Exploring many aspects of Felix Mendelssohn's multi-faceted
career as musician and how it intersects with his work as composer,
contributors discuss practical issues of music making such as
performance space, instruments, tempo markings, dynamics,
phrasings, articulations, fingerings, and instrument techniques.
They present the conceptual and ideological underpinnings of
Mendelssohn's approach to performance, interpretation, and
composing through the contextualization of specific performance
events and through the theoretic actualization of performances of
specific works. Contributors rely on manuscripts, marked or edited
scores, and performance parts to convey a deeper understanding of
musical expression in 19th-century Germany. This study of
Mendelssohn's work as conductor, pianist, organist, violist,
accompanist, music director, and editor of old and new music offers
valuable perspectives on 19th-century performance practice
issues.
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