Difference between revisions of "Elijah"
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===The of a ===
Mendelssohn's devotion to the music of Bach dated back to his student years. When he was nine years old, his sister Fanny (then aged thirteen) memorized the whole of Bach's <i>Well-Tempered Clavier</i>. The following year he and his sister were admitted to the chorus of Berlin's [https://en.wikipedia.org/wiki/Sing-Akademie_zu_Berlin Sing-Akademie]. Its emphasis was on the preservation of choral music. Mendelssohn and his sister studied music theory privately with the Akademie's director, [https://en.wikipedia.org/wiki/Carl_Friedrich_Zelter Zelter], whom Mendelssohn harbored thoughts of succeeding. Felix also took organ lessons from A.W. Bach. His progress under Zelter was truly amazing. By 1821 he had mastered [https://en.wikipedia.org/wiki/Figured_bass figured bass], [https://en.wikipedia.org/wiki/Inversion_(music)#Counterpoint invertible counterpoint], and the writing of two- and three-voiced [https://en.wikipedia.org/wiki/Fugue#Types fugues]. He was barely thirteen.
===What Mendelssohn studied===
===What Mendelssohn studied===
Revision as of 02:32, 2 February 2021
Felix Mendelssohn's Elijah, Op. 70
The Making of Elijah
The education of a prodigy
Mendelssohn's devotion to the music of Bach dated back to his student years. When he was nine years old, his sister Fanny (then aged thirteen) memorized the whole of Bach's Well-Tempered Clavier. The following year he and his sister were admitted to the chorus of Berlin's Sing-Akademie. Its emphasis was on the preservation of choral music. Mendelssohn and his sister studied music theory privately with the Akademie's director, Zelter, whom Mendelssohn harbored thoughts of succeeding. Felix also took organ lessons from A.W. Bach. His progress under Zelter was truly amazing. By 1821 he had mastered figured bass, invertible counterpoint, and the writing of two- and three-voiced fugues. He was barely thirteen.
What Mendelssohn studied
It was in these same years that Mendelssohn began to compose. Zelter's pedagogical model were drawn largely from the Prussian violinist Johann Philipp Kirnberger (1721-1783), who had been a pupil of Bach and greatly admired his Thuringian master. Kirnberger especially championed Bach's Clavieruebungen and his chorale preludes (BWV 690-713). Kirnberger is remembered today for his composition manual Die Kunst des reinen Satzes in der Musik and his tweaks on equal-tempered tuning. While Mendelssohn's devotion to Bach took shape under Zelter, Zelter himself synthesized the values of the Sing-Akademie with pedagogical foundations laid by Kirnberger.
Mendelssohn began to conceptualize his oratorio Elijah in 1837, on the heels of completing his well-received oratorio St. Paul (Paulus. Lacking a specific occasion for its performance, he set it aside. His return to its composition in 1845 was prompted by an invitation to Birmingham in 1845. Mendelssohn then focused entirely on it, presenting a version adequate for performance in Birmingham in 1846 but not sending to press a final version (as Op. 70)until the following year. It was performed in London in April 1847.
The composer imagined a third oratorio provisionally called Erde, Hoelle, Himmel or Christus. Op. 97, to completed a trilogy. Only a few fragments remain. Mendelssohn died unexpectedly, apparently of a familial cardiovascular disease, on November 4, 1747. In Leipzig, where he had often conducted and taught, a moving funeral service was held three days later in the Paulinerkirche. Mendelssohn was buried next to his sister in the Trinity Cemetery, Berlin.
These integral parts were edited and prepared by Walter Hewlett for a performance in Carnegie Hall, New York, in 2014.
Brasses and Timpani
- Horn 1
- Horn 2
- Horn 3
- Horn 4
- Trumpet 1
- Trumpet 2
- Trombone 1
- Trombone 2
- Trombone 3 (Bass trombone)
- Tuba (Ophicleide)