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Oorspronklik

Ouverture fur Harmoniemusik. score & parts. Felix Bartholdy Mendelssohn. B-Flat Trumpet sheet music. Horn sheet music. Oboe sheet music.

Vertaling

Opening as Harmoniemusik. telling. Felix Bartholdy Mendelssohn. B-Flat Trumpet bladmusiek. Horn bladmusiek. Hobo bladmusiek.

Oorspronklik

Ouverture fur Harmoniemusik. score & parts. Op. 24. Composed by Felix Bartholdy Mendelssohn. 1809-1847. Arranged by M. Asbill & K. Geraldi. Wind Ensemble. For Wind Ensemble. One on a part. Piccolo Flute Oboe 1 Oboe 2 E-flat Clarinet 1 E-flat Clarinet 2 B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 B-flat Clarinet 4 Bassoon 1 Bassoon 2 Contrabassoon F Horn 1 F Horn 2 F Horn 3 F Horn 4 B-flat Trumpet 1 B-flat Trumpet 2. Grade 5. Score & parts. Duration 9. 00. Published by C. Alan Publications. CN.18880. Written at the ripe age of 15, Mendelssohn's Ouverture, op. 24 demonstrates his musical maturity from a very young age. Set in sonata form, the work begins with a slow, highly melodic introduction that leads into a quick allegro filled with counterpoint and polyphonic imitation. Asbill and Geraldi have done a masterful job of adapting the original work for the modern wind ensemble. Felix Mendelssohn was a prolific composer from a very young age, and was also one of the finest keyboardists of his time. Born into one of Germany's most cultured 19th century families, Mendelssohn's parents home schooled their children on a very strict routine. Their studies included music, history, Greek, Latin, science, literature, and drawing. Felix formed a particularly strong bond with his older sister, Fanny, who became a successful composer in her own right. The Mendelssohn home was a gathering point for conservative German intellectuals and philosophers organized by Moses Mendelssohn, Felix's grandfather,. His father, Abraham, was a wealthy banker intent on providing his family with the best possible opportunities for education and culture. Karl Friedrich Zelter was the young composer's primary music teacher. Mendelssohn's comprehensive musical education emphasized correctness, propriety, and formal clarity. His models included not only the Romantics of the early 19th century, but also 18th century figures, such as Bach and Mozart. Mendelssohn made his debut as a pianist at age nine in 1818 and in 1819 the Berlin Singakadamie presented the first public performance of one of his compositions. The Mendelssohn family enjoyed summer holidays in various locations around Europe, where Felix formed professional connections with eminent historical figures, including Goethe and Spohr. During the summer of 1824, Mendelssohn vacationed with his father at the northern German community of Bad Doberan. This resort was known for its spas, many of which employed small Harmonie ensembles to perform daily concert. While in Bad Doberan, Mendelssohn composed his Notturno for eleven instruments - pairs of oboes, clarinets, horns, and bassoons, plus additional parts for flute, trumpet, and English basshorn - and the work received its premiere on July 24, 1824. In 1838, the composer rescored the work for large German wind band and re-titled it Overture, Op. 24. At this time, Mendelssohn sought to have the work published in three versions. the original for 11 instruments, the expanded version, and a setting for piano four-hands. Simrock accepted the works, but did not publish them until 1852, five years after the composer's death. The work is in sonata form with a slow, highly melodic introduction. Its balanced phrase structures and restrained expressive sensibility are characteristic of Mendelssohn's style. The Allegro presents a succession of short motives, with the second theme serving as the only melody of any length. The development explores the young composer's sense of classical counterpoint through the use of polyphonic imitation. Originally composed when Mendelssohn was only 15 years old, the Overture, Op. 24, illustrates his maturing compositional voice. EDITORIAL COMMENTS In the years since Mendelssohn's work was composed in the 1830s, numerous scores, adaptations, and editions have been published to make the piece accessible for performance. This new edition was created in order to make the original version easily performable by a modern wind ensemble. The editors' intention was to remain as faithful as possible to Mendelssohn's original concept, while adapting the instrumentation for modern performers. In this process, discrepancies, inconsistencies, and inaccuracies between individual parts and previously existing editions were reconciled. The source material used included an 1876 reprint by Breitkopf & Hartel of the original 1852 score, the critical edition score published by Barenreiter, and the 4-hand piano score published by Simrock. To achieve these goals, the editors needed to make decisions regarding instrumentation and notation. Mendelssohn's original ensemble included a pair of F soprano clarinets and a pair of Basset horns. The editors have transposed and edited these parts for two E-flat clarinets and two additional B-flat clarinets, with little to no effect upon register or timbre. The obsolete English bass horn that Mendelssohn requires in his score has been included as a part for Euphonium. For convenience, the editors transcribed the trombone parts, originally notated in alto or tenor clef, all to bass clef. The snare drum notation was clarified and simplified to reflect the more regimental drumming technique of the period, while remaining easily readable to modern players. Lastly, details of dynamics and articulations were coordinated between parts and adjusted to match the reprinted score from 1852.

Vertaling

Opening as Harmoniemusik. telling. Op. 24. Saamgestel deur Felix Bartholdy Mendelssohn. 1809-1847. Gereël deur M. Asbill. Wind Ensemble. Vir Wind Ensemble. Een op 'n deel. Piccolo Flute Hobo 1 Hobo 2 E-plat Klarinet 1 E-plat Klarinet 2 B-mol Klarinet 1 B-mol Klarinet 2 B-mol Klarinet 3 B-mol Klarinet 4 Fagot 1 Fagot 2 kontrafagot F Horn 1 F Horn 2 F Horn 3 F Horn 4 B-mol Trumpet 1 B-mol Trumpet 2. Graad 5. Telling. Duur 9. 00. Gepubliseer deur C. Alan Publications. CN.18880. Geskryf op die rype ouderdom van 15, Mendelssohn se Ouverture, op. 24 toon sy musikale volwassenheid van 'n baie jong ouderdom. Stel in sonatevorm, die werk begin met 'n stadige, hoogs melodiese inleiding wat lei na 'n vinnige allegro gevul met kontrapunt en reële nabootsing. Asbill en Geraldi het 'n meesterlike werk van die aanpassing van die oorspronklike werk vir die moderne wind ensemble gedoen. Felix Mendelssohn was 'n produktiewe komponis van 'n baie jong ouderdom, en was ook een van die beste keyboardists van sy tyd. Gebore in een van Duitsland se mees beskaafde 19de eeu het baie families, Mendelssohn se ouers huis geskool hul kinders op 'n baie streng roetine. Hul studies ingesluit musiek, geskiedenis, Grieks, Latyn, wetenskap, literatuur, en teken. Felix gevorm 'n besonder sterk band met sy ouer suster, Fanny, wat 'n suksesvolle komponis in haar eie reg geword. Die Mendelssohn huis was 'n byeenkoms punt vir konserwatiewe Duitse intellektueles en filosowe georganiseer deur Moses Mendelssohn, Felix se oupa,. Sy pa, Abraham, was 'n ryk bankier opset op die verskaffing van sy familie met die beste moontlike geleenthede vir onderwys en kultuur. Karl Friedrich Zelter was die jong komponis se primêre musiekonderwyser. Mendelssohn se omvattende musikale opvoeding korrektheid, fatsoen, en formele duidelikheid beklemtoon. Sy modelle ingesluit nie net die Romantici van die vroeë 19de eeu, maar ook die 18de eeu syfers, soos Bach en Mozart. Mendelssohn het sy debuut as 'n pianis op die ouderdom van nege in 1818 en in 1819 het die Berlynse Singakadamie het die eerste openbare uitvoering van een van sy komposisies. Die Mendelssohn familie geniet somervakansie in verskillende plekke in Europa, waar Felix gevorm professionele bande met vooraanstaande historiese figure, insluitend Goethe en Spohr. Gedurende die somer van 1824, Mendelssohn vacationed saam met sy pa op die noordelike Duitse gemeenskap van Bad Doberan. Hierdie oord is bekend vir sy spas, baie van wat in diens klein Harmonie ensembles daaglikse konsert te voer. Terwyl hy in Bad Doberan, Mendelssohn saamgestel sy Notturno elf instrumente - pare hobo, klarinet, horings, en fagotte, plus addisionele dele vir fluit, trompet, en Engels basshorn - en die werk ontvang sy première op 24 Julie 1824. In 1838, die komponis rescored die werk vir 'n groot Duitse blaasorkes en re-getiteld dit Overture, Op. 24. In hierdie tyd, Mendelssohn gesoek het om die werk gepubliseer in drie weergawes. die oorspronklike vir 11 instrumente, die uitgebreide weergawe, en 'n plek vir klavier vier-hande. Simrock aanvaar die werke nie, maar het nie publiseer hulle totdat 1852, vyf jaar na die komponis se dood. Die werk is in sonatevorm met 'n stadige, hoogs melodiese inleiding. Die gebalanseerde frase strukture en opgehou ekspressiewe sensibiliteit is kenmerkend van Mendelssohn se styl. Die Allegro bied 'n reeks van kort motiewe, met die tweede tema wat dien as die enigste melodie van enige lengte. Die ontwikkeling verken die jong komponis se sin van die klassieke kontrapunt deur die gebruik van reële nabootsing. Oorspronklik gekomponeerde wanneer Mendelssohn was net 15 jaar oud, die Overture, Op. 24, illustreer sy volwasse komposisionele stem. Redaksionele kommentaar en In die jare sedert Mendelssohn se werk is gekomponeer in die 1830's het talle tellings, aanpassings en uitgawes is gepubliseer die stuk toeganklik vir prestasie te maak. Hierdie nuwe uitgawe is geskep om die oorspronklike weergawe maklik uitvoerbaar te maak deur 'n moderne wind ensemble. Die redakteurs se bedoeling was om te bly as gelowiges as moontlik te Mendelssohn se oorspronklike konsep, terwyl die aanpassing van die instrumentasie vir die moderne kunstenaars. In hierdie proses, teenstrydighede, teenstrydighede en foute tussen individuele dele en voorheen bestaande uitgawes versoen. Die bron materiaal wat gebruik word sluit in 'n 1876 herdruk deur Breitkopf. Om hierdie doelwitte te bereik, is die redakteurs nodig besluite oor instrumentasie en notasie te maak. Mendelssohn se oorspronklike ensemble het 'n paar van die F-sopraan klarinette en 'n paar van Basset horings. Die redakteurs het getransponeer en geredigeer hierdie dele vir twee E-plat klarinette en twee addisionele B-mol klarinette, met min tot geen effek op register of timbre. Die verouderde Engels bas horing wat Mendelssohn vereis in sy telling is ingesluit as 'n deel vir Eufonium. Vir gemak, die redakteurs getranskribeer die tromboon dele, oorspronklik geskryf is in alto of tenoorsleutel, al te bassleutel. Die snaartrom notasie is uitgeklaar en vereenvoudig die meer regiment dromme tegniek van die tydperk te weerspieël, terwyl die oorblywende maklik leesbare tot moderne spelers. Laastens is die besonderhede van dinamika en artikulasies tussen dele gekoördineer en aangepas om die herdruk telling van 1852 aan te pas.