Twelve Lieder, Op. 9, No. 6: Parting (Scheidend)

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12 Lieder, Op.9 (Mendelssohn, Felix)

Rondo in D, K. Rondo in A minor, K. Minuet in D, K. Adagio in B minor, K. Gigue in G, K. Minuet in F, K. Allegro in C, K. Minuet in C, K.

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• 【台北音樂家書房】MENDELSSOHN Songs for Voice and Piano (Dover)｜｜Felix Mendelssohn｜｜｜ 的相關資料.
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Songs (12) for voice & piano, Op. 9 (Nos. 7, 10, 12 by Fanny Mendelssohn)

Review by Richard A. Quisiera verte y no verte! Jota castellana Review by James Miller. Arcana Muti Review by James Miller. Oboe Concerto Review by James Miller. Tuba Concerto Review by James Miller. Songs of journeys, departures and greetings from afar, Songs of Spring, The boy Mendelssohn, Antique strains and voices from yesteryear, and a set of duets. Until recently, the songs of Felix and Fanny Hensel were subjected to threefold diminishment or outright damnation: Given a cultivated, well-to-do family, the Mendelssohns, especially Felix, were able to travel, and journeys are a frequent theme in the poetic texts they chose for songs.

The twelve songs of Op. After the calm beginning, tensions appear at the invocation of sorrow and only dissolve back to tranquillity at the end of each stanza. Both Felix and Fanny knew the great poet Heinrich Heine personally, and Fanny distrusted him in any capacity not poetic. In the Wanderlied, a young Romantic poet is lured into the wide world of poetic imagery, with no idea where the journey will lead him: We hear springtime delight in the exultant octave leaps at the end of the first phrase for stanzas 1 and 2, also in the bird-song trills and flourishes for the piano throughout the second stanza.

Time moves swiftly in this finely wrought song: Mendelssohn sets this paean to the outdoors as the essence of Schwung lilt and thrumming springtime vitality, with a fanfare in the piano at the start and the repeated vaults into the high treble for the singer that are one hallmark of a Mendelssohnian spring song.

At the beginning, Matthisson invokes grasses gently waving in the soft springtime breeze and only then reveals that Nature thus caresses the grave of. The vocal line is like a chorale cantus firmus beneath which the piano sinks by degrees to a hymn-like ending.