KeyLit 01 Mendelssohn

8/18/2019 KeyLit 01 Mendelssohn

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Mendelssohn

Brief Biographies Felix Mendelssohn

(1809, Hamburg - 1847, Leipzig; )

!nd "hild o# a $eal%h& 'e$ish baning #amil& *a%her "on+er%ed %o ro%es%an%ism

Ma& ha+e a##e"%ed Mendelssohns "omposing

.n %he %he grea%es% /hild rodigies

mpor%an% "ondu"%or, "hampioned ee%ho+en (pla&ed %he 2mperor /on"er%o) and re+i+ed a"h 2s%ablished Leipzig 3e$andhaus .r"hes%ra and Leipzig /onser+a%orium

1 rillian% "hild prodig& perhaps %he grea%es% o# 5LL 6M2

1 /ame #rom a #amil& o# $eal%h& 3erman 'e$s *a%her $as a baner 3rand#a%her $as a #amous philosopher, Moses Mendelssohn

! o%i"e a "onne"%ion be%$een prodigies, grea% musi"ians and $eal%h

."%e% #or :%ring a% 1

4 .+er%ure %o :haespeares Midsummer Night’s Dream a% 17

< & 1! he had $ri%%en1 Man& sona%as

! 5 piano %rio

/an%a%a and %$o opere%%as ($i%h %he #amil& hiring an or"hes%ra so %ha% he "ould hear hismusi")

4 /omposed %he #irs% o# his 1! :%ring :&mphonies, $onder#ull& #resh and in+en%i+e musi"

%ha% =ui"l& sho$s his pre"o"ious "on%rapun%al and #ormal mas%er& "ombined $i%h an

emerging roman%i" +oi"e< He also pain%ed $ell, spoe man& languages

Me% and be#riended 7!-&ear old 3oe%he

! erlin >ni+ersi%&? 18! %o 18!9

1 /ondu"%ed (a% %he erlin :ingaadamie%he) %he #irs% per#orman"e o# a"h@s :% Ma%%he$ assionsin"e a"h@s dea%h

! 6his $as a seminal momen% in %he a"h re+i+al o# %he nine%een%h "en%ur& and a e& e+en% inMendelssohn@s impor%an% "ondu"%ing "areer

Character Profile

:ligh% build, slender and almos% deli"a%el& #ormed, bu% de"ep%i+el& a%hle%i", sine$& (s$imming, hiing,

riding and dan"ing) eau%i#ul appearan"e, esp e&es? eApressi+e, brigh%, #ier&, glo$ed $Binner ligh% shining ou%$ard High,

prominen%, Cin%elle"%ualD #orehead

Eeen $i%, spiri% o# pla&#ulness, impish

n so"ie%&, he a+oided %he unpleasan% or nega%i+e remars some sa$ %his as a %hirs% #or good opinion e+er seems %o ha+e su##ered mu"h, in "omposing, in pla&ing, in learning, nor #inan"iall& - ma%ernal

grand#a%her one o# %he ri"hes% men in russia

rillian% in%elle"%? "omposer, pianis%, "ondu"%or, organis%, $ri%er, linguis%, a%hle%e, philosopher, poe%, edi%or,

ar%is% (dra$ing and pain%ing) a%ernal grand#a%her leading 2nligh%enmen% philosopher and re#orming in#luen"e on 'udaism in 3erman&

s%rong "lassi"al in#luen"e

Being Jewish in Germany:

1 Had %o pro+e +alue and %ha% &ou $ere %he in%elle"%ual e=ual

! .#%en #or"ed in%o usur& mone& lending /onse=uen%l&, man& 'e$ish #amilies be"ame +er& $eal%h&

/on+ersion %o /hrisi%iani%&?

1 Mendel Fessau name o# grand#a%her o# Mendelssohns #a%her



! Moses ben Mendel Fessau "hanged %o Mendelssohn

*a%her in%ended Mendelssohn %o be a name o# C'udaism in %ransi%ionD

4 6hen "hanged %o ar%hold&

< C6here "an no more be a /hris%ian Mendelssohn %han %here "an be a 'e$ish /on#u"ius GI 5name is lie a garmen%; i% has %o be appropria%e #or %he %ime, %he use, and %he ran i# i% is no% %o

be"ome a hindran"e and a laughing-s%o"D

Influence of family:

1 Moses Mendelssohn res%rain%, modes%& (par% o# being 'e$ish) no% bragging abou% in%elle"%ual

a"hie+emen%s, emphasis on edu"a%ion

! :is%er *ann& grea% musi"ian in her o$n righ%, pianis% B "omposer

*a%her belie+ed %ha% he should ha+e proper pro#essional appoin%men%s, %hus pu%%ing his gi#%s a% %heser+i"e o# so"ie%&?

erlin :ingaademie 18!; 18 Fusseldor#; 18< Liepzig; russia; 1847-9 Leipzig again

In Leipig:

1 5s "ondu"%or?

1 Jer& s%ri"%, hired %he bes% %alen%, rehearsed, used a ba%on, bea% %ime

! Kaised pension #unds, in"reased (doubled) salaries

n"reased %he size o# %he or"hes%ra

4 Ke+i+ed pas% mas%ers? a"h and Handel :% Ma%%he$ assion seminal momen% in a"hs re+i+al< .rganized "on"er%s #or +isi%ing +ir%uosi (Lisz% 1840)

/hamber "on"er% series (uar%e%-2+enings)

! /rea%ed %he /onser+ao%ium o# Leipzig

!eacher He didn% eno& i%, as $as apparen%l& %he onl& %hing he $asn% grea% a%

Characteristic of Music

5l$a&s s%ro+e #or u%mos% per#e"%ion in his "ra#%

Ke#le"%ed in his per#e"%ion o# form

u% he did no% see %o rede#ine #orm, bu% ra%her %o use eAis%ing #orms

He "ri%i"ized his "on%emporaries $hen %he& %ried ou% ne$ #orms?Critisiing Berlio " Che dis%or%s e+er&%hing, $i%hou% a spar o# %alen%, al$a&s groping in %he dar, bu% es%eeming

himsel# %he "rea%or o# a ne$ $orld; $ri%ing moreo+er %he mos% #righ%#ul %hings, and &e% dreaming and %hining o#no%hing bu% ee%ho+en, :"hiller, 3oe%he; a +i"%im a% %he same %ime o# %he mos% boundless +ani%&, and looing do$n

on Mozar% and Ha&dn, so %ha% all his en%husiasm seems %o me +er& doub%#ulD

CHis or"hes%ra%ion is su"h a #righ%#ul muddle, su"h an in"ongruous mess, %ha% one ough% %o $ash ones hands a#%erhandling one o# his s"ores esides, i% is reall& a shame %o se% no%hing bu% murder, miser&, and $ailing %o musi"he

GerliozI seems so %horoughl& sensible, and &e% he does no% per"ei+e %ha% his o$n $ors are su"h rubbish&

nonsenseD

>pon pla&ing %hrough Lisz%s %rans"rip%ion o# erliozs :&mphonie *an%as%i=ue? C "anno% "on"ei+e an&%hing more

insipid, $earisome, and hilis%ine, #or $i%h all his endea+ors %o go s%ar mad, he ne+er on"e su""eedsD

Piano Music

/lassi"is% earl&

n#luen"ed b& +ir%uoso $ri%ing o# his "on%emporaries? Neber, Mos"heles, Hiller, /zern&, Ealbrenner, e%"

Nro%e lo%s o# "hara"%er pie"es? :lo$ in%rodu"%ion #ollo$ed b& a ligh%, #lee%ing +ir%uoso se"%ion

:ongs $i%hou% Nords his one enduring "on%ribu%ion %o de#ining a ne$ #orm

*ound his o$n +oi"e s%ar%ing $B.pp 14-1 Ligh%, #lee%, el#in $ri%ing, al$a&s %as%e#ul, in%elligen%, $i%h a sense o# e##or%less elegan"e



He admi%%ed %ha% he la"ed %he %alen% #or "oming up $i%h ne$ #orms #or piano musi"?

a 6his "ould ha+e been his na%ural modes%&

b More liel& %his $as %he %ru%h

" .nl& his : $Bo Nords in%rodu"ed a ne$ #ormd He pre#erred looing in %he pas%, bu% he lied %o s%are

Piano #olo Pu$lished

Capriccio in f#, Op. 5 (23 Ju! "25$ % &u' '! Cementi

:ona%a in 2, .p (!! Mar"h 18!)

*ugue in e (1 'une 18!7)

:ieben /hara"%ers%u"e, .p 7, (1 'une 18!7) :"herzo in b (1! 'une 18!7)

ntroduction and )ondo Capriccioso, Op. "* ("3 June "3+$

*an%asia on %he CLas% Kose o# :ummerD, .p 1< (180)

rois fantaisies ou caprices, Op. "- ("2$, no. 2 e *an%asia in #O (Csona%e e"ossaiseD), .p !8

/ongs 0ithout 0ords % - 1 (- 2$ and others (Op. -4, #*, /pinneried6$

reludes and *ugues, .p < (187), e minor

:"herzo a "apri""io in #O (18)

3ondellied (Car"aroleD) in 5, 1841 (.p 19, O o# :NN in g and .p 0, O in #O - bo%h "alledJene%ianis"hes 3ondellied; .p <, O in g, .p !, O< in a)

relude and *ugue in 2 minor (1 'ul& 41) published $B#ugue o# 18!7

7ariations serieuses in d, Op. 5* (* June "*"$ /hris%mas pie"e, .p 7! (1847)

Piano %arly &or's

n#luen"es #rom 2arlier Mas%ers?

3 minor piano sona%a lie Ha&dn

Mendelssohns *ugue in 2b %heme #rom a"h /horale in 2b (re"i%a%i+e)

erpe%uum Mobile Jer& similar %o Nebers o$n

La%er :ona%as sho$ in#luen"e o# ee%ho+en? :ona%a in b has similari%ies $i%h %he Hammerla+ier

iano :ona%a in 2, .p 10 similar %o ee%ho+ens .p 101, 109 and 110

6he #lee% Mendelssohn sho$s himsel# earl&?

/apri""io in #O, .p <

7 /hara"%eris%i" pie"es, .p 7, o 7 o%h an%i"ipa%e %he .+er%ure %o Midsummer igh%s Fream

1 3 minor piano sona%a .p 10< 5n earl& piano sona%a %ha% is one o# %he bes% CHa&dnD sona%as e+er $ri%%enHe builds %he sona%a on a des"ending P s%ep mo%i+e His earl& $ors ha+e more in "ommon $i%h a"h,

Mozar% and Ha&dn %han his "on%emporaries

! Nebers erpe%uum Mobile around 18!-ish B Mendelssohns o$n erpe%uum Mobile ee%ho+en #rom 18! and he pla&ed %he Hammerla+ier ! mon%hs be#ore #inishing his o$n :ona%a in ba :imilar, bu% don% loo %oo hard

b Mendelssohns b is a"%uall& more C"lassi"alD

" Ee& rela%ionships are similar b 1s% and 3M se"ond %onal group

4 :ona%a in 2 .p is similar %o ee%ho+en 101 in 5 B110 in 5ba /an%abile m+% 1

b :%ep$ise melodies (101 Minue%)

" 2Aperimen%al pedal e##e"%s 5dagio a% !?0 and <?00 and ee%ho+en .p 110 a% 8?00d Nidel& spa"ed "hords and in eA%reme regis%ers



e /&"li"al "omposing bringing ma%erial #rom m+% 1 in las% m+% .p 110 a% 10?00

# Ke"i%a%i+e and #uga%o 5dagio en%ire %hing and ee%ho+en las% mo+emen% a% ?0 and 8?1<

:"humann %hough% i% $as one o# %he bes% :ona%as o# all %ime

Mature &or's (#hort Forms)

Kondo /apri""ioso .p 14 originall& us% %he pres%o, bu% added %he 5ndan%e

6hree *an%asies .p 1 6hree /apri"es .p

Kondo /apri""iso He lined a slo$ mo+emen% %o %he "on"luding #as% one :imilar in %ha% regard %o his piano

"on"er%i .p !< and 40 and %o /apri""io rillian% .p !! and :erenade und 5llegro 3iooso .p 4 Mendelssohn per#ormed %his "omposi%ion o#%en

6hree *an%asies?

Faugh%ers o# 'ohn 6a&lor, "omposed on his +isi% %o Nales in 18!91 Lie %he opening %o %he :"o%%ish s&mphon&, and inspired b& %he sigh% o# "arna%ions and roses

! (e minor), inspired b& a "reeping plan% $i%h %rumpe%-shaped #lo$ers, similar %o Midsummer igh%s

.+er%ure

5m ru"h, a depi"%ion o# a ri+ule%

Mature &or's (Long Forms)

He $ro%e onl& %hree ma%ure $ors #or %he piano? *an%asia in *O minor Lie :"humanns / M #an%as&, "on"ei+ed lie a -mo+emen% piano sona%a

(:ona%a e"ossaise :"o%%ish :ona%a)

reludes and *ugues, .p < (homage %o a"h)

Jaria%ions serieuses

*an%asia (18!!) Ma& ha+e been inspired b& :"o%%land, bu% i% $as 2*.K2 his :"o%%ish soourn in 19!9 6here is

possibl& some programma%i" inspira%ion? $idel& spa"ed harmonies and "hords $i%h open #i#%hs, blurred, open pedal

%e"hni=ues and drama%i"all& spa"ed dissonan% "res"endos remind one o# :"o%%i"h musi".%her C:"o%%ishD inspired musi" in"ludes? Hebrides .+er%ure, :"o%%ish :&mphon&

6he #orm is *ndante " *llegro " Presto, "on%inuous $i%h no pause, possibl& in#luen"ed b& .p !7, O! (%heCMoonligh%D :ona%a)

Prelude and Fugues +p, -.

.riginall& %i%led 2%udes and *ugues

(>se o# -hand %e"hni=ue in reludes, bu% #ugues are s%ri"%)

5l%erna%es MBm, O and b? e F b 5b # b e e uses %he hand %e"hni=ue in %he relude

FM *ugue lie a"hs FM #rom oo 1 o# %he N6/

b is a s"herzo-lie Mendelssohn pie"e

5b lie ee%ho+ens #inal #ugue #rom .p 110s Las% mo+emen% 8?1<

Influenced $y Mendelssohn/s contrapuntal writing:

/lara :"humann, $ho $ro%e reludes and *ugues, .p 1, Kober% :"humann, $ho $ro%e *ugues on 5/H (b 5 / ) #or .rgan /hopin (1840s) his musi" be"ame in"reasingl& "on%rapun%al a#%er his s%ud& o# a"h

u% #or %hem i% $as an eAer"ise in a #ading ar%; #or Mendelssohn, i% $as ho$ he +ie$ed %he $orld o# musi"

0ariations #erieuses1 +p, .2

/omposed as an homage %o ee%ho+en

uil% in a""elerando %ha% graduall& builds %ension



Ma& ha+e loosel& based %he +aria%ions on ee%ho+ens ! +aria%ions in / minor and %he C:eriosoD

mo+emen% o# :%ring uar%e% .p 9<

se%s o# +aria%ions? .p <4, 8! and 8?1 Jaria%ions serieuses .p <4 is his pianis%i" mas%erpie"e

a n+i%ed b& Jiennese publisher ie%ro Me"he%%i %o "on%ribu%e an homage %o ee%ho+en and #or a

monumen% in onn (/hopin, /zern&, Fohler, Hensel%, Ealbrenner, Lisz%, Mos"heles, 6auber% and

6halberg) b 2"hos ! +aria%ions in " minor (des"ending "hroma%i" bass) and :%ring uar%e% .p 9< (C:eriosoD

mo+emen%)

" Fid he mean %o use %he des"ending "hroma%i" 4%h /ha"onne bass line Loo a% %he ree"%ed

+aria%ion! La&ou%

a Jaria%ions 1-9 graduall& in%ensi#& $i%h a $ri%%en in a""elerando o# e+er shor%er rh&%hmi" +alues

b 'us% $hen i% hea%s up, he slo$s i% do$n $i%h a "annon

" 10-11 are slo$er, lie a slo$ mo+emen%d 1!-1; u% he speeds up $i%h %he -hand %e"hni=ue $i%h #igura%ion in %he :oprano and melod& in

%he middle

e 14 is Maor and %he Qslo$ mo+emen%

# 1< graduall& speeds up, po"o a po"o and piu agi%a%o 6he %heme has been pushed do$n %o %he

middle and no$ i% is #inall& broen upg 1 has brillian% #igura%ion in %he KH

h 17 o+er a dominan% pedal

i 6he "oda in s&n"opa%ion, =uie% ending n#luen"e

a Fre$ #rom ee%ho+en and Ha&dn (# minor +aria%ions)

b rahms?

i Jaria%ions on an original %hemeii Jaria%ions on a %heme b& Ha&dn

iii :&mphon& o 4

i+ ! boos o# aganini 2%udes

Lied ohne &orte

:%ar%ed as albums or gi#%s #or #amil&B#riends

.nl& a de"ade la%er he %hough% %o publish %hem 6he albums are "are#ull& planned #or eAample, %he #irs% album?

Maor (1,,4), minor (!,<,), shor% (4), longer (,<), solo (1), due% (), par%-song (,4)

*irs% boos o# Lied ohne Nor%e are dedi"a%ed %o $omen (O< %o /lara :"humann)

lans #or a 7%h in"lude .p 8< - 1,!,,<, %he Kie%erlied and .p 10! ! .p 8< and 10! are os%humous :lo$ mo+emen% o# his iano 6rios, Jiolin /on"er%o, iano /on"er%o F Minor resemble CLied ohne Nor%eD

3is uni4ue contri$ution:

urpose#ull& le#% mos% o# %hem un%i%led a%urall&, %hose $B%i%les are among %he mos% popular Fi+ided in%o? :olo (single soprano line), Fue%s (usuall& a melod& doubled a% %he %hird or siA%h) and par%-

songs (homophoni" %eA%ures)

6his di+ision is suppor%ed b& %he $a& he di+ides his %eA%ed songs #or +oi"ePossi$le influences on other composers:

n#luen"ed :"humann? han%asies%u"e, .p 1!

rahms iano sona%as .p 1, !, and 4 - %he slo$ mo+emen%s

Lisz% e%rar"h :onne%s

.%hers $ho $ro%e songs $i%hou% $ords?:pohr, Heller, Li%ol##, 6"haio+s&, *aure, Ki"hard :%rauss or"hes%ra%ed .p 19, (3ondellied) in his

:&mphonia Fomes%i"a (190)



*ppearances in literature:

:herlo" Holmes pla&ed a :NN upon re=ues% in 5 :%ud& in :"arle% (1888)

'ames 'o&"es Ulysses, in %he musi" laden imager& o# %he :irens episode (19!!)

5lduous HuAle& (au%hor o# 1984), #rom his 8fter Man! a /ummer Dies the /0an (199), des"ribes aCridi"ulous #a"e lie a rabbi%s and a +oi"e lie :ongs $i%hou% Nords on %he saAophoneD

Piano #olo (5nu$lished or Posthumous)

:ona%as

F Maor (! pianos) (1819), 5 Minor (1! Ma& 18!0), 2 minor (1 'ul& 18!0), * minor (18!0), *

Maor (18!0), :ona%ina in 2 (1 Fe" 18!1), b (!7 o+ 18!), 3 Maor (189-1841), 5 Maor

(possibl& no% m& Mendelssohn) :ona%a in 3 minor, .p 10< (18 5ug 18!1)

:ona%a in b, .p 10 (1 Ma& 18!7)

Mis"?

.+er <0 relude, Jaria%ions, :ingle mo+emen% $ors, *ugues, :ongs Ni%hou% Nords, :%udies

Piano Concerti (Pu$lished)

/on"er%i ublished?

/apri""io brillian% in 2b, .p !! (18 :ep% 181) ("on"ei+ed o# as a solo piano "omposi%ion arismanus"rip%)

Piano Concerto 6o, 7 in g1 +p 8. (79-8) premiere in Munich

Kondo brillian% in 2b, .p !9 (!9 'an 184) Piano Concerto 6o, 8 in d1 +p, 2 (. *ug 79-;) (composed during his honeymoon trip in

summer 79-;)

:erenade and 5llegro giooso, .p 4 (1 5pril 184)

!wo<Piano in %

Fuo piano in 2 his #irs% real "on"er%o pie"e - more lie Mozar% 5 Maor, .p <88

a n%rodu"ed b& a "adenza, %he 2ingang or lead-in

b Las% mo+emen% %he beginning o# ma%ure Mendelssohn? nimble, "lean, unders%a%ed, %as%e#ulG minor1 +p, 88

.nl& one "onsis%en%l& in %he reper%oire :ingle-mo+emen% $or? 3 minor 2M 3 M n pla"e o# a -4 "hord and "adenza, he modula%es %o M,

%hen 2M and se"ond mo+emen% (same in d minor) orro$ %he s%&le o# Hummel, /zern&, Ealbrenner and Mos"heles, bu% $i%hou% %he hea+& pa%hos %ha% "ame

do$n #rom %he " minor o# ee%ho+en

roblems o# %he 2Aposi%ion 3 minor #uses %he piano and or"hes%ra in %he eAposi%ion

/&"li"al de+i"e in %he rd mo+emen%, re"alling %he !nd %heme #rom %he 1s% mo+emen%, a% 4?40 in

= Minor1 +p, 2

o% =ui%e as popular and he didn% =ui%e su""eed in repea%ing %he same de+i"es %ha% $ored so $ell in %he g

minor :lo$ do$n a% !?00 o# %he 1s% mo+emen% sounds a lo% lie :"humanns .p 17 *an%as& in /

Piano Concerti (5npu$lished or Posthumous)

/on"er%i >npublished?

iano "on"er%o in a minor, (18!! - ma& be a s%ud& a#%er Hummels iano /on"er%o in a minor)

Fouble /on"er%o in d minor, (pno R +ln) (18!)

/on"er%o in 2 #or %$o pianos (17 ."%ober 18!) (remiered b& *eliA and *ann& on 14 o+ 18!4;!nd per#orman"e $BMos"heles on 1 'ul& 18!9 in 2ngland)

/on"er%o in 5b #or %$o pianos (1! o+ 18!4)



*an%asie und Jaria%ionen uber /arl Maria +on Nebers reziosa, ! pianos (Ma& 18) "omposed

$i%h gnaz Mos"heles in London Mos"heles re$ored and added passages, and published i% as

his .p 87b (%o %he displeasure o# Mendelssohns sis%ers)

iano "on"er%o in e minor (184!-44), un#inished

Cham$er Music (Pu$lished)

*or iano and Jiolin Jiolin sona%a in * (19 'an 18), (Sehudi Menuhin, 19<)

Jiolin sona%a in # minor, .p 4 ( 'une 18!)

iano 6rio?

Piano !rio 6o, 7 in d minor1 op, 2> (8- #ept 79->)

iano 6rio in " minor, .p (0 5pril 184<)

iano uar%e%?

iano =uar%e% in " minor, .p 1 (."% 18!! - 14 &ears oldT)

iano =uar%e% in # minor, .p ! ( Fe" 18!) Fedi"a%ed %o Uel%er Piano 4uartet in $ minor, .p! (18!4-!<) Fedi"a%ed %o 3oe%he

iano and /ello?

Jaria%ions "on"er%an%es in F, .p 17 (0 'an 18!9)

/ello :ona%a o 1 in b (1 ."% 188), also prepared #or +iolin and piano b& *erdinand Fa+id in

189) Cello #onata 6o, 8 in =, .p <8 ('une 184)

- /ello :ona%a o ! in F +er& good $or #or /ello $Bgrea% piano $ri%ingn %he #inale? =uo%e #rom 2liah Caal, erhore unsTD, Heed %he sa"ri#i"e $e o##er &ouT

2bullien% 1s%, s"in%illa%ing #inale, Mendelssohnian s"herzo, and a gorgeous adagio

- /ello :ona%a o 1 in b &ou%h#ul and #un $ri%ing, #resh %s no% heard as o#%en,

mainl& be"ause %he !nd /ello sona%a is so goodT- Jiolin :ona%a in * 2lemen%s o# %he e minor "on"er%o? 1s% m+%, 5rpeggios a% 7?0

an%i"ipa%e /on"er%o, $i%h a *inale %&pi"al o# Mendelssohn

- Jiolin :ona%a in #, .p 4 2lemen%s o# "lassi"al $ri%ing, pol&phon&, imi%a%ion and %hemes

gro$ing ou% o# a single idea mono%hema%i"- uar%e% .p ! in # Jer& "lassi"al, "ould be b& ee%ho+en; 14 $hen he $ro%e i%

- uar%e% .p in b Mu"h be%%er $ri%ing, more "on#iden% and "ommanding $ri%ing- 6rio in " +er& good $ri%ing, bu% someho$ la"s %he #or"e o# %he d minor

- 6rio in d .p 49 His %o$ering "hamber mas%erpie"e

Cham$er Music (5npu$lished or Posthumous)

*or iano and Jiolin 17 *ugues #or Jiolin and iano (mos% #rom 18!0)

Jiolin sona%a in *, ( 'une 18!0)

7 single m+m% pie"es #rom 18!0 (6heme and +aria%ions in /, 5ndan%e in g, Mo+emen% in g,

relude in F, 5ndan%e in d, 5llegro in /, Minue% in 3, Jiolin :ona%a in d,

Jiolin :ona%a in " (18!) %he Minue% $as adap%ed #or %he / Minor :&mphon&, .p 11

Jiolin :ona%a in * (19 'an 18), #irs% pub b& Sehudi Menuhin, 19<

*or iano and Jiolin

17 *ugues #or Jiolin and iano (mos% #rom 18!0)

Jiolin sona%a in *, ( 'une 18!0)

7 single m+m% pie"es #rom 18!0 (6heme and +aria%ions in /, 5ndan%e in g, Mo+emen% ing, relude in F, 5ndan%e in d, 5llegro in /, Minue% in 3,

Jiolin :ona%a in d,

Jiolin :ona%a in " (18!) %he Minue% $as adap%ed #or %he / Minor :&mphon&, .p 11 Jiolin :ona%a in * (19 'an 18), #irs% pub b& Sehudi Menuhin, 19<



iano 6rio?

iano 6rio in " minor, (9 Ma& 18!0)

iano 6rio in 5, (184)

iano uar%e%? iano =uar%e% in d minor (18!!)

iano and /ello?

5ssai %ran=uillo in b (!< 'ul 18!<)

Mis"?

/larine% :ona%a in 2b (17 5pril 18!4)

:eA%e% in F, .p 110 (+ln, ! +iolas, "ello, bass, pno) (10 Ma& 18!4)

6he 2+ening ell #or harp and piano (187) /on"er% ie"e in *, .p 11 ("l, basse%-horn, pno) (0 Fe" 18!)

/on"er% ie"e in d, .p 114 ("l, basse%-horn, pno) (19 'an 18)

Final &ord on Piano Music

/ommen%a%or on %he /on"er%o in d?

*inall&, lie so mu"h o# Mendelssohns musi", %he "on"er%o GisI so"iable, re#ined, in%elligen%

and %as%e#ul bu% no%, #inall&, remarable

He be"ame no$n %hrough :ongs $i%hou% Nords and "hamber $ors %o %he $ider audien"e

His o$n %hough%s on his piano musi" CM& o$n po+er%& in shaping ne$ #orms #or %he piano#or%e on"e more s%ru" me mos% #or"ibl&

$hils% $ri%ing %he Kondo(.p !9) % is %here ge% in%o di##i"ul%ies and ha+e %o %oil and labor, and

am a#raid &ou $ill no%i"e %ha% su"h $as %he "aseD

Documents

KeyLit 01 Mendelssohn