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Nr. 1 in F minor (played by Wolfram Syré) No. 2 in C minor No. 3 in A major No. 4 in B-flat major No. 5 in D major No. 6 in D minor. The six sonatas are: No. 1 in F minor (Allegro – Adagio – Andante recitativo – Allegro assai vivace) No. 2 in C minor (Grave – Adagio – Allegro maestoso e vivace – Fugue: Allegro moderato)
Op. 21, A Midsummer Night's Dream, Overture in E major for orchestra (1826) (MWV P 3); Op. 22, Capriccio Brillant in B minor for piano and orchestra (1832) (MWV O 8); Op. 23, Kirchenmusik/3 Sacred pieces for soloists, choir, and organ/ensemble (1830)
Mendelssohn began work on the Violin Sonata in 1838, the same year he started work on the Violin Concerto in E minor. By the 15th of June 1838 he had completed the composition in draft form, but rejected the work as a "wretched sonata". [a] [3] It was not until 1839 that Mendelssohn began work on revising the sonata by rewriting the first ...
The Violin Sonata (No. 2) in F minor, Op. 4, MWV Q 12 for violin and piano was composed by Felix Mendelssohn in 1823 [1] and is the only one to carry an opus number. Mendelssohn composed two other violin sonatas, both in F major, that were not published in his lifetime.
The Violin Sonata (No. 1) in F major, MWV Q 7, composed in 1820 by Felix Mendelssohn at the age of eleven, has three movements: Allegro; Andante; Presto; A typical performance lasts about 15 minutes. It was first published in 1977.
The Concerto for Violin and String Orchestra in D minor, MWV O 3, was composed by Felix Mendelssohn at the age of thirteen. It has three movements, Allegro–Andante–Allegro, and performance duration is approximately 22 minutes.
Drei Motetten (Three motets), Op. 39, is a collection of three sacred motets for women's voices and organ by Felix Mendelssohn. Composed in 1830 for different liturgical occasions and in different scoring, they were published together in 1838.
Mendelssohn's concerto is similar in structure to Weber's Piano Concerto No. 2 in E-flat major, Op. 32. From Mendelssohn's own works, the use of just a string section as orchestral accompaniment is reminiscent of his String Symphonies, twelve of which he had written by the end of the year under the influence of C.P.E. Bach's Sinfonias.