Which overture written by Felix Mendelssohn was inspired by the echoes of a Scottish sea cave that he visited in 1829 and was named for it?
"the island's main sea cavern, which Banks renamed 'Fingal's Cave'. Their visit was followed by those of many other prominent personalities throughout the next two centuries, including Queen Victoria and Felix Mendelssohn. The latter's ""Hebrides Overture"" brought further fame to the island, which was by then uninhabited. It is now in the care of the National Trust for Scotland. In prehistoric times Staffa was covered by the ice sheets which spread from Scotland out into the Atlantic Ocean beyond the Outer Hebrides. After the last retreat of the ice around 20,000 years ago, sea levels were up to lower than"
"took place on 25 June 1840. Mendelssohn wrote the concert overture ""The Hebrides"" (""Fingal's Cave"") in 1830, inspired by visits to Scotland around the end of the 1820s. He visited Fingal's Cave, 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 evening. He wrote other concert overtures, notably ""Calm Sea and Prosperous Voyage"" (""Meeresstille und glückliche Fahrt"", 1828), inspired by a pair of poems by Goethe and ""The Fair"
"""Scottish"". Mendelssohn stayed in Tobermory on Mull en route to Staffa where he visited Fingal's Cave. The concert overture known both as ""The Hebrides"" and as ""Fingal's Cave"" was composed shortly after his visit, and was originally entitled 'The Lonely Island'. Mendelssohn sent a postcard to his family with the opening phrase of the overture written on it. In a note to his sister, Fanny Mendelssohn he said: ""In order to make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there."" The festival that now bears his name was conceived"
"incorporating ""God Save the King"" at its climax). However, the overture ""A Midsummer Night's Dream"" (1826) by Felix Mendelssohn is generally regarded as the first concert overture (Temperley 2001). Mendelssohn's other contributions to this genre include his ""Calm Sea and Prosperous Voyage"" overture (1828), his overture ""The Hebrides"" (1830; also known as ""Fingal's Cave"") and the overtures ""Die schöne Melusine"" (""The Fair Melusine"", 1834) and ""Ruy Blas"" (1839). Other notable early concert overtures were written by Hector Berlioz (e.g., ""Les Francs juges"" (1826), and ""Le corsaire"" (1828)). In the 1850s the concert overture began to be supplanted by the symphonic"
"Calm Sea and Prosperous Voyage (Mendelssohn) Calm Sea and Prosperous Voyage (""Meeresstille und glückliche Fahrt""), Op. 27, is an orchestral concert overture by Felix Mendelssohn inspired by the same verses that inspired Beethoven's 1815 cantata of the same title (and indeed inspired by Beethoven's version, which is in the same key, D major). Mendelssohn's work was first performed in 1828. Goethe's two poems' titles are not synonymous: in the days before steam, a totally calm sea was cause for alarm; it is only when the wind at last rises that the ship can continue on its journey. Mendelssohn's version concludes"
"Symphony No. 3 (Mendelssohn) The Symphony No. 3 in A minor, Op. 56, known as the ""Scottish"", is a symphony by Felix Mendelssohn, composed between 1829 and 1842. Mendelssohn was initially inspired to compose this symphony during his first visit to Britain in 1829. After a series of successful performances in London, Mendelssohn embarked on a walking tour of Scotland with his friend Karl Klingemann. On 30 July, Mendelssohn visited the ruins of Holyrood Chapel at Holyrood Palace in Edinburgh, where, as he related to his family in a letter, he received his initial inspiration for the piece: Alongside this"
"Die schöne Melusine Ouvertüre zum Märchen von der schönen Melusine, Op. 32, (German: ""Overture to the Legend of the Fair Melusine"") is a concert overture by Felix Mendelssohn written in 1834. It is generally referred to as Die schöne Melusine in modern concert programming and recordings, and is sometimes rendered in English as The Fair Melusine. The overture is loosely illustrative of aspects of the legend of Melusine, a water-nymph who marries Count Raymond, on the condition that he never enter her room on a Saturday (on which day she takes on the form of a mermaid). In the 19th"
"J. S. Bach. Scotland inspired two of his most famous works: the overture ""The Hebrides"" (also known as ""Fingal's Cave""); and the ""Scottish Symphony"" (Symphony No. 3). An English Heritage blue plaque commemorating Mendelssohn's residence in London was placed at 4 Hobart Place in Belgravia, London, in 2013. His protégé, the British composer and pianist William Sterndale Bennett, worked closely with Mendelssohn during this period, both in London and Leipzig. He first heard Bennett perform in London in 1833 aged 17. Bennett appeared with Mendelssohn in concerts in Leipzig throughout the 1836/1837 season. On Mendelssohn's eighth British visit in the"
"Felix Mendelssohn Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 1809 4 November 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for ""A Midsummer Night's Dream"", the ""Italian Symphony"", the ""Scottish Symphony"", the overture ""The Hebrides"", his mature Violin Concerto, and his String Octet. His ""Songs Without Words"" are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism"
"cyclic structure Mendelssohn has created across the symphony's four movements and nowadays critics are more inclined to recognize the composer's original and lasting contribution to the nineteenth-century symphony. Symphony No. 3 (Mendelssohn) The Symphony No. 3 in A minor, Op. 56, known as the ""Scottish"", is a symphony by Felix Mendelssohn, composed between 1829 and 1842. Mendelssohn was initially inspired to compose this symphony during his first visit to Britain in 1829. After a series of successful performances in London, Mendelssohn embarked on a walking tour of Scotland with his friend Karl Klingemann. On 30 July, Mendelssohn visited the ruins"
"other section in the second theme, including Bottom's braying. The fairies return, and ultimately have the final word in the coda, just as in Shakespeare's play. The overture ends once again with the same opening four chords by the winds. The Overture was premiered in Stettin (then in Prussia; now Szczecin, Poland) on 20 February 1827, at a concert conducted by Carl Loewe. Mendelssohn had turned 18 just over two weeks earlier. He had to travel 80 miles through a raging snowstorm to get to the concert, which was his first public appearance. Loewe and Mendelssohn also appeared as soloists"
"Mendelssohn's Op. 89. During his first visit to the British Isles in 1829, bad weather in August forced Mendelssohn to abandon a planned visit to Ireland and instead make an extended stay at the home of a new acquaintance, mining engineer and businessman John Taylor, near Mold, Wales. While there, Mendelssohn penned ""Die Heimkehr aus der Fremde"" as a short comic play with music for performance in honor of his parents' silver wedding anniversary upcoming in December. The first performance was at the Mendelssohn family home on 26 December 1829 before an audience of 120. As the composer considered the"
"The Land of the Mountain and the Flood The Land of the Mountain and the Flood is a concert overture for orchestra, composed by Hamish MacCunn in 1887. Often cited as the archetypal Scottish overture, it is frequently likened to the works of Sir Walter Scott in its unashamedly lyrical, romantic view of the Scottish landscape. The title is in fact taken from Scott's ""The Lay of the Last Minstrel"", canto vi, stanza 2: After its first performance at Crystal Palace, George Bernard Shaw said witheringly of it: Mr MacCunn’s Land of the Mountain and the Flood, a charming Scotch"
"in Mendelssohn's Concerto in A-flat major for two pianos and orchestra, and Mendelssohn alone was the soloist for Carl Maria von Weber's ""Konzertstück in F minor"". After the intermission, he joined the first violins for a performance of Beethoven's Ninth Symphony. The first British performance of the Overture was conducted by Mendelssohn himself, on 24 June 1829, at the Argyll Rooms in London, at a concert in benefit of the victims of the floods in Silesia, and played by an orchestra that had been assembled by Mendelssohn's friend Sir George Smart. Mendelssohn wrote the incidental music, Op. 61, for ""A"
"birthday gift for Mendelssohn's sister Fanny. In a letter to her of 7 April 1834, he explains that he had picked on the subject after seeing Conradin Kreutzer's opera ""Melusina"" the previous year in Berlin. Kreutzer's overture, writes Mendelssohn was encored, and I disliked it exceedingly, and the whole opera quite as much: but not [the singer] Mlle. Hähnel, who was very fascinating, especially in one scene when she appeared as a mermaid combing her hair; this inspired me with the wish to write an overture which the people might not ""encore"", but which would cause them more solid pleasure."
"retains this position to the present day. Mendelssohn's first visit to England in 1829 resulted from invitations by Sir George Smart and the Philharmonic Society. Following his tour of England, Mendelssohn proceeded to Scotland, where he began work on his Symphony No. 3, ""Scottish"". He was engaged on a tour of Scotland with his travelling companion Karl Klingemann when he sent a postcard to his family with the opening phrase of the overture written on it. In a note to his sister Fanny, he said: ""In order to make you understand how extraordinarily the Hebrides affected me, I send you"
"Gaelic-speaking, Lismore 29%, Islay 24%, Coll 12%, Jura 11%, Mull 13% and Iona 5%. Students of Scottish Gaelic travel from all over the world to attend Sabhal Mòr Ostaig, a Scottish Gaelic college based on Skye. Hebridean landscapes have inspired a variety of musicians, writers and artists. ""The Hebrides"", also known as ""Fingal's Cave"", is a famous overture written by Felix Mendelssohn inspired by his visit to Staffa. Contemporary musicians associated with the islands include Ian Anderson, Donovan and Runrig. Enya's song ""Ebudæ"" from ""Shepherd Moons"" is based on a traditional waulking song. The poet Sorley MacLean was born on"
"Mendelssohn on Mull Festival The Mendelssohn on Mull Festival is an annual chamber music festival held at various venues on the Isles of Mull and Iona and the surrounding area, usually during the first week in July. In 2019, the festival dates will move to 1–7 September. The festival takes its name from a visit by the composer Felix Mendelssohn to Scotland in 1829. Although only twenty years old, Mendelssohn was already an established composer and conductor. The natural beauty of Scotland and its rich history of fact and fable delighted the young composer and inspired his Symphony No. 3,"
"Die Heimkehr aus der Fremde Die Heimkehr aus der Fremde (German, ""Return of the stranger""), known in English as ""Son and Stranger"" or ""Return of the Roamer"", is a one-act Singspiel written by Felix Mendelssohn in 1829 to a German libretto by the composer's friend Karl Klingemann, a poet who would later provide the text for the oratorio ""Elijah"". The English title ""Son and Stranger"" originated with the translation by Mendelssohn's friend, the critic Henry Chorley, created for a London production of 1851 and still often used for the rare revivals in English-speaking countries. The work was published posthumously as"
"The overture, which is broadly in sonata form, was first performed in London by the Philharmonic Society orchestra, conducted by Ignaz Moscheles, under the title ""Melusine, or the Mermaid and the Knight"". The performance was received politely but not enthusiastically. Mendelssohn subsequently revised the piece, and it was published in the revised form in 1836. A German contemporary reviewer commented that the Overture ""does not try to translate the whole tale into musical language ... but only to conjure up for us, from the dreamworld of harmonic power, the happiness and unhappiness of two beings."" Die schöne Melusine Ouvertüre zum"
"deep impression on British musical life. Not only did he compose and perform, but he also edited for British publishers the first critical editions of oratorios of Handel and of the organ music of J. S. Bach. Scotland inspired two of his most famous works, the overture ""Fingal's Cave"" (also known as the ""Hebrides Overture"") and the ""Scottish Symphony"" (Symphony No. 3). His oratorio ""Elijah"" was premièred in Birmingham at the Triennial Music Festival on August 26, 1846. On his last visit to England in 1847 he was the soloist in Beethoven's Piano Concerto No. 4 and conducted his own"
"like many of Sullivan's early works, shows the strong musical influence of Felix Mendelssohn. A rising star of British music, he had already produced his popular incidental music to Shakespeare's ""The Tempest"", his ""Irish Symphony"", a ""Cello concerto"", his ""Overture in C, ""In Memoriam"""", ""The Masque at Kenilworth"", his first ballet, ""L'Île Enchantée"" and two comic operas, ""Cox and Box"" and ""The Contrabandista"", as well as other orchestral pieces and numerous hymns and songs. Therefore, it was no surprise when Sullivan received a commission to compose an oratorio for the Three Choirs Festival. In the Victorian era, large-scale choral works"
"A Midsummer Night's Dream (Mendelssohn) At two separate times, Felix Mendelssohn composed music for William Shakespeare's play, ""A Midsummer Night's Dream"". First in 1826, near the start of his career, he wrote a concert overture (Op. 21). Later, in 1842, only a few years before his death, he wrote incidental music (Op. 61) for a production of the play, into which he incorporated the existing Overture. The incidental music includes the world-famous ""Wedding March"". The German title reads Ein Sommernachtstraum. The Overture in E major, Op. 21, was written by Mendelssohn at 17 years and 6 months old (it was"
"The well in Hendre is mentioned by Thomas Pennant in his 'A Tour in Wales' - written between 1778–1783 and also by Giraldus Cambrensis or Gerald of Wales in his 'Journey through Wales' written in 1188 - an itinerary of his journeys as he accompanied Archbishop Baldwin of Exeter to enlist support for the Third Crusade. The famous German composer Felix Mendelssohn Bartholdy composed ""The Rivulet"" in 1829 while visiting his father's friend John Taylor (himself a famous mining engineer and entrepreneur) and his family in 1829 who rented Coed Du. This work was inspired by the beauty of the"
"and correspondent Johann Wolfgang von Goethe (then in his seventies), who was greatly impressed by the child, leading to perhaps the earliest confirmed comparison with Mozart in the following conversation between Goethe and Zelter: Mendelssohn was invited to meet Goethe on several later occasions, and set a number of Goethe's poems to music. His other compositions inspired by Goethe include the overture ""Calm Sea and Prosperous Voyage"" (Op. 27, 1828), and the cantata ""Die erste Walpurgisnacht"" (""The First Walpurgis Night"", Op. 60, 1832). In 1829, with the backing of Zelter and the assistance of the actor Eduard Devrient, Mendelssohn arranged"
"poets William Wordsworth, John Keats, and Alfred, Lord Tennyson; and Romantic artist J. M. W. Turner, who painted ""Staffa, Fingal's Cave"" in 1832. Queen Victoria also made the trip. The playwright August Strindberg also set scenes from his play ""A Dream Play"" in a place called ""Fingal's Grotta"". Scots novelist Sir Walter Scott described Fingal's Cave as ""one of the most extraordinary places I ever beheld. It exceeded, in my mind, every description I had heard of it… composed entirely of basaltic pillars as high as the roof of a cathedral, and running deep into the rock, eternally swept by"
"a tour of Scotland and Wales, Mendelssohn returned to the capital but fell out of a carriage and suffered a leg injury; while he was recovering, he received a large hamper from Attwood and was invited to stay at the family home at Beulah Hill in Norwood as soon as he was able to travel. Mendelssohn composed a piece for harp and piano called ""The Evening Bell"", suggested by the gate bell at Attwood's house. Following a second stay at Norwwod in 1832, Mendelssohn dedicated his ""Three Preludes and Fugues for the Organ"" (Op. 37) to Attwood. Thomas Attwood (composer)"
"Sweden, this composition is often performed as an anonymous treasure of the Swedish folksong tradition. The melody was 'borrowed' in its entirety by Max Bruch in the 1st movement of his Concerto for clarinet, viola and orchestra, Op 88. Bruch composed it in 1911 for his son, Max Felix Bruch, and the work received its first performance in 1912. The song is sung by the young Nicolai Gedda in the 1952 film ""Eldfågeln"". An English version by The Golden Gate Quartet was used as the theme song for the film Space Invasion of Lapland. The song was recorded, in Swedish,"
"not intended as a prelude to a larger work such as an opera (as 'overture', deriving from the French for 'opening', more often implies). Instead, the piece is performed as an independent piece on a symphonic concert. The term overture here refers to the use of melody and form. However, it could also be considered as an early form of tone poem. Edward Elgar quotes a theme from the overture in the 13th variation of his """" to represent one of his ""friends pictured within"" on a ship bound for Australia or New Zealand. Calm Sea and Prosperous Voyage (Mendelssohn)"
"specifically British musicians and compositions. Davison wrote in 1834 that Bennett's overture named for Lord Byron's ""Parisina"" was ""the best thing that has been played at the Society's concerts"". In May 1836 Bennett travelled to Düsseldorf in the company of Davison to attend the Lower Rhenish Music Festival for the first performance of Mendelssohn's oratorio ""St Paul"". Bennett's visit was enabled by a subsidy by the piano-making firm of John Broadwood & Sons. Inspired by his journey up the Rhine, Bennett began work on his overture ""The Naiads"" (Op. 15). After Bennett left for home, Mendelssohn wrote to their mutual"
"Fingal's Cave Fingal's Cave is a sea cave on the uninhabited island of Staffa, in the Inner Hebrides of Scotland, known for its natural acoustics. The National Trust for Scotland owns the cave as part of a National Nature Reserve. It became known as Fingal's Cave after the eponymous hero of an epic poem by 18th-century Scots poet-historian James Macpherson. Fingal's Cave is formed entirely from hexagonally jointed basalt columns within a Paleocene lava flow, similar in structure to the Giant's Causeway in Northern Ireland and those of nearby Ulva. In all these cases, cooling on the upper and lower"
"Alex Mendelssohn Alex Mendelssohn (30 May 1935 - 10 December 2017) was an outback artist and opal miner in Australia of Hungarian descent, also known by his birth name ""Sándor Mendelssohn"" (variant of the name Alexander in Hungary). He was the great-great-grandson of Felix Mendelssohn, the Romantic German composer who gave the world the famous ""Wedding March"" overture. Reflecting on his 200-year ancestry at an interview with ""Adelaide Now"" (September 2000), Alex Mendelssohn was quoted as saying ""He (Felix Mendelssohn) composed on piano, and I compose on canvas."" In another interview """"His Colorful Life"""", he professed to Kristina Meredith of"
"inspired by the play, that was first performed in 1827. In 1842, partly because of the fame of the overture, and partly because his employer King Friedrich Wilhelm IV of Prussia liked the incidental music that Mendelssohn had written for other plays that had been staged at the palace in German translation, Mendelssohn was commissioned to write incidental music for a production of ""A Midsummer Night's Dream"" that was to be staged in 1843 in Potsdam. He incorporated the existing Overture into the incidental music, which was used in most stage versions through the 19th century. The best known of"