11-20 of 65 videos of music composed by Felix Mendelssohn

Felix Mendelssohn Bartholdy - Sinfonie Nr. 3 in a-Moll, op. 56 - 1.
Felix Mendelssohn Bartholdy - Sinfonie Nr. 3 in a-Moll, op. 56 - 1. Sinfonie Nr. 3 in a-Moll, op. 56 (Die Schottische) 1. Satz: Andante con moto - Allegro un poco agitato - Assai animato (1. Teil) Orchestre des Champs-Élysées Dirigent: Philippe Herreweghe Die Sinfonie Nr. 3 in a-Moll op. 56, „Schottische" (MWV N 18) von Felix Mendelssohn Bartholdy ist eine romantische Sinfonie in vier Sätzen Im Frühjahr 1829 bereiste der damals 20-jährige Mendelssohn zum ersten Mal die britischen Inseln. Nach einer Reihe erfolgreicher Konzertauftritte in London machte er sich im Juli in Begleitung seines Freundes Karl Klingemann nach Schottland auf, um die historischen Stätten um Maria Stuart, die nördlichen Highlands und die Hebriden zu besuchen. Die Natur und die düstere Natur des Landes zogen Mendelssohn unmittelbar an. Seine Eindrücke verarbeitete er musikalisch in der Ouvertüre Die Hebriden und eben in der 3. Sinfonie, zu der er noch 1829 erste Skizzen notierte. Dennoch beschäftigte ihn dieses Werk am längsten von all seinen Sinfonien: erst 1842, also dreizehn Jahre später, vollendete er das Werk. Es ist damit die letzte von Mendelssohns fünf Sinfonien, erhielt aber dennoch eine niedrigere Nummerierung, da die früher entstandene „Italienische" und die „Reformationssinfonie" erst später veröffentlicht wurden. Die Uraufführung fand am 3. März 1842 im Leipziger Gewandhaus unter der Leitung des Komponisten statt. Mendelssohn verwendet für seine Komposition ein klassisch besetztes Orchester, versucht aber den traditionellen viersätzigen Aufbau der ...
Mendelssohn - Athalia No.6
Mendelssohn - Athalia No.6 The Noga Choir sings at the Bible Festival in the Paamonim Cave of Beit Govrin - Israel, 2010 with: Hadas Faran-Asia, Michal Okon - sopran Irena Scherbin - alt Omer Frenkel - narrator Tanya Gluzman - piano Conductor: Zoli Frank
Wedding March Violin Solo Dr. Tiara Roberts at The Rose Garden , Bot
Wedding March Violin Solo Dr. Tiara Roberts at The Rose Garden , Bot Dr. Tiara Roberts Classical Wedding/Event Violinist 817 270-2595
Mendelssohn - 2nd piano trio - allegro appasionata
Mendelssohn - 2nd piano trio - allegro appasionata Recording made at musical/social at Twin Valley Rd. home in Middleton, WI. June 29, 2008
Mendelssohn Lieder ohne Worte Op 19 No 1
Mendelssohn Lieder ohne Worte Op 19 No 1 FELIX MENDELSSOHN-BARTOLDY (1809 - 1847) - Lieder ohne Worte op 19 No 1 Performed by prof. LILY ATANASSOVA, recorded by Bulgarian National Radio in 1955. LILY ATANASSOVA (1921 - 2004) was born in Sofia in the family of the pianist-pedagogue and composer Georgi Atanassov who garduated from the Prague Music Academy. She studied with the academician Andrei Stoyanov - the founder of the Bulgarian piano school and lately became his assistant and follower of his traditions. As a piano professor in the State Music Academy Lili Atanassova created a bunch of great performers and pedagogues at the international status. She was a Dean of the Instrumental Faculty and a Deputy Rector of the Academy for many years. She has edited a great amount of piano literature. Took part as a jury member in many prestigious competitions, founder of the Pleven Festival "Laureate Days Katia Popova". She has been awarded the orders of "Peoples Republic of Bulgaria - First Grade", "St Cyril and Methodius - First Grade", "Golden Century" and elected as Doctor Honorius Causa of the State Academy of Music - Sofia. Lily Atanassova is an inimitably performer of works by Chopin, Beethoven, Schumann, Brahms. Her great musical achievements give her a place among the greatest Chopin performers in Bulgaria. Critics and public alike feel that one of the peaks in her interpretative art is the Chopin's concert Op.21 f minor and the recital from 1972 with four Scherzos and four Ballads by Chopin - a concert still to ...
Classical Music Composer Felix Mendelssohn - Classical Music Wedding
Classical Music Composer Felix Mendelssohn - Classical Music Wedding http Classical Music Composer:Felix Mendelssohn Classical Music: Wedding March Felix Mendelssohn's "Wedding March", written in 1842, is one of the best known of the pieces from his suite of incidental music (Op. 61) to Shakespeare's play A Midsummer Night's Dream. It is one of the most frequently used wedding marches, generally being played on a church pipe organ. At weddings in many English-speaking countries, this piece is commonly used as a recessional, though frequently stripped of its episodes in this context. It is normally not used in Roman Catholic weddings because it is not sacred music. It is frequently teamed with the "Bridal Chorus" from Richard Wagner's opera Lohengrin, or with Jeremiah Clarke's "Prince of Denmark's March", both of which are often played for the entry of the bride. The first time that Mendelssohn's "Wedding March" was used at a wedding was when Dorothy Carew wed Tom Daniel at St Peters Church, Tiverton, UK, on 2 June 1847. However, it did not become popular at weddings until it was selected by Victoria, The Princess Royal for her marriage to Prince Frederick William of Prussia on 25 January 1858. The bride was the daughter of Queen Victoria, who loved Mendelssohn's music and for whom Mendelssohn often played while on his visits to Britain. An organ on which Mendelssohn gave recitals of the "Wedding March", among other works, is housed in St Ann's Church in Tottenham. Vladimir Horowitz transcribed the Wedding ...
Mendelssohn, Reformation Symphony, Mov 1a (1/4) Brasilia, Ira Levin
Mendelssohn, Reformation Symphony, Mov 1a (1/4) Brasilia, Ira Levin Mendelssohn 5th Symphony Reformation Symphony Orquestra Sinfonica do Teatro Nacional Claudio Santoro Brasilia Conductor Ira Levin July, 7th, 2009 The Dresden amen is a sequence of six notes sung by choirs during church services in the German state of Saxony from at least the beginning of the 19th century. The motif was particularly associated with the city of Dresden, hence it became known as the Dresden amen. It was composed by Johann Gottlieb Naumann (1741-1801) for use in the Court Church in Dresden. Such was its popularity that it spread to other churches in Saxony, both Catholic and Lutheran. The sequence is significant in Western classical music because it has been used in various forms by composers since the 19th century. Felix Mendelssohn used the Dresden amen in the first movement of his fifth symphony, the "Reformation". The theme was also used by Richard Wagner, most notably in his last opera, Parsifal. Wagner was a Kapellmeister in Dresden from 1842 to 1849, however he would probably have learnt the motif as a boy during his attendance at church in Dresden. It was incorporated into one of his earliest operas Das Liebesverbot, and also appears in the Third Act of Tannhäuser. Anton Bruckner also uses the Dresden amen in the adagio of his last symphony, the 9th, while Gustav Mahler incorporated it into the fourth movement of his First Symphony and the last movement of his Second Symphony. Eric Ball's tone poem The Kingdom Triumphant, a musical picture of the ...
Hebe Deine Augen auf
Hebe Deine Augen auf from Felix Mendelssohn-Bartholdy sung by the Neeber-Schuler-Chor 2007 in Goslar, Germany
Symphony No 3 Op.56 Mendelssohn Scottish Symphony
Symphony No 3 Op.56 Mendelssohn Scottish Symphony Andante con moto. Allegro un poco agitato
Mendelssohn - Songs without Words Op. 19 No. 1 (Gortler)
Mendelssohn - Songs without Words Op. 19 No. 1 (Gortler) Songs without Words Op. 19b No. 1, from Lieder ohne Worte (Songs without Words) Book I. Daniel Gortler, piano Songs without Words (Lieder ohne Worte) is a series of short, lyrical piano pieces by the Romantic composer Felix Mendelssohn. The eight volumes of Songs without Words, each consisting of six "songs", were written at various points throughout Mendelssohn's life, and all were published separately; two were published posthumously. The piano became increasingly popular in Europe during this era, where it became the focal point of many middle-class households. The pieces are within the grasp of pianists of various abilities and this undoubtedly contributed to their popularity. This great popularity has caused many critics to under-rate their musical value. Quoted from Larry Todd's "Mendelssohn: A Life in Music" Felix Mendelssohn (1809 - 1847)