Mendelssohn

Mendelssohn
CD Releases
with compositions by Felix Mendelssohn Bartholdy (1809-1847)
Mendelssohn · ElijahMendelssohn · Elijah
Felix Mendelssohn
Elijah / Elias
German oratorio Opus 70 in two movements,
performed by Peter Lika, Heidi Elisabeth Meier,
Jolantha Michalska-Taliaferro, Hans Peter Blochwitz,
Maulbronn Cantor Choir (Kantorei Maulbronn),
Members of the SWR-symphony-orchestra Baden-Baden and Freiburg
Conductor: Jürgen Budday
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Double Album · c. 136 Minutes
2 CD
EUR 33,00SpotifyDeezerGoogle PlayApple MusicAmazon Digital MusiciTunes MasteredFor...Prime Phonic HDHD TracksQobuz HDeClassical HDReview
An Elijah as a devout and moving experience...
This Elijah is both: calming and very beautiful (listen to the octet 'Denn er hat seinen Engeln befohlen' or the divine quartet 'Wirf dein Anliegen auf den Herrn'). Of course once Elijah has done his bit and the Real God performed the much asked-for miracle, the choir are full of joy and sing their hearts out. But this incident typifies this whole performance. Although it was recorded live there is neither any evidence of an audience present nor any tangible sense of occasion in this performance, but there is a strong sense of being in a place of worship, not just in occasional glimpses of the monastery's lavish acoustic but also in Jürgen Budday's restrained direction, allowing his singers to relish the work's more devout moments and never trying to force the pace. So we have some of the slowest tempi on disc. The choir clearly are at ease with Budday's approach and produce a glorious luminosity in such reflective choruses as 'Siehe, der Hüter Israels'. Also the superb soloists are all utterly convincing in their roles: Jolanta Michalska-Taliaferro is a magnificently wicked Queen as she spits out her venom against Elijah, while Heidi Elisabeth Meier could hardly be more angelic as she calmly exhorts Elijah to 'Rest in the Lord' (after his profoundly moving 'Es ist genug'). Polished orchestral playing further enhances Budday's interpretation of the work as a profound statement of Christian faith, while the recording is as flawless as one would expect from a state-of-the-art studio, let alone a 12th-century monastery.
Marc Rochester, Gramophone Magazine
Review
***** Excellent
5 Stars (out of 5 Stars)
An Amazon.uk customer on 5 Mar. 2016 (Verified Purchase of the CD)
Organ Gloriosa · In honour of the Prince of HomburgOrgan Gloriosa · In honour of the Prince of Homburg
Organ Gloriosa
In honour of the Prince of Homburg
Ulrike Northoff presents
the Great Buergy-Organ in the Bad Homburg Castle Church
with Johann S. Bach - Fantasia et Fuga "The Great",
Georg Muffat - Passacaglia for Organ,
Carl Ph.E. Bach - Sonata No. IV,
Christian H. Rinck - Flute Concerto for Organ Op. 55,
Felix Mendelssohn - Organ Sonata No. IV, Op. 65
Recorded in the Castle Church Bad Homburg
HD Recording · DDD · c. 56 Minutes
CD
EUR 22,00SpotifyApple MusiciTunes MasteredFor...Qobuz HDReview

A fine compilation

This fine compilation of show stopping organ works is done full justice by the imposing Bad Homburg Church Organ played with relish and gusto by Ulrike Northoff. Starting off with Bach, appropriately enough, she gives a titanic interpretation of the 'Great' Fantasia and Fugue, BWV 542. The rarely heard Sonata by Bach's son Carl Philipp Emanuel also comes across quite nicely as does an interesting discovery by Christian Rinck, a rather obscure name whose Concerto for organ (originally for flute) certainly warrants some attention. We finally conclude with some Mendelssohn, his fourth sonata which comes across very well played indeed. K&K's presentation is quite excellent with expansive notes and some very striking photographs. The sound is very vivid and immediate although some boom is also detected due to the large, cavernous acoustic.

Gerald Fenech on Classical Net

Review

HI-RES AUDIO AWARD

Awarded by Qobuz with the HI-RES AUDIO

Qobuz, March 2012

Schubert: Symphony No. 8 & Mendelssohn: Symphony No. 3Schubert: Symphony No. 8 & Mendelssohn: Symphony No. 3
Authentic Classical Concerts
Schubert: Symphony No. 8
& Mendelssohn: Symphony No. 3
Franz Schubert:
Symphony No. 8 in B Minor, D 759 "The Unfinished"
Felix Mendelssohn Bartholdy:
Symphony No. 3 in A Minor, Op. 56 "The Scottish"
performed by the New Symphony Orchestra Sofia,
conducted by Petko Dimitrov
A concert recording from the National Palace of Culture in Sofia (Bulgaria)
DDD · c. 64 Minutes
CD
EUR 22,00SpotifyDeezerNapsterApple MusicTidaliTunesReview

A memorable performance

Young players excel in compelling live performances of two favourite symphonies
The members of the New Symphony Orchestra, drawn from the Sofia Radio Orchestra, are a comparatively young ensemble founded in 1971. The writer of the insert-note suggests that their musical style is "sentimental, due to the members' experience recording film music". Sorry, but there is no trace of sentimentality in either performance. Instead, here is a superb example of the intense concentration that can come with live musicmaking from eager young players, well rehearsed, in front of a receptive audience.
In the Scottish Symphony, the character of the playing combines an effervescing vitality and a natural Slavonic warmth, particularly from the full-toned strings. Petko Dimitrov shapes Mendelssohn's lovely lyrical opening with an appealing simplicity, and in the first climax of the vivace of the exposition his surge of animation has the players all but scampering in their exhilaration. The one snag is that the important exposition repeat is, alas, omitted. The scherzo sparkles, the slow movement is beautifully shaped yet has a sombre underlay which prevents any suggestion of blandness, and after the dancing vivacissimo the close of the finale is expansive, almost Klemperer-like in its spacious grandeur. Overall, a performance of much character.
Schubert's Unfinished is even finer, the epitome of Romanticism, the quiet opening mysterious, darkly evocative, yet with incisive drama soon to offset the lyricism. Here the exposition repeat is played, and used to build an onward propulsion which is very compelling. Dimitrov's modest change of pace for the exquisitely gentle opening of the second movement is perfectly judged, and the arrival of the secondary theme is beautifully prepared by the violins. The woodwind contributions, first the clarinet (2'06'') and the naturally following, equally delicate oboe (2'36'') are almost like a question and answer, before the drama of the bold trombone-dominated tutti (2'56'') which is arresting without being coarse.
But it is the gently ruminative quality of the playing - of wind and strings alike - that makes this performance so memorable. The interplay between apparent serenity and the music's bolder progress is like a contrast between twilight apprehension and the daylight assertion of life's irrepressible advance, with a haunting sense of resignation conveyed in the movement's guileless closing bars. The concert hall recording was made in simple 'two-track stereo' and the effect is real, slightly distanced, but tangible. Most rewarding.

Ivan March, Gramophone Magazine

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