Leipzig: Breitkopf & Härtel [PN 5543], [ca. 1850].
Octavo. Dark ivory cloth-backed marbled boards with titling gilt to spine. 1f. (recto title, verso blank), 52 pp. Engraved.
With small publisher's and Theune, Amsterdam to foot of title.
Binding slightly worn. Minor internal wear, browning, soiling, and foxing; contemporary signature (illegible) to blank upper margin of title.
First Edition, later issue. Wehner MWV P 7, p. 244; SD 10, pp. 472-3. Krause 141. Ward Jones III, 401. Hoboken 10, 167 (first issue).
Mendelssohn began work on the Hebrides overture in August 1829 while on the west coast of Scotland. There he visited the famous Fingal's Cave in the Inner Hebrides, named after the mythological Gaelic hero Fingal, largely a creation of Scottish poet James Macpherson. Mendelssohn revised portions of the overture numerous times, including the title. It was first performed as The Isles of Fingal by the Philharmonic Society in London, 14 May 1832. Although Mendelssohn finally settled on Die Hebriden as the title, the first editions were published as Fingals-Höhle.
One of the most gifted and versatile prodigies, Mendelssohn stood at the forefront of German music during the 1830s and 40s, as conductor, pianist, organist and, above all, composer. His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber.
Mendelssohn’s emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic–Romantic dialectic in 18th and 19th-century music. To a large degree, his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online.
Price: $125.00 other currencies