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Mendelssohn: Psalm Cantatas - Volume 3 (Psalm 114, MWV A 17 & Psalm 98, MWV A 23)

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Description

Mendelssohn: Psalm Cantatas - Volume 3 (Psalm 114, MWV A 17 & Psalm 98, MWV A 23)Composer: Felix Mendelssohn (1809 1847) Format: Full Score Hardcover Instrumentation: SATB Choir, Orchestra, Double Choir (SATB + SATB) Binding: Hardcover Work Languages: English, German ISMN: 9790004803554 Size: 10. 0 x 13. 0 inches Pages: None Urtext Critical Edition Look Inside! Description Among Felix's numerous psalm compositions, those extensive settings in which an orchestra is used in addition to the vocal parts stand out as a separate group

  • Composer: Felix Mendelssohn (1809-1847)
  • Format: Full Score – Hardcover
  • Instrumentation: SATB Choir, Orchestra, Double Choir (SATB + SATB)
  • Binding: Hardcover
  • Work Languages: English, German
  • ISMN: 9790004803554
  • Size: 10.0 x 13.0 inches
  • Urtext / Critical Edition

Description

Among Felix's numerous psalm compositions, those extensive settings in which an orchestra is used in addition to the vocal parts stand out as a separate group of works. The Psalm115, Op. 31 MWV A 9, which begins this series of compositions in 1829/1830, is followed by the Psalm 42, Op. 42 MWV A 15, the Psalm 95, Op. 46 MWV A 16 and the Psalm 114, Op. 51 MWV A 17, which were composed between 1837 and 1841. The series concludes with the Psalm 98 MWV A 23, which was composed for the New Year's service in Berlin Cathedral in 1844 and is thus an exception to the previous works, which were not liturgical and rather intended for the concert hall.

The present volume (Series VI/8,3 Psalm Cantatas III) contains the psalms for eight-part choir or double choir and orchestra, the Psalm 114, Op. 51 MWV A 17 and the Psalm 98 MWV A 23.

The Psalm 114 was composed during an interruption in the work on the Psalm 95 from the summer of 1839 to the beginning of 1841. A comparison of the final version with the first draft, which was already completed on 9 August 1839, reveals the numerous revisions and additions. The performances took place in different forms in Leipzig on 1 January 1840 and in Birmingham on 25 September 1840; in particular, Mendelssohn changed the structure of the concluding section considerably, modifying it again before printing. The psalm is the only one of the psalms with orchestra to bear a dedication. It is dedicated to the painter Johann Wilhelm Schirmer (1807–1863), with whom the composer was close friends and with who shared similar ideas regarding their artistic work.

The composition of the Psalm 98 is the only one in the series of large psalm compositions with orchestra whose text was not chosen by the composer, but fitted into a liturgical order. It was composed at the end of December 1843 for the royal court and cathedral choir in Berlin, when Mendelssohn was its artistic director, appointed by Frederick William IV in his capacity as Prussian General Music Director. By composing and performing this psalm at the New Year's Eve service in Berlin Cathedral in 1844, Mendelssohn was attempting to fulfill his contractual duties while at the same time asserting his ideas of appropriate contemporary church music. in contrast to the a cappella choral music desired in the cathedral, he emphatically demonstrated his preference for the composition with orchestra with the Psalm 98. This led to profound disputes with the cathedral clergy and ultimately to Mendelssohn's resignation from his position at Berlin Cathedral. The psalm was not performed again by the composer, nor was it put into print. It wasn't published until 1851, posthumously and under the unauthorized opus number 91.

  1. The 114th Psalm, Op. 51 MWV A 17 | (14')
  2. The 98th Psalm MWV A 23 | (8') |
  3. Appendix I: The 114th Psalm MWV A 17 (First Version)
  4. Appendix II: The 114th Psalm MWV A 17 (Organ Part for the English First Performance in Birmingham on 25 September 1840)

Works:

  • Psalm 114 ("Da Israel aus Ägypten zog"), MWV A 17, Op. 51
  • Psalm 98 (Sing to the Lord a new-made Song), MWV A 23, Op. 91
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SKU: 78980609076

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The layout of the book and the footnotes are each great. What mars the book, unfortunately, is the editor's need to make simplistic statements about cultural elements. Several times, for example, he addresses "feminism," even using the term "Franken-feminists" in a puerile manner at one point. As too many of these conservative Catholics do, he simplifies and comments about modern culture without nuance. In this case, it is simply unprofessional and inaccurate (i) to not capture the myriad differences in feminist thought (many of which he and his readers would accept) and (ii) thereby to make all feminists the same (e.g,, assuming the feminists of the 1970's are the same as today's.) This is all unfortunate because when he is just addressing the literary elements of the book, his comments are wonderful and helpful to the reader. Any reader should know that this presentation will be tilted in an unsophisticated and simplistic way toward a traditional Catholic view (a view that can indeed be defended well while still being careful and charitable to critics). With that caveat, he (or she) should still buy it and garner a good edition of the text.
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Especially loved the forward. I did not expect at all Joseph Pearce's take on the book! Buy this particular edition of Frankenstein if you wish to learn more than you anticipated about the author. I had no idea!
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