Mendelson’s Symphonic Principles

His style was eclectic and extraordinarily ductile in the assimilation of disparate styles. Mendelson was always attentive of formal elegance, inclined to an inspiration of aerial levity, as it emerges in the scene music for the “A Midsummer Night’s Dream”, (1842) by Shakespeare’s, or in the evocation of the “The Scottish Symphony“, (1842). He is completely lyrical and far from the idea of ​​great conflicts. The Fourth Symphony “Italian” (1830-33) is also famous in the symphonic field. In the field of choral music Mendelssohn left significant evidence with the profane cantata “The First Walpurgis Night”, (1841), from Goethe’s Faust, and, above all, with the two orators “Paulus” (1832-36) and “Elijah” (1837-46). In the piano production the “Songs Without Words”, (1829-45) and the Variations sérieuses (1841) are particularly well known. Also worth mentioning are the 2 concerts for piano and orchestra and above all the famous Concerto in E minor for violin (1844).

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