作业帮急求门德尔松的英文简介~
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急求门德尔松的英文简介~
不用太多了哈 几句也行 但是要比较方面比较全 谢谢啦
主要是在音乐方面的成就！
30词左右最好..还有代表作~
不用太多了哈 几句也行 但是要比较方面比较全 谢谢啦
主要是在音乐方面的成就！
30词左右最好..还有代表作~
Early Works
The young Mendelssohn was greatly influenced in his childhood by the music of Bach, Beethoven and Mozart and traces of these can all be seen in the twelve early string symphonies, mainly written for performance in the Mendelssohn household and not published or publicly performed until long after his death. He wrote these from 1821 to 1823, when he was between the ages of 12 and 14 years old.
His astounding capacities are especially revealed in a clutch of works of his early maturity: Sonata for Clarinet and Piano in E-flat major (1824), the String Octet (1825), the Overture A Midsummer Night's Dream (1826) (which in its finished form owes much to the influence of Adolf Bernhard Marx, at the time a close friend of Mendelssohn), and the String Quartet in A minor (listed as no. 2 but written before no. 1) of 1827. These show an intuitive grasp of form, harmony, counterpoint, colour and the compositional technique of Beethoven, which justify claims frequently made that Mendelssohn's precocity exceeded even that of Mozart in its intellectual grasp.[36]
Symphonies
The numbering of his mature symphonies is approximately in order of publishing, rather than of composition. The order of composition is: 1, 5, 4, 2, 3. (Because he worked on it for over a decade, the placement of No. 3 in this sequence is problematic; he started sketches for it soon after the No. 5, but completed it following both Nos. 5 and 4.)
The Symphony No. 1 in C minor for full-scale orchestra was written in 1824, when Mendelssohn was aged 15. This work is experimental, showing the influence of Bach, Beethoven and Mozart. Mendelssohn conducted this symphony on his first visit to London in 1829 with the orchestra of the Royal Philharmonic Society. For the third movement he substituted an orchestration of the Scherzo from his Octet. In this form the piece was an outstanding success and laid the foundations of his British reputation.
During 1829 and 1830 Mendelssohn wrote his Symphony No. 5, known as the Reformation. It celebrated the 300th anniversary of the Lutheran Church. Mendelssohn remained dissatisfied with the work and did not allow publication of the score.
The Scottish Symphony (Symphony No. 3 in A minor), was written and revised intermittently between 1830 and 1842. This piece evokes Scotland's atmosphere in the ethos of Romanticism, but does not employ any identified Scottish folk melodies. Mendelssohn published the score of the symphony in 1842 in an arrangement for piano duet, and as a full orchestral score in 1843.
Mendelssohn's travels in Italy inspired him to write the Symphony No. 4 in A major, known as the Italian. Mendelssohn conducted the premiere in 1833, but he did not allow this score to be published during his lifetime as he continually sought to rewrite it.
In 1840 Mendelssohn wrote the choral Symphony No. 2 in B-flat major, entitled Lobgesang (Hymn of Praise), and this score was published in 1841.
Other orchestral music
Mendelssohn wrote the concert overture The Hebrides (Fingal's Cave) in 1830, inspired by visits he made to Scotland around the end of the 1820s. He visited the cave, on the Hebridean isle of Staffa, as part of his Grand Tour of Europe, and was so impressed that he scribbled the opening theme of the overture on the spot, including it in a letter he wrote home the same evening.
Throughout his career he wrote a number of other concert overtures. Those most frequently played today include Ruy Blas (commissioned for a charity performance of Victor Hugo's drama, which Mendelssohn hated), Meerestille und Glückliche Fahrt (Calm Sea and Prosperous Voyage, inspired by a pair of poems by Goethe), and The Fair Melusine.
The incidental music to A Midsummer Night's Dream (Op. 61), including the well-known Wedding March, was written in 1843, seventeen years after the overture.
Opera
Mendelssohn wrote some Singspiels for family performance in his youth. His opera Die beiden Neffen was rehearsed for him on his fifteenth birthday.[37] In 1827 he wrote a more sophisticated work, Die Hochzeit des Camacho, based on an episode in Don Quixote, for public consumption. It was produced in Berlin in 1827. Mendelssohn left the theatre before the conclusion of the first performance, and subsequent performances were cancelled.
Although he never abandoned the idea of composing a full opera, and considered many subjects —including that of the Nibelung saga later adapted by Wagner— he never wrote more than a few pages of sketches for any project. In his last years the manager Benjamin Lumley tried to contract him to write an opera on The Tempest on a libretto by Eugène Scribe, and even announced it as forthcoming in the year of Mendelssohn's death. The libretto was eventually set by Fromental Halévy. At his death Mendelssohn left some sketches for an opera on the story of Lorelei.
Concertos
Mendelssohn's Violin Concerto in E minor, Op. 64 (1844), written for Ferdinand David, has become one of the most popular of all of Mendelssohn's compositions. David, who had worked closely with Mendelssohn during the piece's preparation, gave the premiere of the concerto on his Guarneri violin.
Mendelssohn also wrote two piano concertos, a less well known, early, violin concerto (D minor), two concertos for two pianos and orchestra and a double concerto for piano and violin. In addition, there are several works for soloist and orchestra in one movement. Those for piano are the Rondo Brillante, Op. 29, of 1834; the Capriccio Brillante, Op. 22, of 1832; and the Serenade and Allegro Giocoso Op. 43, of 1838. Opp. 113 and 114 are Konzertstücke (concerto movements, originally for clarinet, basset horn and piano, that were orchestrated and performed in that form in Mendelssohn's lifetime.)
Chamber music
Mendelssohn's mature output contains many chamber works, many of which display an emotional intensity that some people think his larger works lack. In particular his String Quartet No. 6, his last string quartet and major work, written following the death of his sister Fanny, is both powerful and eloquent. Other works include two string quintets, sonatas for the clarinet, cello, viola and violin, two piano trios and three piano quartets. For the Piano Trio No. 1 in D minor, Mendelssohn unusually took the advice of a fellow-composer, (Ferdinand Hiller) and rewrote the piano part in a more romantic, 'Schumannesque' style, considerably heightening its effect.
Choral works
The two large biblical oratorios, St Paul in 1836 and Elijah in 1846, are greatly influenced by Bach. From the unfinished oratorio, Christus, the chorus "There Shall a Star Come out of Jacob" (which together with the preceding recitative and male trio comprises all of the existing material from that work) is sometimes performed.
Strikingly different is the more overtly 'romantic' Die erste Walpurgisnacht (The First Walpurgis Night), a setting for chorus and orchestra of a ballad by Goethe describing pagan rituals of the Druids in the Harz mountains in the early days of Christianity. This remarkable score has been seen by the scholar Heinz-Klaus Metzger as a "Jewish protest against the domination of Christianity".
Mendelssohn also wrote many smaller-scale sacred works for unaccompanied choir and for choir with organ. Some were written, and most have been translated into English, and remain highly popular. Perhaps the most famous is Hear My Prayer, with its second half containing 'O for the Wings of a Dove', which became extremely popular as a separate item. The piece is written for full choir, organ, and a treble or soprano soloist who has many challenging and extended solo passages. As such, it is a particular favourite for choirboys in churches and cathedrals, and has perhaps been recorded more than any other treble solo.
The hymn tune Mendelssohn—an adaptation by William Hayman Cummings of a melody from Mendelssohn's cantata Festgesang—is the standard tune for Charles Wesley's popular hymn Hark! The Herald Angels Sing. This extract from an originally secular 1840s composition, which Mendelssohn felt unsuited to sacred music, is thus ubiquitous at Christmas.
Songs
Mendelssohn wrote many songs, both for solo voice and for duet, with piano. Many of these are simple, or slightly modified, strophic settings. Such songs as Auf Flügeln des Gesanges ("On Wings of Song") became popular.
A number of songs written by Mendelssohn's sister Fanny originally appeared under her brother's name; this was partly due to the prejudice of the family, and partly to her own diffidence.
Piano
Mendelssohn's Lieder ohne Worte (Songs without Words), eight cycles each containing six lyric pieces (2 published posthumously), remain his most famous solo piano compositions. They became standard parlour recital items, and their overwhelming popularity has caused many critics to under-rate their musical value. Other composers who were inspired to produce similar pieces of their own included Charles-Valentin Alkan (the five sets of Chants, each ending with a barcarolle), Anton Rubinstein, Ignaz Moscheles and Edvard Grieg.
Other notable piano pieces by Mendelssohn include his Variations sérieuses, Op. 54 (1841), the Seven Characteristic Pieces, Op. 7 (1827), the Rondo Capriccioso and the set of six Preludes and Fugues, Op. 35 (written between 1832 and 1837).
Organ
Mendelssohn played the organ and composed for it from the age of 11 to his death. His primary organ works are the Three Preludes and Fugues, Op. 37 (1837), and the Six Sonatas, Op. 65 (1845).
The young Mendelssohn was greatly influenced in his childhood by the music of Bach, Beethoven and Mozart and traces of these can all be seen in the twelve early string symphonies, mainly written for performance in the Mendelssohn household and not published or publicly performed until long after his death. He wrote these from 1821 to 1823, when he was between the ages of 12 and 14 years old.
His astounding capacities are especially revealed in a clutch of works of his early maturity: Sonata for Clarinet and Piano in E-flat major (1824), the String Octet (1825), the Overture A Midsummer Night's Dream (1826) (which in its finished form owes much to the influence of Adolf Bernhard Marx, at the time a close friend of Mendelssohn), and the String Quartet in A minor (listed as no. 2 but written before no. 1) of 1827. These show an intuitive grasp of form, harmony, counterpoint, colour and the compositional technique of Beethoven, which justify claims frequently made that Mendelssohn's precocity exceeded even that of Mozart in its intellectual grasp.[36]
Symphonies
The numbering of his mature symphonies is approximately in order of publishing, rather than of composition. The order of composition is: 1, 5, 4, 2, 3. (Because he worked on it for over a decade, the placement of No. 3 in this sequence is problematic; he started sketches for it soon after the No. 5, but completed it following both Nos. 5 and 4.)
The Symphony No. 1 in C minor for full-scale orchestra was written in 1824, when Mendelssohn was aged 15. This work is experimental, showing the influence of Bach, Beethoven and Mozart. Mendelssohn conducted this symphony on his first visit to London in 1829 with the orchestra of the Royal Philharmonic Society. For the third movement he substituted an orchestration of the Scherzo from his Octet. In this form the piece was an outstanding success and laid the foundations of his British reputation.
During 1829 and 1830 Mendelssohn wrote his Symphony No. 5, known as the Reformation. It celebrated the 300th anniversary of the Lutheran Church. Mendelssohn remained dissatisfied with the work and did not allow publication of the score.
The Scottish Symphony (Symphony No. 3 in A minor), was written and revised intermittently between 1830 and 1842. This piece evokes Scotland's atmosphere in the ethos of Romanticism, but does not employ any identified Scottish folk melodies. Mendelssohn published the score of the symphony in 1842 in an arrangement for piano duet, and as a full orchestral score in 1843.
Mendelssohn's travels in Italy inspired him to write the Symphony No. 4 in A major, known as the Italian. Mendelssohn conducted the premiere in 1833, but he did not allow this score to be published during his lifetime as he continually sought to rewrite it.
In 1840 Mendelssohn wrote the choral Symphony No. 2 in B-flat major, entitled Lobgesang (Hymn of Praise), and this score was published in 1841.
Other orchestral music
Mendelssohn wrote the concert overture The Hebrides (Fingal's Cave) in 1830, inspired by visits he made to Scotland around the end of the 1820s. He visited the cave, on the Hebridean isle of Staffa, as part of his Grand Tour of Europe, and was so impressed that he scribbled the opening theme of the overture on the spot, including it in a letter he wrote home the same evening.
Throughout his career he wrote a number of other concert overtures. Those most frequently played today include Ruy Blas (commissioned for a charity performance of Victor Hugo's drama, which Mendelssohn hated), Meerestille und Glückliche Fahrt (Calm Sea and Prosperous Voyage, inspired by a pair of poems by Goethe), and The Fair Melusine.
The incidental music to A Midsummer Night's Dream (Op. 61), including the well-known Wedding March, was written in 1843, seventeen years after the overture.
Opera
Mendelssohn wrote some Singspiels for family performance in his youth. His opera Die beiden Neffen was rehearsed for him on his fifteenth birthday.[37] In 1827 he wrote a more sophisticated work, Die Hochzeit des Camacho, based on an episode in Don Quixote, for public consumption. It was produced in Berlin in 1827. Mendelssohn left the theatre before the conclusion of the first performance, and subsequent performances were cancelled.
Although he never abandoned the idea of composing a full opera, and considered many subjects —including that of the Nibelung saga later adapted by Wagner— he never wrote more than a few pages of sketches for any project. In his last years the manager Benjamin Lumley tried to contract him to write an opera on The Tempest on a libretto by Eugène Scribe, and even announced it as forthcoming in the year of Mendelssohn's death. The libretto was eventually set by Fromental Halévy. At his death Mendelssohn left some sketches for an opera on the story of Lorelei.
Concertos
Mendelssohn's Violin Concerto in E minor, Op. 64 (1844), written for Ferdinand David, has become one of the most popular of all of Mendelssohn's compositions. David, who had worked closely with Mendelssohn during the piece's preparation, gave the premiere of the concerto on his Guarneri violin.
Mendelssohn also wrote two piano concertos, a less well known, early, violin concerto (D minor), two concertos for two pianos and orchestra and a double concerto for piano and violin. In addition, there are several works for soloist and orchestra in one movement. Those for piano are the Rondo Brillante, Op. 29, of 1834; the Capriccio Brillante, Op. 22, of 1832; and the Serenade and Allegro Giocoso Op. 43, of 1838. Opp. 113 and 114 are Konzertstücke (concerto movements, originally for clarinet, basset horn and piano, that were orchestrated and performed in that form in Mendelssohn's lifetime.)
Chamber music
Mendelssohn's mature output contains many chamber works, many of which display an emotional intensity that some people think his larger works lack. In particular his String Quartet No. 6, his last string quartet and major work, written following the death of his sister Fanny, is both powerful and eloquent. Other works include two string quintets, sonatas for the clarinet, cello, viola and violin, two piano trios and three piano quartets. For the Piano Trio No. 1 in D minor, Mendelssohn unusually took the advice of a fellow-composer, (Ferdinand Hiller) and rewrote the piano part in a more romantic, 'Schumannesque' style, considerably heightening its effect.
Choral works
The two large biblical oratorios, St Paul in 1836 and Elijah in 1846, are greatly influenced by Bach. From the unfinished oratorio, Christus, the chorus "There Shall a Star Come out of Jacob" (which together with the preceding recitative and male trio comprises all of the existing material from that work) is sometimes performed.
Strikingly different is the more overtly 'romantic' Die erste Walpurgisnacht (The First Walpurgis Night), a setting for chorus and orchestra of a ballad by Goethe describing pagan rituals of the Druids in the Harz mountains in the early days of Christianity. This remarkable score has been seen by the scholar Heinz-Klaus Metzger as a "Jewish protest against the domination of Christianity".
Mendelssohn also wrote many smaller-scale sacred works for unaccompanied choir and for choir with organ. Some were written, and most have been translated into English, and remain highly popular. Perhaps the most famous is Hear My Prayer, with its second half containing 'O for the Wings of a Dove', which became extremely popular as a separate item. The piece is written for full choir, organ, and a treble or soprano soloist who has many challenging and extended solo passages. As such, it is a particular favourite for choirboys in churches and cathedrals, and has perhaps been recorded more than any other treble solo.
The hymn tune Mendelssohn—an adaptation by William Hayman Cummings of a melody from Mendelssohn's cantata Festgesang—is the standard tune for Charles Wesley's popular hymn Hark! The Herald Angels Sing. This extract from an originally secular 1840s composition, which Mendelssohn felt unsuited to sacred music, is thus ubiquitous at Christmas.
Songs
Mendelssohn wrote many songs, both for solo voice and for duet, with piano. Many of these are simple, or slightly modified, strophic settings. Such songs as Auf Flügeln des Gesanges ("On Wings of Song") became popular.
A number of songs written by Mendelssohn's sister Fanny originally appeared under her brother's name; this was partly due to the prejudice of the family, and partly to her own diffidence.
Piano
Mendelssohn's Lieder ohne Worte (Songs without Words), eight cycles each containing six lyric pieces (2 published posthumously), remain his most famous solo piano compositions. They became standard parlour recital items, and their overwhelming popularity has caused many critics to under-rate their musical value. Other composers who were inspired to produce similar pieces of their own included Charles-Valentin Alkan (the five sets of Chants, each ending with a barcarolle), Anton Rubinstein, Ignaz Moscheles and Edvard Grieg.
Other notable piano pieces by Mendelssohn include his Variations sérieuses, Op. 54 (1841), the Seven Characteristic Pieces, Op. 7 (1827), the Rondo Capriccioso and the set of six Preludes and Fugues, Op. 35 (written between 1832 and 1837).
Organ
Mendelssohn played the organ and composed for it from the age of 11 to his death. His primary organ works are the Three Preludes and Fugues, Op. 37 (1837), and the Six Sonatas, Op. 65 (1845).