Wilhelm Seidel (Die Ausgabe Wird Nur Geschlossen Abgegeben). Isbn 978-3-7618-2300-2/ Répertoire / Divers

Par MENDELSSOHN-BARTHOLDY FELIX. Sämtliche Briefe In 12 Bänden. Ausführliche Erläuterungen, Kommentar Und Register In Jedem Band. Hrsg Helmut Loos Und Wilhelm Seidel (Die Ausgabe Wird Nur Geschlossen Abgegeben). Isbn 978-3-7618-2300-2/ Répertoire / Divers

Par MENDELSSOHN-BARTHOLDY FELIX. Sämtliche Briefe In 12 Bänden. Ausführliche Erläuterungen, Kommentar Und Register In Jedem Band. Hrsg Helmut Loos Und Wilhelm Seidel (Die Ausgabe Wird Nur Geschlossen Abgegeben). Isbn 978-3-7618-2300-2/ Répertoire / Divers

With his Variations Sérieuses Felix Mendelssohn Bartholdy contributed to the anthology Album-Beethoven which had been initiated by the Viennese publisher Pietro Mechetti and whose proceeds were to be donated for the funding of the Beethoven monument in Bonn. In order to do justice to the high standards of the composer to be honoured Mendelssohn decided in favour of a cycle of variations which clearly stands out from the superficially virtuoso variation style of that time. The new edition of the Wiener Urtext Edition is based on the autograph engraver’s copy and the first prints. In addition the correspondence of Mechetti'seditor Becher with Mendelssohn could be consulted for clarifying problematic textual instances. The notes on interpretation by Peter Roggenkamp cover various aspects – from learning to master the technical demands to practical performance details. The edition is rounded off by a practical and user-friendly notation.

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score performance material (BA9076) and vocal score (BA9076-90) available for saleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score his psalm setting did not appear in print until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition which was published by F. Kistner and Evers & Co. in 1851.

Op. 31 Mwv A 9-Psalm 'Non nobis Domine' / 'Nicht unserm Namen Herr' Op.31 MWV A 9Mendelssohn’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 authorityJohn 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- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score performance material (BA9076) and vocal score (BA9076-90) available for saleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score his psalm setting did not appear in print until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition which was published by F. Kistner and Evers & Co. in 1851.

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score performance material (BA9076) and vocal score (BA9076-90) available for saleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score his psalm setting did not appear in print until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition which was published by F. Kistner and Evers & Co. in 1851.

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score performance material (BA9076) and vocal score (BA9076-90) available for saleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score his psalm setting did not appear in print until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition which was published by F. Kistner and Evers & Co. in 1851.

Par MENDELSSOHN-BARTHOLDY FELIX. Sämtliche Briefe In 12 Bänden. Ausführliche Erläuterungen, Kommentar Und Register In Jedem Band. Hrsg Helmut Loos Und Wilhelm Seidel (Die Ausgabe Wird Nur Geschlossen Abgegeben). Isbn 978-3-7618-2300-2/ Répertoire / Divers

I Would That My Love (Op.63 No.1) is a popular song by Mendelssohn published in 1845 as the first in a collection of six duets for upper Voice with Piano accompaniment. It has been translated hereinto English.The Romantic composer Felix Mendelssohn-Bartholdy (1809-1847) has been highly regarded in Britain from the time of his first visit in 1829. He was a favourite of Queen Victoria and also made severaltrips to Scotland inspiring some of his best-known and most evocative works. He is also remembered for his choral works such as the ever-popular Hear My Prayer.