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BIBLIOTHÈQUE
Mendelssohn Bartholdy, Felix Felix Mendelssohn Bartholdy
Allemagne Allemagne
(1809 - 1847)

719 Partitions
346 MP3
166 MIDI





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Mendelssohn Bartholdy, Felix: "Lied" in B Minor from "Lieder ohne Worte" for Woodwind Quartet

"Lied" in B Minor from "Lieder ohne Worte" for Woodwind Quartet
Op. 67 No. 5
Felix Mendelssohn Bartholdy




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Compositeur :Felix Mendelssohn BartholdyMendelssohn Bartholdy, Felix (1809 - 1847)
Instrumentation :

Quatuor ą vent

Genre :

Romantique

Arrangeur :
Editeur :
Felix Mendelssohn BartholdyMagatagan, Mike (1960 - )
Date :1843-45
Droit d'auteur :Public Domain
Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the overture The Hebrides, his mature Violin Concerto, and his String Octet. His Songs Without Words are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. He is now among the most popular composers of the romantic era.

It was Goethe, linchpin of the German Romantic literary movement who once declared that "music begins where words end," and it was Mendelssohn who was to famously prove the point in his Lieder ohne Worte or Songs without Words. These works, encompassing some eight complete volumes in all (the first came out in print during 1830; five more followed in the years prior to 1845, while the last two were issued after the composer's death) each containing six pieces, were a seminal Germanic response to the world of Romantic miniaturism, and principally, the growing interest amongst composers to distil the rapture of the moment through the medium of the keyboard gem.

Karl Schumann, the famous German musicologist and Lieder scholar, once famously characterized Mendelssohn's Lieder ohne Worte as not simply "Pillars of the piano repertoire," but rather as "a household possession, as widespread in Germany as the Grimm brothers' fairy tales, Ludwig Richter's pictures, or Uhland's poetry ... and no less beloved in Victorian England." During the composer's nineteenth year, Mendelssohn's sister Fanny noted in her diary that "my birthday was celebrated very nicely ... Felix has given me a 'Song without Words' for my album. He has lately written several very beautiful ones." Later, towards the tragically premature end of his life aged just thirty-eight (by which time the Lieder ohne Worte had already become very popular), Mendelssohn volunteered precious little substantive fact about their origins, writing that "even if, in one or other of them, I had a particular word or words in mind, I would not tell anyone, because the same word means different things to different people. Only the songs say the same thing, arouse the same feeling, in everyone--a feeling that cannot be expressed in words."

While it has become fashionable in critical circles to denigrate Mendelssohn's fragile sensibilities as little more than the manifestation of a kind of upper-class dilettantism, we should not forget that in his own way, he was far ahead of the field when it came to recognizing the future direction that music, especially the keyboard miniature, would take. In this regard, Mendelssohn anticipated the new expressive directions to be pursued by Schumann (whose wife Clara did much to popularize the Songs in the concert hall) and Liszt. And beyond these alone, the critic Joan Chissell also points that composers such as Grieg, Brahms, Fauré, and even Bizet also held them in high regard.

Of the six Lieder ohne Worte of the sixth volume, Op. 67, 2, two have titles. Op. 67 No. 4 in C major is the celebrated "Spinnerlied" (Spinning Song) while the last of the set, Op. 67 No. 6 in E major is entitled "Wiegenlied" (or "Berceuse"). The set begins with a straightforward Andante in E flat, and is followed by a terse F sharp minor Allegro leggiero. No. 3 of the set is a tranquil Andante in B flat, while the penultimate "Lied" of the Op. 67 group is a simple B minor movement headed Moderato.

And finally, while these beguiling, some would say simplistic pieces have been slighted as representative of the worst kind of Romantic kitsch, Chissell rightly reminds us that "without all these pieces, how much poorer our understanding would have been of the impressionable heart behind the master-craftsman's faēade."

Source: AllMusic (https://www.allmusic.com/composition/songs-without-wor ds-6-for-piano-book-6-op-67-mc0002406942 ).

Although originally composed for Piano, I created this Interpretation of the "Lied" in B Minor from "Lieder ohne Worte" (Op. 67 No. 5) Arranged for Woodwind Quartet (Flute, Oboe, English Horn & Bassoon).
Source / Web :MuseScore
Ajoutée par magataganm le 2018-12-02
Partition centrale :Romances sans paroles - Livre 6, 67 (15 partitions)

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Cette partition est associée ą la collection de magataganm :
flûte
flûte
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Liste des partitions :
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› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent
› "Ach bleib bei uns, Herr Jesu Christ" for Flute Duet - 2 flutes
› "Ad Te Levavi" for Brass & Strings - Vents & Orchestre Cordes






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