Mendelssohn Symphony No. 4 (Italian) – Bass Part
Edited by Paul Ellison
Title: Symphony No. 4
Composer: Felix Mendelssohn
Edited By: Paul Ellison
The bass part for Mendelssohn's Symphony No. 4 in A major, Op. 90 (nicknamed the Italian Symphony) has been edited by Paul Ellison, in-demand double bassist, professor, presenter, and former Houston Symphony Orchestra principal bassist of 23 years. Ellison's bowings, fingerings and other editorial markings have been added throughout the score.
Like his Third Symphony, Mendelssohn's Symphony No. 4 has its origins in the composer's tour of Europe from 1829 to 1831. Mendelssohn began the Italian Symphony in Italy but finished it in Berlin, though he would never publish it. The composition didn't appear in print until 1851, after Mendelssohn's death. It is numbered as Symphony No. 4 when in fact it was his third symphony composed. The joyful sonata form first movement is followed by an impression of a religious procession the composer witnessed in Naples. The final movement incorporates dance figurations from the Roman saltarello and the Neapolitan tarantella.
Download and print the score today to gain access to expertly edited Mendelssohn Italian Symphony No. 4 bass fingerings and bowings from Paul Ellison!
Dear bassist or interested party,
All my editing is done in the spirit of "living editions." They are never finished or to be considered set in stone. Bowings, articulations, fingerings, dynamics and phrasings may change with conductors, historical performance considerations, change of instrument, bow or strings, differing venues, individual physical considerations, change of climate or altitude not to mention additional acquired knowledge or change in personal taste. Asking oneself to have about five ways to play most passages seems to cover the fluctuating circumstances mentioned in addition to giving oneself reason and context for choices to be made. Each set of performances of any major work is likely to prompt some change(s). The very nature and future of music as an art form demands live, dynamic, fresh interpretations which frequently necessitates realizing that there actually is no "rule book" and that the "bass police" will never actually show up.
Please accept this editing in the spirit of knowing that our skills and abilities are in constant flux and may require many possibilities. Here's to great music making.
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