London: Messrs. Robert Cocks. & Co ... [PNs 9621-9626], .
Oblong folio. Full 19th century teal blue cloth with publisher's yellow printed rectangular title label to upper. 1f. (recto title, verso blank), 88 pp. Engraved, with "Engraved by W. Davidson" printed to foot of final page.
Binding quite worn, rubbed, bumped, and shaken; spine frayed; bookplate removed from front pastedown. Slightly worn, browned, and soiled; small hole to blank upper margin of title with manuscript date of 1937 and flourish beneath.
Re-issue of the first edition published by Coventry & Hollier in 1845. MWV SD31, W56, 57, 58, 59, 60, 61. Not in Mendelssohn Papers Vol. III. Wehner W56-61. OCLC (one copy only in the U.S., at the Eastman School of Music, and 3 copies in the U.K.).
"Mendelssohn was one of the finest organists of his day ... The Six Organ Sonatas op.65 (1845), teeming with artful fugues and chorales, summarize and epitomize Mendelssohn's rediscovery of Bach, and may have inspired Schumann's six fugues on B–A–C–H op.60.
"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: $450.00 other currencies