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Schriften online: Musikpädagogik23 December 2013 (has links)
No description available.
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"Ch'io t'abbandono" by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and Aptitudes of the ComposerTurley, Charles William 08 1900 (has links)
The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn's romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. The musical setting of the text, as well as the text itself, indicates both Mendelssohn's awareness of himself as a maturing adolescent composer and his desire to be a composer of operatic works, a desire that was never fully realized.
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A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /Bach, Judit, January 2005 (has links)
Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center
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The serpent and ophicleide as instruments of romantic color in selected works by Mendelssohn, Berlioz and WagnerMorgan, Richard S. January 2006 (has links)
Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 3, 2000, Sept. 17, 2001, Oct. 13, 2003, and Oct. 24, 2006. Includes bibliographical references (p. 84-89).
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Felix Mendelssohn-Bartholdy a jeho skladby pro violoncello a klavír / Felix Mendelssohn Bartholdy and his Compositions for the Cello and the PianoŠístek, Eduard January 2016 (has links)
This thesis offers a brief overview of the life and the work of Felix Mendelssohn Bartholdy. It was no coincidence that Robert Schumann called him the Mozart of the 19th century: Being a prodigy from a very early age, he composed with such an unbelievable lightness. Many of his compositions have become an essential part of the world of music nowadays. Equally, his pieces for the cello and the piano, which are dealt with in the second part of the thesis, have their remarkable qualities and they are worth playing.
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Felix Mendelssohn-Bartholdy: Konsertstycken op.113/114 : klarinettistisk ekvilibrism under 1800-taletWetterbrandt, Gustav January 2018 (has links)
Felix Mendelssohn-Bartholdy levde under första halvan av 1800-talet. Utöver att vara ett underbarn likt Wolfgang Amadeus Mozart var han även en mycket socialt kapabel person. Detta gynnade honom mycket då hans kompositionsförmåga lyftes fram som enastående av framstående personer som Johann Wolfgang von Goethe och drottning Victoria av Storbritannien. Han var en mycket produktiv komponist och skrev under sitt liv mängder av orkestermusik, kammarmusik, operor, solokonserter och pianoverk. I detta arbete har jag fördjupat mig i hans två Konsertstycken Op.113/114 för klarinett, bassetthorn och orkester, som Mendelssohn skrev till klarinettisterna Carl och Heinrich Bärmann. Syftet med denna studie är att öka förståelsen för dessa två förbisedda verk samt jämföra instuderingsprocessen av en dubbelkonsert med det av en solokonsert. Jag har genom användning av partitur från G. Henle verlag analyserat Op. 113 och skrivit om mina konstnärliga ställningstaganden under instuderingsprocessen av både Op.113 och Op.114. Ur analysen framgår att musiken har allt annat än en strikt struktur. Mendelssohn bryter gärna de strukturella mönstren som förväntas av honom. Ur instuderingsprocessen framgår att arbetet med en dubbelkonsert har både stora för- och nackdelar jämfört med arbetet av en solokonsert, men att möjligheten till en diskussion mellan två parter är mycket givande för att skapa sig en klar bild av vad man vill komma fram till med sitt framförande av verket. Denna studie strävar efter en ökad fördjupning och förståelse av olika infallsvinklar som leder till en mer genomarbetad konstnärlig instuderingsprocess. / <p>F.J. Haydn - Symfoni nr. 104 i D-dur, Hob.I:104, F. Mendelssohn-Bartholdy - Konsertstycken nr.1 och nr.2, Op.113/114, L.v. Beethoven - Symfoni nr. 2 i D-dur Op.36. Som Howie - Klarinett, Gustav Wetterbrandt - Bassetthorn, Mats Zetterqvist - ledning, KMH symfoniorkester. Inspelning från konserten med ovan nämnda medverkande finns tillgänglig.</p>
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The Mendelssohn Symphony No. 1 in C Minor as a transition from the twelve string symphonies of Mendelssohn to his "Overture to a Midsummer Night's Dream"Pitts, Ralston O., Pitts, Ralston O. January 1980 (has links)
Felix Mendelssohn's Symphony No. 1 in C Minor, Opus 11, is important primarily as a transitional work. It is the first work in which Mendelssohn deploys large orchestral forces in the traditional form of the symphony; thus, it provided Mendelssohn with the means of making the important transition from the relatively small, chamber-music ensemble in which he had previously worked (as represented by the "string symphonies") to large-scale symphonic works. Its historical or biographical importance definitely outweighs its importance as a musical work in its own right; this can be seen by the fact that it is much less performed today than other symphonies by Mendelssohn. In these later symphonies
the composer displays his talents in a more fully developed form. Nonetheless, Symphony No. 1 has many excellent qualities. It has several memorable melodies and shows the working of a vigorous, youthful, though somewhat derivative musical intelligence. It has several brilliant and memorable moments, although considered as a whole it must still be
regarded as a work that promises a greater talent than it displays.
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Fühlung mit dem OrchesterSchröder, Gesine 03 February 2017 (has links)
No description available.
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City of MusesBöhnke, Dietmar 18 October 2018 (has links)
No description available.
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Echoes of Staffa: for Bass-Clarinet and VioloncelloReinhold, Steffen 18 May 2022 (has links)
Echoes of Staffa' ist eine musikalische Reflexion des einzigartigen Naturwunders der kleinen schottischen Insel Staffa mit ihrer Fingalshöhle. Zudem ist es eine Referenz an die Hebriden-Ouvertüre von Felix Mendelssohn Bartholdy und den Mythos um König Fingal. 'Echoes of Staffa' ist nach 'Fingals Schatten' (2008) das zweite Stück der schottischen Trilogie des Komponisten.
'Echoes of Staffa' entstand im Auftrag von ecat und Creative Scotland. Das Stück wurde 2010 in der Queen’s Hall in Edinburgh von Yann Ghiro – Bassklarinette und Martin Storey – Violoncello uraufgeführt.
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