关于门德尔松的3个事实介绍 他在13岁时就出版了首作品

没有“音乐巨人”贝多芬双耳失聪的苦难经历，亦没有“古典主义音乐巨匠”舒伯特一生的不幸遭遇，这位19世纪的音乐家，用平顺富足的一生撕去了音乐家们“艰难”、“不幸”的标签。他的作品高雅纯净，优雅华丽的曲式让他收获了“抒情风景画”的美誉。他就是德国浪漫乐派代表人物门德尔松Mendelssohn (1809-1847年)。 0 1

门德尔松英文名 门德尔松全名

门德尔松英文名 门德尔松全名

门德尔松是一位早慧的天才，他在13岁时就出版了首作品：一首钢琴四重奏。15岁时就完成了交响曲。此前他还写过12首篇幅不长的多乐章弦乐作品，也被冠以“交响曲”的标题，这些作品有模仿莫扎特和海顿的印记。

▼C小调交响曲第二乐章

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门德尔松所有的协奏曲都是用小调写成的，首小提琴协奏曲是D小调，第二首就是那首的E小调;钢琴协奏曲是G小调，第二钢琴协奏曲是D小调，双钢琴协奏曲是A小调，为单簧管、大管而作的二重协奏曲是D小调。他总有抒发不完的多愁善感。

▼E小调小提琴协奏曲第二乐章，莎拉张演奏

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门德尔松受过良好教育，博学多才能说多种语言，还是一位的水彩画家。在他临终前不久说自己将前往一个地方，“希望那里仍然有音乐，但没有太多悲伤或离别”。他在1847年时只有38岁。

门德尔松的第三“苏格兰”，第四“意大利”交响曲就像是两幅用音乐绘就的风景画。

▼第四“意大利”交响曲乐章

他是把音乐谱成风景画的抒情王子

他用音符描绘着生活中的幸福与喜悦

他将欢乐与平和传递给每一位聆听者

他是浪漫主义时期最伟大的作曲家之一

门德尔松英文名Felix Mendelssohn Bartholdy，那他姓Bartholdy，为什么大家却都叫他门德尔松？

因为姓的话可能会跟别人一样，到时叫起来就麻烦了。

而且就像中文一样，朋友之间都喜欢叫名，叫姓的话实在奇怪而且显得有的生疏。

相比之下，叫名就显得亲密一点了。

没记错的话Bartholdy是母亲的姓氏。Mendelssohn-Bartholdy可以理解为“复姓”。

这个是门德尔松消费者是德国牌子的幌子，你让谁来给你解释？

国外有名的音乐家的英文名怎么写？

每个我给你挑几个，

约翰·塞巴斯蒂安·巴赫：J·S·Bach

路德维希·凡·贝多芬：Ludwig van Beoven

约翰·勃拉姆斯：Johannes Brahms

费利克斯·门德尔松Felix Mendelssohn

彼得·伊里奇·柴科夫斯基：Peter Ilitch Tchai- kovsky

乔治·比才：Georges Bizet

圣·桑SAINT-SAENS

威廉·理查德·瓦格纳：Wilhelm Richard Wagner

简·西贝柳斯：Jean Sibelius

海克托尔·柏辽兹：L.H.Berlioz

约瑟夫·海顿Joseph Haydn

沃尔夫冈·阿玛多伊斯·莫扎特：Wolfgang Amadeus Mozart

安东尼奥·维瓦尔第：Antonio Vivaldi

请问钢琴哪个品牌好?

您好，买钢琴就是买品牌，大品牌琴品质质量好，买着也放心，孩子学习也开心。看看珠江钢琴旗下产品吧。拥有珠江、里特米勒、恺撒堡、京珠四大自主品牌。其中，珠江牌钢琴是最早获得“产品”、“驰名商标”的乐器，并被评定为“重点培育的出口品牌”，是顾客的乐器品牌。在2007年底推出的恺撒堡牌专业钢琴，填补了专业钢琴民族品牌的空白，被列入“2008-2009年重点新产品”，荣获“轻工业联合会科学技术进步奖二等奖”， 产品各项性能指标已达到欧洲中钢琴技术质量水平。刘诗昆等国内外钢琴认为，恺撒堡九尺音乐会用琴的质量技术水准已接近世界钢琴品牌。2011年7月在维也纳金色大厅，恺撒堡KA系列、KD系列钢琴在端的音乐殿堂奏响最强音，希望可以帮到您。

3楼的说得不错,也支持不要带老师去买,当然完全不懂的话可以另当别论哈日本的 YAMAHA(雅吗哈) 卡哇依 原装新琴的话都很贵,好几万的,这些品牌的琴现在达州市场多为二手琴,价格在20000左右.如果从经济实惠角度考虑,国产可为,可以参考楼上提供的几个品牌现在钢琴市场确实鱼龙混杂,我看过一本很权威的乐器杂志介绍,这两年钢琴制造厂家如雨后春笋之多,包括以前是一些不景气家具厂的也改为钢琴厂,这种没有保障和技术鉴定的钢琴成本低,利润高,标价黑,通常只值几千的会标到2到3万.就看你砍价的本事了,因为它有一个很洋气的英文名,也就是琴商吹的外国人在生产的,呵呵,是黑你的哟 建议你买正规厂家的,钢琴在网上可以查到排名,还有厂家的介绍对了,3楼的你好,是达州的吗?[此贴子已经被作者于2005-7-25 21:46:49编辑过]

国产的长江，韩系的英昌，日系的卡瓦依，德系的韦伯。

电钢和真钢的区别在于手感 和控制了 真钢可以透过手指的力度来改变声音 电钢是没办法办到的 顶多有个力度档位 手感上是比不上真钢的 珠江、海伦、嘉德威、门德尔松、卡瓦依这几个品牌还是不错的，建议多实地体验比较一下。

好钢琴当然是斯坦威和法奇奥利，价格100万以上

可以看看长江钢琴和卡瓦依钢琴

买琴就买德国琴，比如德国门德尔松和德国宁多夫

英昌品牌，畅销品牌

门德尔松-无词歌的介绍

雅克勃·路德维希·费里尔·门德尔松－巴托尔迪 （Jakob Ludwig Felir Mendelssohn-Bartholdy,1809－1847），德国作曲家，生于汉堡，12岁开始创作，17岁即完成《仲夏夜之梦序曲》，21岁起研究和整理巴赫的作品，为这位音乐之父的作品得以复生作出了最重要的贡献。

急求门德尔松的英文~

Early Works

The young Mendelssohn was greatly influenced in his childhood by the music of Bach, Beoven and Mozart and traces of these can all be seen in the twelve early string symphonies, mainly written for performance in the Mendelssohn household and not published or publicly performed until long after his death. He wrote these from 1821 to 1823, when he was between the ages of 12 and 14 years old.

His astounding capacities are especially raled in a clutch of works of his early maturity: Sonata for Clarinet and Piano in E-flat major (1824), the String Octet (1825), the Overture A Midsummer Night's Dream (1826) (which in its finished form owes much to the influence of Adolf Bernhard Marx, at the time a close friend of Mendelssohn), and the String Quartet in A minor (listed as no. 2 but written before no. 1) of 1827. These show an intuitive grasp of form, harmony, counterpoint, colour and the comitional technique of Beoven, which justify claims frequently made that Mendelssohn's precocity exceeded n that of Mozart in its inlectual grasp.[36]

Symphonies

The numbering of his mature symphonies is approximay in order of publishing, rather than of comition. The order of comition is: 1, 5, 4, 2, 3. (Because he worked on it for over a decade, the placement of No. 3 in this sequence is problematic; he started sketches for it soon after the No. 5, but completed it following both Nos. 5 and 4.)

The Symphony No. 1 in C minor for full-scale orchestra was written in 1824, when Mendelssohn was aged 15. This work is experimental, showing the influence of Bach, Beoven and Mozart. Mendelssohn conducted this symphony on his first visit to London in 1829 with the orchestra of the Royal Philharmonic Society. For the third movement he substituted an orchestration of the Scherzo from his Octet. In this form the piece was an outstanding success and laid the foundations of his British reputation.

During 1829 and 1830 Mendelssohn wrote his Symphony No. 5, known as the Reformation. It celebrated the 300th anniversary of the Lutheran Church. Mendelssohn remained dissatisfied with the work and did not allow publication of the score.

The Scottish Symphony (Symphony No. 3 in A minor), was written and revised intermittently between 1830 and 1842. This piece evokes Scotland's atmosphere in the os of Romantici, but does not employ any identified Scottish folk melodies. Mendelssohn published the score of the symphony in 1842 in an arrangement for piano duet, and as a full orchestral score in 1843.

Mendelssohn's trels in Italy inspired him to write the Symphony No. 4 in A major, known as the Italian. Mendelssohn conducted the premiere in 1833, but he did not allow this score to be published during his lifetime as he continually sought to rewrite it.

In 1840 Mendelssohn wrote the choral Symphony No. 2 in B-flat major, entitled Lobgesang (Hymn of Praise), and this score was published in 1841.

Other orchestral music

Mendelssohn wrote the concert overture The Hebrides (Fingal's Ce) in 1830, inspired by visits he made to Scotland around the end of the 1820s. He visited the ce, on the Hebridean isle of Staffa, as part of his Grand Tour of Europe, and was so impressed that he scribbled the opening theme of the overture on the spot, including it in a letter he wrote home the same ning.

Throughout his career he wrote a number of other concert overtures. Those most frequently played today include Ruy Blas (commissioned for a charity performance of Victor Hugo's drama, which Mendelssohn hated), Meerestille und Glückliche Fahrt (Calm Sea and Prosperous Voyage, inspired by a pair of poems by Goe), and The Fair Melusine.

The incidental music to A Midsummer Night's Dream (Op. 61), including the well-known Wedding March, was written in 1843, sn years after the overture.

Opera

Mendelssohn wrote some Singspiels for family performance in his youth. His opera Die beiden Neffen was rehearsed for him on his fifth birthday.[37] In 1827 he wrote a more sophisticated work, Die Hochzeit des Camacho, based on an episode in Don Quixote, for public consumption. It was produced in Berlin in 1827. Mendelssohn left the theatre before the conclusion of the first performance, and subsequent performances were cancelled.

Although he nr abandoned the idea of coming a full opera, and considered many subjects —including that of the Nibelung later adapted by Wagner— he nr wrote more than a few pages of sketches for any project. In his last years the mar Benjamin Lumley tried to contract him to write an opera on The Tempest on a libretto by Eugène Scribe, and n announced it as forthcoming in the year of Mendelssohn's death. The libretto was ntually set by Fromental Halévy. At his death Mendelssohn left some sketches for an opera on the story of Lorelei.

Concertos

Mendelssohn's Violin Concerto in E minor, Op. 64 (1844), written for Ferdinand Did, has become one of the most popular of all of Mendelssohn's comitions. Did, who had worked closely with Mendelssohn during the piece's preparation, ge the premiere of the concerto on his Guarneri violin.

Mendelssohn also wrote two piano concertos, a less well known, early, violin concerto (D minor), two concertos for two pianos and orchestra and a double concerto for piano and violin. In addition, there are sral works for soloist and orchestra in one movement. Those for piano are the Rondo Brillante, Op. 29, of 1834; the Capriccio Brillante, Op. 22, of 1832; and the Serenade and Allegro Giocoso Op. 43, of 1838. Opp. 113 and 114 are Konzertstücke (concerto movements, originally for clarinet, basset horn and piano, that were orchestrated and performed in that form in Mendelssohn's lifetime.)

Chamber music

Mendelssohn's mature output contains many chamber works, many of which display an emotional intensity that some people think his larger works lack. In particular his String Quartet No. 6, his last string quartet and major work, written following the death of his sister Fanny, is both powerful and eloquent. Other works include two string quintets, sonatas for the clarinet, cello, viola and violin, two piano trios and three piano quartets. For the Piano Trio No. 1 in D minor, Mendelssohn unusually took the a of a fellow-comer, (Ferdinand Hiller) and rewrote the piano part in a more romantic, 'Schumannesque' style, considerably heightening its effect.

Choral works

The two large biblical oratorios, St Paul in 1836 and Elijah in 1846, are greatly influenced by Bach. From the unfinished oratorio, Christus, the chorus "There Shall a Star Come out of Jacob" (which toger with the preceding recitative and male trio comprises all of the existing material from that work) is sometimes performed.

Strikingly different is the more overtly 'romantic' Die erste Walpurgisnacht (The First Walpurgis Night), a setting for chorus and orchestra of a ballad by Goe describing pagan rituals of the Druids in the Harz mountains in the early days of Christianity. This remarkable score has been seen by the scholar Heinz-Klaus Metzger as a "Jewish protest against the domination of Christianity".

Mendelssohn also wrote many aller-scale sacred works for unaccompanied choir and for choir with organ. Some were written, and most he been translated into English, and remain highly popular. Perhaps the most famous is Hear My Prayer, with its second half containing 'O for the Wings of a Dove', which became extremely popular as a separate . The piece is written for full choir, organ, and a treble or soprano soloist who has many challenging and extended solo passages. As such, it is a particular fourite for choirboys in churches and cathedrals, and has perhaps been recorded more than any other treble solo.

The hymn tune Mendelssohn—an adaptation by William Hayman Cummings of a melody from Mendelssohn's cantata Festgesang—is the standard tune for Charles Wesley's popular hymn Hark! The Herald Angels Sing. This extract from an originally secular 1840s comition, which Mendelssohn felt unsuited to sacred music, is thus ubiquitous at Christmas.

Songs

Mendelssohn wrote many songs, both for solo vo and for duet, with piano. Many of these are , or slightly modified, strophic settings. Such songs as Auf Flügeln des Gesanges ("On Wings of Song") became popular.

A number of songs written by Mendelssohn's sister Fanny originally appeared under her brother's name; this was partly due to the prejud of the family, and partly to her own diffidence.

Piano

Mendelssohn's Lieder ohne Worte (Songs without Words), eight cycles each containing six lyric pieces (2 published thumously), remain his most famous solo piano comitions. They became standard parlour recital s, and their overwhelming popularity has caused many critics to under-rate their musical value. Other comers who were inspired to produce similar pieces of their own included Charles-Valentin Alkan (the five sets of Chants, each ending with a barcarolle), Anton Rubinstein, Ignaz Moscheles and Eard Grieg.

Other notable piano pieces by Mendelssohn include his Variations sérieuses, Op. 54 (1841), the Sn Characteristic Pieces, Op. 7 (1827), the Rondo Capriccioso and the set of six Preludes and Fugues, Op. 35 (written between 1832 and 1837).

Organ

Mendelssohn played the organ and comed for it from the age of 11 to his death. His primary organ works are the Three Preludes and Fugues, Op. 37 (1837), and the Six Sonatas, Op. 65 (1845).

高人介绍 门德尔松《芬格尔山洞》

这部作品又名《赫布里底山洞》序曲，是一部与海有关的作品。门德尔松在1829年间到苏格兰旅行，并游览这个位于赫布里底群岛之中的这个洞穴，从而构思了这部作品。

据说这个洞穴长年被海水淹盖，在海水的冲刷下会发出如音乐般悦耳的声音。

这首序曲听起来更象是一部画音，以奏鸣曲形式写成。在发展部之中可以感受到大海的威力，同时也象是中吹响冲锋的号角，颇有点英雄气概。听起来让人感到极其振奋。

《芬格尔山洞》是门德尔松秀的作品,古典主义的传统与浪漫主义的志趣在他的作品中较完美地结合在一起,赋予他的作品以一种诗意的典雅。

1年前 - 检举

门德尔松：赫布里底群岛（芬格尔山洞）MENDELSSOHN：Die Hebriden （Fingl’s Ce）

门德尔松的《赫布里底群岛》（又称《芬格尔山洞》）序曲，Op.26，作于1829-1830年，1832年5月14日，在伦敦科文特花园爱乐协会音乐会，由门德尔松指挥首演。芬格尔山洞位于苏格兰西北部海面，大西洋中的赫布里底群岛，这个群岛中斯它弗岛上有一个大洞，据说取传说中当地国王的名字而命名。门德尔松这首序曲描述海鸥飞翔，芬格尔山洞面向大海，任海涛冲击的景观。瓦格纳就此曲，曾称门德尔松为“流的风景画家”。序曲为中庸的快板，b小调。代表波浪荡漾的主题先以弱低音出现，然后扩大。接着第二主题由木管表达，它的迭起令人想起大风和冷峻的洞穴。平静下来后，D大调第三主题由低音管和大提琴演绎出阳光下温暖和明亮的大海的感觉。达顶点后再现和第三主题，终结部再活泼地展开，依旧以主题为主，强有力地结束。

这首序曲的版本可选：

1．卡拉扬1987年指挥柏林爱乐乐团版，DG，CD编号449 743-2。这张唱片上另有门德尔松的第三、第四交响曲，《企鹅》评介三星。

2．阿巴多1985年指挥伦敦交响乐团版．DG，CD编号423 104-2。门德尔松序曲专辑，其中还收有《仲夏夜之梦》选曲、《吕伊·布拉斯》（Ruy Blas）序曲、《平静的海和幸福的航行》、《美丽的梅露西娜》，《企鹅》评介三星。

3．科林·戴维斯1970年指挥BBC交响乐团版，Philips，CD编号442 302—2，廉价小双张。这2张唱片上另有门德尔松的《小提琴协奏曲》（阿卡多／迪图瓦指挥伦敦爱乐乐团）、《第四交响曲》、《仲夏夜之梦》选曲，《吕伊·布拉斯》序曲、《随想回旋曲》和《无词歌》精选（哈斯钢琴），《企鹅》评介三星保留一星。

4．韦莱（Weller）指挥爱乐乐团版，Chandos，1993年版。CD编号CHAN9099。这张唱片上还有门德尔松的、第五交响曲，《企鹅》评介三星。

这首序曲的历史录音可选：

1．富特文格勒1930年指挥柏林爱乐乐团版，收于KOCH．CD编号37073-2（2张）。

2．比彻姆1938年指挥伦敦爱乐乐团版，收于DUTT，CD编号CDLX001。

粘了下MegasAlexandro的网址的内容。

The Hebrides Overture (German: Die Hebriden), opus 26, also known as Fingal's Ce, is a concert overture comed by Felix Mendelssohn. Written in 1830, the piece was inspired by a cern known as Fingal's Ce on Staffa, an island in the Hebrides archipelago located off the coast of Scotland. Despite its name, the piece serves as a stand-alone musical selection, and has now become part of standard orchestral repertoire. The piece was dedicated to King Frederick William IV of Prussia (then Crown Prince of Prussia).

Mendelssohn first trelled to England at the invitation of a German lord to mark the comer's twenti birthday.[1] Following his tour of England, Mendelssohn proceeded to Scotland, where he comed his symphony number 3, the Scottish Symphony. During his trels in the country, though, he visited the Hebrides islands during one stormy night and came to the island of Staffa, where he was inspired by Fingal's Ce, a popular tourist attraction. The ce at that time was approximay 35 feet high and over 200 feet deep, and contained colorful pillars of basalt.[2] He immediay wrote down what would become the opening theme of the overture, and wrote to his sister, Fanny Mendelssohn: "In order to make you understand how extraordinary The Hebrides affected me, I send you the following, which came into my head there."[2]

The work was completed on December 16, 1830[3] and was originally entitled Die einsame Insel, or The Lonely Island.[1] Howr, Mendelssohn later revised the score, completing it by June 20, 1832,[3] and retitled the music Die Hebriden, or The Hebrides.[1] Despite this, the title of Fingal's Ce was also used: on the orchestral parts he labelled the music The Hebrides, but on the score Mendelssohn labelled the music Fingal's Ce.[2] The overture was premiered on May 14, 1832 in London,[3] in a concert that also featured Mendelssohn's Overture to A Midsummer Night's Dream.

The music, though labelled as an overture, is intended to stand as a complete work. It does not l a story and is therefore not programmatic; instead, the piece depicts a mood and "sets a scene", one of the first such musical pieces to do so.[4] The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the ce, and is played initially by the violas, cellos, and bassoons.[5] This lyrical theme, suggestive of the power and stunning beauty of the ce, is intended to dlop feelings of loneliness and solitude. The second theme, meanwhile, depicts movement at sea and "rolling wes".[2] The overture uses a standard form, and has a coda at the end, where the piece recapitulates to the original theme.[5]

The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

It lasts approximay eln minutes. The autograph manuscript of the work is held in the Bodleian Library, Oxford.