HAUTBOISMendelssohn Bartholdy, Felix
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Allegretto con Moto from
Mendelssohn Bartholdy, Felix - Allegretto con Moto from "Lieder ohne Worte" for Oboe & Piano
Op. 85 No. 6


VoirPDF : Allegretto con Moto from "Lieder ohne Worte" (Op. 85 No. 6) for Oboe & Piano (4 pages - 187.72 Ko)141x
MP3 : Allegretto con Moto from "Lieder ohne Worte" (Op. 85 No. 6) for Oboe & Piano 22x 271x
MP3
Vidéo :
Compositeur :
Felix Mendelssohn Bartholdy
Mendelssohn Bartholdy, Felix (1809 - 1847)
Instrumentation :

Hautbois, Piano (clavier)

Genre :

Romantique

Arrangeur :
Editeur :
Felix Mendelssohn Bartholdy
MAGATAGAN, MICHAEL (1960 - )
Date :1834-45
Droit d'auteur :Public Domain
Ajoutée par magataganm, 16 Déc 2018

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 first refers to "Lieder ohne Worte" (Songs without Words) in a letter to his sister on December 1828. He composed them initially for family and friends, but by 1832 decided to revise and publish these miniatures. Six sets of Lieder ohne Worte were printed during the composer's lifetime. The last two books of Mendelssohn's Lieder ohne Worte (Songs Without Words) were published with the opus numbers "85" and "102," but they cannot really be considered genuine opera, although there is evidence that Mendelssohn contemplated a seventh volume of Lieder ohne Worte. Nos. 1, 2, 3, and 5 of Op. 85 form part of a manuscript Mendelssohn wrote out in 1845, suggesting that these four pieces, at least, were intended to be printed together. These and two other works were assembled after Mendelssohn's death and published as the seventh book of Lieder ohne Worte, Op. 85, in Bonn in 1850.

In this set of Lieder ohne Worte, we find a mixture of songs in major and minor keys and a variety of song types, including examples of the solo song, duet, and part song. No. 1, in F major, is fashioned along the lines of the solo song, as is the first song of every one of the books of Lieder ohne Worte. Accompanied by continuous rising arpeggios in triplet motion, the Andante espressivo melody moves in a straight duplet rhythm that clashes with the left-hand triplets, producing a dream-like effect. Narrow in range, the melody develops from small fragments through the A section. After the central section explores the subdominant, the A-section melody returns, but is, at first, re-harmonized. The piece closes peacefully as the triplet figure rises to the stratosphere.

The second of the set, in A minor, was composed in 1834. In contrast to the first piece, it is duet-like, although the primary melody is in the highest voice. Rhythmically intricate, the piece's primary driving force is harmony, which ventures as far as B major, and its second half is a variation of the first. No. 3 is a solo song with a clear division between melody and accompaniment. In E flat major, the piece's rapidly repeated chords produce a dense wall of sound, and the central section takes repeated fragments of the first part as its point of departure. The fourth piece of Op. 85 is also a solo song. Composed in 1845, it features an elegiac melody that covers a wide range and contains expressive chromatic inflections. No. 5 is in the style of a part song, evident in its homophonic texture. At times the texture increases to three or four voices, and the bass line often moves in contrary motion to the melody, creating a dense wash of sound. No. 6, a solo song, is a perfect example in miniature of Mendelssohn's ability to extract the greatest expressiveness from a melody through chromatic inflections and harmonic manipulation.

Source: AllMusic (https://www.allmusic.com/composition/songs-without-wor ds-6-for-piano-book-7-op-85-mc0002436054 ).

Although originally composed for Piano, I created this Interpretation of the Allegretto con Moto from "Lieder ohne Worte" (Op. 85 No. 6) for Oboe & Piano.
Partition centrale :Romances sans paroles - Livre 7 (20 partitions)
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