Felix Mendelssohn Bartholdy
Sinfonie Nr. 4 A-Dur op. 90
Italian version 1834 MWV N 16
Felix Mendelssohn Bartholdy
Sinfonie Nr. 4 A-Dur op. 90
Italian version 1834 MWV N 16
- Instrumentation Orchestra
- Composer Felix Mendelssohn Bartholdy
- Editor Thomas Schmidt-Beste
- Edition Score (Urtext)
- Publisher Breitkopf & Härtel KG
- Order no. EBSON431
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Description:
Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy Serie I (Orchesterwerke) Band 6A
Gesamtausgabe (Schmidt-Beste, Th.)
Subsequent Torso
A curious setting problem: Mendelssohn is dissatisfied with his symphony after the London premiere. He no longer has the score with him and rewrites it (except for the first movement), thus stopping after three-quarters of the way through. In the meantime, connoisseurs express misgivings about the revision: 'The alteration ... I don't like it very much. Why did you make it?' Fanny Hensel asks her brother. - Nevertheless, Felix continues to 'nibble' at the first movement, but finally finds no more time for it and leaves primarily the 'complete early version' of 1833, which appears posthumously in print and is still on the road to success in concert halls today. The 'revision torso', on the other hand, remains unnoticed for a long time. Although it is published in 2001, it is obvious that the three movements of the 'incomplete final version' of 1834 were by no means ready for publication from the composer's point of view, since Mendelssohn never critically reviewed them after writing them down.
Gesamtausgabe (Schmidt-Beste, Th.)
Subsequent Torso
A curious setting problem: Mendelssohn is dissatisfied with his symphony after the London premiere. He no longer has the score with him and rewrites it (except for the first movement), thus stopping after three-quarters of the way through. In the meantime, connoisseurs express misgivings about the revision: 'The alteration ... I don't like it very much. Why did you make it?' Fanny Hensel asks her brother. - Nevertheless, Felix continues to 'nibble' at the first movement, but finally finds no more time for it and leaves primarily the 'complete early version' of 1833, which appears posthumously in print and is still on the road to success in concert halls today. The 'revision torso', on the other hand, remains unnoticed for a long time. Although it is published in 2001, it is obvious that the three movements of the 'incomplete final version' of 1834 were by no means ready for publication from the composer's point of view, since Mendelssohn never critically reviewed them after writing them down.