This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

It is hard to fault this Carus release of Mendelssohn's Paulus ... a must for any collection of sacred music.

Specialising in spiritual choral music from all periods the Carus label continue their impressive series of Mendelssohn sacred choral works with the oratorio Paulus (St. Paul); their eleventh volume under the baton of Frieder Bernius.

The oratorios Paulus and Elijah are two mainstays of the genre that secured Mendelssohn’s fame in the restorationist Germany and Victorian Britain, where they were frequently performed at numerous music festivals and sometimes conducted by the composer. In spite of the forceful and enduring backlash against things Germanic and Victorian that prevailed in Britain following the outbreak of the Great War, Paulus and Elijah have remained perennially popular with the British provincial choral societies. On the other hand, owing mainly to changes in music fashion, Mendelssohn’s impressive output of psalm settings, motets, cantatas, Walpurgisnacht and the Lobgesang - works that figured so prominently in the European music life of the 1830s and 1840s - are either largely forgotten or rarely performed.

According to biographer Michael P. Steinberg, "Paulus was written in the aftermath of Abraham Mendelssohn’s death and as a tribute to his memory." Musicologist Edward Dannreuther opined that Paulus was written probably for festival concert performance purposes with a devotional spirit rather than purely for ecclesiastical reasons. Mendelssohn’s sacred choral music contains a special and unique appeal. At its very best it is convincing and expressive, bright and airy in tone with a gentle serenity and a rare beauty.

Mendelssohn composed the oratorio Paulus for solo voices, chorus and orchestra between 1834 and 1836. Assisted by Pastor Julius Schubring, he prepared the text from the Bible centring the oratorio on the book of St. Paul and focusing on the martyrdom of St. Stephen and the conversion of Saul of Tarsus.

Paulus was a tremendous success at its première at the Lower Rhine festival in Düsseldorf, Germany in 1836 and gave the twenty-seven year old Mendelssohn his international breakthrough. In the eyes of musicologist Francis Toye, for Mendelssohn the triumph of Paulus, "eventually established him, in England in particular, as the legitimate successor to Handel." Many performances soon followed throughout Europe, Russian and also in the USA. Probably Mendelssohn’s most admired score in his lifetime, composer Robert Schumann remarked upon the, "indelible colour of instrumentation" and the, "masterful playing with all the forms of the art of composition" describing it as a, "jewel of the present." However Paulus has not achieved the same enduring level of greatness as that of his later oratorio Elijah; a more mature score that is performed more often with a far larger number of available recordings. Paulus is cast in two large sections. According to music writer David Ewen the first section is, "essentially dramatic" and the second section, "lyrical and contemplative".

Section one of Paulus contains numerous highlights and is the more successful of the two parts. I was struck by how much the robust and elaborate opening chorus Herr, der du bist der Gott (Lord, Thou alone art God) (track 2, CD1) reminded me of Handel’s coronation anthem, Zadok the Priest (HWV 258). The splendid declamation of the soprano Maria Cristina Kiehr in the aria Jerusalem, die du tötest die Propheten (Jerusalem! They that killest the Prophets) (track 7, CD1). The shock and abhorrence from Werner Güra in the tenor aria, Und sie steinigten ihn (And they stoned him) (track 9, CD1) is memorable. A true high spot is the sequence of soothing strains from the chorus in Siehe! Wir preisen selig, die erduldet haben (Happy and blest are they who have endured!) (track 11, CD1). Also notable is the remorse and sorrow from Michael Volle in the bass ‘rage’ aria Vertilge sie, Herr Zebaoth (Confound them all, Lord Sabbath) (track 12, CD1). Volle’s outburst of anger and loathing in Gott, sei mir gnädig nach deiner Güte (O God, have mercy on me) (track 18, CD1) must also be mentioned. Here one cannot fail to be impressed by the excellent woodwind accompaniment. Another highlight is the bass aria Ich danke dir, Herr, mein Gott! (I praise thee, O Lord, my God!) where Saul’s prayer is answered by the mixed chorus.

Section two of Paulus is generally considered to be of reduced dramatic quality and consequently is of rather less interest than the opening part. I should just mention the reverential and moving duets for tenor and bass So sind wir nun Botschafter an Christi Statt (Now we are Ambassadors in the name of Christ) (track 3, CD2) and Denn also hat der Herr geboten (For so hath the Lord himself commanded) (track 9, CD2). Then there’s the dramatic and powerful, extended bass aria from Michael Volle in Ihr Männer, was macht ihr da? (O wherefore do ye these things) (track 14, CD2). Werner Güra in the tenor cavatina, Sei getreu bis in den Tod (Be thou faithful unto death) (track 18, CD2) is impressive. Here I was struck by the superb playing by the soloist in the obbligato cello part. The strength and intensity of the two mighty and compelling final choruses is noteworthy: Sehet, welch eine Liebe uns der Vater erzeiget (See what love hath the Father bestowed on us) (track 21, CD2) and Nicht aber ihm allein, sondern allen (Not only unto him) (track 23, CD2).

Argentinian soprano Maria Cristina Kiehr, who sings both the soprano and alto parts, rises to the tough assignment and proves impressive. Her captivating performance was appropriately reverential, blended with impressive clarity of enunciation and creamy timbre. Güra provides an enthusiastic contribution with his bright and medium weight tones, of a certain Italianate quality. These contrast splendidly with Volle’s memorably rich and characterful bass.

Bernius’s direction is impressive in every way. The playing of Deutsche Kammerphilharmonie Bremen is never overwhelming but always high on sensitivity; containing an especially moving directness of expression. The sound quality on this SACD, which I played on my standard players, is first class and especially well balanced. I enjoyed the exemplary essay in the booklet from musicologist R. Larry Todd, however, there are several errors in the accompanying liner notes.

With regard to alternative recordings of Paulus I have considerable affection for the 1995 Montreux version under the direction of Philippe Herreweghe. The quartet of soloists: Melanie Diener (soprano); Annette Markert (mezzo); James Taylor (tenor) and Matthias Görne (baritone) are joined by the Collegium Vocale Gent; La Chapelle Royale and the Orchestre des Champs-Élysées on Harmonia Mundi HMC901584.85.

Another alternative version of Paulus from my collection that I can recommend is the 1994 Dvo?ák Hall, Prague performance from the baton of conductor Helmuth Rilling. The talented quartet of soloists is Juliane Banse (soprano); Ingeborg Danz (alto); Michael Schade (tenor); Andreas Schmidt (bass) with the Gächinger Kantorei Stuttgart; Prager Kammerchor and the Czech Philharmonic Orchestra on Brilliant Classics 99953 c/w Elijah, Op. 70.

It is hard to fault this Carus release of Mendelssohn’s Paulus which is a must for any collection of sacred music. I look forward to Frieder Bernius’s forthcoming recording of Elijah, Op. 70, also on Carus.

-- Michael Cookson, MusicWeb International

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Classical Music

MENDELSSOHN Cello Sonatas: in B?, op. 45; in D, op. 58. Variations concertantes, op. 17. Assai tranquillo. Lieder ohne Worte, op.19a/1,3,6 (arr. Piati); op.109 • Antonio Meneses (vc); Gérard Wyss (pn) • AVIE 2140 (72:45)


As Chopin’s works for cello owe their genesis to his association with Franchomme, so Mendelssohn’s pieces were written with specific cellists in mind. The charming and brilliant Variations concertantes (1829) and the First Sonata (1838) were written for the composer’s talented younger brother, Paul. In the interim, Mendelssohn composed the charming albumblatt, known as the Assai tranquillo , as a gift for his Düsseldorf colleague, Julius Rietz. The weightier Second Sonata, from 1843, is dedicated to Count Mateusz Wielhorski, who became a professional cellist on his retirement from the Russian army and eventually an important patron of music in St. Petersburg. Mendelssohn’s last work for cello and piano, the poetic Song without Words , op 109, is dedicated to Lisa Cristiani, one of the few women cellists of the time. Three of the piano solo Songs without Words , transcribed by the cellist Alfredo Piatti, who was much admired by Mendelssohn when they met in London, are interspersed among the original works on this disc.


The distinguished Antonio Meneses—a celebrated soloist and, since 1998, cellist with the Beaux Arts Trio—is a near-ideal interpreter of this important Romantic repertoire. Commanding a rich and varied tonal palette, Meneses approaches Mendelssohn’s essentially lyric expression with poise and equilibrium. This does not mean that passion and drama are given short shrift. In the Scherzo of the D-Major Sonata, the cunning pizzicatos verge on the sinister, only to be dispelled by the flowing cantabile of the trio. During the ensuing Adagio, one of the most beautiful slow movements in Mendelssohn’s chamber music, the cello interrupts the piano’s chorale figure with a series of recitatives. Meneses imbues these passages with a poetic utterance that is disarming in its intensity. His reading of the op. 109 Song without Words is the finest I can remember. Though Gérard Wyss’s piano-playing may lack a certain polish and finesse, his musical instincts are acute, and he remains the sensitive and supportive partner throughout.


Musically speaking, these performances will comfortably take their place alongside other admired readings of the repertoire, including those of Mischa Maisky and Sergio Tiempo (DG 471565) and János Starker and György Sebok (Mercury 434377). The recording, however, made in England in June 2007 at Potton Hall, Suffolk, doesn’t seem to do full justice to Meneses’s wonderful sound. It’s difficult to tell if poor microphone placement or a problematic acoustic space is the culprit, but presence and blend are lackluster. Stephen Pettitt contributed the informative and inviting notes.


FANFARE: Patrick Rucker

REVIEWS:

“Although seventy-five years old, these mono recordings have been digitally remastered to reveal a thrilling performance of this great dramatic work.” – John Pitt, New Classics

“Full marks... Baillie is superb... Parry Jones makes a real impression. Williams is a magnificent colossus of an Elijah. I’d recommend this retrieval with pleasure.” – Jonathan Woolf, MusicWeb

“First rate standards of production and repertoire... Astoundingly good quality.” – David Patmore, Classic Record Collector

“Williams is a magnificent prophet... Histrionically exciting and technically accomplished. Baillie is as always fresh-toned with pinpoint attack. The well trained choir is vital and dramatic, as is Robinson’s conducting. I am pleased to have had the opportunity to hear this set.” – John T. Hughes, International Record Review

Until this recording arrived for review I had been unaware of how good the Australian Chamber Orchestra was. What a superb group of musicians! With the exception of the pianist Polina Leschenko all other participants are members of this fine orchestra including violin soloist Richard Tognetti who also leads the Octet. As usual BIS have blessed the project with a first class recording that allows all details to tell and yet to remain within a believable acoustic space.

If I were to pick any holes I would rather like to have heard the Concerto on a period piano instead of the modern concert grand which has a good deal more power than is required for this essentially 18th century music. The thorough notes by Horst A. Scholz tell us that Mendelssohn composed the Concerto for Violin and Piano in May 1823 at the ripe old age of 14. It is less the antecedent of Hummel that one hears than the influence of Carl Philip Emmanuel and even Johann Christian Bach. There is no problem whatever with a young protégé emulating his predecessors when it is done so beautifully. The concerto is a joy to hear providing you do not expect the Mendelssohn of the Violin Concerto in E minor of 1844 or of the mature symphonies. Both soloists play with wonderful accuracy and joie de vivre. The three movement form is absolutely to the classical standard except for the considerable length of the opening Allegro which runs for nearly 18 minutes, a length even Mozart rarely reached.

The real shock is that only two years elapsed before the entirely characteristic Octet for Strings was composed. Here at 16 we have a fully fledged Mendelssohn. Despite the large number of earlier chamber pieces this was his real breakthrough and a complete masterpiece. The form of the double quartet is not unknown, Spohr wrote four but the first of these only predated Mendelssohn's Octet by two years and is far more a work for two string quartets, as the name implies. Mendelssohn composes for a full integrated group of four violins, two violas and two cellos. He even states on the title page that the work must be played 'in the style of a symphony'. Few other pieces like this are in the repertoire even today. The eight strings of the Australian Chamber Orchestra play with finesse and vitality such that they fear no comparisons with the competition, even the most prestigious. There being almost no repertoire for a string octet all performances on record are by groups brought together, or extracted, for the occasion.

Those seeking a recording should consider the present issue very seriously because the coupling is unusual and the whole is better recorded that any other I know.

-- Dave Billinge, MuscWeb International

}Gramophone (2/97, pp. 53-4) "...I was as impressed by [Frith and Tinney's] attunement of phrasing in lyrical contexts as by their synchronization in all the brilliant semiquaver passagework....a not-to-be-missed opportunity to explore the precocious young Mendelssohn..."{

"Felix Mendelssohn's surviving output for violin and piano comprises three sonatas, written between 1820 and 1838, thus spanning the mature phase of the composer's creative life, and a handful of shorter apprentice pieces. They're all elegantly constructed and tuneful works that you'd think might have attracted a wider following on disc and in the recital room. Instead, Mendelssohn's violin triptych is seriously under-represented on CD, and most of the short pieces haven't been recorded at all, so this budget newcomer is long overdue. The performers, violinist Nicholas Milton, concertmaster of the Adelaide Symphony Orchestra, and the Icelandic pianist Margrét Grímsdóttir, give strong, positive readings of these works on this nicely engineered Naxos issue. The student works, composed between 1819 and 1821, are basically composition exercises produced for Mendelssohn's teacher, Carl Friedrich Zelter; but so were the miraculous String Symphonies, and these violin pieces are scarcely of lesser quality, with the two Fugues (in D minor and C minor) reflecting the young Mendelssohn's extraordinary skills as a contrapuntist. The Nomos Duo gives competent performances of these slighter offerings, and delivers tersely argued, forthright readings of the three mature sonatas."

--Michael Jameson

Paul Mendelssohn, Felix’s younger brother, was a banker by profession but an accomplished amateur cellist, and it is to him that we owe Felix Mendelssohn's three major compositions for cello and piano. This new recording presents Mendelssohn's complete output for cello and piano, and includes the three large scale works, as well as two short pieces, performed by leading virtuosi Marcy Rosen and Lydia Artymiw. Marcy Rosen has established herself as one of the most important and respected artists of our day. Los Angeles Times music critic Herbert Glass has called her "one of the intimate art's abiding treasures." She has performed in recital and with orchestra throughout Canada, England, France, Japan, Italy, Switzerland, and all fifty of the United States. She made her concerto debut with the Philadelphia Orchestra at the age of eighteen and has since appeared with such noted orchestras as the Dallas Symphony, the Phoenix Symphony, the Caramoor Festival Orchestra, the Orpheus Chamber Orchestra in Carnegie Hall, the Jupiter Symphony and Concordia Chamber Orchestra at Alice Tully Hall, and the Tokyo Symphony at the famed Orchard Hall in Tokyo. Lydia Artymiw has emerged as one of the most compelling and individual pianists of her generation. For over forty years, she has consistently earned rave reviews, firmly establishing herself as a unique artistic personality with rare communicative gifts. Critics have praised her artistry and highly original interpretations, her warmth, intelligence, poetic gifts, thoughtfulness, versatility, and most of all, her distinctive and beautiful sound.

Classical Music

Classical Music

Classical Music

Though Mendelssohn's genius was clear at the age of 16, when he wrote his Octet, he was not quite so precocious as Mozart. The first six of his string symphonies were all written in 1821, when Mendelssohn was 12 years old. Each work is cast in a simple three movement, fast/slow/fast form, and no movement lasts more than five minutes. There are many influences. The shadows of Mozart, Haydn, J. C. Bach, Handel and others fall over the music, and the quality of invention is somewhat juvenile, but with each succeeding work one sees a growth of inspiration, particularly in slow movements. The English String Orchestra play these works in lively fashion...Boughton's choice of tempos seems unfailingly adroit.

-- Gramophone [3/1989]

Includes work(s) for piano by Felix Mendelssohn. Soloist: Martin Jones.

Classical Music

MENDELSSOHN: Cello Sonatas Nos. 1 and 2 / Variations Concert