Relevant bibliographies by topics / Mendelssohn concerto

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  2. Dissertations / Theses
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Academic literature on the topic 'Mendelssohn concerto'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Mendelssohn concerto"

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Kimber, Marian Wilson. "Mendelssohn's Second Piano Concerto, Op. 40, and the Origins of his Serenade and Allegro Giojoso, Op. 43." Journal of Musicology 20, no. 3 (2003): 358–87. http://dx.doi.org/10.1525/jm.2003.20.3.358.

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Felix Mendelssohn's Serenade and Allegro giojoso, op. 43, was composed rapidly for his performance in a concert in Leipzig on 2 April 1838. Originally entitled Adagio and Rondo, the concert piece underwent substantial revision before its publication in late February the following year. The autograph sources reveal that Mendelssohn's Piano Concerto No. 2 in D minor, op. 40, composed less than a year before in 1837, influenced the Serenade and Allegro giojoso's musical content. Not only do the two works for piano and orchestra share a key and thematic material, but an extended sketch found in th
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Dibble, Jeremy. "Context, Form and Style in Sterndale Bennett’s Piano Concertos." Nineteenth-Century Music Review 13, no. 2 (2016): 195–219. http://dx.doi.org/10.1017/s1479409816000616.

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A concert pianist in his own right and a prodigious youth, Sterndale Bennett composed his five complete piano concertos at the beginning of his career. Although Mozart is often cited as a major influence on Bennett’s musical style, and Bennett was a keen executant of Mozart’s piano concertos throughout his career as a virtuoso (at a time when a performing tradition of Mozart’s concertos was still establishing itself), of equal or even greater impact on Bennett’s style of concerto was the ‘London School’ of pianists, among them Field, Hummel, Potter (Bennett’s teacher), Cramer and Moscheles who
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Antonova, Olena. "Edward Macdowell’s Piano Concerto No. 2 in the Context of the Establishment of the American Branch of the Genre." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (2023): 303–14. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.19.

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"Research attention in the article is directed to the initial stage of the formation of the American piano concerto, which is represented by two works of Edward MacDowell. Written during the young composer’s stay in Germany, they are firmly based on the traditions of European music and demonstrate mastery of genre models that had formed in the works by Mendelssohn, Schumann, Liszt, Grieg, Saint-Saëns, as well as MacDowell’s teacher – Joachim Raff. The article analyzes the compositional and thematic organization of Piano Concerto No. 2, traces the figurative and stylistic origins of this music,
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Tomashevsky, Igor V., and Vladimir P. Konnov. "The Concerto for Piano and Orchestra in the Works of Scandinavian Composers (1890–1900s)." Университетский научный журнал, no. 78 (February 16, 2024): 34–53. http://dx.doi.org/10.25807/22225064_2024_78_34.

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t. The article is devoted to the historical fate of Austro-German musical Romanticism in the musical cultures of the Scandinavian region of Denmark and Norway, where Romantic traditions found their viability in the piano concerto genre. The research material was the works of the Dane Emil Hartmann and the Norwegian master Halfdan Cleve, highly valued by the authors’ contemporaries. The article traces in detail the concertos’ belonging to the traditions, in the fi rst case, of early (Mendelssohn, Schumann, Chopin), and in the second case, late Romanticism (which was indicated by reminiscences a
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Lindeman, S. D. "Mendelssohn and Moscheles: Two Composers, Two Pianos, Two Scores, One Concerto." Musical Quarterly 83, no. 1 (1999): 51–74. http://dx.doi.org/10.1093/mq/83.1.51.

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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (str
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Beheshti, Setareh, Iman Fakhr, and saeed Majidi. "A Unified Perspective on Musical Structure: Applying Agawu's Theory to Divergent Interpretations of Form in Mendelssohn's Violin Concerto." A Unified Perspective on Musical Structure: Applying Agawu's Theory to Divergent Interpretations of Form in Mendelssohn's Violin Concerto 30, no. 1 (2025): 71–80. https://doi.org/10.22059/jfadram.2024.382346.615940.

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Form is one of the most important and challenging concepts in music. Music scholars have long offered diverse interpretations and definitions of musical form, but the multiplicity of interpretations can sometimes lead to confusion and impede the attainment of a clear understanding of the structure of musical works. This is partly due to ‘reverse-engineering.’ When a compositional form is created, the composer may or may not be thinking primarily about structure.  The aesthetic message is at the forefront of the composer’s creative conscience followed by thematic phrases,
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Reshetilov, Bohdan. "Felix Mendelssohn. Piano Concerto with string orchestra in a minor: romantic principles for the renewal of the traditional genre." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(45) (December 26, 2019): 32–44. http://dx.doi.org/10.31318/2414-052x.4(45).2019.189785.

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Высоцкая, Марианна Сергеевна. "The Composition Model in Music: To the Issue of Evolution of Concept." Музыкальная академия, no. 4(776) (November 29, 2021): 152–65. http://dx.doi.org/10.34690/208.

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Понятие композиционной модели как структурносемантического прототипа музыкальной формы развивалось и эволюционировало вместе с понятием композиции как эстетической категории и одной из основополагающих категорий художественного творчества. В роли композиционной модели выступает художественный канон или авторский текст; она задается извне или выстраивается по индивидуально разработанному алгоритму; способом ее представления может быть вербализованная система правил, графическая схема или объективированный в звуковой форме образец. С возрастанием значимости в творческом процессе абстрактно-логич
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LIANG, LANYU. "THE PIANO OPUS 33 BY FELIX MENDELSSOHN: A PIANIST’S CURRENT VIEW." Университетский научный журнал, no. 83 (December 29, 2024): 217–25. https://doi.org/10.25807/22225064_2024_83_217.

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The proposed article is addressed, first of all, to modern performers, striving for an original and convincing dialogue with rarely heard musical works. Multifacetedly characterising three piano capriccios by F. Mendelssohn (op. 33), created almost 200 years ago, the author of the article actualises and expands the horizons of multi-vector movement for the pianist: from the origins of the genre to modern improvisation. A bizarre interweaving of traditional and unexpected associations involves the performer in a bright free game, while the “enigmas” of Mendelssohn’s style multiply many times th
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Dissertations / Theses on the topic "Mendelssohn concerto"

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Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.

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The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip
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Sperling, Bäckström Siri. "Kognitiv beteendeterapi i musikalisk övning : Kognitiv beteendeterapi som verktyg i en musikalisk övningssituation – en hermeneuetisk fallstudie med fokus på Felix Mendelssohns violinkonsert i e-moll op.64." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3556.

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Kognitiv beteendeterapi (KBT) bygger på teorier kring människans tankar, känslor och beteenden. Det är ett samlingsbegrepp för metoder som utformats för att hjälpa människor att förändra problematiska beteenden. Inledningsvis sammanfattas de begrepp som är relevanta för studiens syfte. Statistik visar att psykisk ohälsa är vanligt förekommande hos klassiska musiker. Syftet med studien var att undersöka hur KBT kan användas för att uppnå ändamålsenliga beteenden i musikalisk övning och fungera som ett hjälpmedel för att hantera problem. Studien byggde på en hermeneutisk grund. Materialet bestod
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Lapinski, Bobby (Robert M. ). "The Orchestral Clarinetist's Guide to Selected Second Clarinet Excerpts." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984160/.

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Orchestral excerpt books have become a staple in instrumental study for those pursuing a career in the orchestra. Many of these books, especially those for clarinet, are catered towards the popular and prolific clarinet solos found in principal clarinet parts. However, there is a lack of quality resources geared towards those pursuing second clarinet positions. Former materials might be outdated or are filled with inconsistencies or mistakes. The purpose of this document is to provide a resource and guide for select second clarinet orchestral excerpts. In this guide, certain aspects of playing
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Turley, Charles William. ""Ch'io t'abbandono" by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and Aptitudes of the Composer." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3203/.

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The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers
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Chou, Li Ting, and 周立婷. "The Analysis and Interpretation of Mendelssohn Violin Concerto in E Minor Op.64." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/42617594814868247029.

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碩士<br>國立臺灣藝術大學<br>音樂學系<br>104<br>Felix Mendelssohn (1809-1847) is an important composer of the early Romantic period. His works reserve the musical structure of classical music and combine long melodies of romantic music, presenting significant heritage in the history of western music. In his childhood, Mendelssohn received sound art education and knew painting and literature well. As a teenager, he loved to travel around and experience foreign scenery. These experiences have indirectly influenced his creation. The aesthetics of music is reflected in his works, which feature beautiful and happ
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楊奕珊. "The Analysis and Interpretation of Mendelssohn : Violin Concerto in E Minor, Op.64." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/44556853617125235138.

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Wang, Kuan-Chih, and 王冠智. "Mendelssohn’s Concert Overture – A Midsummer Night’s Dream." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/buq6j9.

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Tsai, Chiung-Yi, and 蔡瓊儀. "An Analysis of Mendelssohn’s Piano Concerto in g minor, Opus 25." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/61948621170180566399.

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碩士<br>國立臺南大學<br>教育經營與管理研究所音樂科教學碩士班<br>94<br>Felix Mendelssohn was one distinguished composer of the Romantic era. With his unique composing style, he wrote many well-known compositions. His piano solo album, Songs Without Words, is perhaps the most popular work; however, his Piano Concerto in g minor also occupies a prominent position in the history of Western music. This thesis includes four parts. The first part explores information about Mendelssohn’s life of different stages, and also surveys the general styles of his music. The second part studies the history of concerto, including differ
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Wang, Tzu-Chi, and 王姿棋. "The Analysis and Interpretation of Mendelssohn's violin concerto in E minor, Op. 64." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/37645450185976765956.

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碩士<br>輔仁大學<br>音樂學系<br>102<br>Comparing with the classic era, the timbre and the scope of volume and range in romantic period of 19th century is wider, and the harmony changes and coloring expression is more obvious. In this period, composers can express their emotions freely and the work contains intense personal emotion and imagination. Concertos in this period extends their types and forms of literature in the classic era, but the difference lies in that composers start to pay attention to the skill of solo instrument, which improves the position of solo instrument. In the late stage, a larg
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Books on the topic "Mendelssohn concerto"

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Duggan, Audrey. A sense of occasion: Mendelssohn in Birmingham, 1846. Brewin, 1998.

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Choir, Toronto Mendelssohn, ed. The Mendelssohn Choir of Toronto, A.S. Vogt, conductor: Annual concerts, Massey Music Hall ... s.n., 1992.

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Holman Opera House (London, Ont.), ed. Holman's Opera House, London, April 13th, 1874: Mendelssohn Quintette Club concert, of Boston ... programme .. s.n., 1986.

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Mendelssohn Quintette Club (Boston, Mass.), ed. Mendelssohn Quintette Club concert of Boston: Their twenty-second season, assisted by the distinguished vocalist, Mrs. J.W. Weston .. s.n., 1986.

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Drei, Tage für Felix (Festival) (1994 Cologne Germany). Blickpunkt Felix Mendelssohn-Bartholdy: Programmbuch Drei Tage für Felix : vom 30.10 bis 1.11.1994. Dohr, 1994.

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Pelto, William Lyle. Musical structure and extramusical meaning in the concert overtures of Felix Mendelssohn. University Microfilms, 1993.

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Grand Opera House (London, Ont.), ed. Mendelssohn Quintette Club of Boston: Mr. Nahan Franko, solo violin, Mr. Max Klein, violin ... Grand Opera House, Wednesday, Dec. 16, 1885. s.n., 1986.

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Mendelssohn-Bartholdy, Felix. Mendelssohn Piano Concerto #2 (Kalmus Edition). Alfred Publishing Company, 1985.

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Mendelssohn-Bartholdy, Felix. Mendelssohn Piano Concerto #1 (Kalmus Edition). Alfred Publishing Company, 1985.

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Burmeister, Klaus. Mendelssohn: Piano Concerto No. 1 in G Minor, Op. 25. Edition Peters, 2014.

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Book chapters on the topic "Mendelssohn concerto"

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Glasenapp, Gabriele von. "Chapter 12. German in Hebrew letters." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.15.12gla.

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Jewish children’s literature constitutes a special case of transnational encounter. Focusing on the German-language area, this chapter discusses the transnational character of Jewish children’s literature on two levels. The first is the linguistic level. In contrast to non-Jewish children’s literature, Jewish children’s literature in Germany has appeared since the end of the eighteenth century in three forms (Hebrew, German, and German written in the Hebrew letters). The second level concerns the multilingualism of the literature and the distribution and modalities of its reception – both insi
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Steinberg, Michael. "Mendelssohn." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0024.

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Abstract Felix Mendelssohn was the cherished crown prince in his cultured, prosperous, and seemingly happy family.1 It was the blessed lot of such well-to-do young men to be sent on an educational grand tour. Mendelssohn’s lasted a year and took him via Munich and Vienna to Italy (Venice, Florence, Rome, Naples, Rome again, Florence again, and Milan), Switzerland, Munich for a second time, Paris, London, and so home to Berlin.
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Radcliffe, Philip. "Works for a solo instrument with orchestra." In Mendelssohn. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164937.003.0011.

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Abstract Mendelssohn’s earliest experiment with the concerto is that in D minor for violin and string orchestra. It was composed in 1822, a year after the early Sonata in G minor for piano. The two works have points in common: in both of them the outer movements are influenced by Haydn and Mozart, and the slow movement is more individual than the rest; but the Concerto is the stronger and more interesting work. The first movement gives ample evidence of Mendelssohn’s love for Mozart’s Piano Concerto in D minor, which he often played with great success. Structurally the most original feature is
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Brown, Clive. "• The Piano Concerto in G Minor, Op. 25." In A Portrait of Mendelssohn. Yale University Press, 2003. http://dx.doi.org/10.12987/yale/9780300095395.003.0041.

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White, Harry. "Operas of the Irish Mind: Brian Friel and Music." In Music and the Irish Literary Imagination. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199547326.003.0008.

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Abstract The main item in tonight’s concert is the First Movement of the Violin Concerto in E minor, Opus 64, by Jacob Ludwig Felix Mendelssohn … the Orchestra is conducted by Gareth O’Donnell and the soloist is the Ballybeg half-back Gareth O’Donnell. I imagine you have poets in England of much greater accomplishment, Mr Richard. But Tom Moore is the finest singer we have, the voice of our nation. he has our true measure, Mr Richard. He divines us accurately. He reproduces features of our history and our character.
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Wilson, Miranda. "Fanny Hensel, born Fanny Mendelssohn-Bartholdy (1805–1847)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0011.

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Abstract The nineteenth century was the golden age of the cello-piano sonata. The Romantic composers Hensel, Mendelssohn, Chopin, Farrenc, Brahms, and Smyth, all of whom were pianists, found ways to showcase the lyrical qualities of the cello alongside piano parts of concerto-level difficulty. While Beethoven’s blueprint for the cello-piano sonata influenced all these composers, they also created innovations to the form through their use of harmonically rich, dramatically expressive Romantic language. Nineteenth-century developments to virtuoso technique also made it possible to write increasi
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Adelson, Robert. "Mendelssohn and the Erards." In Erard. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0014.

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One of the musicians who benefited from the Erard pianos made in London was Felix Mendelssohn (1809–47). Mendelssohn became close friends with Pierre and Céleste Erard, and may have been one of the few people familiar with Pierre’s homosexuality. Mendelssohn was not an immediate convert to Erard pianos, but developed a more favourable opinion of them on his 1829 tour of the British Isles and especially during his trips to Paris and London in 1832. In 1832, Pierre gave a gift of a grand piano to Mendelssohn and this piano had an important influence on Mendelssohn’s compositions and concert acti
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Todd, R. Larry. "From the Church to the Concert Hall." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0006.

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‘Every room in which Bach is performed is transformed into a church.’ We do not know the context for this remark attributed to Mendelssohn (sometime before March 1835), but it reflects one significant thread in the nineteenth-century ‘emancipation of music’, namely the revival of the music of J.S. Bach, and his transformation from a largely forgotten Leipzig church musician into a dominant, canonic figure in European concert music. This chapter revisits some familiar aspects of Mendelssohn’s revival of Bach’s music, for example the seminal revival of the St. Matthew Passion in 1829, and Mendel
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Gottlieb, Michah. "Biblical Education and the Power of Conversation." In The Jewish Reformation. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199336388.003.0003.

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This chapter covers the role of Bible translation in Mendelssohn’s endeavor to effect a reformation Jewish society by reimagining Jewish education. It explores Mendelssohn’s childhood education and his critique of the prevailing system of German Jewish education for males. Mendelssohn’s conception of the goal of education, his view of Yiddish, his understanding of biblical aesthetics, and his account of the roles of the Bible and rabbinic teachings in Jewish education is analyzed. The place of gender and class in Mendelssohn’s approach to Jewish education is investigated. The connection betwee
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Exner, Ellen. "Rethinking 1829." In Rethinking Bach. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190943899.003.0003.

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Felix Mendelssohn Bartholdy’s 1829 Berlin performance of Bach’s St. Matthew Passion is one of music history’s most legendary events, often cited as the origin of the “Bach Revival.” The historical record makes it clear, though, that Mendelssohn did not single-handedly rediscover Bach or his Passion and that his concert was not the first, even in Berlin, to feature Bach’s sacred vocal music. Nevertheless, the legend persists. This chapter re-examines the sources in search of a more inclusive view of Bach’s reception history in Berlin. In addition, it argues that the rhetoric of legend has endur
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Conference papers on the topic "Mendelssohn concerto"

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Wi
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