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HYBRID MUL TICHANNEL emarkable: Felix Mendelssohn speak – take, for instance, Brahms’ introduc- Felix Mendelssohn Bartholdy (1809-1847) RBartholdy, who himself was a piano tion to his first symphony, in which he is on virtuoso, found it difficult to compose for the point of making a break-through in the his very own instrument. As he confessed harmonic complexity. Piano Concerto No. 1 in G minor, Op. 25 in 1838 in a letter to his friend and fellow- It is not so simple to read such doubts 1 Molto allegro con fuoco 7. 31 composer Ferdinand Hiller, writing for the in Mendelssohn’s music – especially not 2 Andante 6. 19 piano “was not the greatest of pleasure” for in his Rondo brillant. On the contrary. He 3 Presto 6. 52 him. It seemed that, despite the many early expresses nothing less than self-confidence solo and chamber-music works he had writ- in the spirited and pleasurable introduction. Piano Concerto No. 2 in D minor, Op. 40 ten for the piano, Mendelssohn still doubted Here in close succession, rather like a fanfare, 4 Allegro appassionata 9. 36 the quality of his works involving this instru- first the clarinets and horns, then oboes and 5 Adagio – Molto sostenuto 6. 06 ment. He had already indicated this when bassoons, and finally flutes, trumpets and 6 Finale – Presto scherzando 7. 06 completing the Rondo Brillant for Piano and timpani join in and are almost overwhelmed Orchestra in E flat, Op. 29. In a letter dated by the blasting power of the virtuoso piano. 7 Rondo brilliant, Op.29 11. 20 February 7, 1834 to the piano virtuoso and Most likely, it was his scepticism towards composer, Ignaz Moscheles, he criticized his his own virtuoso and pleasing pieces that Op. 29 as follows: “Once again, this Rondo induced Mendelssohn to pronounce these Total playing time: 55. 02 has made me very aware of my own lack words. This is clarified in a letter dating from of novel twists and turns on the piano: this the end of 1834: he believed that he could is where I always falter and struggle, and I not write a first-class slow movement for the Martin Helmchen, piano fear that you will notice this [...] but I can- piano; all he could manage were lively, fast- not imagine how to begin to make even a moving movements. And cautionary words Royal Flemish Philharmonic simple, tranquil piece [...]”. from Moscheles contributed to this attitude. conducted by Philippe Herreweghe Such comments made by a composer For he wrote the following to Moscheles in a regarding his own oeuvre should not always letter dated December 25, 1834: “You once be taken too seriously. Johannes Brahms told me that I should write a peaceful and preferred to throw compositions he con- substantial pianoforte piece, after all the Biographien auf Deutsch und Französisch sidered failures into the fireplace and burn restless works; and I cannot put that out of finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, them. To be sure, his wrestling with these my mind. It halts the flow of my progress, veuillez consulter notre site. self-imposed demands also resulted in more because as soon as I think of a piano con- www.pentatonemusic.com music; it paid off in creative results, so to certo, I start to think it through – and as soon as I think it through, I recall: Moscheles already rather detested the numerous in both London and Berlin. [...] He left the première of his Piano Concerto No. 2. said this or that, etc., and that puts an end concert tours he had to undertake as both orchestra after the performance to a stand- As in the first piano concert, here the to the whole process.” pianist and composer. And as for success ing ovation. three movements run on into one another: There is another reason why with critics and audiences? This apparently March 1837 was a good month for there is no actual break between the Mendelssohn eyed his own compositions meant nothing to Mendelssohn. Already Felix Mendelssohn Bartholdy. His oratorio movements, whether in the music or in the for the piano with scepticism: he was suf- he was notching up successes as early St. Paul was performed successfully in both harmony. The drum roll is also at first remi- fering from the success of his Lieder ohne as 1831, when he composed his Piano Leipzig and Boston. And later that month, niscent of Mendelssohn’s Piano Concerto Worte (= Songs without Words). Many fellow Concerto No. 1 in G minor, Op. 25. In a report on March 28, he married Cécile Jeanrenaud No. 1. Nevertheless, it is clearly a different composers also wanted to swim along on dating from 1832, the Royal Philharmonic in the French Reformed Church in Frankfurt. and more mature piece of music: rather than this wave of success and began publishing Society in London wrote that during his A few weeks later, after a rather more stren- attempting to astound his audience with volumes of similar pieces. Feeling nervous, previous performances, Mendelssohn had uous than relaxing ‘honeymoon’ spent virtuoso keyboard theatrics, Mendelssohn he wrote the following to his publisher made such an extraordinary impression visiting various relatives, the couple went had aimed for a more demanding content. Simrock in Bonn on March 4, 1839 – prob- on his audience with his piano concerto on to Bingen am Rhein to rest and recuper- Following the initial drum roll of the first ably while working on some ‘old-fashioned’ that he had now been invited to repeat it. ate. There, during a stay that lasted several movement (Allegro appassionato), the organ fugues, or suchlike: “Still I have not It was a justly-earned compliment to the weeks, Mendelssohn began work on his piano also intervenes – admittedly, after a finished the manuscripts I was planning to musical genius of the young man. More Piano Concerto No. 2 in D minor, Op. 40. few bars. However, it does not try to show send you last year. I wanted to complete than any other musician, his achievements Two months later, Mendelssohn com- off its heroic qualities; rather, at first by them with the attention they deserve, and reminded them of the almost unbelievable pleted this work. At first, he could not means of two D-minor chords, it restrains for that I need the right mood as well as known facts regarding the life of Mozart: organize performances of the newly created the motif at the beginning, the melody of leisure time – both of which I often lacked as did the latter, Mendelssohn combined concerto, as he was away on a succession which is clearly defined by the orchestra; at the time, due to all my concerts. I now an uncommon talent in composition with of arduous travels. One of the trips took after which, by means of a subsequent hope to manage this in the near future and admirable skill as a pianist; he also had a him to Birmingham, to the most important string of quavers, it breaks into contempla- to thus pay off my debt. However, they are remarkable memory, was able to improvise music festival in England, the Birmingham tive tones of an improvisatory nature. not songs without words. Nor do I intend to with great ease as well as sight-read the Triennial Music Festival (1784 – 1912). Here, publish more of this genre [...]. Were there most difficult music. Judging by what they he appeared on stage several times within Arno Lücker too much of such rubbish between heaven had just heard of Mendelssohn’s works, the the course of just four days: conducting the English translation: Fiona J. Stroker-Gale and earth, in the end, it would be enjoyed Royal Philharmonic insisted that the world Overture to his Midsummer Night’s Dream by no man. Nowadays, far too much piano of music could now hope for a succession and his oratorio St. Paul; improvising on the music of a similar nature is being written – it of the most beautiful music from the com- organ and performing Bach’s Preludes and is time to start singing a new song, I believe!” poser. In exchange, Mendelssohn could Fugues; conducting a Mozart symphony; In 1839, it became evident that he count on an audience that understood him and finally playing the solo part for the Martin Helmchen Vorpommern Festival, the Schwetzinger Royal Flemish Philharmonic The Royal Flemish Philharmonic regu- artin Helmchen was born in Berlin Festival, the Schleswig-Holstein Festival, as stylistically adaptable symphony larly receives invitations to perform in all Min 1982. He received his first piano well as the Marlboro Festival in Vermont A orchestra, the Royal Flemish the major concert halls around the world: lessons at the age of six. From 1993 until (USA). Philharmonic has the artistic flexibility to the Musikverein and the Konzerthaus in graduating from school in 2000 he was a stu- Chamber music is a highly valued part be able to interpret a range of styles in a Vienna, the Festspielhaus in Salzburg, the dent of Galina Iwanzowa at the Hanns Eisler of Martin Helmchen’s life, which he always historically responsible manner. The chief Concertgebouw in Amsterdam, the Suntory Academy in Berlin. After 2001, he studied includes in his performance programme. For conductor, Jaap van Zweden, is respon- Hall and the Bunka Kaikan Hall in Tokyo, the with Arie Vardi at the “Hochschule für Musik years now, he has collaborated closely with sible for the large-orchestra repertoire. His Philharmonie in Cologne and in Munich, the und Theater” in Hannover.