Otto Nicolai and Felix Mendelssohn – Motets and Psalms

★★★✰

   During romantic era religious music was not as much widespread as in earlier periods. Many composers work for church order and number of religious compositions was still very high. What has changed, was rising of the whole movement of music played in public concerts and in private ground. Religious compositions were still great part of musical culture, even if they had to share its position with growing popularity of secular music. Composers who were engaged on posts of organists or church choir directors were often obliged to write some new works. Sometimes such position was synonymous with honorary achievement, especially in 19th century when new economic relations were intertwining with old aristocratic structures. History of Felix Mendelssohn and Otto Nicolai employment in Berlin Cathedral allows seeing in a new light some episodes of music history in romantic era.
   Felix Mendelssohn-Bartholdy was appointed in 1842 by King of Prussia Friedrich Wilhelm IV to be Prussia general music director and Cathedral Choir conductor. He was not satisfied with this work and kind of music he was obliged to compose. In his opinion composing music as “integral part of worship (…) rather than merely a concert with more or less devotional aura” was difficult and didn’t give him artistic freedom. After Mendelssohn’s death his post was proposed to Otto Nicolai. This was idea of King Friedrich Wilhelm IV who was under deep impression of two Nicolai compositions Pater Noster and Festive Church Overture “Ein feste Burg is unser Got” played in Königsberg during 300 years celebration of Albertus University. In 1847 after his contract with orchestra in Vienna has end, composer was called to Berlin and appointed to the post of conductor of Royal Cathedral Choir and musical director of Royal Opera House.

Otto Nicolai and Felix Mendelssohn – Motets and Psalms (1983)

   Many romantic composers Felix Mendelssohn-Bartholdy and Otto Nicolai but also Fanny Mendelssohn, Giacomo Meyerbeer, Eduard Grell and Heinrich Dorn were pupils of Carl Friedrich Zelter, composer, conductor and teacher, master of Berlin musicians in early romantic period and friend with Johann Wolfgang von Goethe. His formal discipline has influenced the romantic style in various ways. Mendelssohn, Nicolai and Grell were composers associated with Protestant church. Meyerbeer and Dorn were opera composers. Heinrich Dorn (1804-1892), born in Königsberg, composed opera Die Nibelungen before Wagner thought about this theme. He was also teacher of Robert Schumann and staunch critic of Wagner’s music. Otto Nicolai (1810-1849) who was also born in Königsberg was known as opera and symphonic music composer, partly thanks to his most popular work – German opera Die lustigen Weiber von Windsor, but his professional biography was connected to posts as church organist in chapel of Prussian Embassy in Rome and choir director in Berlin Cathedral.
   Religious music in romantic era was vivid part of artistic life. Church compositions and music played during services was mandatory part of culture. Choice of romantic religious works for choir recorded in March 1983 by Studiochor Essen under direction of Konrad Haenish was published by Aulos label. The colloction was limited to two masters leading the choir of Berlin Cathedral in 1840’s – Felix Mendelssohn-Bartholdy and Otto Nicolai who was placed on directors post in last year of his life. Designated as Psalmen und Motetten der Romatik program of this album has been divided into two sides. First side comprises four works by Mendelssohn: Der dreiundvierzigste Psalm op. 78 Nr. 2 “Richte mich, Gott!”, Mittenwit im Leben sind op. 23 Nr. 3, Herr, nun lasses du deinen Diener ub Frieden fahren op. 69 Nr. 1 and Jauchzet dem Herrn alle Welt op. 69 Nr. 2. Second side comprises three compositions by Nicolai: Der 97. Psalm “Derr Herr ist König” for mixed choir, Der 31. Psalm “Herr, auf Dich traue ich” for 8-voices mixed choir and Ehre sei Gott in der Höhe for two 4-voices mixed choirs. This recording is perfect example of romantic unaccompanied choir music and an evidence of great choral culture in first half of nineteenth century. Three and a half of the star for performance, recording and edition.

Giuseppe Sinopoli conducts Unfinished and Italian

★★★★✰

   Romantic symphony was not as much popular as in 18th century, but it was powered by completely different idea of music piece. The evolution of symphony in classicism was the transition from idea of universal construction without qualities to the medium carrying the universal truth. In romantic era this form became a container for more specific contents. In first half of 19th century, before symphonic poem was invented, symphony was the best vehicle for composer ideas. Allowing themselves to be carried away with emotional reactions, composers portrayed different states of mind and even narrative components in program symphony. What is interesting, later in post-romantic music idealistic striving for universality of symphony will return with redoubled strength.
   The two of perfectly romantic symphonies are Symphony No. 8 in B Minor D 759 “Unfinished” by Franz Schubert and Symphony No. 4 in A Major, op. 90 “Italian” by Felix Mendelssohn. Each one could serve as apotheosis of extreme feelings – on one side is awareness of inevitable death and on the other unbridled joy of life. It’s worth to mention in romantic era these emotions were not distant, sometimes even not separated. And it is perfect opportunity to hear interpretation of these two works presented by conductor who has the chance to commented musical structures and his idea of rendering these works of romantic music. The artist was Giuseppe Sinopoli and was recorded with Philharmonia Orchestra for Deutsche Gremmophon in 1983. The album was published next year. On enclosed inlay was published the conductor’s essay and cover featured Johann Heinrich Schilbach’s watercolor.

Giuseppe Sinopoli conducts Schubert and Mendelssohn (1984)

   In essay Dream and memory in Schubert’s ‘Unfinished’ Sinopoli focuses on esthetic meanings and structural significant features of this famous symphony. Giving some concepts how one can find a deeper message in symphonic music, he concludes: “The musical meaning seems […] to be guaranteed by what Adorno calls ‘an ontology of form’ that can function as a stabilizer of ‘epic tendencies’. And yet it is not so much a question of guarantees and reductive stabilizations of the musical meaning by the form (which would once again imply a classicistic interpretative reading of the symphony) as of a fixing or immobilization of the form by that Inhalt (content) that visit it. The magical consequence of this encounter is the sound of the symphony, which is wholly Schubertian and wholly individual”. Accordingly to this opinion, Sinopoli interpreted ‘Unfinished’ Symphony from whole new perspective. Sound and rhythmic patterns occur to be meaningful; he is decoding melodic as narrative motives by following strictly dynamics and tempos.
   With no essay, the same method could be adopted to Mendelssohn’s ‘Italian’ Symphony. Sound qualities, articulations, tempos and dynamics show opposite side of romantic soul. Even calm mood and praying reminiscences of Andante con moto (composed in D Minor) are unable to change the impression of rejoicing ubiquitous in this symphony. The moderate drama of development part is nothing more than contrast to show the joy, serenity and light of the A-major work. Dramatic lineaments of finale Saltarello in minor key (A minor) show how effective contrasts can be. The two symphonies are clearly the pair of oppositions, even if joy is not as emotionally clear as grief and mourning, understand as “the cultic celebration of loss (…) of some good”, as Sinopoli defines it in his essay. This rendition can be breaking point for anyone who is willing to understand romantic symphony and this is worth the four and a brighter half on the five-star scale.

Hermann Prey – Auf Flügeln des Gesanges

   Hermann Prey was one of greatest German singers of 20th century. His lyric baritone was perfect for performing artistic song which was main part of Prey’s rich repertoire. He was also known for his opera appearances, especially for the roles requiring acting talents and virtuoso vocal technique like the unforgettable one of Figaro in TV movie of Rossini’s Il Barbiere di Siviglia made by Jean-Pierre Ponnelle in 1972. Since he was known as gifted singer with beautiful voice, he was appearing as well in oratorio as in more popular repertoire. But he was remembered mainly for his Lider recitals. So the hallmark of his discography are perfect renditions of songs and song cycles.
   Collection of Herman Prey’s song recordings were published by Philips in early 70’s. The series Lied Edition Prey comprises 27 discs in four boxes from Minnesang to contemporary music, from Walter von Vogelweide and Oswald von Wolkenstein to songs composed by Giselher Klebe and Friedrich Gulda. In the series there were also published two albums with highlights Zum Lob des deutschen Liedes and Auf Flügeln des Gesanges with songs of German romanticism.

Hermann Prey – Auf Flügeln des Gesanges (1974)

   Under the title inspired with Heinrich Heine’s poem and Felix Mendelssohn’s song, Philips published album of romantic songs recorded by Hermann Prey for this label. Choice comprises four songs by Franz Schubert with Der Pilgrim to the poem by Friedrich von Schiller, three songs by Robert Schumann to poems by Johann Wolfgang von Goethe, Joseph von Eichendorf and Hans Christian Andersen – brave performance of Der Spielmann. Second side is opening with title song Auf Flügeln des Gesanges by Heinrich Heine and Felix Mendelssohn-Bartholdy, then come Im Rhein by Heinrich Heine and Franz Liszt, Lied des Mephistopheles from Goethe’s Faust composed by Richard Wagner, In der Ferne written by Peter Cornelius to his own words, and recital close two songs by Johannes Brahms and three songs by Hugo Wolf.
   Piano accompaniments were played by Karl Engel (Schubert), Leonard Hokanson (Schumann, Wolf) and Gerald Moore (Mendelssohn, Liszt, Wagner, Cornelius, Brahms, Wolf). Hremann Prey’s renditions are natural and unforced, subordinated to musical and artistic ideas of each song. He interprets music and words trying to catch them as the entity of the message. In fact romantic artistic song is called with German term Lied, and this is somehow honoring this phenomenon. Based on great poetry of 18th and 19th centuries and perfect music elaborations of romantic composers, these songs are complete artistic expression and in Hermann Prey interpretations they shine as jewel in the crown of romantic output. Four and half jewels in five jewel scale.

Christoph Von Dohnányi – Mendelssohn’s Complete Symphonies

As many early romantic composers, Felix Mendelssohn was remaining in the circle of classical forms and meanings of expression he used were related to this approach. Among many different forms, construction of symphony was most closely linked to classical idea of balance between form and essence. Mendelssohn was talented composer so among his rich and varied creative output special position have symphonies. He achieved outstanding results as composer in any of his five symphonies. He was also prolific composer of every romantic kind of musical form; he also made great contribution in cyclical forms like oratorios and cantatas – both religious and secular. He was also known from his activity for restoring the proper position of works by Johann Sebastian Bach.

Mendelssohn’s cycle of five full-scale symphonies is not homogenous work. First Symphony in C Minor he wrote in 1824 when he was 15 years old.  In fact, this moment he had cycle of twelve symphonies for string orchestra he wrote 2 years earlier, but this was only juvenile output. Next symphony Felix Mendelssohn wrote 5 years later for the 300th Anniversary of the Lutheran Church, but he was not satisfied with the result and didn’t allow publishing the score. This symphony is known as Reformations-Symphonie op. 107 or as Symphony No. 5 in D Minor.  Next two symphonies became very popular, these are Scottish Symphony op. 56 (No. 3 in A Minor) and Symphony No. 4 in A Major, widely known as Italienische. Last of his works in this form is Symphony No. 2 in B-flat Major “Lobgesang” composed for Leipzig celebrations of 400th anniversary of printing press. Construction of this work has been derived from Beethoven’s idea of oratorio symphony what made it enjoyed considerable recognition. Mendelssohn defined the work as Symphonie-Kantate nach Worten der Heiligen Schrift. Sinfonia is part of actually three movements played attacca Allegro, Scherzo and Adagio. After 25 minutes of instrumental Sinfonia next 40 minutes is filled by 10 movements with two sopranos, tenor and choir. 

Christoph Von Dohnányi – Mendelssohn’s Complete Symphonies (1986)

One of best edition of Mendelssohn’s symphonies is album Sämtlichen Symphonien (Complete Symphonies) published is three-record set pressed in 1986 by Decca (No 6.35700) in Direct Metal Mastering technology. In addition to five symphonies publishers included some symphonic fragments playing role of encores. Performances featuring Wiener Philharmoniker conducted by Christoph Von Dohnányi were made in the period of four years – in 1977 symphonies No. 1 and No. 5, in 1978 Symphony No. 2 , in 1979 Symphony No. 4, overtures “Die Hebriden” op. 26 and “Meeresstille und glückliche Fahrt” op. 27 and in 1980 Symphony No. 3 and Kriegsmarsch der Priester op. 74. Symphony No. 2 features sopranos Sona Ghazarian and Edita Gruberova, tenor Werner Krenn, organist Josef Böck and Chor der Wiener Staatsoper.
In artistic and organizational sense this edition was tremendous undertaking and effect is really astonishing. The main advantage of complete publications is easy access to any of the works, playing the role of specific documentary. It happens that such projects also have artistic value, trying to capture the style of the composer in the context of changing formal solutions. Such is the case. Christoph Von Dohnányi is one of greatest conductors in last decades of 20th century. The fact he never became a celebrity means only he was too much work to do, to become media personality. He was working with many orchestras, but pinnacle of his career was eighteen years of leading Cleveland Orchestra. It was probably his most competitive work and outstanding achievement of this artist. His achievements were often overlooked by reviewers who still remember the founder of the Cleveland Orchestra, Georg Shell. From this period comes the saying “We give a great concert...and George Szell gets a great review”. But talking about Mendelssohn Complete Symphonies he can’t say so. These recordings were made before he worked for Cleveland Orchestra and remain one of artist’s great attainments.

Mintz & Abbado play Mendelssohn and Bruch

Sometimes different works of different composers are related and complementary. Felix Mendelssohn’s Violin Concerto in E Minor Op. 64 and Max Bruch’s Violin Concerto No 1 in G Minor Op. 26 are such pair of works, thus often are connected in programs of many albums. Both are very popular in violin repertoire, both belong to German romanticism highlights and both are best known works of their composers. These works are similar to each other in many formal ideas and strong romantic lyricism. Of course the style of orchestration is different but it is worth to remember there was at least a 22 year gap between them. The economics of artistic meanings and methods of creating again are the same, making these works even closer than it can be expected. Both were composed with supervision of violin virtuosi. First was consulted with Ferdinand David, concertmaster of Gewandhausorchester in Leipzig who was also premiered the work. Second is connected with celebrated 19th century violinist Joseph Joachim who was serving with advice for Bruch and performed it as first. Max Bruch and Felix Mendelssohn, both where versatile composers with clear romantic attitude and classical discipline. From the immense wealth of recordings featuring these concertos one of the more obvious is the album released by DGG in 1981 (2531 304) with Israeli virtuoso Shlomo Mintz and Chicago Symphony Orchestra conducted by Claudio Abbado.

Shlomo Mintz / Claudio Abbado - Violinkonzerte (1981)

The great feature of this recording is excellent cooperation between soloist, conductor and orchestra. Confidence and mutual understanding between artists flourished with perfect balance of solo violin and orchestral parts. Mintz plays freely and lightly, with deep, saturated sound. Abbado is able to bring out the most subtle dynamic and articulation nuances. Chicago Symphony Orchestra, one of top class symphonic bands, gave here phenomenal performance. Orchestra plays with virtuoso perfection and with marvelous sound that is class for itself. Artists recorded more in forcomming years, three years later in 1984 Shlomo Mintz with Chicago Symphony Orchestra and Claudio Abbado recorded phenomenal renditions of both Violin Concertos by Serge Prokofiev.
This session was second time Abbado made recording of Mendelssohn’s Violin Concerto – for the first time he recorded this composition in 1973 with Nathan Milstein and Wiener Philharmoniker. In Bruch’s Concerto Abbado’s work is astonishing. Traditional renditions are more dramatic while Abbado’s idea leads rather to expressive emotionalism of more comprehensive musical rethorics. Sometimes he is very close to the ridge of overreaction but he is justified because thirty years after recording the sound and expression are still as fresh as they could be performed now. And this is amazing how much capacity found conductor for this emotions in Bruch’s and Mendelssohn’s classically balanced works. It was also the time of his great renditions of Mahler’s Symphonies with Chicago Symphony Orchestra, with which he was recorded every year since 1978 and where in 1982 he became the principal guest conductor.
Shlomo Mintz’s performances are unbelieveably melodious. This compositions are enough melodically rich they do not need much more than clear sound and accurate performance. But Shlomo Mintz playing one of most beautiful sound ever, gave here samples of genuine sublimity and spirituality. His phrasing, his steady melody drawing gives listener feeling of strongest and the most common emotions. The question is how artist can be so mature in manifestation of his emotions when he is still so young. And this in fact does not refer solely to the performer. Mendelssohn started writing this Concerto when he was 29 years old. Max Bruch was 28 when composed his Violin Concerto No. 1. Maybe this is prerogative of romantic music or maybe we should redefine criteria of maturity, but it’s meaningful how often age has nothing to do with human powers.

Schneiderhan plays Mendelssohn and Bruch

Early Romanticism was the time of consolidating stylistic adjustments established by Mozart and Beethoven. One of the greatest composers of this era was Felix Mendelssohn who was often compared to Mozart since he was recognized as a child prodigy and in his early output strongly connected to Mozart’s style. In his childhood he wrote 12 String Symphonies and many other works. In later works, especially oratorios and choral compositions he was also searching for an inspiration in Bach’s musical ideas. He was active in many fields of music, teacher, conductor, performing artist, thus he was able to compose virtually in every form and for any kind of cast. This was pure romantic idea to connect forms and performing stuff in unusual manner. Mendelssohn’s Lieder Ohne Worte (Songs without Words), the great cycle of lyrical miniatures for solo piano became the source of inspiration for many romantic composers. 

The most famous symphonic work by Felix Mendelssohn is Violin Concerto E Minor, Op. 64. This is not the only concerto for violin by this composer. In 1951 Yehudi Menuhin rediscovered Concerto for Violin and String Orchestra D Minor written between 1821 and 1823, when composer was 12 to 14 years old. This virtuoso concerto sometimes is indicating as No 1. In Mendelssohn’s works one can find a whole series of concertos as well as numerous pieces in romantic forms, capriccios and concertinos for solo instrument and orchestra. Violin Concerto E-Minor is the last Mendelssohn’s orchestral composition and one of the best implementations of violin concerto form. There are many creative ideas composer followed writing this work. One is leading role of soloist in opening of the work and moving virtuoso cadenza before the recapitulation. To avoid applause between concert movements Mendelssohn abandon interruptions by connecting first two parts with single bassoon note developing into accompaniment for solo violin theme of Andante and third part starting attacca after fanfare-like short introduction. These are most visible novelties from formal classical point of view. Melody and harmonics of Mendelssohn’s Violin Concerto are full of new qualities and brilliant ideas.

Mendelssohn and Bruch played by Wolfgang Schneiderhan (1958)

One of many standard records of Felix Mendelssohn’s Violin Concerto E Minor and Max Bruch’s Violin Concerto No 1 in G Minor Op. 26 is album published in 1958 album of Deutsche Grammophon Gesellschaft (LPEM 19124) featuring Wolfgang Schneiderhan, violinist from Wienna who was active in DGG productions mainly in fifties. Album was joint edition of two 10-inch recordings published in fifties by the same label. Mendelssohn’s Concerto was recorded with Radio-Symphonie-Orchester Berlin conducted by Ferenc Fricsay and Bruch’s Concerto in G Minor was recorded with Bamberger Symphoniker under baton of Ferdinand Leitner. These recordings were the benchmark for performances in forthcoming years. Republished on 12-inch album these recordings were enough successful to have second DGG edition in 1961 and third license pressing by Heliodor label.
These mono recordings have a clear and deeply colorful sound.  Thanks to very good, perfectly trained orchestras and great conductors. Fricsay put the emphasis on classical phrasing energy and this is what let him to create almost transparent construction of Mendelssohn’s symphonism. Leitner is more emotional, trying to build some visions based on strong emotional contrasts. Considering technology of recording orchestra in these years, tutti sound surprisingly fresh. Both accompaniments are serving as good foundation for soloist. Wolfgang Schneiderhan was the kind of virtuoso towards to achieve technical perfection without breaking the rules or breaking conformity of style. His phrase is light and almost free of emotionalism, like he was trying to say there can be no more emotions than in notes alone. This is what makes his recordings maybe too much academic, but students don’t have doubts about its quality.