The characterization of the musical production of Felix Mendelssohn requires the acknowledgement of two key observations: the essentially classical structure of Mendelssohn’s compositions and the frequent romantic innovations Mendelssohn employed. Mendelssohn was a conservative fixture in an era of radical upheaval—the early nineteenth century. Intellectually in Europe, this was an era of transition, as the romantics sought to upend the enlightenment establishment across all areas of artistic, scientific and cultural production: whether the orderly structures of classical music, the faith in reason and scientific progress that animated Enlightenment tracts and polemics, the embrace of technological progress, or the vehement rejection of superstitions …show more content…
Amidst this era of radical upheaval, Mendelssohn’s penchant for classical structures indicates a conservative disposition, though perhaps it is more apt to take Mendelssohn’s word and attribute Mendelssohn’s adherence to classical forms to an independent mind not swayed by the trends of his time: “Ever since I began to compose, I have remained true to my starting principle: not to write a page because no matter what public, or what pretty girl wanted it to be thus or thus; but to write solely as I myself thought best, and as it gave me pleasure.” Ergo the irony that Mendelssohn’s conservative tastes may be attributed to a radical …show more content…
For all that doubt such a proclamation, consider the evidence: he wrote numerous compositions including 5 operas and 11 symphonies during his boyhood (5-16 years old) for string orchestras, concerti, sonatas and fugues. Mendelssohn started with piano lessons from his mother before moving on to a series of tutors to nurture his musical interests. To trace the root of Mendelssohn’s inclinations for classical and baroque forms, specifically his deep appreciation for Bach, it is perhaps instructive to focus on one key figure in Mendelssohn’s childhood, his tutor Carl Friedrich Zelzter and his aunt Sarah Levy. Mendelssohn absorbed Zeltzer’s conservative tastes and Levy’s passion for Bach during the numerous composition and piano lessons Mendelssohn had with these two figures. This musical enculturation perhaps explains in part Mendelssohn’s fondness for classical structures as well as his deep appreciation for an imitation of the forms and styles of Johan Christian Bach. In 1821 Mendelssohn had the fortune to meet Goethe, the great German poet responsible for the likes of Faust. The meeting of the musical prodigy and the prolific poet was one of mutual admiration, and Goethe’s poems proved a source of several of Mendelssohn’s musical creations. During a series of years starting in 1829 Mendelssohn visited several localities in Great Britain and the Italic Peninsula, including Venice, Rome and Naples. His visits and interactions with
When the general public thinks of Baroque music, they might think of the High Court sounding French concerto, or one of Bach’s many and well-known fugues. These highly structured pieces with their vigorous counterpoint and technical brilliance might be considered “tight” and “incredibly mechanical.” However, these pieces though full of well thought out lines, phrases, and ornamented passages are not driven by the writers will to keep the music enslaved in rules and restricting limits of harmony. The Baroque era contained the elements of the stile moderno, a
Felsenfeld takes his readers on a journey from being an uninspired teenager, into the world of an adult “rebel” composer. Although Daniel was in piano lessons at a young age, he just couldn’t seem to spark an interest in the classical music that was being put in front of him. He continued the lessons through high school, and only had enough skill to make minimal money in piano bars and orchestra pits. Daniel regularly hung out with a friend, Mike, whose house he would go
Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and
19. Franz Schubert. Born in 1797, died in 1828 from Vienna. Wrote well over 600 works. Was the Master of the Art Song. He wasn’t financially successful and his symphonies were performed after he died. 20. Robert Schumann. Born in 1810, died in 1856 from Germany. Wrote piano pieces and symphonies. Known for his gift of melody. Eventually was committed and later died. 21. Clara Schumann. Born in 1819, died in 1896 from Germany. First well known female composer. Married to Robert Schumann. Stop composing at age 36. Mainly wrote piano pieces. After husbands death she dedicated the rest of her career to promoting her husbands work. 22. Frederic Chopin. Born in 1811, died in 1849 from Poland. Came to Paris at age 21, wrote exclusively for piano. Wrote free form preludes, nocturnes etudes and impromptus. Composed mainly chamber music. Had and affair
Kirk Bloodsworth was 22 when he spent eight years in prison, two of those on death row. He was wrongfully convicted. A 9-year old girl was raped and killed on July 25, 1984. Two boys had seen her walking with a man before she suddenly disappeared. The boys described the man to the police and the police came to the conclusion that the murderer was Bloodsworth. He repeatedly claimed he was innocent but he was found guilty and sentenced to death on March, 1985. After 8 years he finally proved he was innocent through DNA testing. He was released from prison on June 1993. He was paid 300,000 dollars (“Correcting”). The US should not institute the death penalty everywhere in the country because it would put us at risk of executing innocent people, costs us millions of dollars in administering the penalty and there is a better way to help the families of murder victims.
Mendelssohn was a famous German composer of the Romantic period. Although he was born into a Jewish family and grew up without a religion he soon became a reformed Christian. Mendelssohn was born with the talent to be able to play instruments and make music, but his parents never really supported his talent and didn’t help him to improve his talent. He went on to pursue what he loved to do and that was to compose and conduct music. Mendelssohn was born in Hamburg, Germany, 1809.
Felix Mendelssohn; a well-known husband, father, son, composer, musician, and one of the most- celebrated figures in the early nineteenth century. Felix Mendelssohn also known as Jakob Ludwig Felix Mendelssohn-Bartholdy was born to a family of Jewish background on February 3, 1809 in Hamburg, Germany. Two years after the birth of Felix his family moved to berlin due to the French occupation of Hamburg. His parents Abraham and Lea Mendelssohn took on the name Bartholdy after being greatly influenced by liberal ideas in which was considered advantageous in conformity with the intention to mark their emancipation from the ghetto by being baptized into Christian faith which took place in 1816. After their new beginning in Berlin and having the
This German composer is a pianist, musical conductor, teacher, and of the most-celebrated figures of the early Romantic period. Overture to A Midsummer Night’s Dream (1826), Italian Symphony (1833), a violin concerto (1844), two piano concerti (1831, 1837), the oratorio Elijah (1846), and several pieces of chamber music are all this composer’s most famous works. Romanticism is this composer initiating key aspects and this composer largely observed Classical models and practices. Moses Mendelssohn is this composer’s grandfather. This German composer is Felix Mendelssohn.
Now, if I consider one of his works such as Nixon in China which is an opera by the John Adams in connection with the Alice Goodman, it gained popularity in its time, especially it was inspired by
They say what’s old is new again. There is nothing new under the sun. What goes around comes around. History repeats itself. These may be just a few banal sayings, but they might hold true for classical music as well. Maurice Ravel’s Le Tombeau de Couperin is one such example. Written during the neo-classical and neo-baroque movements of the early 1900s, this clever piece ties together French musical traditions, baroque styles, and World War I in just six short pieces. This essay will detail the origins of the suite form and the neo-classical neo-baroque movement, and compare Le Tombeau de Couperin with Bach’s French Suite no. 5 in G Major, BWV 816.
Usually when people judge romance they assume of dating, but the Romantic Period was not about dating, it was a time of great emotion, creativity, imagination, adventure, and was a time of political revolution. Romanticism originated in Western Europe in the second half of the 18th century, and gained much strength during the Industrial Revolution. This era was a time of great change, and unlike the Classical era, the Romantic era allowed artistic creativity, freedom, and experimentation. The Romantic Period brought a flood of women who began writing and expressing themselves through literary works. Women increased recognition during the romantic era. They devolved into music teachers, composers, singers and performers. Although they were still in the opposition of music professions, the women in this era opened the doors for opportunities in the future. A few dominant impacts were Pauline Viardot, Fanny Mendelssohn Hensel, and Clara Schumann. They even had some of their works published. (Young: 235-237)
Sonatas composed from 1773 to 1784 were intended as “public” works from the very beginning, with a clear conception of the taste, preferences, and instruments available to the musical public of Vienna. The Sonata in F Major, Hob. XVI: 23; L38 written in 1773 for solo harpsichord is the best known and most virtuosic of
Johann Sebastian Bach (1685-1750) was unlike most other composers of his time. “He wrote music for the glory of God, and to satisfy his own burning curiosity, not for future fame.” During the 1700s, people knew him as a talented musician, not as a composer, as we do today. He never left his country to pursue bigger and better things. Bach was content as long as he could play music. Traditions were very important to him. He wanted to carry on the musical tradition of his family, and never opted to change the traditional ways of composing, as did most composers. Bach’s work is vast and unique.
I believe the University of North Carolina at Wilmington would be a perfect fit for me in every way. In the future I would like to become a physician and I believe that UNC Wilmington would be the best match to enable me to reach this goal. UNC Wilmington has an amazing biology department which will help me meet my prerequisites for medical school. Along with this UNC Wilmington offers a pre-health program which will help me significantly on my journey towards being a physician. UNC Wilmington is also one of the few schools that offers a neuroscience minor. I have been interested in neuroscience for a long time and would love the opportunity to study the subject in college. UNC Wilmington was also an amazing fit for me because I felt at home
Edward MacDowell was a popular composer who favored the late romantic programmatic style over the classical German Romanticism that was popular among his American contemporaries (Crawford & Hamberlin, 2013). At the age of 16, MacDowell began studying piano and composition in Europe where he had some of his early compositions published. Upon returning to the United States he continued teaching, composing and performing in the Boston area. After becoming on of the nation’s leading musicians, he began teaching at Columbia University. Prior to his time at Columbia he wrote a few symphonic works, however his duties at the university only allowed him to write smaller pieces (Crawford & Hamberlin, 2013).