Child_Composers

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1821; Die beiden Neffen, Nov. 1823
Orchestral: thirteen sinfonias for strings, 1821 23; five concertos, 1822
24; Symphony No. 1 in C minor, 1824; wind overture, 1824
Violin and piano: at least three sonatas and twelve shorter pieces,
1820 24
126 Chapter 8
Other chamber music: three piano quartets (Opp. 1 3), 1822 25; piano
trio, 1820; string quartet, 1823; viola sonata, 1824; clarinet sonata,
1824; sextet, 1824; shorter works
Piano music: six sonatas (including one for two pianos), 1819 23; many
shorter works
Organ music: ten pieces
Sacred and choral works (about twenty)
Eighteen songs, etc.
Leipziger Ausgabe der Werke Felix Mendelssohn Bartholdys (Leipzig, Germany: Interna-
tionale Felix-Mendelssohn-Gesellschaft, 1960 77; S�chsische Akademie der Wis-
senschaften, 1997 ).
Rietz, Julius, ed., Felix Mendelssohn Bartholdy s Werke: kritisch durchgesehene Ausgabe,
(Leipzig, Germany: Breitkopf & H�rtel, 1874 77).
Seaton, Douglas, ed., The Mendelssohn Companion (Westport, Conn.: Greenwood,
2001). See especially the list of works compiled by John Michael Cooper (701 85).
Todd, R. Larry, Mendelssohn: A Life in Music (New York: Oxford University Press,
2005).
, Mendelssohn s Musical Education (Cambridge: Cambridge University Press, 1983).
Vitercik, Greg, The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata
Style (Philadelphia: Gordon & Breach, 1992).
Sound Recording
Die beiden P�dagogen, cond. Heinz Wallberg. CPO 999 550-2 (1998). Also many
recordings of thirteen string symphonies, early concertos, and some early piano
music.
(Anna Maria) Leopoldine Blahetka (15 Nov. 1809 17 Jan. 1885)
Until recently Blahetka was thought to have been born in 1810 or 1811, but
her baptismal certificate shows she was born in Vienna in 1809 (K�hler 1968,
vol. 4, 364). Her father was a friend of Beethoven, while her mother was
an accomplished pianist from the Traeg family, Viennese music publishers.
Blahetka herself began composing by the early 1820s probably about 1821,
having made her public debut as a pianist in 1818. Her first published compo-
sition appeared in 1822 and her published output had reached as high as Op.
11 by spring 1825, but many details about her early works are uncertain. On
2 March 1823 she gave a concert in Vienna in which she played a piano con-
certo by Ries and her own Piano Variations with Orchestra (K�hler 1968, vol.
3, 440). Later that year she intended to dedicate a work to Beethoven (K�hler
1968, vol. 4, 195). She continued composing in later life, and achieved even
Composers Born between 1801 and 1850 127
greater success as a pianist. Her Op. 6, Variations sur un th�me [sic] original, of
circa 1825, was reprinted in 1992 in a selection of her piano music. The theme
itself contains several ingenious harmonic surprises, while the five highly
decorative variations and coda that follow demand great technical virtuosity
almost throughout.
Blahetka, Leopoldine, Music for Piano, ed. Lydia Hailparn Ledeen (Bryn Mawr, Pa.:
Hildegard Publishing, 1992).
K�hler, Karl-Heinz, and others, eds., Ludwig van Beethovens Konversationshefte, vols. 3
and 4 (Leipzig, Germany: Deutscher Verlag f�r Musik, 1983, 1968).
R�ssl, Elisabeth, Leopoldine Blahetka: Eine Pianistin und Komponistin der Bieder-
meierzeit, in Biographische Beitr�ge zum Musikleben Wiens im 19. und 20. Jahrhundert:
Leopoldine Blahetka, Eduard Hanslick, Robert Hirschfeld, ed. Friedrich C. Heller (Vi-
enna: Verband der Wissenschaftliche Gesellschaft Oesterreichs, 1992), 112 211.
Fryderyk (Fr�d�ric) Chopin (1[?] Mar. 1810 17 Oct. 1849)
Son of a teacher, Chopin spent most of his childhood in Warsaw, and his
first published composition appeared there in 1817. This was a polonaise, a
genre to which he returned many times during his life, and it was one of two
he composed that year. In G minor, with a trio section in B flat major, the
piece is particularly interesting in that, if the first section is played again as a
normal da capo, it ends in the relative major. This so astounded the editors
of the Chopin complete edition in the twentieth century that they proposed
concluding the piece with just the first half of the first section, so that it would
end in the tonic (Chopin 1949, 153). The piece would then, however, be
hopelessly unbalanced structurally, and the B flat ending is surely what Cho-
pin intended. He used a similar tonal structure years later in his fantasie in
F minor, Op. 49.
During the next few years Chopin wrote several more piano works,
but the exact total is unclear since many appear to be lost (for a full list of
those known to have existed, see Krystyna Kobylańska s thematic catalogue).
At least two more polonaises survive, however, from 1821 and circa 1822
to 1824, as well as two mazurkas that were published in 1826. Also dating [ Pobierz całość w formacie PDF ]

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