Felix Mendelssohn Symphony no. 2 “Lobgesang” Complete symphonies vol. 1

THE 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. Symphony Orchestra Company. In its home town Enschede, conductor and artistic director of The The Netherlands Symphony Orchestra the orchestra builds on a symphonic Netherlands Symphony Orchestra In addition to being the chief conduc- is based in Enschede, in the province tradition of more than 80 years, and it since 2006 and the artistic director of tor of The Netherlands Symphony of Overijssel. Performing at an interna- is known as one of the most modern Combattimento Consort . Orchestra , De Vriend is the regular tional level, as evidenced by its highly and entrepreneurial orchestras in the guest conductor of the Brabant acclaimed CDs and invitations for Netherlands. Its international partners Since De Vriend was named chief con- Orchestra. He has conducted many international tours, the orchestra include the BBC Philharmonic and the ductor, The Netherlands Symphony distinguished Dutch orchestras, in- is firmly rooted in society. Liszt School of Music Weimar. Orchestra has become a notable phe- cluding the Royal Concertgebouw nomenon on the Netherlands’ musical Orchestra, the Netherlands Radio Jan Willem de Vriend has been its The Netherlands Symphony Orchestra scene. It has presented semi-scenic Philharmonic Orchestra and The artistic director and chief conductor created a number of ensembles, performances of works by Mozart, Hague Philharmonic Orchestra. since 2006. Under De Vriend’s leader- such as a chamber orchestra, the Beethoven, Strauss and Mendelssohn. De Vriend is also a welcome guest ship, the orchestra has expanded its Baroque Academy of the Netherlands There were premieres of works by internationally and has conducted repertoire to cover music from four Symphony Orchestra (BANSO) and Offenbach, Say and Mahler. And by orchestras in China, Germany, Austria, centuries. Its use of period instruments various chamber music ensembles. substituting period instruments in Italy and France. in the Classical repertoire gives the The orchestra’s commitment to the brass section, it has developed orchestra a distinctive and highly expanding its social relevance is its own distinctive sound in the 18th individual character. also reflected in the large number and 19 th century repertoire. Recently, of projects in which education is a the orchestra caused quite a stir by The Netherlands Symphony key element. performing music by Schumann at Orchestra performs amongst others festivals in Spain. It has also recorded in Amsterdam, Rotterdam, Utrecht, The Netherlands Symphony Orchestra Beethoven’s complete symphonies Enschede, Zwolle and Deventer. has made successful tours of the conducted by De Vriend. Its long In addition, it often works with the United States, Spain and England,

12 13 and it has performed in such famous Fazil Say, Jean-Yves Thibaudet venues as Carnegie Hall in New York and Thomas Zehetmair. and Birmingham Symphony Hall. Its CDs of the complete Beethoven The Netherlands Symphony Orchestra symphonies (for Challenge Classics) is financially supported by the Dutch and music by Dutch composers such Ministry of Education, Culture and as Julius Röntgen and Jan van Gilse Science, the Province of Overijssel and (for the CPO label) were very the Municipality of Enschede, as well well received by the international as annual contributions from sponsors. music press. www.nedsym.nl The orchestra has worked with distin- guished conductors, such as its for- mer chief conductor , Vasily Petrenko, , , Gerd Albrecht, Marc Soustrot, Eri Klas, , Claus Peter Flor and Tan Dun.

It also has accompanied many celebrated soloists, including Gidon Kremer, Ronald Brautigam, Natalia Gutman, , Antje Weithaas, Marie-Luise Neunecker, Hélène Grimaud, Robert Holl,

14 15 Consensus Vocalis

Judith van Wanroij Machteld Baumans Patrick Henckens

16 17 Judith van Wanroij and the orchestras he works with. Chamber Philharmonic and The Hague Festival debut in „Le Nozze di Figaro“ Dutch soprano Judith van Wanroij She appeared on several record- Philharmonic under conductors such under , lyric studied with Margreet Honig at the ings with these conductors and their as , Christian tenor Patrick Henckens has been rein- Amsterdam Conservatory and at the ensembles, a.o. with Virgin Classics. Zacharias, Kenneth Montgomery and vited every year. He also sang Tamino Dutch National Opera Academy. Jaap van Zweden. Machteld Baumans at Teatro Colon in Buenos Aires. She won several national and inter- Machteld Baumans has made many radio and television national prizes. Her opera debut she Dutch soprano Machteld Baumans recordings for Dutch, Belgian and On the concert podium he has been made in the title role of La Périchole; studied with Cora Canne Meijer at British broadcasting organisations. working with renowned conductors, thereafter she has been singing a.o. the Sweelinck Conservatorium in Her CDs include Julius Röntgen’s such as Helmut Rilling, Jeffrey Tate Junon (Platée), Ilia (Idomeneo), Amsterdam and continued her training ‘Aus Goethes Faust’ with the and Claudio Abbado. With Marc Donna Elvira (Don Giovanni), First with Lucia Meeuwsen. She debuted Netherlands Symphony Orchestra and Minkowski he recorded Charpentier’s Lady (Die Zauberflöte), Musetta as Pamina in The Magic Flute with Bach’s St John Passion with Concerto Te Deum for Deutsche Grammophon. (La Bohème), at opera houses such Stichting Kamer Opera Nederland. d’Amsterdam conducted by Nico van Also available on this label is the CD as De Nederlandse Opera She has sung with Opera Zuid, der Meel. and DVD recording of „Le Nozze di Amsterdam, La Monnaie Brussels, Nationale Reisopera, De Nederlandse Figaro“ in which Patrick Henckens Teatro Real Madrid, and Théatre du Opera and has been a guest at the Patrick Henckens sings the role of Basilio. Capitole Toulouse. Next to conduc- Early Music Holland Festival, The Early Patrick Henckens first studied school tors such as Frans Brüggen, Andrea Music Festival San Antonio (USA) and music and conducting, before study- The works of Händel occupy a special Marcon, Jérémie Rhorer, and Jaap the Bachtage in Berlin. ing voice in Maastricht. After win- place in Patrick Hencken’s reper- van Zweden, she regularly works ning prices at the toire. He performed many oratorios with William Christie and Les Arts She has worked with the Amsterdam Competition, engagements led him to and operas at the Händelfestival in Florissants, René Jacobs and his Bach Soloists, the Combattimento the opera houses of Enschede, Ghent, Karlsruhe among others. Akademie für Alte Musik, Berlin, Consort Amsterdam, string quartet Essen, Berlin and Bonn, where he Christophe Rousset and his Les Talens Archibudelli, the Netherlands Chamber has sung mostly the classical roles of Lyriques, and Jan Willem de Vriend Orchestra, the Netherlands Radio Mozart and Rossini. Since his Salzburg

18 19 Consensus Vocalis Together with the Netherlands The semi-professional choir Consensus Symphony Orchestra, the choir took Vocalis and the professional choir part in performances of Mozart’s Capella Isalana together form Requiem, Ein deutsches Requiem by the Nederlandse Koor Academie. Brahms, Mendelssohn’s A Midsummer Consensus Vocalis was founded to Night’s Dream, Die Fledermaus by perform the major works of Johann Johann Strauss and Beethoven’s Sebastian Bach: the St Matthew Symphony no. 9. Their repertoire Passion, the Christmas Oratorio and includes not only Baroque, classical the Mass in B minor. Performances and romantic compositions, but also have been accompanied by ensem- modern works such as the Berliner bles such as Combattimento Consort Messe by Arvo Pärt. The choir’s artistic Amsterdam, Concerto d’ Amsterdam, director is Klaas Stok. Musica Amphion and the Netherlands Symphony Orchestra and have www.nederlandsekooracademie.nl been held in such diverse places as Enschede and Amsterdam in the Netherlands, and beyond the Dutch borders, Zagreb, Palma de Mallorca and Valencia. In 2008, the St Matthew Passion was twice performed in Amsterdam’s Concertgebouw with the Netherlands Philharmonic Orchestra, conducted by Sir .

20 21 Sinfonia Tenor solo Sopran I und II solo – Chor 13. Tempo I, moderato 1. Maestoso con moto – Allegro 7. Recitativo 10. Andante Der Hüter aber sprach: 2. Allegretto un poco agitato Saget es, die ihr erlöst seid durch den Herrn, Ich harrete des Herrn, und er neigte sich Wenn der Morgen schon kommt, 3. Adagio religioso Die er aus der Not errettet hat, zu mir So wird es doch Nacht sein; Aus schwerer Trübsal, aus Schmach Und hörte mein Flehn. Wenn ihr schon fraget, Chor – Sopran solo und Banden, Wohl dem, der seine Hoffnung setzt auf So werdet ihr doch wiederkommen 4. Allegro moderato maestoso – Animato Die ihr gefangen im Dunkeln waret, den Herrn! Und wieder fragen: Alles, was Odem hat, lobe den Herrn! Alle, die er erlöst hat aus der Not. Wohl dem, der seine Hoffnung setzt auf Hüter, ist die Nacht bald hin? Halleluja, lobe den Herrn! Saget es! Danket ihm und rühmet seine ihn! Güte! Sopran 5. Allegro di molto Tenor solo 14. Die Nacht ist vergangen! Lobt den Herrn mit Saitenspiel, 8. Allegro moderato 11. Allegro un poco agitato Die Nacht ist vergangen! Lobt ihn mit eurem Liede! Er zählet unsre Tränen in der Zeit der Not, Stricke des Todes hatten uns umfangen, Und alles Fleisch lobe seinen heiligen Er tröstet die Betrübten mit seinem Wort. Und Angst der Hölle hatte uns getroffen, Chor Namen. Saget es! Danket ihm und rühmet Wir wandelten in Finsternis. 15. Allegro maestoso e molto vivace Alles, was Odem hat, lobe den Herrn! seine Güte! Er aber spricht: Wache auf! Die Nacht ist vergangen, Wache auf, der du schläfst, Der Tag aber herbeigekommen. 6. Molto più moderato ma con fuoco Chor Stehe auf von den Toten, So laßt uns ablegen die Werke der Finsternis Lobe den Herrn, meine Seele, 9. A tempo moderato Ich will dich erleuchten! Und anlegen die Waffen des Lichts, Und was in mir ist, seinen heiligen Namen. Sagt es, die ihr erlöset seid Und ergreifen die Waffen des Lichts. Lobe den Herrn, meine Seele, Von dem Herrn aus aller Trübsal. 12. Allegro assai agitato Und was in mir ist, seinen heiligen Namen, Er zählet unsere Tränen in der Zeit der Not. Wir riefen in der Finsternis: Und vergiß es nicht, was er dir Gutes getan. Hüter, ist die Nacht bald hin?

22 23 Choral Sopran solo, Tenor solo Schlusschor 16. Andante con moto 18. Andante sostenuto assai 19. Allegro non troppo Nun danket alle Gott Drum sing’ ich mit meinem Liede Ihr Völker, bringet her dem Herrn Ehre und Macht! Mit Herzen, Mund und Händen, Ewig dein Lob, du treuer Gott! Ihr Könige, bringet her dem Herrn Ehre und Macht! Der sich in aller Not Drum sing’ ich mit meinem Liede Der Himmel bringe her dem Herrn Ehre und Macht! Will gnädig zu uns wenden, Ewig dein Lob, o Gott! Die Erde bringe her dem Herrn Ehre und Macht! Der so viel Gutes tut, Und danke dir für alles Gute, Von Kindesbeinen an das du an mir getan. 20. Più vivace Uns hielt in seiner Hut, Und wandl’ ich in Nacht und tiefem Alles danke dem Herrn! Und allen wohlgetan. Dunkel, Danket dem Herrn und rühmt seinen Namen Und die Feinde umher stellen mir nach, Und preiset seine Herrlichkeit! 17. Un poco più animato So rufe ich an den Namen des Herrn, Lob, Ehr’ und Preis sei Gott, Und er errettet mich nach seiner Güte. 21. Maestoso como I Dem Vater und dem Sohne, Und wandl’ ich in Nacht, Alles, was Odem hat, lobe den Herrn, Und seinem heil’gen Geist so ruf ich deinen Namen an, Halleluja, lobe den Herrn! Im höchsten Himmelsthrone. Ewig, du treuer Gott! Lob dem dreiein‘gen Gott, Der Nacht und Dunkel schied Von Licht und Morgenrot, Ihm danket unser Lied.

24 25 26 27 Previously released on Challenge Classics check www.challengerecords.com for availability

CC72198 Ludwig van Beethoven CC72364 Ludwig van Beethoven Egmont / Wellingtons Sieg (SACD) Symphonies nos. 1 & 5 - Complete Symphonies Vol. 2 (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor Cora Burggraaf mezzosoprano - Wim T. Schippers narrator CC72500 Ludwig van Beethoven CC72343 Niccolò Paganini (Edison Audience Award 2010) Symphonies nos. 7 & 8 - Complete Symphonies Vol. 3 (SACD) Violin Concertos nos. 1 & 2 (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor The Netherlands Symphony Orchestra Jan Willem de Vriend conductor - Rudolf Koelman violin CC72532 Ludwig van Beethoven Symphonies nos. 2 & 3 - Complete Symphonies Vol. 4 (2 SACD) CC72355 The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor Symphony no. 1 (Hamburg 1893 version) (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor CC72533 Ludwig van Beethoven Symphony no. 9 - Complete Symphonies Vol. 5 (SACD) CC72384 Ludwig van Beethoven The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor Violin Concerto & Romances (SACD) The Netherlands Symphony Orchestra CC72550 Ludwig van Beethoven Jan Willem de Vriend conductor - Liza Ferschtman violin Complete Symphonies Vol. 5 (6 SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor CC72361 Ludwig van Beethoven Symphonies nos. 4 & 6 - Complete Symphonies Vol. 1 (SACD) The Netherlands Symphony Orchestra - Jan Willem de Vriend conductor

28 29 This High Definition Surround Recording was Produced, Engineered and Edited by Bert van der Wolf of NorthStar Recording Services, using the ‘High Quality Musical Surround Mastering’ principle. The basis of this recording principle is a realistic and holographic 3 dimensional representation of the musical instruments, voices and recording venue, according to traditional concert practice. For most older music this means a frontal representation of the musical performance, but such that width and depth of the ensemble and acoustic characteristics of the hall do resemblance ‘real life’ as much as possible. Some older compositions, and many contemporary works do specifically ask for placement of musical instruments and voices over the full 360 degrees sound scape, and in these cases the recording is as realistic as possible, within the limits of the 5.1 Surround Sound standard. This requires a very innovative use of all 6 loudspeakers and the use of completely matched, full frequency range loudspeakers for all 5 discrete Executive producer: Anne de Jong channels. A complementary sub-woofer, for the ultra low frequencies under 40Hz, is Recorded at: Muziekcentrum Enschede highly recommended to maximally benefit from the sound quality of this recording. Recording dates: 19 & 20 December 2011 / 5 & 7 July 2012 Recording Producer, Mix & Editing: Bert van der Wolf This recording was produced with the use of Sonodore microphones, Avalon Recording Assistent: Martijn van der Wolf Acoustic monitoring, Siltech Mono-Crystal cabling and dCS Converters. Recorded by: NorthStar Recording Services A&R Challenge Records International: Wolfgang Reihing Liner notes: Valentine Laoût- van Leeuwenstein Translations: John Lydon, Muse Translations Booklet editing: Wolfgang Reihing Cover photo: Marcel van den Broek, new-art.nl Art direction: Marcel van den Broek, new-art.nl www.northstarconsult.nl www.challengerecords.com / www.nedsym.nl CC72543