Final (Sonata 6, mvt. 5)/Andante: Difference between revisions
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==Registration and Organs== | ==Registration and Organs== | ||
The dynamic for this piece is <b><i>p</i></b>, which for Mendelssohn meant "a combination of several 8-foot stops." On a two manual organ you might consider coupling the manuals and using one or two of the softest 8' stops from each manual, ensuring that the stops blend well with each other. Soft 16' and 8' stops in the pedal with the manuals coupled would work well. | The dynamic for this piece is <b><i>p</i></b>, which for Mendelssohn meant "a combination of several 8-foot stops." On a two-manual organ you might consider coupling the manuals and using one or two of the softest 8' stops from each manual, ensuring that the stops blend well with each other. Soft 16' and 8' stops in the pedal with the manuals coupled would work well. | ||
==Fingering and Pedaling== | ==Fingering and Pedaling== | ||
Revision as of 04:57, 4 March 2015
from Sonata 6 (Op. 65) by Felix Mendelssohn
Background
The final movement for Sonata no. 6 serves as a great starting place for learning Mendelssohn. It is only thirty-six measures long, and it is in the accessible key of D Major. The piece modulates from D Major to F# Minor, to C# Minor, and back to F# Minor before finally returning to D Major. The chief difficulty in performing this piece lies in the manual parts: for the most part there are only three voices in the manuals, but a handful of measures have four manual voices. It is at these points that the fingering is the most difficult.
Registration and Organs
The dynamic for this piece is p, which for Mendelssohn meant "a combination of several 8-foot stops." On a two-manual organ you might consider coupling the manuals and using one or two of the softest 8' stops from each manual, ensuring that the stops blend well with each other. Soft 16' and 8' stops in the pedal with the manuals coupled would work well.
Fingering and Pedaling
The edition below includes some fingerings and pedal indications. They are a guideline only, and you can adjust them to your hands as necessary.
Articulation and Phrasing
This piece should be played with a very smooth legato. Mendelssohn's phrasing marks are difficult to interpret because they don't seem to make musical sense. Most of the phrases seem to be about four measures long, but the slurs often only cover one measure. Look for prominent cadences to help you decide where the phrase breaks should fall.
The piece starts on an anacrusis with only the pedal moving on the downbeat. Make sure that your treatment of the anacrusis does not obscure or weaken the downbeat of the first measure.
Ornamentation
Replace this text with any specific information on ornamentation
Tempo and Meter
The meter is compound duple (6/8) and the indicated tempo is 100 eighth notes per minute.
Scores and Editions
File:Mendelssohn Sonata 6 Finale.pdf
Recordings
Replace this text with any specific information on recordings
Free Online
Replace this text with any specific information on online recordings that are available free
Pay to Listen
Replace this text with any specific information on online recordings that are available for a fee
Other Resources
Replace this text with any information on other resources pertinent to performing these works
Notes
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.
