Con moto maestoso (Sonata 3, mvt. 1): Difference between revisions

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==Registration and Organs==
==Registration and Organs==
From Mendelssohn's preface:
From Mendelssohn's preface:
With the following compositions much depends upon a judicious choice of the stops. But in as much as every organ of which I have cognisance required, in this respect, is own particular treatment owing to the fact that the like-named stops on different instruments do not always produce uniform effects, I have confined myself to prescribing certain limits only, without actually indicating the specific stops to be used. Thus I employ the term FORTISSIMO as suggestive of the full organ (grand jeu) and PIANISSIMO as generally implying a soft 8-foot stop by itself; FORTE as indicative of the full organ without the admixture of any of the fullest stops; PIANO as a combination of several 8-foot stops, and so on. Where the PEDALS are indicated my idea is, even in the PIANISSIMO, that the 8-foot and 16-foot stops should be combined, excepting only where the contrary is especially prescribed (see the sixth Sonata). It is, therefore, left to the discretion of the player himself to select the mixtures of the various stops in a manner suited to the individual pieces, but it is essential to take care that in combining two manuals the one manual shall be distinct from the other as regards tone-quality without, however, producing a harsh contrast in this respect. (Felix Mendelssohn)
With the following compositions much depends upon a judicious choice of the stops. But in as much as every organ of which I have cognisance required, in this respect, is own particular treatment owing to the fact that the like-named stops on different instruments do not always produce uniform effects, I have confined myself to prescribing certain limits only, without actually indicating the specific stops to be used. Thus I employ the term FORTISSIMO as suggestive of the full organ (grand jeu) and PIANISSIMO as generally implying a soft 8-foot stop by itself; FORTE as indicative of the full organ without the admixture of any of the fullest stops; PIANO as a combination of several 8-foot stops, and so on. Where the PEDALS are indicated my idea is, even in the PIANISSIMO, that the 8-foot and 16-foot stops should be combined, excepting only where the contrary is especially prescribed (see the sixth Sonata). It is, therefore, left to the discretion of the player himself to select the mixtures of the various stops in a manner suited to the individual pieces, but it is essential to take care that in combining two manuals the one manual shall be distinct from the other as regards tone-quality without, however, producing a harsh contrast in this respect. (Felix Mendelssohn)


''See the footnote in the "Notes" section at the bottom of the page.'' <ref>This footnote was entered in the "Registration and Organs" article.</ref>
''See the footnote in the "Notes" section at the bottom of the page.'' <ref>This footnote was entered in the "Registration and Organs" article.</ref>

Revision as of 18:27, 21 January 2015

from Sonata 3 (Op. 65) by Felix Mendelssohn

Background

Visit the Wikipedia page on the Organ Works of Felix Mendelssohn for background information - [1]

"Mendelssohn was one of the finest organists of his day. The Three Preludes and Fugues op.37, dedicated to Mozart's pupil Thomas Attwood, form a pendant to op.35. The Six Organ Sonatas op.65 (1845), teeming with artful fugues and chorales, summarize and epitomize Mendelssohn's rediscovery of Bach, and may have inspired Schumann's six fugues on B–A–C–H op.60." - Grove Music Online: "Mendelssohn, Felix, §10: Keyboard music" [2]

Registration and Organs

From Mendelssohn's preface: With the following compositions much depends upon a judicious choice of the stops. But in as much as every organ of which I have cognisance required, in this respect, is own particular treatment owing to the fact that the like-named stops on different instruments do not always produce uniform effects, I have confined myself to prescribing certain limits only, without actually indicating the specific stops to be used. Thus I employ the term FORTISSIMO as suggestive of the full organ (grand jeu) and PIANISSIMO as generally implying a soft 8-foot stop by itself; FORTE as indicative of the full organ without the admixture of any of the fullest stops; PIANO as a combination of several 8-foot stops, and so on. Where the PEDALS are indicated my idea is, even in the PIANISSIMO, that the 8-foot and 16-foot stops should be combined, excepting only where the contrary is especially prescribed (see the sixth Sonata). It is, therefore, left to the discretion of the player himself to select the mixtures of the various stops in a manner suited to the individual pieces, but it is essential to take care that in combining two manuals the one manual shall be distinct from the other as regards tone-quality without, however, producing a harsh contrast in this respect. (Felix Mendelssohn)

See the footnote in the "Notes" section at the bottom of the page. [1]

Fingering and Pedaling

Replace this text with any specific information on fingering and pedaling

Articulation and Phrasing

Replace this text with any specific information on articulation and phrasing

Ornamentation

Replace this text with any specific information on ornamentation

Tempo and Meter

Replace this text with any specific information on tempo and meter

Scores and Editions

Publication History (extracted from [3])

Leipzig : Breitkopf & Härtel, 1845 (Hofmeister's Monatsbericht (1845), p.189) (also by Coventry & Hollier in London, Maurice Schlesinger of Paris, and Ricordi of Milan, simultaneously) Reprinted Mineola: Dover Publications, 1991, 2004 New York : G. Schirmer, 1896: Compositions for the organ : three preludes and fugues, op. 37; six sonatas, op. 65 / Felix Mendelssohn Bartholdy. Edited and fingered by Samuel P. Warren. Plate 12572 Paris : S. Bornemann, 1948: Oeuvres complètes pour orgue / de Félix Mendelssohn ; revues, annotées et doigtées par Marcel Dupré München : G. Henle Verlag, 1976: Orgelsonaten : opus 65 / Mendelssohn Bartholdy ; nach Eigenschriften, Abschriften und den beiden Erstausgaben hrsg. von Hubert Meister ; Finger- und Pedalsatz von Wolfgang Stockmeier A 3-movement early version of Op.65 no.3 exists in autograph manuscript at SBBerlin.


Below are the available editions and links to editions currently available for Mendelssohn Organ Sonata III: Alfred Music - [4]

     - Digital copy of Sechs Sonaten Op. 65 - Sonata III (11 pages) - can be printed or viewed on devices

Edition Peters - (PE.P01744) - http://www.sheetmusicplus.com/title/organ-works-sheet-music/966855

     - Solo Organ (3 Preludes and Fugues Op.37 - 6 Sonatas Op.65)

Editions Durand - (HL.50562377) - http://www.sheetmusicplus.com/title/works-for-organ-sheet-music/4014685

     - Contents: Preludes and Fugues Op. 37, Nos. 1-3; Sonatas, Op. 65, Nos. 1-6.
     - Edited by Ch. M. Widor (94 pages)

G. Schirmer - (HL.50253590) - http://www.sheetmusicplus.com/title/organ-works-op-37-65-sheet-music/3142569

     - Organ Works, Op. 37/65 (Organ Solo). Edited by S Warren. (88 pages)

Free Scores: [5]

Recordings

Replace this text with any specific information on recordings

Free Online

Complete Sonata https://www.youtube.com/watch?v=ogQXd_hkVNw

Movement 1 https://www.youtube.com/watch?v=5afj7Ak9T2o

Movement 2 https://www.youtube.com/watch?v=ZfnTAXrhuzc https://www.youtube.com/watch?v=jF0ZIWmJww4

Pay to Listen

http://www.classicalarchives.com/work/17470.html - this website allows subscribers to listen to recordings of the Sonata 3 performed by various composers

http://www.naxosmusiclibrary.com/home.asp?rurl=%2Fdefault%2Easp - Complete catalogues or selected recordings of over 640 labels such as ARC, Berlin Classics, BIS, Capriccio, Chandos, EMI Classics, Erato, Finlandia, Hänssler Classic, Harmonia Mundi, Hungaroton, Naïve, Naxos, Nonesuch, Nimbus, Ondine, RCA Records, Sony Classical, Teldec, Virgin Classics and Warner Classics - contains a plethora of recordings of Mendelssohn's Organ Sonata III

Other Resources

An analysis of Mendelssohn's organ works; a study of their structural features. For the use of students ([1898]) - [6] p.36-45 contains a musical summary of what is happening in Sonata 3

Cooper, John Michael. "Knowing Mendelssohn: A Challenge from the Primary Sources." Notes. September 2004, Vol 61 Issue 1, p35-96. ISSN 0027-4380

Notes

  1. This footnote was entered in the "Registration and Organs" article.

This space is for automatic insertion of footnotes. To enter a footnote from anywhere in the article, start by typing the tag <ref> and then enter the text, and type the tag </ref> to end the footnote. The footnote will then appear in this "Notes" section automatically.