[Op. 13]. Quatuor pour deux Violons, Viola et Violoncelle ... [Parts]
![[Op. 13]. Quatuor pour deux Violons, Viola et Viol](https://d3525k1ryd2155.cloudfront.net/h/971/404/918404971.0.x.jpg)
- Leipsic: Breitkopf & Härtel [PN 4980], 1830
Leipsic: Breitkopf & Härtel [PN 4980], 1830. Folio. Disbound. Violino 1: 1f. (title), 3 ("Thema": song op. 9, no. 1, for voice and piano), 4-13, [i] (blank) pp.; Violino 2: 9, [i] (blank) pp.; Viola: 10 pp.; Violoncello: 8 pp. Title lithographed; music engraved.
Somewhat soiled and foxed; dampstained and with binder's holes to inner margin; contemporary signature ("Lemke") in ink, trimmed, and "2" in manuscript at upper right corner of title; "F. Mendelssohn" in ink in another hand to upper right corner of first page of each part. First Edition. MWV R22, p. 276. Hoboken 10, 132 (spelled "Quator" and with publisher's handstamp to title).
"One of the most gifted and versatile prodigies, Mendelssohn stood at the forefront of German music during the 1830s and 40s, as conductor, pianist, organist and, above all, composer. His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber..."
"... Between 1827 and 1847 [he] composed six string quartets, and had begun work on a seventh at the end of his life... The first two, op. 13 in A minor (1827) and op. 12 in Eb (1829), show a rapprochement with the late quartets of Beethoven. To the Swedish musician Adolf Lindblad Mendelssohn explained his concern for the organic relationship of the various movements to the whole... In op. 13 the quintessential thematic material is drawn from the lied Frage (op. 9 no. 1), with explicit quotations from the song in the outer and more hidden references in the inner movements of the quartet." R. Larry Todd in Grove Music Online.
Somewhat soiled and foxed; dampstained and with binder's holes to inner margin; contemporary signature ("Lemke") in ink, trimmed, and "2" in manuscript at upper right corner of title; "F. Mendelssohn" in ink in another hand to upper right corner of first page of each part. First Edition. MWV R22, p. 276. Hoboken 10, 132 (spelled "Quator" and with publisher's handstamp to title).
"One of the most gifted and versatile prodigies, Mendelssohn stood at the forefront of German music during the 1830s and 40s, as conductor, pianist, organist and, above all, composer. His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber..."
"... Between 1827 and 1847 [he] composed six string quartets, and had begun work on a seventh at the end of his life... The first two, op. 13 in A minor (1827) and op. 12 in Eb (1829), show a rapprochement with the late quartets of Beethoven. To the Swedish musician Adolf Lindblad Mendelssohn explained his concern for the organic relationship of the various movements to the whole... In op. 13 the quintessential thematic material is drawn from the lied Frage (op. 9 no. 1), with explicit quotations from the song in the outer and more hidden references in the inner movements of the quartet." R. Larry Todd in Grove Music Online.