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Daniel Itzig mother's side great-grandfather Moses father's side grandfather Abraham father Fanny and Rebecka sisters Paul son. Mendelssohn-Werkverzeichnis List of compositions. Chamber music by Felix Mendelssohn. List of compositions by Felix Mendelssohn. Retrieved from " https: Chamber music by Felix Mendelssohn compositions Compositions for octet Compositions in E-flat major. By Rosie visitor , 02 Jan at Thank you so much.
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Better go and practice now By Matt Lipman visitor , 22 Dec at This is a fantastic work! The first violin part should only be attempted by professionals.
The other parts are easier, but, since there are seven, are hard to get together. But, when together, this piece soars above all others. By Xorem visitor , 22 Dec at Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist. Collections of free-scores-admin 5 Hungarian folk songs. Haydn's String Quartets Opus Uns ist ein Kind geboren. Sor - Six divertissements pour la guitare Opus 1. Sor - Six divertissements pour la guitare Opus 2. But such interpretive considerations seem far removed from the carefree spirit of the Octet.
Given the dearth of the string octet repertoire, would-be performers of the Mendelssohn Octet face the threshold challenge of assembling a suitable ensemble of four violins, two violas and two cellos. Price, Bray and Shinebourne. Either way, the result truly was international.
In any event, while the playing is accurate and competent, the thick texture and boxy sonics bury the essential charm and enchantment of the work, most damagingly in the first and scherzo movements. The first begins at a curiously turgid pace but soon accelerates to a more suitable tempo and eventually slackens to prepare for an emphatic coda.
The andante , replete with late-romantic portamento swooping into notes is suitably soft and gentle throughout. The finale, too, is successful, integrating all its contrapuntal elements into a unity aptly reminiscent of the gravity of its inspiration in Bach fugues. But this was a practical consideration — leaving out the third movement repeat enabled the entire scherzo to fit on a single 78 rpm side thus avoiding a disruptive lapse of continuity , and in the days before automatic changers when records had to be switched manually and the first disc flipped over to continue to side 2 , it actually was faster to obtain the intended effect of the first movement repeat by simply playing the first side, which contains the entire exposition, twice.
Remarkably, the next Octet recording arrived only at the very end of the era of 78s. To cram the work onto six 12" sides, the breaks were awkwardly arranged so as to interrupt all four movements, an especially jarring loss of continuity in such a thoroughly delightful work that soon would be remedied with the advent of LPs, which enabled the entire Octet to be presented on a single side, or at worst logically split between the first and second movements.
I've only been able to hear the finale, but the timings would suggest that, in addition to omitting the repeats, the first two movements either were cut or accelerated. The quotation marks around its name on the record labels suggests that the ensemble was specially assembled for this recording. As might be expected from mostly French musicians H.
Volant, R Galli, P. Frecheville that finale is remarkably light, deftly played and meticulously balanced, paving the way to the finer fidelity and edited precision that tape mastering and vinyl processing would permit. The wait for LPs ultimately was amply rewarded.
Free sheet music : Mendelssohn Bartholdy, Felix - Op - String Octet (String Ensemble)
This is one of those marvelously transparent readings that proudly displays the glories of the score without unduly calling attention to itself through creative interpretative gestures. Graceful and elegant throughout, it set a high standard for those that would follow. It also typifies one of the primary approaches to assembling an octet — augmenting an established string quartet with local colleagues. A variant of the above approach is for a superstar to gather colleagues for a recording. Here, the star clearly was Heifetz, the most famous even if arguably not necessarily the greatest violinist of the twentieth century who, together with his Los Angeles neighbor and frequent recording partner Piatigorsky, invited colleagues both famed Primrose was a frequent collaborator and among the most renowned violists of his time and emerging Stepansky had never played with Heifetz or Piatigorsky before for a series of outdoor concerts, which then led to recordings.
Here, the quick timing includes all repeats and accurately reflects the exhilarating and at times nearly superhuman pace — just on the cusp of recklessness, yet always sharp, precise and under full control. More than any other recording, Heifetz et al. The most mathematically obvious way to form a string octet is to combine two quartets — especially where they stem from common traditions and thus may be presumed to share the same esthetic outlook. While those hallmark qualities are in abundant evidence in early electrical recordings of the Bohemian and Prague Quartets, they became largely attenuated by the time these sets were cut, perhaps a sign of the internationalizing forces that co-opted most distinctive national schools into a blander all-purpose one.
To me, the result is a bit too smooth and reserved, suggesting a maturity that deprives the Octet of its unique status in history.
Even so, we can hear a remarkably thorough unity of concept, with fully synchronized accents and phrasing that suggests a powerful single group more than two separate ones. Another means of closely matching two existing quartets arises when one is comprised of students trained and mentored by the other, here at the Eastman School of Music.
Alas, while the Cleveland disbanded in after a quarter-century of success in which Mendelssohn quartets were prominently featured , the Meliora seems to have faded away soon after making this record. The ultimate way for a quartet to assure a unified interpretive approach is to play with itself, but, as with sex, that may not turn out to be as satisfying as interacting with a live partner. Here, rather than add other players, the Emerson recorded several layers to overdub themselves playing all the parts.
Yet, with 28 tracks to manipulate and the players wearing headphones as they record, it suggests a sterile technological exercise more than an inspiring artistic event. Yet compared to standard versions it seems a bit too flawless and thus perhaps lacks the human element that attracts us to great art with all its inherent blemishes.
String Octet, Op.20 (Mendelssohn, Felix)
A noble experiment to bring a time-honored pop technology to recording the classics, it heralds the intriguing and perhaps terrifying prospect of a future in which a handful of musicians can produce a whole Mahler symphony. As none approaches the concentrated brilliance of the Octet , they collectively serve to underscore the wonder of that remarkable and exceptional achievement. As would be expected from a larger body of players, the sound is richer and the execution less precise, but Winograd compensates with wide dynamics, potent inflection and subtle tempo flexibility that thwarts bland uniformity, plus a dry resonance that avoids an overly blurred sonority, suggesting a romantic sensibility through power, texture and ripeness rather than sentimentality.
The smooth expanses of the andante benefit from the lush surface and added presence of lower strings possibly bolstered by basses without sounding unduly thick or sluggish, while the scherzo , seemingly the movement most vulnerable to a heavier texture, barely rises above a whisper and thus beckons us to enter its magical realm and sets up an apt contrast with the cumulative power mustered for the finale.
Overall, the arrangement lends the entire work an aura of maturity solely through the sheer bulk of its massed sound. It also provides an evolutionary link in sonority, not inspiration with the flip-side work — a string symphony Mendelssohn had written two years earlier.
The midth century revival of interest in Baroque music stimulated the formation of more permanent ensembles aptly sized for the concerted music of that era but that turned out to be ideally suited as well for the Mendelssohn Octet.
Octet for strings in E flat major, Op. 20
Martin in the Fields Argo, ; Philips, ; Chandos, , both comprising a dozen or so strings, required only minor paring of their forces to reach the requirements of the Octet and they play with a lean enthusiasm infused by their feeling for the clarity and restrained emotions of earlier music. He fortifies all four movements with his full string section and an occasional boost from his double basses, mainly giving some added heft to the finale although the impact of the bass reinforcement is largely negated by a thin recording.
An earlier recording of the orchestrated scherzo by Dmitri Mitropoulos and the Minneapolis Symphony Columbia 78; Lys CD is so frantically rushed 3: At the other end of the textural spectrum, Mendelssohn had also adapted the Octet for piano, four hands. Keyboard transcription was a common practice in the days before recordings to enable a new work to be played in the home, where pianos were ubiquitous and training was a routine part of an education.
Related String Octet, Op. 20, Movement 3 - Score
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