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Felix Mendelssohn

50K views 257 replies 106 participants last post by  Janspe 
#1 ·
Felix Mendelssohn's Octet for strings, Op. 20 in E flat major. He was 16 when it was completed.

Arguably, the greatest chamber music work ever created at someone so young of age.:)
 
#32 ·
I think so too, being some kind of miracle, like dancing monkey in circus doesn't seem too attractive to me. But at the other hand, it's not good to wait too long. Nowdays, young composer learn the most important things after 20, when he's on university etc. Every piece he writes could be better if he would wait days or weeks. But it's pointless to wait until you reach, let's say, 40-50. You will be more mature, but there will be much less passion and feelings in your works - the young man lives and experiences more, his soul is on fire, so his music has more depth and meaning. Beethoven composed his major works as an adult, but I really enjoy his salad days works. He was a real devil back then.
 
#34 · (Edited)
I'm happy to disagree with this. :D

As a human being, you never stop learning. You learn everyday of your life. You experience things everyday regardless if you're 14 or 90. To say that a composer's work somehow lacks passion and fire after you reach 40 years old is very a narrow-minded statement.

Yes, it's true that when a musician is younger they do have more energy and perhaps more optimism than that of an older composer, BUT what that younger composer doesn't have is the profound life experiences an older composer has had and continues to have. An older composer has more depth, because they have learned a lot more. When a composer is younger, they tend to throw the "kitchen sink" at a composition. They compose a lot of pieces that have too much going on technically and not enough going on intellectually or emotionally. In many cases, the younger composer writes music that is more emotionally shallow than that of the older composer.

I think it's rather foolish of anyone to think a composer's work lacks passion when true passion NEVER dies. You may feel different things as you get older and your views change on many things, but that passion never leaves you. I think the introspective nature of older works is also much more rewarding in its own way, than a piece of music written by a younger composer that's just "all over the map."
 
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#35 ·
Yes, sure thing, experience etc. are important stuff and a musical value, but there is much charm in sometimes even naive works. Maybe I'm making a mistake now, but if I would have to guess (because I don't know), I would say that Berlioz was young man writing Symphonie Fantastique. It is the most naive work I've ever heard. And I don't mean music itself, but the idea and story that it tells. Gray-bearded Brahms would probably laugh at him, after hearing this romantic story.

I think that young man's fire, naive points of view and yet unleashed will to do something are much greatest things than experience and knowledge.
 
#36 ·
Yes, sure thing, experience etc. are important stuff and a musical value, but there is much charm in sometimes even naive works. Maybe I'm making a mistake now, but if I would have to guess (because I don't know), I would say that Berlioz was young man writing Symphonie Fantastique. It is the most naive work I've ever heard. And I don't mean music itself, but the idea and story that it tells. Gray-bearded Brahms would probably laugh at him, after hearing this romantic story.

I think that young man's fire, naive points of view and yet unleashed will to do something are much greatest things than experience and knowledge.
See my post again, re-read it if you have to, my opinion of this is very clear and to-the-point.

I happily disagree with you.
 
#37 ·
I think what you are discussing depends a lot on the environment and time period. In general I would agree with Aramis though. The older composer (artist writer, whatever) would tend toward more subtlety -- you often see a progression with painters who early in their careers use vivid flashy colors and later tend toward more understated colors and ideas.

The same may apply to music. But countering that trend is also the freedom a more established composer -- especially Beethoven and others that came after-- to experiment more than they might have when trying to make a living pleasing the publishers or the nobility. Today may be different, but I think today too many young composers have to try too hard to get noticed, and so they too often go for the weirder flashier gimmicks rather than the passion.

So, passion may never die, but it manifests itself differently as we get older and targets a different audience.
 
#38 ·
I think what you are discussing depends a lot on the environment and time period. In general I would agree with Aramis though. The older composer (artist writer, whatever) would tend toward more subtlety -- you often see a progression with painters who early in their careers use vivid flashy colors and later tend toward more understated colors and ideas.

The same may apply to music. But countering that trend is also the freedom a more established composer -- especially Beethoven and others that came after-- to experiment more than they might have when trying to make a living pleasing the publishers or the nobility. Today may be different, but I think today too many young composers have to try too hard to get noticed, and so they too often go for the weirder flashier gimmicks rather than the passion.

So, passion may never die, but it manifests itself differently as we get older and targets a different audience.
Good post, well said.
 
#40 ·
Mendelssohn was arguably the greatest child prodigy composer of all time. His works written as a teenager outstrip for maturity and complexity most of that written by the young Mozart 60 years before.

If we look at the list of major works written by Mendelssohn as a teenager:

String Symphonies Nos 1-7 (12)
Piano Concerto in A minor (13)
String Symphony No 8 (13)
Violin Concerto in D minor (13)
String Symphonies 9-13 (14)
3 Piano Quartets (14-16)
Concerto for 2 Pianos (15)
Sextet in D major (15)
Symphony No 1 (15) [yes, he DID write it in 1824 - it was not so unusual for pieces to be published several years after composition - hence often misleading opus numbers]
String Octet (16)
Overture: A Midsummer Night's Dream (17)
String Quartet No 2 (18) [No 1 was published earlier than No 2, but was written when Mendelssohn was 20]
Overture: Calm Sea and Prosperous Voyage (19)

... surely we see a remarkable body of work for one so young. Many commentators have asserted that Mendelssohn never really reproduced the spontaneity and inspiration of the music of his youth in later works. To an extent I would agree with this.

The other composer vying for the title of most prodigious compositional talent would be Erich Wolfgang Korngold, but that's the topic of another thread, surely.
 
#42 ·
If you write these nonsense
I wrote no nonsese. I can't remember from where I took informations about reworking Sommernachtstraum later in his life and date of publishing the symphony (this thread is quite old) but I belive it didn't read it in article from anti-Semitic propaganda newspaper. If you can't stand someone putting greatness of Mendelssohn for debate (there was nothing vicious in my post, I have no interest in abating his genius) it's your problem.
 
#43 · (Edited)
Your source was ignorant.

He didn't rework the Overture but later on Added More pieces at the request of the Prussian King, that's all. But the Overture itself was completed at 17, that's obvious and not a matter of any argument or disagreement.

The first symphony was completed at 15, that's clear.

Perhaps its not your fault, but this dude who gave this info, didn't know what he was talking about, and that's obvious too.

Mendelssohn's Great prodigious abilities are not a matter of any disagreement or controversy. Even Schmucks like Wagner, had to read the hand on the wall and tell it as it was, whether they liked it or not.
 
#44 · (Edited)


Felix Mendelssohn was born in Hamburg, on February 3rd, 1809, the son of Leah Salomon, and Abraham Mendelssohn, a wealthy banker, and the grandson of Jewish Rabbi and philosopher Moses Mendelssohn. Being born in a family of well-to-do intellectuals certainly had its advantages, providing the ideal cultural environment for the artistic and precocious young Felix. In addition to receiving a good education, Felix and his family traveled around Europe.

The move to Berlin proved to be beneficial for young Felix, who had received prior musical instruction from his sister Fanny, as it was there he studied the piano under Ludwig Berger and composition with Karl. F. Zelter. Visiting friends of the family were also a positive influence on the Mendelssohn children, as most of them were intellectuals who were involved in the arts and other cultural activities. From a young age, Felix Mendelssohn showed the true talent of a prodigy, playing both the piano and the violin, painting, and being gifted in languages.

Felix traveled to Paris to study the works of Wolfgang Amadeus Mozart and Johann Sebastian Bach with his sister Fanny. Truly inspired by the masters, particularly Bach, he composed eleven symphonies, five operas, and many other pieces for the piano. This was only the beginning for the young musical genius, who impressed audiences and artists alike with his precocious talent.

In 1821, Zelter took his 12 year-old student to visit German poet Johann Wolfgang von Goethe. The visit was most important to the young Mendelssohn, who remained at the 72 year-old writer's home for over two weeks. Goethe was fascinated by the gifted young man, and the two would later correspond via a series of letters. Later, when Goethe heard Mendelssohn's B minor pianoforte quartet, he showed such appreciation that the young composer dedicated the piece to him.

When Felix Mendelssohn was 16, he composed his Octet for Strings in E flat major, Op. 20, which wasn't just impressive because of its composer's age, but because it was the one of the first works of its kind. Mendelssohn's piece featured an ingenious interplay between two distinct string quartets.

In addition to the literary works of Goethe, Mendelssohn found inspiration in the works of English playwright William Shakespeare. At the age of seventeen, he composed the overture to "A Midsummer Night's Dream Opus 21", based on the Bard's comedic play. The piece featured lush orchestration, and is considered one of the most beautiful works of the Romantic period of Classical music.

From 1826 to 1829, Mendelssohn studied at Berlin University. It was then he decided on music as his chosen profession.

During the years that followed, Mendelssohn traveled and performed all over Europe, discovering England, Scotland, Italy and France. In 1832, Mendelssohn presented his magnificent "Hebrides Overture", as well as other important works, in London, a city where he greatly enjoyed performing his works. In 1833, he took on the post of conductor at Düsseldorf, giving concert performances of Handel's "Messiah" among others. That same year, he composed many of his own vocal works, including "Lord, Have Mercy Upon Us,", and the Opera, "Trala. A frischer Bua bin i", as well as the "Italian Symphony".

At the age of 26, Mendelssohn moved to Leipzig and became conductor of the Leipzig Gewandhaus Orchestra, performing works by Bach and Beethoven among others; at the time, there was little interest in Bach's music, but Mendelssohn changed all that, using his own popularity and the four hundred singers and soloists of the Singakademie to help renew interest in the great composer's work. Earlier, in 1829, Mendelssohn had made his debut as a Maestro, being the first to conduct Bach's "St. Matthew Passion" since the composer's death in 1750, and more importantly, 100 years after Bach's own premiere performance of the work. Mendelssohn performed the piece.

In 1832, Mendelssohn married Cécile Jeanrenaud, the daughter of a Protestant clergyman. It was a happy marriage, and they had five children, Carl, Marie, Paul, Felix and Lilli. Over the years that followed, Mendelssohn was very prolific, and in addition to numerous composition, he gave several successful performances of his work, and those of other great composers. Mendelssohn composed several works for the piano, which was highly popular at the time; but he also wrote for many different combinations of instruments and voices.

In 1842, Mendelssohn performed private concerts for Prince Albert and Queen Victoria, who were both strong supporters of his work. A year later, Mendelssohn founded and directed the Leipzig Conservatory, where he also taught when his busy schedule permitted it. Despite being a generally happy and pleasant individual, Mendelssohn was sometimes a little too strict with his pupils; this was perhaps due to the fact that he was so passionate about music, and had a difficult time listening to the beginners' mistakes of his pupils. Nonetheless, the Conservatory remained one of the most prestigious music institutions in Germany for half a century.

In addition to his post at the Conservatory, Mendelssohn was named director of the Music Section of the Academy of Arts in Berlin by King Frederick of Prussia, but this appointment wasn't entirely pleasing for Mendelssohn, who was often asked to compose on demand. He was left with little time for his own work, but he still managed to compose such masterpieces as the Ruy Blas overture, stage music for Shakespeare's " A Midsummer Night's Dream", of which the now world-famous "Wedding March" was a part of, and "The Scottish Symphony", the third of the five symphonies he composed during his lifetime.

Felix Mendelssohn was very close to his family; from his sister Fanny to his father, to his own wife and children, and he cherished the moments spent with them. When his father died in 1835, Mendelssohn felt he had lost his best friend. Seven years later, his mother died, adding to the tragedy, but the worst was yet to come; following a Christmas family reunion, his sister Fanny suffered a stroke while rehearsing for a Sunday concert. She died on May 14th, 1847. Felix Mendelssohn is said to have screamed and fainted upon hearing the sad news, devastated by the loss. Needless to say, Mendelssohn's mood did not improve following Fanny's death, and he himself suffered two strokes, the last of which killed him on November 4th, 1847. He was 38 years old. He was buried alongside his sister in in the cemetery of Holy Cross Church in Berlin.

While most of his life was spent in happiness, the final years of his life saw mounting grief and tragedy; however, this did not deter him from composing, and throughout the hardships he maintained the same degree of inspiration and the same quality of work, despite his intensely busy schedule. Some critics may argue that he would have been another Bach or Mozart if he had suffered more in life, as the "tortured artist" cliché dictates. However, it is interesting to note that even in death, there were more tragic incidents which marred Mendelssohn's reputation. Nearly a hundred years after his death, the Nazis tried to discredit him, taking down his statue in Leipzig, and even going as far as forbidding the study and performance of his music.

Of course, none of their efforts to silence the voice of genius had any success, and Mendelssohn is now considered the 19th century equivalent of Wolfgang Amadeus Mozart. Most critics agree that Mendelssohn's most vibrant contributions were in the choral and organ music genres, which was probably the result of his deep admiration for Bach and Handel. Mendelssohn will remain the most successful composer of his time, but more importantly, one of the most gifted and talented, surely deserving a place alongside greats such as Mozart, Bach, and Beethoven, in the pantheon of musical Giants.


My 5 favorite works of Mendelssohn

Overture to a Midsummer Night's Dream

Elijah

The Hebrides Overture

Violin Concerto In E minor

Piano Concerto In E minor No. 3 ( A rather newly discovered work of Mendelssohn), astonishing concerto, totally amazing.

Regards,

Saul
 
#46 · (Edited)
It was composed about the same time when he was working on his famous Violin concerto in E minor, therefore this is Mendelssohn's Mature style.

This concerto puts Liszt and Rachmaninov's concertos to shame, totally unbelievably astonishing technique and virtuosity, immense passion and amazing control.

You can purchase the Cd here:

http://www.amazon.com/Mendelssohn-Piano-Concerto-Schumann-Konzertsatz/dp/B000001SGC

Or an MP3 Album Here:

http://www.arkivmusic.com/classical/album.jsp?album_id=13715
 
#49 · (Edited)
Thanks for this.

But the person who posted this should worry about copyrights issues, because this is the only recording that was ever made for this concerto.

Anyways, I purchased the Mp3 album today, because my Cd was worn out and some tracks didn't play so smoothly.

10 dollars for the album, its really worth it, you can also upload it to your Itunes if you like.

BTW, the second movement is not on Youtube, that's a shame because its really beautiful, so if you want to listen I guess you must purchase it.
 
#51 ·
His piano concertos and piano music in general was always what I didn't like about him - unless the piano was part of chamber ensamble (great piano trios). Frist of all, too much "brilliance" in it + piano requires specific skill from composers (possibly even more than any other instruments) and I don't find Mendelssohn's piano skill to be equal or even near to his skill for orchestral/chamber/possibly also vocal music.
 
#56 ·
His violin concerto is the first in the genre that make me interested, the cliche about the violin come right from the first note is really did it for me. Then again I like to remind his six string quartets cycle + 1 p.h. string quartet that I really appreciate. Mendelssohn really melodious yet more simple than Schubert or Beety. Love his symphony no.4 and 5 as well.
 
#57 ·
I hate to do this, but I must, being the nerdy Mendelssohnian I am. Felix and Cécile were wed in March of 1838, not 1832. =]

Okay, now, I have a question. My sincere apologies if this isn't in the right place, but I didn't know where else to put it. Does anyone on this forum know the name of the neurological disorder that ran in the Mendelssohn family? I know they called it 'Moses brain', but I was wondering if there was an actual scientific name for it, or if it's even recognised as a legit disease. It could be that it just ran in their family and doesn't exist anywhere else. Just curious! Anything would help. Thank you all!
 
#58 ·
Does anyone rate Mendelssohn's lieder? It's about the only genre of his which has eluded me so far - I have read that they are a something of a mixed bunch quality-wise so I haven't felt convinced enough to delve in.
 
#59 ·
Hi there!

I highly suggest investing some time in the Lieder. They are beautiful pieces. They aren't anything grandiose, and even Mendelssohn himself said that he was not top-notch at composing piano pieces. Despite this, many of them are darling, well crafted salon pieces.

Here is a neat recording you may enjoy. :)

This is my favourite lied.

Also, I highly recommend the album the French pianist Bertrand Chamayou released a while back. He did an album entirely of Mendelssohn's solo piano music, including Lieder, caprices, and études. I'm partial to him because he is my favourite pianist, but it's a great recording.

Hope you enjoy the Lieder! If you generally like Mendelssohn, you probably will. =D
 
#60 ·
Thanks, Lex, but I was thinking of his actual songs WITH words rather than the sets of solo piano works that contain the word 'Lieder' in the title.

I do like these anyway, by the way!
 
#61 ·
Oh! Ha, I am mistaken. So just Lieder, not Lieder ohne Worte. So like the poem settings? On Wings of Song and Suleika, etc? In my opinion, you can't go wrong with Mendelssohn. XD So, either way, I hope you enjoy what you find! =D
 
#62 ·
I have two CD's of his Lieder, one with an aging Fischer-Dieskau and another by a soprano (can't access my collection right now, maybe Price or Soderstrom). Good romantic music, although not of the top quality of say Schubert, Schumann and Wolf. On par with Weber, Loewe or Chopin.
 
#64 · (Edited)
Mendelssohn's piano rarities

I heard two rare compositions of Felix Bartholdy Mendelssohn yesterday and wanted to share my views here. One was the `Capriccio Brilliant' .Op. 22 and the other was the Concerto for Two Pianos in E Major.
This was a 1954 recording with pianists Orazio Frugoni and Eduard Mrazek with the Vienna Pro Musica Symphony under Hans Swarowsky.
Hans Swarowsky was the mentor of Zubin Mehta who studied conducting under him.
This was the first time I heard both the compositions.
On first hearing, both the compositions would seem less inspired . They come out of the standard romantic repertoire and I would rate them below average for content.
Yet , for Mendelssohn enthusiasts, the music is presentable and well decorated.
Mendelssohn had not made any effort to publish the E Major concerto for two pianos. It was performed out of his manuscripts. Even Mendelssohn felt that their classicism would have less appeal. They were originally written to be performed by his sister Fanny and himself with a small chamber orchestra in his own home. He probably intended to revise it some day but never got around.
The Capriccio Brilliant is a one movement Allegro con Fuoco with a slow introduction. It has verve and enthusiam in its writing but yet again both these pieces and their musical content were not written with deep spiritual inspiration.
 
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