Felix Mendelssohn's 28 Choruses Opp.41 48 59 88 100 comes complete with twenty eight of Mendelssohn's Unaccompanied Choruses taken from Opp.41 48 59 88 100 arranged for SATB choir a cappella.
SKU: BR.SON-452
ISBN 9790004803622. 10 x 12.5 inches.
Felix Mendelssohn Bartholdy lived in the heyday of men's choruses. Early on, the composer had encountered the genre by way of his teacher Carl Friedrich Zelter and his Berlin Liedertafel, founded in 1809, had then gathered his own experience from the Leipzig Liedertafel societies, and was in contact with a number of male choral societies throughout his lifetime. Nevertheless, his relation to male choral singing was characterised not only by his inclination, but also by critical distance. The festive compositions for male chorus and orchestra forming the content of this volume are all commissioned works, two of which, the so-called Gutenberg-Kantate and the Festgesang an die Kunstler on a text by Friedrich Schiller, also appeared in print during Mendelssohn's lifetime.
SKU: BR.SON-403
ISBN 9790004802243. 10 x 12.5 inches.
The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller.
SKU: BR.SON-442
ISBN 9790004803509. 10 x 12.5 inches.
This volume contains three reworkings and orchestrations of religious works by Felix Mendelssohn Bartholdy which were originally set for smaller ensembles (solo voices, four-part chorus and organ). They were composed at different times and for different occasions, two of them as commissions. The anthem ,,Why, o Lord, delay forever MWV A 19 was originally the sacred vocal piece MWV B 33, published in England in 1841 with the additional title ,,[…] The Thirteenth Psalm, and in Germany in the same year as ,,Lass, o Herr, mich Hilfe finden with the title ,,Drei geistliche Lieder which was composed at the suggestion of the English literature and music lover Charles B. Broadley who also provided the paraphrase of the psalm text. After Mendelssohn had refused an initial request by Broadley to furnish the anthem post festum with an organ prelude, the composer did not want to turn down a second request to orchestrate the work and he even expanded the existing material with a lengthy closing fugue involving additional trumpets and timpani. The ,,Ave Maria MWV B 19 was written in connection with Mendelssohn's appointment as municipal music director, a position which at the same time included the responsibility for the musical organization of church services. The instrumentation of the work with an accompaniment of two clarinets and two bassoons as well as low strings was due to the fact that the organ in Dusseldorf's principal church St. Lambertus was out of order for an extended period of time, and Mendelssohn considered this solution explicitly only as a surrogate for the organ should there be none. A further psalm paraphrase in English, this time by William Bartholomew, of the hymn ,,Hear my prayer MWV B 49 was set to music in early 1844; the orchestration of the organ part commissioned by the distinguished Dublin musician Joseph Robinson was not completed until 1847 so that the premiere finally only took place after Mendelssohn's death. In the further course of the century ,,Hear my prayer would, particularly in the version with organ accompaniment, come to enjoy great popularity in Great Britain and Ireland.
SKU: BR.SON-453
ISBN 9790004803639. 10 x 12.5 inches.
This Felix Mendelssohn Bartholdy anthology contains 19 sacred vocal works in various choral and sometimes additional solo settings, with organ, harpsichord, or basso continuo accompaniment. Among these pieces composed from 1821 to 1847 are six works that were not published during Mendelssohn's lifetime. Seven of the works presented are each extant in at least one other authorized version that has also been edited here. The occasions and circumstances of their composition vary as much as their musical structures and characteristics: Several were intended for specific performances; others were written from the outset for publication.
SKU: BR.SON-425
ISBN 9790004802809. 10 x 12.5 inches.
Felix Mendelssohn Bartholdy fundamentally revised his Elijah after its successful world premiere in Birmingham in summer 1846. However, the individual layers of this revision are less visible in the autograph score than in the piano-vocal score that was made parallel to it and which the composer kept working on for its simultaneous publication in England and Germany.Awarded the German Music Edition Prize 2023.
SKU: BR.SON-455
ISBN 9790004803653. 9 x 12 inches.
Between 1834 and 1847 Felix Mendelssohn Bartholdy composed a total of 28 songs for mixed voices, i.e. for two female (soprano and alto) and two male (tenor and bass) voices each. The pieces are arranged so that they can be sung by four individual singers as well as by smaller ensembles or large choirs. The composer had almost two-thirds of these works published by Breitkopf and Hartel in the collections opp. 41, 48 and 59, combining partly already existing and partly newly composed songs into a loose cycle of six songs each. The purpose of such occasional music was clear to him: ... the most natural music of all is when four people go for a walk together, in the forest, or on a boat, and then immediately carry the music with them and in them. The present volume contains all the songs published and unpublished during his lifetime, as well as their versions, which owe their various performance contexts.
SKU: BR.SON-415
ISBN 9790004802601. 10 x 12.5 inches.
Mendelssohn's Athalia, i.e. the incidental music to Racine's tragedy Athalie, occupies a special place among the composer's incidental works for stage plays. The composer began by setting the original French text (Vol. V/9A) before expanding his concept step by step for the German version. He revised this version several times - and especially the closing chorus - for the first performance in 1845. The work was not published during the composer's lifetime, which means that, in consideration of Mendelssohn's notorious self-criticism, there is no definitive final version. Armin Koch has taken up the editorial challenge and, with his great knowledgeability, cleared up all questions concerning the authentic form of the work.
SKU: BR.DV-7672-02
ISBN 9790200470536. 7.5 x 10.5 inches. German.
This extensive (84 pages) collection of choral pieces contains works by Albert Becker, Anton Brucker, Felix Mendelssohn Bartholdy, Max Reger, Robert Schumann and many others. The predecessor of this volume Die Welt singt Gottes Preis can be found under DV 7677.
SKU: BR.PB-5188
I had really become especially fond of this piece, although it is hardly appropriate for the so-called public; but I liked it..., wrote Mendelssohn about his setting of Psalm CXIV.
ISBN 9790004209288. 9 x 12 inches.
Felix Mendelssohn Bartholdy set the 114th Psalm to music during a summer holiday in Horchheim near Koblenz in 1839. After the world premiere at the Leipzig Gewandhaus, he subjected the score to a thorough revision, altered all the tempo markings and, above all, added a considerable amount of new measures. The result satisfied even the notoriously self-critical Mendelssohn: I had really become particularly fond of this piece, even though it is hardly appropriate for the so-called public; but I liked it...The present Urtext edition follows the first prints which were published simultaneously in Leipzig (by Breitkopf & Hartel) and London.
SKU: BR.CHB-5234-02
ISBN 9790004411537. 7.5 x 10.5 inches. German.
Madame Hensel, Mendelssohn's sister, whose eyes speak intelligence and profundity''. This diary entry made by Robert Schumann in June 1843 succinctly but fittingly characterizes Fanny Hensel, without a doubt the most significant woman composer of the 19th century. Born in Hamburg on 14 November 1805, she was the eldest sister of Felix Mendelssohn Bartholdy and the granddaughter of the philosopher Moses Mendelssohn. In 1829 she married the Prussian court painter and occasional poet Wilhelm Hensel (1794-1861). After her sudden death in Berlin on 14 May 1847 as a result of a stroke, the music journalist Ludwig Rellstab poignantly wrote that she shared the brotherhood ef talent with her famous sibling.Fanny Hensel was given the same excellent and comprehensive musical training as her precocious brother, including composition lessons with Goethe's friend Carl Friedrich Zelter. Felix and Fanny not only loved each other tenderly, but they also maintained an intensive, life-long exchange of ideas which proved musically profitable to both of them. However, it was only in 1846 that Mendelssohn gave up his resistance to Fanny's publication plans. And so, just shortly before her death, she was able to publish a carefully selected sample of her songs and piano pieces.Not only these pieces, but also a few orchestral and chamber-music works (e.g. the String Quartet in E flat major, KM 2255) and, in particular, choral music occupy an important position in her oeuvre. Most of her choral works were written in 1846, and she was able to rehearse them with the chorus she conducted at the famous Sunday Concerts in the Mendelssohn home. She had six of these choral songs published in a revised version under the title Gartenlieder Op. 3 by the Berlin music publisher Bote & Bock. The title of the Gartenlieder brings to mind Mendelssohn's well-known Lieder im Freien zu singen (Opera 41, 48, 59; ChB 4763-4780), published before 1846. But, as far as the quality of their melodic writing, the compositional technique, and the choice of texts are concerned, as well as the perfect balance between folk-like simplicity and polished design, they are as outstanding as the works of her brother.Fanny Hensel's choral works not only stand up to comparison with any of the rich and varied choral works of the Romantic era - they also rank among the best. Very likely to become hits! (Musica).
SKU: BR.PB-5189
The new edition, based on autographic and printed sources, meets all the requirements of an authoritative performance material.
ISBN 9790004209295. 9 x 12 inches.
Originally, the present work - with a Latin text and the title Non nobis, Domine - was a gift written by Felix Mendelssohn Bartholdy in November 1830 for the 25th birthday of his sister Fanny. Five years later he decided to have it printed, and his publisher Simrock urged him to produce a German translation as well. It is in this form that the setting of Psalm 115 has become known alongside four other Psalms of Mendelssohn's in a compositional scope ranging from church to concert hall.The Urtext edition is based on the main sources, the autograph and the first edition.The new edition, based on autographic and printed sources, meets all the requirements of an authoritative performance material.
SKU: BR.CHB-5145-02
ISBN 9790004410707. 7.5 x 10.5 inches. German.
Felix Mendelssohn Bartholdy, who was so frequently self-critical, apparently held his setting of the 42nd Psalm in very high esteem, as can be inferred from a letter of 5 August 1837 to Breitkopf & Hartel. The composers wish was fulfilled: after a fundamental expansion of the work and the first performance of this final version on 8 February 1838 at Leipzigs Gewandhaus, the 42nd Psalm was first printed that same year by Breitkopf & Hartel.
SKU: BR.CHB-5296-02
ISBN 9790004412053. 7.5 x 10.5 inches. German / English.
Felix Mendelssohn Bartholdy was commissioned by the city of Leipzig to write the Symphony Cantata Lobgesang for the 400th anniversary of the invention of the printing press by Johannes Gutenberg. The work was given its first performance in Leipzigs Thomaskirche on 25 June 1840. Another performance took place at the Birmingham Music Festival on 23 September 1840. The composer created a hybrid genre here, a formal designation that he took quite literally and which he used here for the first and only time: after the three symphonic movements have flowed one into the other attacca, comes the Lobgesang Cantata in several sections Alles, was Odem hat. The present Urtext edition is the first to take into account the parts which were written for the first performances in Leipzig and which help clear up a number of discrepant readings.,,Der Herausgeber hat sich die Muhe gemacht, die 1841 im selben Verlag erstveroffentlichte Partitur mit dem Erstdruck der Stimmen zu vergleichen und konnte mit im Stimmensatz gefundenen Angaben zur Artikulation, Dynamik etc. die neue Partitur enorm bereichern. (Hans Gebhard, Chor und Konzert )The Urtext edition of the Lobgesang Symphony is the first to take into account the parts which were written for the first performances in Leipzig and which help clear up a number of discrepant readings.
SKU: HL.14015846
6.75x9.75x0.008 inches.
English translation of this Mendelssohn song for SS chorus and piano accompaniment.
SKU: BR.DV-7677-02
The World sings the Praise of the Lord - the title is derived from the choral piece by Johann Wolfgang Franck which is found in the book in Arnold Mendelssohn's musical setting.
ISBN 9790200470567. 9 x 12 inches. German.
Now available again, this extensive (116 pages) collection of choral pieces contains works by C. Ph. E. Bach, Gottfried August Homilius, Joseph Haydn, Moritz Hauptmann, Felix Mendelssohn Bartholdy, Johannes Brahms, Max Reger and many others. It can be seen as a sequel to the volume Geistliche Chorlieder und Motetten von Mendelssohn bis Reger (DV 7672).The World sings the Praise of the Lord - the title is derived from the choral piece by Johann Wolfgang Franck which is found in the book in Arnold Mendelssohn's musical setting.
