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前言
关于作曲家
Felix Mendelssohn Bartholdy
A German composer, conductor, pianist, and organist who already numbered among the most important composers in Europe during his lifetime. While still young he found a unique tonal language. Reflected in his oeuvre, which spans all genres, are the contradictory tendencies of the age – Classicism and Romanticism. His endeavors over the course his life to perform the works of Johann Sebastian Bach led to a “rediscovery” of that composer which continues unabated. His intensive engagement with Bach and his counterpoint influenced his own compositional technique.
| 1809 | Born into a wealthy banker’s family in Hamburg on February 3. Escape to Berlin with his parents in 1811. First musical instruction from his mother. |
| 1819 | He becomes a pupil of Carl Friedrich Zelter. |
| 1820 | Joins the Sing-Akademie in Berlin. |
| 1821–23 | Twelve sinfonias for strings. |
| 1825 | String Octet in E-flat major, Op. 20. |
| 1826 | Overture to “A Midsummer Night’s Dream,” Op. 21 |
| 1827 | Begins studies at the University of Berlin. |
| 1829 | Revival of Bach’s St. Matthew Passion in Berlin on March 11 and 21. Travels to England and Scotland. |
| 1829–30 | “Reformation” Symphony in D minor, [Op. 107], with inclusion of the choral “Ein feste Burg“ (A Mighty Fortress Is Our God.) |
| 1830–32 | Extended travels, including to Italy and France. Piano Concerto in G minor, Op. 25; Overture in B minor, Op. 26, “The Hebrides, or Fingal’s Cave” (1829–30). |
| 1833 | Music director in Düsseldorf. “Italian” Symphony in A major, Op. 90 (1830–33). |
| 1835 | Director of the Gewandhaus concerts in Leipzig. |
| 1836 | Premiere in Düsseldorf of his oratorio “St. Paul: Oratorio on Words of the Holy Bible,” Op. 36. |
| 1838-44 | Violin Concerto in E minor, Op. 64. |
| 1840 | Composition of “Hymn of Praise, a Symphony-Cantata on Words of the Holy Bible,” Op. 52. |
| 1841 | Berlin, in the service of the Prussian king. “Variations sérieuses” in D minor, Op. 54, for piano. |
| 1842 | Completion of Symphony No. 3 (“Scottish”) in A minor, Op. 56, with a songlike opening. |
| 1843 | Incidental music to Shakespeare’s “A Midsummer Night’s Dream,” Op. 61. Director of the newly founded Leipzig Conservatory. |
| 1846 | Premiere of his oratorio “Elijah,” Op. 70, in Birmingham. |
| 1847 | String Quartet in F minor, [Op. 80]. Death in Leipzig on November 4. |
关于作者
Sylvia Hewig-Tröscher (Editor, Fingering)
Sylvia Hewig-Tröscher studied piano at the Hochschule für Musik in Munich under Erik Then-Bergh and Hermann Reutter, as well as under Louis Hiltbrand at the Conservatoire de Musique in Geneva. 1977 she finished the „ Classe de Virtuosité“ in Geneva with the Premier Prix avec distinction and received the Henry Broliet prize as well as being awarded the GEDOK prize. Also organ studies under Lionel Rogg finishing with the „Diplome d’Orgue“. Masterclasses with George Halmos, Klaus Schilde, Karl Seemann and Wilhelm Kempff, followed, as well as with the cembalo player Li StadelmannIn. 1977 the piano trio Orfeo was established.
Since then, as a solo pianist and chamber musician, her concert activities have led her to Germany, Switzerland, France, Italy, Austria, America, Egypt, India, Korea, and Japan. The list of recordings includes Bayerischer Rundfunk and Südwestfunk Freiburg, Baden-Baden, record and CD recordings of (among others) seldom played works of the classical and romantic periods with Musica Bavarica. Further CD recordings including modern music and first performances with Calig, Symicon, Bayer Records, Arts Magnamedia, and Sony, also co-production of the Bayreischer Rundfunk and Deutscher Musikrat.
Masterclasses in Villa Marteau, Marktoberdorf, Hammelburg, Brixen, Castelnuovo di Garfagnana and New York. Today Sylvia Hewig-Tröscher works as a professor of piano and vice president of the Hochschule für Musik and Theater Munich.
Die Texte Hewig-Tröschers sind leicht lesbar, allgemein verständlich und in ihren praktischen Empfehlungen problemlos umzusetzen, etwa wenn sie mit wenigen Worten Empfehlungen gibt, wie eine Oberstimme bei Mehrstimmigkeit in einer Hand hervorgehoben werden kann. Auch der Klavierpädagoge liest die Anmerkungen der Herausgeberin durchaus mit Gewinn für den eigenen Unterricht.
De serie houdt rekening met verschillende spelniveaus (...), uithoudingsvermogen (...) en wil twijfelaars niet afschrikken door een te groot gewicht van een volume (...) of een te druk tekstbeeld. Ook aan de portemonnee van de doelgroep is gedacht, want de serie is aantrekkelijk geprijsd. Kortom, alle voorwaarden zijn aanwezig, alle mogelijke duwtjes in de rug gegeven, nu is het de beurt aan de pianist zelf. Er is geen uitstel meer mogelijk.