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By Siegwart Reichwald

Exploring many points of Felix Mendelssohn's multi-faceted occupation as musician and the way it intersects along with his paintings as composer, participants speak about functional problems with track making comparable to functionality house, tools, pace markings, dynamics, phrasings, articulations, fingerings, and device recommendations. They current the conceptual and ideological underpinnings of Mendelssohn's method of functionality, interpretation, and composing in the course of the contextualization of particular functionality occasions and during the theoretic actualization of performances of particular works. participants depend upon manuscripts, marked or edited ratings, and function elements to express a deeper figuring out of musical expression in 19th-century Germany. This research of Mendelssohn's paintings as conductor, pianist, organist, violist, accompanist, track director, and editor of previous and new track deals worthy views on 19th-century functionality perform issues.

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Although playing from memory was hardly the rule in his day, he was quite able to recall a large repertoire without the aid of the score, a talent for better or worse required of pianists now, but then frequently remarked upon with wonder. His masterly performances from memory of Beethoven’s “Emperor” Concerto and Weber’s Konzertstück excited particular admiration. That his musical memory was extraordinary even by present-day standards is demonstrated by several accounts of his memorization—seemingly routinely—of piano accompaniments and even of individual parts in orchestral scores.

I have not been able to find specific information on Dr. htm (accessed 12 May 2005). The positive was based on direct knowledge of his own playing and performance-practice. It presented the picture of a serious, conscientious, and intensely musical performer, an opponent of affectation and sentimentality, who favored brisk tempi and strict adherence to the letter of the score. Two competing negative images, eventually to border on caricature, were also emerging. Through this he was considered to be—presumably by osmosis—an “effeminate” musician: one whose piano music was suited to be trotted out in the bourgeois parlor by affected amateurs of shaky technique and saccharine taste.

Mendelssohn’s performance has none of the exquisite finesses of Moscheles . . ”21 “Eminently manly”— it would hardly have been necessary to say it about Liszt or Thalberg, and would hardly have been likely to be said about Chopin, whose introverted and poetic style was to some contemporaries redolent not just of effeminacy but of the sickbed. With Mendelssohn, however, one had to protest loudly against the abuses of his admirers. Mendelssohn and the Piano 29 So how, in detail, did this “eminently manly” pianist play, and expect his music to be played?

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