One of three part-songs Mendelssohn composed for his friends it was meant to be sung while resting.

Mendelssohn between the ages of 11 and 14 produced over 100 works in a wide variety of musical genres and perhaps the most impressive of these early works are the 12 Sinfonias for String orchestra. The works were performed - almost as soon as they were written - by members of the Prussian Court Orchestra at the Mendelssohn family home in Berlin in an informal series of Sunday morning concerts the ensemble being directed by the young composer himself. This new urtext edition by Boris von Haken presents Mendelssohn’s 12 Sinfonias in study score format in 2 volumes with preface editorial and textual notes and 2 appendixes.

Romantische Lieder Für Frauenchor und Klavier Nach Den Duetten Von Felix Mendelssohn Bartholdy. The music of Felix Mendelssohn Bartholdy is, for many choirs, an integral part of their repertoire and frequently sung, covering the genres from simple romantic folk song to large-scale oratorio. His music is known by and popular among all types of choral ensembles. And yet, Mendelssohn wrote hardly any works for women's choirs although such ensembles already played a role in the 19th-century choral scene during his lifetime. For the present collection, Pascal Martiné therefore used the artistic trick of arrangement based on Mendelssohn's Gesänge für zwei Frauenstimmen und Klavier to which he added a third female voice. Martiné conceived the added part in such a way that he took the romantic voice leading into account and logically extended Mendelssohn's respective compositional technique. He maintained the original piano accompaniment which now contributes to the song-like character of these choral arrangements. / Niveau : Intermédiaire / Recueil / Choeur de Femmes (SSA) et Piano

Mendelssohn Bartholdy, Felix Konzert für Violine und Orchester e-Moll op. 64 Zweite Fassung 1845 Edition no.BA 9099-90 ISMN 9790006564347 Editor Todd, R. Larry / Brown, Clive Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the 'child prodigy' Joseph Joachim; and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)

Sinfonias I-VIII composer: Felix Mendelssohn Bartholdy editor: Boris von Haken Instrumentation : string orchestra Édition : study score Série : Eulenburg Miniature Scores N° d'édition : ETP 1531 Description Mendelssohn, between the ages of 11 and 14 produced over 100 works in a wide variety of musical genres and perhaps the most impressive of these early works are the 12 Sinfonias for string orchestra. The works were performed - almost as soon as they were written - by members of the Prussian Court Orchestra at the Mendelssohn family home in Berlin in an informal series of Sunday morning concerts, the ensemble being directed by the young composer himself.

Par FRANCO MANOLO. Né à Séville en 1960, formé par son oncle Manolo Barón, puis par Antonio de Osuna, Manolo Franco est reconnu en 1984 comme l?un des maîtres de sa génération par un jury composé de Mario Escudero, Juan Habichuela, Victor Monge « Serranito », Manolo Sanlúcar, Paco de Lucía et Felix Grande, qui lui décernent le premier « Giraldillo del toque », lors de la Biennale d?Art Flamenco de Séville. Après avoir enregistré son premier et unique disque solo en 1986 (« Aljibe »), il se consacre à l?accompagnement du cante et collabore avec Carmen Linares, José Mercé, Calixto Sánchez, Diego Clavel? pour d?innombrables albums. Par son talent inépuisable de mélodiste, servi de plus par un jeu particulièrement précis et limpide, on peut considérer Manolo Franco comme le digne héritier des grands guitaristes sévillans, tels Niño Ricardo ou Pepe Martínez. Il est rare qu?il répète une même falseta dans ses enregistrements, et il se montre également inspiré quelle que soit la forme qu?il interprète, pour la Soleá ou la Siguiriya comme pour le Tanguillo ou les Fandangos « abandolaos ». Une anthologie de ses falsetas est donc aussi une anthologie de la plupart des « palos » du répertoire flamenco ? pour une ou deux guitares, Manolo Franco enregistrant souvent une deuxième voix en re-recording. Le CD présente les enregistrements originaux des falsetas transcrites pour cette anthologie./ Recueil / Guitare