By Clive Brown
Considering that his loss of life in 1847, Felix Mendelssohn's track and character were either well known and denigrated to impressive levels. during this learn Clive Brown weaves jointly a wealthy array of records - letters, diaries, memoirs, stories, information studies and extra - with the purpose of offering a balanced photo of the composer and his paintings. Rejecting the obtained view of Mendelssohn as a facile, light-weight musician, Brown demonstrates that he used to be in truth an cutting edge and hugely cerebral composer who exerted a robust effect on musical suggestion into the twentieth century. Brown discusses Mendelssohn's family members heritage and schooling; the function of faith and race in his existence and recognition; his studies as useful musician (pianist, organist, string participant, conductor) and as instructor and composer; the severe reception of his works; and the vicissitudes of his posthumous acceptance. The textual content additionally contains a variety of hitherto unpublished sketches made via Mendelssohn. the result's a portrayal of the fellow and his achievements as considered via his personal phrases and people of his contemporaries.
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Extra info for A Portrait of Mendelssohn
Chorley provides an impression from a different standpoint. He undoubtedly belonged to that outer circle of friends with whom, had Chorley been German, Mendelssohn would have used the formal Sie rather than the intimate Du form of the second-person pronoun (as he did with Schumann, despite their very cordial relationship), and his account of Mendelssohn’s character, written under the immediate impact of his death, vividly conveys the combination of affection and admiration he inspired in many such friends.
English writer on music, lecturer and singer. See section 44. Varnhagen von Ense, Carl August (1785–1858). German poet and historian. Varnhagen von Ense, Rahel (ne´e Levin) (1771–1833). Writer and Berlin salon hostess. See section 16. Wagner, Richard (1813–1883). German composer and writer on music. ” His later letters to FMB are friendly to the point of sycophancy. His well-known denigration of FMB, discussed below, dates from after 1847, and many of his comments, especially in My Life, can be shown to be disingenuous.
A strange transparency took the place of bloom upon that face of youth, as if from temperament too tender, or blood too rarefied; but the hair betrayed a wondrous strength, clustering in dark curls of excessive richness. ”22 Wilhelm Joseph von Wasielewsky, who as a pupil at the Leipzig Conservatorium knew Mendelssohn in the mid-1840s, also referred in particular to his eyes: Mendelssohn had a slender, delicately formed figure. His dextrous and agile bodily movements were extraordinarily lively.