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| Composer : | Mendelssohn Bartholdy, Felix (1809 - 1847) | ||
| Instrumentation : | Organ solo | ||
| Style : | Romantic | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 14 Sep 2023 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. Mendelssohn enjoyed early success in Germany, and revived interest in the music of Johann Sebastian Bach, notably with his performance of the St Matthew Passion in 1829. He became well received in his travels throughout Europe as a composer, conductor and soloist; his ten visits to Britain – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes set him apart from more adventurous musical contemporaries such as Franz Liszt, Richard Wagner, Charles-Valentin Alkan and Hector Berlioz. The Leipzig Conservatoire, which he founded, became a bastion of this anti-radical outlook. Sacred music retained a position of major significance throughout Felix Mendelssohn's career as a composer, beginning with sacred choral songs performed at the Berlin Singakademie in 1821 and concluding with the Three Motets (Opus 69) completed in the summer of 1847. Intended for both church and concert hall, his sacred works in particular have spawned divergent threads of discussion including the detection of underlying Jewish influences in the music or text selection or evaluating the composer's success in integrating a musical composition with autonomous artistic claims into a functional liturgical work. Polemics aside, during his lifetime Felix was undoubtedly a highly acclaimed composer of sacred music and his accomplishments in this genre are extraordinary: two completed oratorios of lasting popularity, over two dozen large sacred works, psalm settings and cantatas, and as many shorter pieces including motets and anthems. Notably, this oeuvre shows a remarkable flexibility as he produced settings of Latin texts from the Roman Catholic liturgy, German settings suitable for use in Lutheran Germany, and English canticle settings written specifically for Anglican Evensong. Transparent in his sacred works is a veneration of J.S. Bach, especially of his chorale cantatas and Passion, as well as a powerful debt to G.F. Handel's oratorios and anthems. The Three Motets (MVW 60 Op. 69) is a complete manuscript with many corrections and a passage omitted from the published editions. The manuscript for the Op. 69 Motets is of special interest as these settings comprise Mendelssohn's last completed choral works. They include two Evensong canticles, Magnificat and Nunc dimittis, and a setting of the 100th Psalm, Jubilate Deo, for the morning service; all were intended for use in Anglican services. The Jubilate Deo for four-part chorus and organ was originally requested by his publisher, Edward Buxton, in January of 1847 and was finished in haste before Felix arrived in London on April 8. The remaining two Evensong canticles are said to be the only works composed in June 1847, a time Felix spent in isolation with his family as they grieved the sudden loss of their sister Fanny that May. The op. 69 Motets appeared in late 1847 and included an organ part and English texts; the first German edition introduced by Breitkopf & Härtel the following year as Drei Motetten featured both German and English texts, deleted the organ accompaniment altogether, and instigated a host of significant changes in both the overall order and musical content. Source: Wikipedia (https://en.wikipedia.org/wiki/Organ_Sonatas_(Mendelsso hn)). Although originally composed for Chorus (SATB), I created this Interpretation of the "Jubilate Deo" from "3 Motets" (MVW 60 Op. 69 No. 2) for Organ (2 manuals w/o Pedals). | |||
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