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The introduction places the manuscript (dated November 27, 1823) within the composer’s formative Berlin student period and compares it with contemporary works such as concertos and chamber pieces. It discusses stylistic conservatism, monothematic techniques, and later editorial corrections, including missing accidentals and repeat marks, plus specific adjustments to note values and octave designations.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/sonata-b-flat-minor-edited-from-the-original-autograph-by-r-larry-todd/421002/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/sonata-b-flat-minor-edited-from-the-original-autograph-by-r-larry-todd/421002.png","ImageObject",300,407,{"name":92,"@type":93},"mieayamfan","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-31","2026-09-28",true,{"@type":102,"interactionType":103,"userInteractionCount":52},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the main focus of the preface and introduction?","Question",{"text":112,"@type":113},"It introduces the largely unknown one-movement Sonata in B-flat minor, situates its dated manuscript within Mendelssohn’s student period, and discusses authenticity and stylistic influences.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What evidence supports the authenticity of the autograph manuscript?",{"text":117,"@type":113},"The preface describes the initials recorded on the first page and compares handwriting with other early 1820s Mendelssohn autographs.",{"name":119,"@type":110,"acceptedAnswer":120},"Which kinds of editorial revisions are mentioned in the editorial notes?",{"text":121,"@type":113},"The notes list specific corrections such as missing signs (e.g., signs missing at measure 2), missing repeat marks, changes in note values at measures 158–159, and a left-hand octave adjustment at measure 170.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},421002,1791066576,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":52,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":46,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":143,"read_time":144},962090893677,"https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2","DEO ADJUVANTENONTIMENDUMXAVIER UNIVERSITYLIBRARYNEW ORLEANS,LA.CL  s          _  AUTH.  \nACCES.     DONATED BY  \n# SONATA\n\nFOR PIANO  \nB FLAT MINOR  \nEDITED FROM THE ORIGINAL AUTOGRAPH BYR.LARRY TODD  \nXavier University LibraryNew Orleans,LA 70125  \n# SC287\n\nPREFACE  \nOnly two solo piano sonatas by Mendelssohn appeared in print during his lifetime,the Sonatas in Emajor,Op.6,of 1826,and F-sharp minor,Op.28,of 1833(the latter was actually published as aFantasia,thus concealing the original title on the autograph,Sonate écossaise.Two additional pianosonatas in G minor(1821)and B-flat major(1827)were issued posthumouslyas Op.105and 106.Severalother sonatas from Mendelssohn's student years,however,survived in manuscripts now primarilypreserved in the Mendelssohn Nachlass of the Deutsche Staatsbibliothek in East Berlin.  \nA composition that has remained relatively unknown is a one-movement Sonata in B-flat minorpresently in the Brotherton Collection of the University of Leeds.The manuscript is dated November 27,1823,and thus is from Mendelssohn's formative student period in Berlin.It is contemporaneous withseveral instrumental works,including the young composer's Concerto in E major for two pianos(September 13-October 17,1823),the Piano Quartet in F minor,Op.2(November 19-December 7,1823),and the Viola Sonata in C minor(November 27,1823-February 14,1824).2 Mendelssohn alsofinished during 1823 several string sinfonias,a string quartet in E-flat major,and the Singspiel Diebeiden Neffen.  \nMendelssohn wrote his sonata on three pages of a single bifolio.Though he did not inscribe hissignature by the date on the last page,he did record in the upper right-hand corner of the first page theinitials “L.e.g.G”(\"Lass es gelingen,Gott\"),an abbreviation frequently found in his manuscripts.3 Theseinitials,and a comparison of the handwriting with other Mendelssohn autographs of the early 1820's,attest to the authenticity of the autograph.  \nSeveral stylistic aspects mark the sonata as a conservative work.Conspicuous features include theslow introduction (and its return later in the movement)and a pervasive monothematicism.4 In bothMendelssohn proves himself to be a diligent student of late eighteenth-century approaches to sonataform.The slow introduction,used frequently in the mature symphonies of Haydn and Mozart,had beenincorporated into the solo piano sonata byJ.L.Dussek and Clementi;the technique influenced not onlyMendelssohn,but also Beethoven,who experimented with it in his well-known Pathétique Sonata,Op.  \n13,of 1798.More important,Beethoven's example was followed by Ludwig Berger,Mendelssohn'spiano teacher in Berlin,who composed a Sonata Pathétique in C minor,Op.7,in 1815.Eighteenth-century examples of monothematicism abound in the piano sonatas of Haydn and Clementi,whichprobably served as models for Mendelssohn.Ludwig Berger,who had studied with Clementi,probably  \nintroduced the young Mendelssohn to Clementi's sonatas.In addition,Berger left his ownmonothematic sonata,Op.18,in C minor,composed in 1801.  \nIf Mendelssohn's sonata bears a conservative stylistic stamp,it also reveals evidence of morecontemporary influences.Chief among these is the piano music of Weber,whom Mendelssohn met in1821 after the prèmiere of Der Freischütz in Berlin.Weber's influence is particularly felt in passages withsweeping arpeggiations(mm.26-38)and in sonorities and thematic material requiring wide stretches ofthe hand (e.g.,mm.38-46).  \nLike Mozart,Mendelssohn was blessed with a remarkable ability to assimilate and imitate a widevariety of stylistic sources.The B-flat minor Sonata of 1823 is undoubtedly a student work,but the workof one who in 1825 and 1826,during his sixteenth and seventeenth years,would produce two significantmasterpieces,the Octet,Op.20,and the Midsummer Night's Dream Overture,Op.21.  \nIFurther details may be found in the catalogue of Menadelssohn's works in The New Grove Dicionary of Music and Musicians XII (N.Y.,1980),p.153.2All date","cbCaifb9BhaKeVSG","https://ap.wps.com/l/cbCaifb9BhaKeVSG","pdf",2433042,"English","# Preface\n## Editorial Notes","[{\"question\":\"What is the main focus of the preface and introduction?\",\"answer\":\"It introduces the largely unknown one-movement Sonata in B-flat minor, situates its dated manuscript within Mendelssohn’s student period, and discusses authenticity and stylistic influences.\"},{\"question\":\"What evidence supports the authenticity of the autograph manuscript?\",\"answer\":\"The preface describes the initials recorded on the first page and compares handwriting with other early 1820s Mendelssohn autographs.\"},{\"question\":\"Which kinds of editorial revisions are mentioned in the editorial notes?\",\"answer\":\"The notes list specific corrections such as missing signs (e.g., signs missing at measure 2), missing repeat marks, changes in note values at measures 158–159, and a left-hand octave adjustment at measure 170.\"}]","Sonata - B Flat Minor - Edited from the Original Autograph by R.Larry Todd | PDF",1790623409,31]