Leipzig: Breitkopf & Härtel [PN 7899], [ca. 1851].
Folio. Modern half brown morocco with marbled boards, decorative cut paper label to upper with manuscript titling in dark red ink. 1f. (recto title, verso blank), 3-93, [i] (blank) pp. Engraved. Text in German and French.
Small publisher's handstamp to blank lower margin of title.
Binding slightly worn and rubbed; hinges reinforced with narrow strip of black tape. Slightly browned; edges of title reinforced with archival tape.
First Edition. Wehner MWV M 16, p. 213. Krause 8. Ward Jones III, 316. Not in Hoboken.
Mendelssohn composed his incidental music for a production of Jean Racine's Athalie (1691) commissioned by King Friedrich Wilhelm IV of Prussia. It was staged for the court at the Charlottenburg Palace in Berlin on 1 December 1845.
"Though little-known today, the music for Athalie merits performance. Especially striking are Mendelssohn's paraphrases of chorales, including Ach Gott, vom Himmel sieh’ darein and, in a scene in which the high priest Joad describes a vision of the New Jerusalem, Vom Himmel hoch.
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: $300.00 other currencies