Overture for Winds, op.24 - LSBS201 | Music

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Concert Band

Overture for Winds, op.24

Ouvertüre für Harmoniemusik

Overture for Winds, op.24

Concert Band

Overture for Winds, op.24
Ouvertüre für Harmoniemusik

Arranger

Performance time
00:09:24

Grade Level
Ober-/Höchststufe

Publisher
Ludwig Music

Size
US 9x12 (229x305mm)

Info
Full Score + Parts

Order Number
LSBS201

Release Date
1981

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- NO LONGER AVAILABLE -

The Op.24 by Felix Mendelssohn-Bartholdy (1809-1847) was composed in July of 1824 for the court orchestra of Bad Doberan near Rostock, where the young musician was accompanying his father. Writing for the Boston Symphony, George Marke remarks,"Some artists develop their craft slowly, others seem to begin at the top. There is little difference between Mendelssohn's early and his mature works".
The original score was lost but was recopied by Mendelssohn in July of 1826. These two scores were entitled Nocturnoand were written for the instrumentation of one flute, two clarinets, two oboes, two bassoons, two horns, one trumpet and one English bass horn.
In his correspondence to the publisher Simrock, Mendelssohn mentions his desire to have this eleven instrument version published, but apparently could not locate the score as he never mentions it again to Simrock after March 4,1839. Mendelssohn did send Simrock an Ouvertüre füe Harmoniemusik (Overture for Wind Band) scored for twenty-three winds and percussion along with a four-hand piano score on November 30, 1838. The 1838 composition is a rescoring of the Nocturno for German Band of that era and was not published until 1852 following the death of Mendelssohn.
It has been to suggested by musicologists that the 1838 rescoring was an effort to imitate the orchestral color of Weber's Preciosa Overture. In Weber's overture, a gipsy melody is introduced by a small wind band with percussion accompaniment. At this time, however, Mendelssohn was laso negotiating for the publician of the overture by Mori in London. It is quite possible that the rescoring was an attemt to acquire greater performance opportunities for his work by making it available in settings for British and German band along with a proposed edition for orchestra.
Several editions for modern instrumentation have appeared, all using the 1838 score as their source. However, the rediscovery of the 1826 autograph makes possible this edition based on the most authentic source known to date.

Keywords

Arrangement / Transcription

Classical Music

Contest / Competition

Orchestral Transcriptions

Overture

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