Felix MENDELSSOHN (1809-1847)
Double Concerto for violin, piano and strings in D minor (version with winds
and timpani) (1823) [35:07]
String Quintet No.2 in B flat major, Op.87 (version for string orchestra)
(1845) [28:22]
Antje Weithaas (violin)
Alexander Lonquich (piano)
Camerata Bern
rec. 15-17 June 2010, Landgasthof, Riehen, Switzerland
CLAVES RECORDS 50-1102 [63:41]
Felix MENDELSSOHN (1809-1847)
Concerto for piano and strings in A minor (1822) [34:23]
Double Concerto for violin, piano and strings in D minor, (1823) [37:15]
Kristian Bezuidenhout (fortepiano)
Freiburger Barockorchester/Gottfried von der Goltz (violin and direction)
rec. April 2010, Telex Studio, Berlin, Germany
HARMONIA MUNDI HMC 902082 [71:40]
Two recent all-Mendelssohn releases, one on Claves and the other on Harmonia
Mundi each including the Double Concerto, an infrequently heard score
from the young composer. For Claves the Camerata Bern perform using modern
instruments, metal strings and modern bows. On Harmonia Mundi early music
specialists the Freiburger Barockorchester provide a fascinating contrast
using period instruments.
Mendelssohn’s A Midsummer Night’s Dream Overture and String Octet
are both widely regarded as works of youthful genius. Contained on these two
releases are even earlier scores - the Concerto for piano and strings in
A minor and the Double Concerto for violin, piano and strings in D
minor from 1822/23. At this time the precociously talented Mendelssohn,
then a mere fourteen years old, had already composed over a hundred scores
including twelve String Symphonies. Mendelssohn intended that he would
be able to perform the Double Concerto with his friend the violinist
Edward Rietz and they did this in 1823 in front of sixty guests at a Sonntagsmusiken
(Sunday musicales) at the Mendelssohn’s Berlin home. Mendelssohn’s early concertos,
composed in a flurry of activity in the early 1820s, comprise: Concerto
for piano and strings in A minor (1822); Concerto for violin in D minor
(1822); Double Concerto for violin, piano and strings in D minor (1823);
Concerto for two pianos in E major (1823) and Concerto for two pianos
in A flat major (1824). Most likely because these concertos are from the
pen of a young teenager they fell into oblivion for many years and are still
often overlooked today. Yet, owing to Mendelssohn’s genius they contain many
beautiful melodies, numerous fresh and novel ideas and will provide much pleasure.
The original scoring of the Double Concerto is the version that is
performed here by the Freiburger Barockorchester. Commencing with a lengthy
opening Allegro full of interest the excellent soloists perform with
an impressive dialogue and awareness. Featuring an extended and charming unaccompanied
duet for violin and fortepiano the attractive Adagio is given a satisfying
performance so highly romantic in character. Creating a tempestuous feel the
Freiburger Barockorchester take the Rondo, Finale at breakneck
speed requiring real concentration and energy. Throughout the persuasive duo
convey a real sense of engagement with the music.
Following that home-based private performance Mendelssohn felt inclined to
re-score the Double Concerto by adding winds and timpani. Just over
a week later the revision was performed at the Berlin Schauspielhaus. This
version with winds and timpani was rediscovered among the Mendelssohn papers
and this is what the Camerata Bern has chosen to perform. Claves state on
the rear of the gatefold sleeve that this is the world première recording
of the Double Concerto in the version with winds and timpani. There
is beautiful playing from Weithaas and Lonquich in the extended opening Allegro.
The violin is given a highly romantic feel more like a Brahms concerto than
the classically inclined Mendelssohn. However, Weithaas is careful never to
overdo the vibrato. In the Adagio with its substantial section for
unaccompanied violin and piano the duo express an atmosphere of intense yearning.
With unforced naturalness the prevailing mood is one of calm and relaxation.
It would be hard to imagine a quicker tempo than that from the Camerata Bern
in the Finale. The duo play with consistent charm and perception in
a performance that exudes personality.
On Claves the Camerata Bern also perform the String Quintet No.2 composed
in 1845 when Mendelssohn was thirty-six - only two years before his untimely
death. Mendelssohn prepared a version for String Orchestra that Camerata
Bern performs here. The Claves booklet notes state that this is its first
recording. Breezy, fresh and very brisk playing opens the Allegro vivace
movement with the slower central passages sustaining a tense undercurrent.
The dance-like Andante scherzando is full of vivacity and charm
contrasting nicely with the solemn and reverential tread of the Adagio
e lento. I especially enjoyed the finale where there’s real energy and
exhilaration.
The second score on the Harmonia Mundi disc from the Freiburger Barockorchester
is the Concerto for piano and strings in A minor composed in 1822.
Then only thirteen years old Mendelssohn had been inspired to write the score
for his sister Fanny to play after hearing Hummel’s A minor Piano Concerto.
Soloist Kristian Bezuidenhout on the fortepiano plays this undemanding and
appealing music quite exquisitely. The keyboard figurations and extended double
trills are confidently performed. At 7:27-8:18 the introduction of the mournful
strings over the fortepiano is a master-stroke. The highly romantic melody
for the soloist is movingly played with rapt sensitivity. The writing in the
Rondo, finale delights the ear. From 8:50 the brilliant Coda
provides an exhilarating conclusion to this most agreeable score.
In the Double Concerto for violin, piano and strings it is hard to
choose. The couplings for both issues are extremely interesting. It is very
much down to whether you want an exciting performance on modern instruments
with modern set-ups from Camerata Bern or a stirring period instrument approach
from Freiburg. Don’t let any previous bad experiences with the fortepiano
put you off. Here Kristian Bezuidenhout plays a wonderful sounding fortepiano
after Conrad Graf (1824) built in 1989 by Rodney Regier, USA.
With regard to sound quality the Harmonia Mundi disc catches the musicians
closely with much colourful detail. My slight reservation is over-brightness
in the forte passages. By comparison the Claves is splendidly recorded perhaps
a touch bright at times but well balanced with much fine detail. The music
of the young Mendelssohn is extremely well served by these two new releases.
One could do much worse than add both releases to your Mendelssohn collection.
Michael Cookson
One could do much worse than add both releases to your Mendelssohn collection.