SKU: A0.1353485

The Significance of Mendelssohn's Preludes and Fugues, Op. 37, lies in its role in developing the organ repertoire and reflecting Mendelssohn's compositional style. The work, written in 1837, consists of three preludes and fugues for organ. Here are some critical aspects of its significance: 

Mendelssohn's compositional style: The Preludes and Fugues, Op. 37, showcase Mendelssohn's unique style, characterized by a combination of Romantic expressiveness and Classical form. This style is evident in the structure, harmony, and melodic content. 
 
Influence of J.S. Bach: Mendelssohn's Preludes and Fugues, Op. 37, are heavily influenced by the style of J.S. Bach, a composer Mendelssohn greatly admired. This influence can be seen in the pieces' counterpoint, harmonic language, and formal structure.
 
Pedal technique: In Op. 37, Mendelssohn composed independent pedal parts that reveal a thorough understanding of the role of the pedals in organ music. For the first time, he composed pedal passages that required more than minimal competency, demonstrating his skill in writing for the organ.
 
Expansion of the organ repertoire: Mendelssohn was an accomplished organist and wrote dozens of works for the instrument. The Preludes and Fugues, Op. 37, contribute to expanding the organ repertoire and demonstrate Mendelssohn's mastery of the medium.
 
Historical context: The Preludes and Fugues, Op. 37, were written when Mendelssohn was also working on his Six Sonatas, Op. 65. This period of productivity and exploration of the organ medium further highlights the significance of Op. 37 in Mendelssohn's compositional output.
 
In summary, Mendelssohn's Preludes and Fugues, Op. 37, are significant to music history due to their reflection of Mendelssohn's compositional style, influence by J.S. Bach, innovative pedal technique, contribution to the organ repertoire, and historical context within Mendelssohn's compositional output.

SKU: A0.1226698

Wedding March, Wedding, March, Wedding March piano, Wedding March easy piano, Wedding March piano easy, Midsummer Night's Dream, Wedding March from Midsummer Night's Dream, Mendelssohn,  Mendelssohn easy, Mendelssohn quartet, Mendelssohn easy quartet, Wedding March, Wedding, March, Wedding March string quartet, Wedding March easy string quartet, Wedding March piano easy, Midsummer Night's Dream, Wedding March from Midsummer Night's Dream, Mendelssohn,  Mendelssohn easy, Mendelssohn string quartet, Mendelssohn easy string quartet.

SKU: A0.550016

The Hebrides Overture, also known as Fingal's Cave, is a concert overture composed by Felix Mendelssohn in 1830, revised in 1832, and published the following year as Mendelssohn's Op. 26. It is a standalone composition in a form familiar to the Romantic period and is not drawn from a stage work or opera. The overture consists of two primary themes, with the opening notes stating the theme Mendelssohn wrote while visiting Fingal's Cave and the second theme depicting movement at sea and rolling waves.

Mendelssohn was inspired to compose this piece after visiting the Scottish island of Staffa and its famous Fingal’s Cave, which made a deep impression on him due to its echoing acoustics and the sound of waves crashing against rocks. The intense and rolling melodies within the music perfectly capture the sense of drama and awe of the Scottish landscape.
 
The Hebrides Overture, also known as Fingal's Cave, has been used in popular culture in various ways. It has been performed by orchestras worldwide and has become part of the standard orchestral repertoire, retaining its position to the present day. The overture has also inspired literary works like Virginia Woolf's novel. Additionally, Mendelssohn's visit to the Hebrides and the composition of the overture have contributed to the popularity of Fingal's Cave as a tourist destination. Furthermore, the overture has been featured in recordings and concerts, contributing to its enduring presence in the musical landscape.

SKU: A0.1403057

The Lieder for voice and piano by Felix Mendelssohn, while of high quality, have mostly been overshadowed by those of his contemporary and friend Robert Schumann. But his Lieder ohne Worte (Songs Without Words) for piano solo with no vocal text, were and remain immensely popular, and had a great influence on his fellow composers, creating a genre of short poetic pieces for piano accessible to skilled amateurs and students as well as professionals.

This set of four arrangements for string quartet begins with the best known and most loved of his vocal songs, Auf Flügeln des Gesanges (On Wings of Song), a setting of a poem by Heinrich Heine. Following are two Songs Without Words, a fine untitled one in G Major, and the famous Frühlingslied (Spring Song).

In between them is a piece by his older sister, Fanny Mendelssohn Hensel, an accomplished composer with a catalog of over 450 works, some of which were originally published under Felix’s name. Like Felix, she wrote Lieder both with a sung text, and with no words, which she called Lieder für das Pianoforte. This little jewel is one of the latter, from her Opus 8. She gave it the title Lied (Lenau), a reference to the poet Nikolaus Lenau (1802-1850). But with neither sung text nor poem title indicated, it is a little mysterious. A gentle sinuous melody leads to some bold modulations before returning, not in the expected tonic key but on the dominant. Only in the last few bars does it resolve to the home key. The arrangement transposes the original D-Flat Major to D Major, which lies better for strings.

CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. 

The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.

SKU: A0.749754

Mendelssohn was a musical genius and it's obvious when you consider he penned this astounding composition by the age of 16. He wrote the octet as a birthday gift for his friend and violin teacher Eduard Rietz who was 23 at the time. This arrangement makes it possible for a string quartet to play the 1st movement. It's not always easy to get eight accomplished string players to sit down and read through music and this might make it more accessible and practical to play. The 1st violin part is the same as it was penned by Mendelssohn. The other parts are condensed. It takes some practicing even to read the music as it's somewhat difficult. And since the parts are condensed it's difficult to manuever page turns. I'll leave that up to the players. Still, it's fun to play and can be performed if you can work out the page turns.
Probably work great on an I pad for that. I'm old school so my generation does cutting and pasting as needed ! Have fun. Great for parties, background music, wedding reception and general string quartet gigs.. .