The string quartet is generally considered as the chamber-music genre of the classical era: invented by Haydn, elaborated by Haydn and Mozart, and brought to its compositional peak by Beethoven. All later quartet composers had to measure themselves against the works of these three masters. This applies first and foremost to Mendelssohn, who has always been called a “classical romantic.” His Quartet in a minor op. 13 in particular is said to have strong Beethovenian stylistic traits. It was composed in late summer and fall 1827, shortly after Beethoven’s late quartets appeared in print, works that Mendelssohn was no doubt familiar with. The Quartet in E flat major op. 12 was written two years later, during Mendelssohn’s first tour of England.
収録作品/詳細
- String Quartet E flat major op. 12
- String Quartet a minor op. 13
- Appendix: Song “Frage” op. 9,1
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序文
In a manner of speaking, the string quartet as a genre is the non plus ultra of chamber music in the Classic period; we might even say that it was invented by Haydn, elaborated together with Mozart and brought to a culmination by Beethoven. All quartets by later composers had, and still have, to bear comparison with the works of these three masters. This applies as well, even … 続き
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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. |
The editorial commentary and critical report are as thorough as one has come to expect from Henle's "Urtext" editions and the score features a respectable print size for study purposes.