Mendelssohn was arguably the first 'modern' conductor as well.. Aside from first using a baton, he basically brought the concept of the 'repertoire' to the concert hall, performing on a regular basis works from past composers such as JS Bach, Handel, Mozart, Beethoven, Haydn, & even older Renaissance composers such as Orlando di Lasso & Palestrina. He was also a major champion for his orchestra members in Leipzig, making sure they were paid well above all else! He was a great guy.
Always loved Mendelssohn since I first listened to a piece of his, and it was his Piano Concerto! As a beginner, it was so exciting and fun it got me engaged instantly Edit: the first piano concerto in g minor
I have laboured under a prejudice for years about Elijah, which I have always found a slight work, no matter how many times I've tried; even using the splendid recordings of both Sawallisch & Frubeck de Burgos as guides. A recent performance with Pappano & the LSO failed to convince me...then the bolt out of the blue. Reluctantly I went to another performance, second in as many months, this time with the Scottish Chamber Orchestra under Emelyanychev. What a revelation that was! Absolutely splendid. Now I get it!
j@@DavesClassicalGuide Elijah is one of my favorite works, but I think the oratorio should have ended after God spoke to Elijah on Horeb (not only was the conflict of Part II resolved; the music after that point is much less inspired).
The Scottish Chamber Orchestra is not given the recognition it deserves. It punches well above its weight, and has a discography of excellent recordings .
I remember when I first heard the F minor quartet in a live performance by the Carducci quartet in Wales. It didn't fit that patronising putdown as someone who was considered talented but lightweight. Astonishing intensity.
Two weeks ago, I heard Symphony 5 for first time and I was stung by its force and amazingness. So, naturally, I wanted to hear more... And you give me this amazing guide of Mendelssohn music. Thank you!
As a pianist, I would like to highly recommend the C minor piano trio, Op.66, the Variations Serieuses, and the Fantasie in F-sharp Minor, Op.28. A recent discovery has been the B minor piano quartet, Op.3, a work which although predating the famous Octet in Eb by one year, already announces that Mendelssohn will be a great composer, at age 15!
Great introduction to one of the best composers! thanks for speaking so well about Elijah. It has a special place in my heart because I performed in it as a teenage choir member(bass) and have always felt resentful towards people who denigrate it. I have never understood the disparagement of Mendelssohn generally or placing him as a second tier, Great Composer; if there are tiers he belongs in the first. Wagner was influenced by him, Wagner was jealous of him, and Wagner smeared him with anti-Semitic rhetoric, which somehow stuck to the reputation of his music.
I don't think it did (stick to him, I mean). I don't think anyone outside of late-19th Century Germany thought any the less of him because of the ravings of Wagner. That may be my English background (where Elijah was trotted out as often as Messiah), but I seriously cannot think of any time (going back to the 1980s, at least) where Mendelssohn was 'suspect'.
@@dizwell I've often wondered why, of the two Jewish-descended composers Wagner singled out for abuse - Mendelssohn and Meyerbeer - Mendelssohn's reputation survived Wagner's abuse (as it should have), while Meyerbeer's didn't (and should have).
@@mgconlanExcellent question. One possible reason is that Meyerbeer was essentially an opera composer, whereas Mendelssohn was a genius in every genre he touched. Opera is always going to be a bit of a niche; Mendelssohn's talents were always likely to have a wider audience in consequence. Maybe?
I think Mendelssohn gets mischaracterized because the music has unbelievable fluidity and sense flow. Absolutely perfect pacing , hardly any dead spots and an effortless counterpoint command. Every thing sounds like it was conceived in one sitting(which is actually far from true in reality) His music doesn't have this GERMAN sense of ragged struggle and wringing out of ideas that Beethoven , Brahms, Bruckner ,Mahler etc tend to have.
If I remember correctly, the score to the Overture to A Midsummer Night's Dream was lost immediately after the first English performance, which was nearly three years after it was written: he had to rewrite it from memory. Part of me would like that original score to resurface, so that we could see how accurate Felix's memory was...
Hey Dave. Are you going to review the new Elijah on the LSO live label with Antonio Pappano? That would help the cause for Mendelssohn and the work in question.
I could not find Octet for Strings in my The Great Edition box set, the other recommendations are there; some of which I've already listened to (Songs with Words in particular.) The relevant Great Edition discs are numbers 10, 11, 17, 21, 25, and 35-36 (Elijah/Elias.) FYI: If your audience is interested in a German/English translation of the libretto, it is available on Wikipedia; I've printed a copy for my reference while listening. Thanks as always.
@@DavesClassicalGuide Found it! CD 13. Many thanks Mr. Hurwitz. (I was not familiar with Dvorak, at least not consciously, but your video convinced me to try the Naxos box set.)
Interesting that you mention Der Freischutz, Weber surely being an influence on the young Mendelssohn (e.g. Oberon). Might you have any Weber-related vids in your arsenal?
I could be wrong, but I don;t think you've done a repertoire talk on the Octet and it'd be great to hear what you thought about some of the best recordings available. There are so many.
Great video! I have often wondered why ‘happy Felix’ wrote so much music in a minor key. In my opinion it is something that comes from traditional Jewish music, which often uses tunes in minor key, even to express happiness or excitement. Do you think this could be an explanation?
No, actually, I don't. There's no firm evidence of that. It could just as easily be the influence of Bach, who also wrote tons of music in minor keys and could hardly have taken his inspiration from Jewish music.
As much as I love much of Mendelssohn’s recorded output, I don’t think I’ve ever heard anyone say that Mendelssohn is their favorite composer. I wonder if this means many think he is more lightweight than serious or perhaps too much of a young phenom. Perhaps if he had struggled many years before taken seriously we might subconsciously hold him in higher regard. I wonder.
I think it is called snobbery, by those who think the second half of the 19th century is when the heavy mob came in -Wagner, Brahms and Tchaikovsky- compared to whom Mendelssohn is 'easy listening'. This downgrades the skill with which Mendelssohn made a lot of his work seem easy to play -and for some pieces it probably was so that amateurs at home could play it- but doesn't give him credit for writing instantly memorable music, and in the case of the Octet a phenomenon, one of the finest chamber works ever written. More than this, Mendelssohn was a scholar who not only revived interest in the music of Bach, partly because he was resident in Leipzig, but also Schubert -Mendelssohn gave the first performance of the 9th Symphony in 1837 -Schubert was only 12 years older than Felix -so I think everyone who loves Bach and Schubert owes a great debt to Mendelssohn.
I am proud to say Mendelssohn was my favourite composer for years, and will always hold a place in my heart. Now I love so many it's just hard to say which is my favourite, but he's up there for sure
There's yet more fun to be had if you like piano concertos. He wrote a couple of good ones.
Mendelssohn was arguably the first 'modern' conductor as well.. Aside from first using a baton, he basically brought the concept of the 'repertoire' to the concert hall, performing on a regular basis works from past composers such as JS Bach, Handel, Mozart, Beethoven, Haydn, & even older Renaissance composers such as Orlando di Lasso & Palestrina. He was also a major champion for his orchestra members in Leipzig, making sure they were paid well above all else! He was a great guy.
I am a massive Mendelssohn-Fanboy and I love and completely agree with your selection;)
Always loved Mendelssohn since I first listened to a piece of his, and it was his Piano Concerto! As a beginner, it was so exciting and fun it got me engaged instantly
Edit: the first piano concerto in g minor
Been recently listening to the Songs Without Words & blimey they are very good.
Yes, they are.
I have laboured under a prejudice for years about Elijah, which I have always found a slight work, no matter how many times I've tried; even using the splendid recordings of both Sawallisch & Frubeck de Burgos as guides. A recent performance with Pappano & the LSO failed to convince me...then the bolt out of the blue. Reluctantly I went to another performance, second in as many months, this time with the Scottish Chamber Orchestra under Emelyanychev. What a revelation that was! Absolutely splendid. Now I get it!
Yeah, I hear you. It took me about 30 years and writing a book about Mendelssohn to make me really sit down and listen to it.
j@@DavesClassicalGuide Elijah is one of my favorite works, but I think the oratorio should have ended after God spoke to Elijah on Horeb (not only was the conflict of Part II resolved; the music after that point is much less inspired).
The Scottish Chamber Orchestra is not given the recognition it deserves. It punches well above its weight, and has a discography of excellent recordings .
@@patrickhackett7881That might explain the traditional Big Cut in Elijah late in Part 2 that conductors like Sargent always took.
Let me recommend the Richard Hickox recording - Willard White as Elijah really sounds like the voice of God!
I remember when I first heard the F minor quartet in a live performance by the Carducci quartet in Wales. It didn't fit that patronising putdown as someone who was considered talented but lightweight. Astonishing intensity.
Two weeks ago, I heard Symphony 5 for first time and I was stung by its force and amazingness.
So, naturally, I wanted to hear more... And you give me this amazing guide of Mendelssohn music. Thank you!
As a pianist, I would like to highly recommend the C minor piano trio, Op.66, the Variations Serieuses, and the Fantasie in F-sharp Minor, Op.28. A recent discovery has been the B minor piano quartet, Op.3, a work which although predating the famous Octet in Eb by one year, already announces that Mendelssohn will be a great composer, at age 15!
An excellent selection, I think. It's nice you've managed to fit in symphonies, chamber, concerti and choral: a representative spread.
Great introduction to one of the best composers! thanks for speaking so well about Elijah. It has a special place in my heart because I performed in it as a teenage choir member(bass) and have always felt resentful towards people who denigrate it. I have never understood the disparagement of Mendelssohn generally or placing him as a second tier, Great Composer; if there are tiers he belongs in the first. Wagner was influenced by him, Wagner was jealous of him, and Wagner smeared him with anti-Semitic rhetoric, which somehow stuck to the reputation of his music.
I don't think it did (stick to him, I mean). I don't think anyone outside of late-19th Century Germany thought any the less of him because of the ravings of Wagner. That may be my English background (where Elijah was trotted out as often as Messiah), but I seriously cannot think of any time (going back to the 1980s, at least) where Mendelssohn was 'suspect'.
@@dizwell I've often wondered why, of the two Jewish-descended composers Wagner singled out for abuse - Mendelssohn and Meyerbeer - Mendelssohn's reputation survived Wagner's abuse (as it should have), while Meyerbeer's didn't (and should have).
@@mgconlanExcellent question. One possible reason is that Meyerbeer was essentially an opera composer, whereas Mendelssohn was a genius in every genre he touched. Opera is always going to be a bit of a niche; Mendelssohn's talents were always likely to have a wider audience in consequence. Maybe?
I think Mendelssohn gets mischaracterized because the music has unbelievable fluidity and sense flow.
Absolutely perfect pacing , hardly any dead spots and an effortless counterpoint command. Every thing sounds like it was conceived in one sitting(which is actually far from true in reality)
His music doesn't have this GERMAN sense of ragged struggle and wringing out of ideas that Beethoven , Brahms, Bruckner ,Mahler etc tend to have.
If I remember correctly, the score to the Overture to A Midsummer Night's Dream was lost immediately after the first English performance, which was nearly three years after it was written: he had to rewrite it from memory.
Part of me would like that original score to resurface, so that we could see how accurate Felix's memory was...
He revised everything anyway.
8:26 I really liked your whistling Dave.
Dave always has the best thumbnails
The fact that his last two videos have almost the same thumbnail with the same t-shirt makes it even more hilarious!
I guess that means TH-cam agrees with you, since it selects the photos--I have no idea how and why it does what it does.
I love that description of a genius at the beginning. Thanks.
The list is perfect! Nice balance and range.
Yup, great selection.
Hi Dave. Thank you for your latest look at Mendelssohn (Jarvi's cycle) etc. Mendelssohn is music is too sadly neglected in concert halls today.
the sixth quartet! wow, I wasn't familiar, the string Symphonies too!!!
Hey Dave. Are you going to review the new Elijah on the LSO live label with Antonio Pappano? That would help the cause for Mendelssohn and the work in question.
Thanks Dave! Awesome as usual!
I could not find Octet for Strings in my The Great Edition box set, the other recommendations are there; some of which I've already listened to (Songs with Words in particular.) The relevant Great Edition discs are numbers 10, 11, 17, 21, 25, and 35-36 (Elijah/Elias.) FYI: If your audience is interested in a German/English translation of the libretto, it is available on Wikipedia; I've printed a copy for my reference while listening. Thanks as always.
It's in there, right after the string quartets and before the piano quartets.
@@DavesClassicalGuide Found it! CD 13. Many thanks Mr. Hurwitz. (I was not familiar with Dvorak, at least not consciously, but your video convinced me to try the Naxos box set.)
Interesting that you mention Der Freischutz, Weber surely being an influence on the young Mendelssohn (e.g. Oberon). Might you have any Weber-related vids in your arsenal?
Check out my vid on Hindemith's Symphonic Metamorphosis and Weber's originals. I think it's interesting.
Mendelssohn had some talent for drawing and painting watercolors.
I could be wrong, but I don;t think you've done a repertoire talk on the Octet and it'd be great to hear what you thought about some of the best recordings available. There are so many.
That's the problem. It's a "take your pick" situation.
Great video! I have often wondered why ‘happy Felix’ wrote so much music in a minor key. In my opinion it is something that comes from traditional Jewish music, which often uses tunes in minor key, even to express happiness or excitement. Do you think this could be an explanation?
No, actually, I don't. There's no firm evidence of that. It could just as easily be the influence of Bach, who also wrote tons of music in minor keys and could hardly have taken his inspiration from Jewish music.
The early violin concerto in D minor is far from "essential" Mendelssohn, but still worth a listen.
As much as I love much of Mendelssohn’s recorded output, I don’t think I’ve ever heard anyone say that Mendelssohn is their favorite composer. I wonder if this means many think he is more lightweight than serious or perhaps too much of a young phenom. Perhaps if he had struggled many years before taken seriously we might subconsciously hold him in higher regard. I wonder.
I think it is called snobbery, by those who think the second half of the 19th century is when the heavy mob came in -Wagner, Brahms and Tchaikovsky- compared to whom Mendelssohn is 'easy listening'. This downgrades the skill with which Mendelssohn made a lot of his work seem easy to play -and for some pieces it probably was so that amateurs at home could play it- but doesn't give him credit for writing instantly memorable music, and in the case of the Octet a phenomenon, one of the finest chamber works ever written. More than this, Mendelssohn was a scholar who not only revived interest in the music of Bach, partly because he was resident in Leipzig, but also Schubert -Mendelssohn gave the first performance of the 9th Symphony in 1837 -Schubert was only 12 years older than Felix -so I think everyone who loves Bach and Schubert owes a great debt to Mendelssohn.
I am proud to say Mendelssohn was my favourite composer for years, and will always hold a place in my heart. Now I love so many it's just hard to say which is my favourite, but he's up there for sure
Any plans to review the new Mendelssohn box from Warner, Dave? These 'composer' boxes have been pretty tip-top, so far, and I'm tempted....
The Warner Berlioz box is also first-rate.
He reviewed it already.
Sure. When I get it.
Whoops. I though you were talking about something else. Here's that vid: th-cam.com/video/0M-h5zA3PiE/w-d-xo.html
Hey Dave, what’s the verdict on Hänssler’s Mendelssohn edition?
Because Mozart was dead, we were given Mendelssohn.
'Beginners'? Beginners at listening?
At life.