Symphony No. 2 “Lobgesang” Complete Symphonies Vol
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FELIX MENDELSSOHN Symphony no. 2 “Lobgesang” Complete symphonies vol. 1 THE NETHERLANDS SYMPHONY ORCHESTRA Jan Willem de Vriend 1 FELIX MENDELSSOHN Symphony no. 2 “Lobgesang” Complete symphonies vol. 1 THE NETHERLANDS SYMPHONY ORCHESTRA Jan Willem de Vriend Judith van Wanroij soprano Machteld Baumans soprano Patrick Henckens tenor Choir Consensus Vocalis Choir conductor Klaas Stok FELIX MENDELSSOHN (1809-1847) Tenor solo [11] Allegro un poco agitato 2:05 Lobgesang. Eine Symphonie-Kantate nach Worten der Heiligen Schrift [12] Allegro assai agitato 0:40 (Symphonie Nr. 2) für Soli, Chor und Orchester opus 52 [13] Tempo I, moderato 1:33 Sinfonia Sopran [1] Maestoso con moto – Allegro 12:08 [14] Die Nacht ist vergangen! 0:14 [2] Allegretto un poco agitato 5:49 [3] Adagio religioso 6:09 Chor [15] Allegro maestoso e molto vivace 4:03 Chor – Sopran solo [4] Allegro moderato maestoso – Animato 1:37 Choral [5] Allegro di molto 2:46 [16] Andante con moto 1:35 [6] Molto più moderato ma con fuoco 2:09 [17] Un poco più animato 2:26 Tenor solo Sopran solo, Tenor solo [7] Recitativo 0:53 [18] Andante sostenuto assai 4:29 [8] Allegro moderato 1:59 Schlusschor Chor [19] Allegro non troppo 1:56 [9] A tempo moderato 1:47 [20] Più vivace 2:57 [21] Maestoso como I 0:37 Sopran I und II solo – Chor [10] Andante 4:40 total time 62:36 4 5 Symphony no.2 Lobgesang immersed in the music – Robert Schumann wrote: “It was like The third, instrumental movement, an overwhelming experience. looking into heavenly Raphaelesque Adagio religioso, has an almost Imagine . ! Madonna eyes”. He found himself melancholy religiousness. Its structure That must certainly have been the transported to celestial heights at the and buildup are transparent and the It is June 1840, you are in the experience of the audience at this premiere of Lobgesang, particularly harmonies demure, with frequent Thomaskirche in Leipzig, the church first performance of Mendelssohn’s upon hearing the duet, which is inter- pinpricks of dissonance giving it a where the famous composer Johann symphony-cantata, as he liked to rupted by the chorus: Ich harrete des special musical tension. The melody is Sebastian Bach was once kapellmeister. describe it. That the beginning of the Herrn. After this, according to Schu- pure beauty that, performed with the You are there to attend the premiere piece is so overawing, by the nature mann, a buzz of whispering could be right refinement and nuance, could of a piece of music on the occasion of of the theme and scoring of wind heard in the church, so much more never be overdramatic and would the 400th anniversary of the invention instruments, is not something you im- telling than thunderous, concert hall directly touch any listener. This is of the printing press by Johannes mediately expect from a composer applause. The composer and piano typical Mendelssohn. The annual Gutenberg. The successful composer such as Mendelssohn. He is known virtuoso Ignaz Moscheles attended report of London’s Sacred Harmonic Felix Mendelssohn will conduct his more for refinement, a cultivated mel- the London premiere of Lobgesang Society wrote of this movement at own music. Mild excitement takes hold ancholy that is fascinating, but does and later wrote his wife, “When the the time: “The Adagio religioso is of you; you feel that it is going to be not threaten to make off with you. And chorale Nun danket alle Gott began, overflowing with that melancholy a magnificent concert, with orchestra, of course, there is the virtuosity, which the audience suddenly rose to its feet, feeling which Charles Lamb 3 choir, soloists. Finally, it starts. The never stoops to affectation and always as they would have done only during pronounces the essential quality of trombones begin with a regal theme remains functional.1 As impressive as the Halleluja”. 2 all high poetry.” 4 that resounds through the church. the regal trombone theme is, other The orchestra takes over the theme. passages of Lobgesang have probably You are immediately swept up by, moved audiences more deeply. 2. Colin Eatock – uit: Mendelssohn and Victorian England – page 72 3. Charles Lamb: English essayist who lived from 1775 to 1834 1. Thijs Bonger – from: Componisten portretten: Mendelssohn 4. From: Annual report - Sacred Harmonic Society London (1844)- page 45 6 7 The majestic trombone theme Schumann mentioned with the the previous, is largely due to was hard for someone like Richard mentioned earlier returns at various chorus. It has been sung by many comparisons with Beethoven’s Wagner to reconcile himself with. He times. After being introduced in the church choirs from Mendelssohn’s Ninth Symphony, which immediately had once sent Mendelssohn his first first movement, it comes back in the time to today. Lobgesang itself, sprang up, and the large vocal symphony, and he never received development section and again in the however, faded into obscurity. It is portion of the work. The comparison a reply. That, and the fact that he second movement – in the trio – as a seldom performed nowadays, though, – see below – was unfavourable for was anti-Semitic, fed his antipathy counterpoint to the chorale melody fortunately, it has regained a place in Mendelssohn. Let alone that every for the German-Jew Mendelssohn. in the wind instruments. 5 It returns at the concert repertoire. After all, since symphony, regardless of who wrote Shortly after Mendelssohn’s death the first entrance of the choir in the the premiere in 1840, this work has it, was compared with Beethoven’s in 1847, Wagner wrote the essay Das fourth movement: Alles, was Odem been a great success and has been masterpieces. Judenthum in der Musik, in which he hat, lobe den Herrn! Through this, counted among Mendelssohn’s best postulated that Mendelssohn may Mendelssohn forges a wonderful link compositions. Mendelssohn was a famous and well have had talent as a composer, between the instrumental movements influential composer and conductor. but that it was not possible to be that begin the piece and the cantata “Mendelssohn’s Lobgesang is He travelled constantly and was truly emotionally touched by music movements that follow. Also in the undoubtedly the greatest work that perhaps even better-known in written by a Jew. Those are very closing fugue – the very last bars has proceeded from any German England than in Germany. He different sentiments than the ones – the theme re-emerges in striking composer since Beethoven. It is great conducted the Gewandhaus expressed by Mendelssohn’s friend fashion, closing the circle. in plan, great in development, and Orchester in Leipzig (and also and colleague Robert Schumann, who masterly in detail.” 6 That Lobgesang the Sing-Akademie), founded called Mendelssohn “a true god” and The best-known movement of was nevertheless forgotten, despite the conservatory in Leipzig, and “the Mozart of the 19th century”. Lobgesang is to this day the one its qualities and reviews such as became kapellmeister in Berlin. He was always busy. Lobgesang was Through Wagner’s poisonous, anti- one of his later symphonies, and it Semitic tone and the words of other 5. R. Larry Todd about Symphony No. 2 enjoyed enormous success at the critics, the music of Mendelssohn 6. From: Annual report - Sacred Harmonic Society London (1844) – page 45 time of the premiere. That success continually faded into the background 8 9 and Beethoven was placed on an concert programmes: the Psalm And perhaps this is also a form ever-higher pedestal. Yet, it is not fair settings, which take Bach on at his of awakening: the dawning of the to Mendelssohn – nor Beethoven, for own game; the bulk of the chamber rediscovery and re-appreciation that matter – to always compare his music; and even the symphonies.” 7 of Mendelssohn. Jan Willem de work to someone else’s when taking That includes Lobgesang! Vriend and his orchestra make their a closer look at it. His music should contribution to this. Ferdinand stand on its own. According to Mendelssohn, the David, the concertmaster of the universal thought behind this Gewandhaus Orchester and a friend Tom Service of The Guardian made symphony-cantata is: Nun danket alle of Mendelssohn’s, has played a role a sensible observation about this: Gott mit Herzen, Mund und Händen in the first publications of sonatas “Mendelssohn has become the – expressing gratitude toward God. by Mozart, Beethoven, Schumann biggest blind spot in classical music. Four-hundred years after Gutenberg, and many other composers. He Because of the brilliance of its craft, the invention of the printing press was provided the fingerings and bowings it is very easy to be beguiled by the something to be thankful for. Hüter, for these editions. De Vriend got surfaces of Mendelssohn’s music, ist die Nacht bald hin? Die Nacht ist copies of the editions and closely to imagine that that’s all there is to vergangen (Watchman, what of the studied them, learning much about it. The scandal is that there are still night? The night has passed) comes in how music was played at that time. hundreds of pieces that haven’t been the fifth cantata movement. The dark Through this, he and his orchestra published, many of them jewels from night of the Middle Ages – for that is more fully assimilated Mendelssohn Mendelssohn’s uniquely productive how the period was seen – had finally and have their own Mendelssohn. youth – as well as masterpieces from come to an end. This CD will surely become your own his maturity that we never hear in Mendelssohn. Enjoy the music. Valentine Laoût- van Leeuwenstein 7. Tom Service – quote from The Guardian May 5, 2009 Translation: John Lydon/Muse Translations 10 11 Jan Willem de Vriend Mahler tradition is being continued in The Netherlands Dutch National Touring Opera Jan Willem de Vriend is the chief recordings and tours.