Felix Mendelssohn Bartholdy: Symphony No. 5 in D minor MWV N 15: (Arr. Thomas Schmidt): Orchester

Reformation Symphony - Urtext of the Leipzig Mendelssohn Complete Edition

KOMPONIST: Felix Mendelssohn Bartholdy
PRODUKTFORMAT: Partitur
VERLAG: Breitkopf und Härtel
DEFINITIVE DURATION: 00:30:00
A Programmatic Declaration of Belief Felix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the “Confessio Augustana,” the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in
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Spezifikationen
Komponist Felix Mendelssohn Bartholdy
Arrangeur Thomas Schmidt
Instrumentengruppe Orchester
Instrumentierung Orchester
Detaillierte Instrumentierung Orchester
PRODUKTFORMAT Partitur
PRODUKTTYP Partitur
Serie Breitkopf Urtext Edition
Verlag Breitkopf und Härtel
Genre Klassik
Definitive Duration 00:30:00
SEITENZAHL 140
ISMN 9790004213919
Verlagsnummer PB 5581
NR. BRKPB5581
Beschreibung
A Programmatic Declaration of Belief Felix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the “Confessio Augustana,” the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn’s lifetime, this one conducted by Julius Rietz in Düsseldorf; the composer had since distanced himself from his opus. Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale “Ein feste Burg” in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer’s later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Düsseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.
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