Mendelssohn’s Bach - aso.com.au · PDF fileMendelssohn’s Bach. ... Bach Suite No 3 In D Major BWV 1068 Ouverture Air ... Associate Principal Trumpet Martin Phillipson Supported

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23 & 24 October 2015ADELAIDE TOWN HALL

Mendelssohn’s Bach

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Bach Suite No 3 In D Major BWV 1068

Ouverture Air Gavotte I and II Bourrée Gigue

Bach Christmas Oratorio

Great Lord, O mighty King (No 8)

St Matthew Passion

Gebt Mir meinen Jesum wieder (No 33) Mache Dich mein Herze Rein (No 50)

Andrew Foster-Williams Baritone

Mendelssohn Elijah

Lord God of Abraham (No 14) Is not His word like a fire (No 17) It is enough (No 26) For the mountains shall depart (No 37)


Mendelssohn Symphony No 5 in D minor, Op 107 Reformation

Andante – Allegro con fuoco Allegro vivace Andante Chorale (Ein’ feste Burg ist unser Gott): Andante con moto – Allegro vivace – Allegro maestoso

23 & 24 October, Adelaide Town Hall

Mendelssohn’s Dream Master Series 8

Interval

This concert runs for approximately 90 minutes including interval.

Nicholas McGegan ConductorAndrew Foster-Williams Baritone


5ADELAIDE SYMPHONY ORCHESTRA - MASTERS SERIES

Nicholas McGegan conductor

Nicholas McGegan is recognised for his probing and revelatory explorations of music of all periods. In 2015 he begins his 30th year as music director of the Philharmonia Baroque Orchestra and continues as Principal Guest Conductor of the Pasadena Symphony and Artist in Association with the Adelaide Symphony Orchestra. Previously he was Artistic Director and conductor at the Göttingen International Handel Festival (1991-2011) and Principal Guest Conductor at Scottish Opera in the 1990s.

Best known as a Baroque and Classical specialist, he has appeared with many of the world’s major orchestras. His 2015/16 season features appearances with the Los Angeles Philharmonic (where he has appeared annually for nearly 20 years); the St. Louis, BBC Scottish, RTÉ National and New Zealand Symphony Orchestras; The Cleveland Orchestra/Blossom Music Festival; and the Orchestra of St. Luke’s at Caramoor. Highlights this season with the Philharmonia Baroque Orchestra include Scarlatti’s La gloria di primavera at Carnegie Hall and throughout California’s Orange County.

His extensive discography features eight releases on Philharmonia Baroque’s label, including the 2011 Grammy Award-

nominated recording of Haydn Symphonies Nos 88, 101 and 104.

Nicholas McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) for services to music overseas. Other awards include the Halle Handel Music Prize, Order of Merit of the State of Lower Saxony, Medal of Honour of the City of Göttingen and a declaration of Nicholas McGegan Day by the Mayor of San Francisco in recognition of his work with Philharmonia Baroque.


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Andrew Foster-Williams studied at the Royal Academy of Music in London, where he is now a Fellow.

Opera plans this season and beyond include Balstrode (Peter Grimes) for Theater an der Wien; Faraone (Mosé in Egitto) with Welsh National Opera; and Donner and Gunther in Opera North’s Ring cycle in 2016. Concert plans include Mendelssohn’s Elijah with the Handel and Haydn Society of Boston; Handel’s Messiah with Les Violons du Roy; St John Passion with the Royal Concertgebouw Orchestra; St Matthew Passion with The Philadelphia Orchestra; Father Joseph (Cinq-Mars) with the Munich Radio Orchestra; Méphistophélès (The Damnation of Faust) with the Russian National Orchestra; and Haydn’s The Creation with the Hong Kong Philharmonic Orchestra.

Previous opera roles have included Telramund (Lohengrin) at the Lanaudière Festival; Handel’s L’Allegro, il Penseroso ed il Moderato at Teatro Real, Madrid with the Mark Morris Dance Group; Leone (Tamerlano) and Albert (Werther) for Washington National Opera; Nick Shadow (The Rake’s Progress) for Opéra national de Lorraine; Deborah Warner’s staging of Messiah for Opéra National de Lyon; Pizarro

(Fidelio), Leporello (Don Giovanni) and Colline (La bohème) for Opera North; and Alidoro (La Cenerentola) for Glyndebourne on Tour. Previous concert engagements include Mozart’s Requiem with the New York Philharmonic Orchestra; Britten’s War Requiem with the Oregon Symphony; and Haydn’s The Seasons with the London Symphony Orchestra, Netherlands Philharmonic Orchestra and the Gabrieli Consort.

Previous engagements in Australia include Elijah with the Sydney Symphony Orchestra in 2014, and Handel and Mozart arias with the Adelaide Symphony Orchestra in 2012.

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Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Principal Conductor Designate Nicholas Carter

VIOLINS

Elizabeth Layton** (Guest Concertmaster)

Cameron Hill** (Associate Concertmaster)

Supported by The Baska Family

Shirin Lim* (Principal 1st Violin)

Supported in the memory of Dr Nandor Ballai

Michael Milton** (Principal 2nd Violin)

Supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Supported in the memory of Deborah Pontifex

Ann AxelbyErna BerberyanGillian BraithwaiteJulia BrittainElizabeth CollinsJane CollinsAlison HeikeDanielle JaquillardAlexis Milton

Sponsored by Patricia Cohen

Jennifer NewmanJulie NewmanEmma Perkins

Supported by Peter & Pamela McKee

Alexander PermezelMarie-Louise SlaytorKemeri Spurr

VIOLAS Juris Ezergailis**

Supported in the memory of Mrs JJ Holden

Imants Larsens~ Supported by Simon & Sue Hatcher

Lesley CockramAnna HansenRosi McGowranMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Christopher Handley Supported by Johanna and Terry McGuirk

Sherrilyn Handley Supported by Johanna and Terry McGuirk

Gemma Phillips Supported by R & P Cheesman

Cameron Waters

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

David Phillips~ (Acting Associate)

Supported for ‘a great bass player with lots of spirit - love Betsy’

Jacky Chang Harley Gray

Supported by Bob Croser

Belinda Kendall-Smith

FLUTES Geoffrey Collins**

Supported by Pauline Menz

Lisa Gill

OBOES

Celia Craig** Supported in the memory of Geoffrey Hackett-Jones

Peter Duggan

COR ANGLAIS

Peter Duggan* Supported by Dr Ben Robinson

CLARINETS

Dean Newcomb** Supported by the Royal Over-Seas League SA Inc

Darren Skelton

E FLAT CLARINET

Darren Skelton* Supported in the memory of Keith Langley

BASS CLARINETMitchell Berick*

Supported by Nigel Stevenson & Glenn Ball

BASSOONS Jackie Hansen** (Acting Principal)

Supported by Norman Etherington AM & Peggy Brock

Kristina Phillipson CONTRA BASSOONLeah Stephenson* (Acting Principal)

Supported by Liz Ampt

HORNS Adrian Uren**Emma Gregan

TRUMPETS Martin Phillipson** (Acting Principal)

Supported by Richard Hugh Allert AO

Robin FinlayTimothy Keenihan

TROMBONES Ian Denbigh** (Acting Principal)Edward Koltun

BASS TROMBONEHoward Parkinson*

TIMPANI Robert Hutcheson*

Supported by Drs Kristine Gebbie & Lester Wright

HARPSICHORDGlenys March*

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal

denotes Musical Chair Support


ASO BOARD

Colin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing Director

ARTISTIC

Simon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator

FINANCE AND HR

Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant

OPERATIONSHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra ManagerBruce Stewart - LibrarianDavid Khafagi - Operations AssistantDavid Bailith - Operations Assistant

MARKETING AND DEVELOPMENTPaola Niscioli - General Manager, Marketing and DevelopmentTom Bastians - Customer Service ManagerAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistAlexandra Bassett - Marketing and Development Coordinator

FRIENDS OF THE ASO EXECUTIVE COMMITTEE

Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/ Membership

Correct at time of print.

Flowers supplied by

Concertmaster Natsuko Yoshimoto

Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis


Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble


Associate ConcertmasterCameron Hill


Principal 1st ViolinShirin Lim


For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported bySimon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley


Principal BassDavid Shilling


BassHarley Gray

Supported byBob Croser

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick


Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins


Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal Contra BassoonJackie Hansen


ClarinetDarren Skelton

Supported in the memory of Keith Langley

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Principal TromboneCameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal OboeCelia Craig

Supported in memory of Geoffrey Hackett-Jones

Concertmaster Natsuko Yoshimoto

Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis


Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble


Associate ConcertmasterCameron Hill


Principal 1st ViolinShirin Lim


For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported bySimon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley


CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley


Principal BassDavid Shilling


BassHarley Gray

Supported byBob Croser

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick


Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins


Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal Contra BassoonJackie Hansen


ClarinetDarren Skelton

Supported in the memory of Keith Langley

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Principal TromboneCameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal OboeCelia Craig

Supported in memory of Geoffrey Hackett-Jones

Adelaide’s No.1

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Adelaide’s No.1

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SA

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255

The greatest child prodigy the history of Western music has ever known.

In 1823 the teenaged Mendelssohn received a present from his maternal grandmother, Bella Salomon: a score, copied out at her request by Mendelssohn’s violin teacher, of J.S. Bach’s St Matthew Passion. It changed Mendelssohn’s life, and, in doing so, indirectly changed the way that ‘art’ music would be presented from then until the present day.

Mendelssohn has been described by Charles Rosen as ‘the greatest child prodigy the history of Western music has ever known’ – big claim, to be sure, but borne out by the evidence of Mendelssohn’s early and wide-ranging technical mastery. He also had the great good fortune to be born into a milieu of enormous cultural and material privilege. He was a grandson of celebrated philosopher Moses Mendelssohn, and the friends of his family in Mendelssohn’s childhood and early adult life reads like a who’s who of German philosophy and literature, including Goethe, Heine and Hegel; he would later enjoy friendships with everyone from Queen Victoria through Berlioz to the brothers Grimm.

The village that raised Mendelssohn was the Prussian capital, Berlin, but he was born in Hamburg, where his father Abraham had established a branch of the family

bank. When Mendelssohn was two years old the family left Hamburg, and the threat of Napoleon, for Berlin where Abraham quickly became indispensible in financing the Prussian war effort. Soon after, Prussia issued an emancipation act aimed at giving Jewish citizens greater rights. (In fact, the family of Mendelssohn’s mother, Lea, had, owing to his great-grandfather’s distinction in banking, been given ‘all the rights of Christian citizens’ as early as 1791, and Moses Mendelssohn’s family had been given the protection of the Prussian king after the philosopher’s death.) Despite the family’s assimilation and social status, however, the four Mendelssohn children were all secretly baptised in the Lutheran church in 1816, and in 1822 Abraham and Lea converted. It was at this time that they adopted the less Jewish-sounding ‘Bartholdy’ as a surname.

The two eldest children, Felix and Fanny, showed early talent for music and their parents put considerable resources at their disposal. Both had the finest available teachers of piano and violin, and studied theory and composition with Carl Friedrich Zelter (a pioneer of the German Lied and, not coincidentally, a great friend of the poet Goethe). Zelter inherited the Berlin Singakademie (of which the children’s great-aunt Sarah Levy was a stalwart and patron) on the death of its founder, but continued its mission of reviving obscure works of

Felix Mendelssohn Born 1809, Hamburg | Died 1847, Leipzig


the 18th century, especially those of Bach; Zelter’s teaching method was drawn from the repertoire of the ‘brotherhood of composers’ stretching from Bach to Haydn and gave Felix and Fanny a solid grounding in Baroque and Classical harmony, counterpoint and form.

Abraham Mendelssohn initiated a series of Sunday concerts at the family home where Felix and Fanny would perform with paid members of the Royal Court Orchestra. Numerous illustrious guests attended these concerts at various times, including superstar pianists such as Frédéric Kalkbrenner and Ignaz Moscheles. Among the works that Felix wrote for these concerts between 1822 and 1824 were his celebrated 13 string sinfonias. He also at this time made five early essays in the concerto genre, and five Singspiele (that is opera in German with spoken dialogue as in The Magic Flute) that were fully staged and costumed in the hall of the family home.

Hearing the 12-year-old Mendelssohn play, Goethe famously remarked, ‘What this little man is capable of in terms of improvisation and sight-reading is simply prodigious. I would have not thought it possible at such an age.’

On Mendelssohn’s 15th birthday in February 1824, his teacher Zelter announced that the young musician was no longer an apprentice, but a member of the ‘brotherhood of composers’. Zelter’s tutelage, as mentioned, had stressed the refinement of techniques found in the music of Bach, Mozart and Haydn, but pointedly not that of Beethoven and Weber. Nevertheless it is at this time that Mendelssohn was exposed to those composers’ music and began to assimilate some of their sounds and techniques in works like his First Symphony, written in 1824.

The brother- (and sister-)hood of composers

In 1821 the Schauspielhaus (now the Konzerthaus), part of the neoclassical Berlin designed by Karl Friedrich Schinkel, opened with a new opera, Der Freischütz by Carl Maria von Weber. Despite Zelter’s disapproval of Weber, it was a revelation to Mendelssohn. The supernatural element, a staple of the new Romantic aesthetic, was also to be found in German writers’ discovery of Shakespeare, especially plays like A Midsummer Night’s Dream, translated expertly by the team of Schlegel and Tieck, a decade after the brothers Grimm had reignited interest in fairy tales. This version of the ‘Dream’ inspired Mendelssohn in part of his Octet of 1825 and of course his celebrated Overture in 1826.

The influence of Beethoven becomes more pronounced around the time of the older composer’s death in 1827, when Mendelssohn produced his String Quartet, Op.13 while on vacation from the University where he was studying, at his mother’s insistence, so as to get the education ‘so rare in musicians’. (In fact Mendelssohn had shown great brilliance mastering Latin and French, and becoming an accomplished visual artist as a child.)

As his international career as a soloist, conductor and composer grew, Mendelssohn came in contact with most of Europe’s leading musicians. He seems to have had cordial relations with all and indeed helped many in their own careers, which is not to say that he didn’t hold negative views about Liszt’s overly flashy technique, Berlioz’s blowsy vulgarity or Schumann’s lack of technical facility. But he expressed these privately, mainly to the figure whom he regarded as his Minerva, or goddess of


wisdom, his sister Fanny. Fanny, despite promise as a composer and performer comparable to Felix’s, had been discouraged by Abraham from considering music as a career – which he regarded as unsuitable for a woman, especially of their class. Her husband, painter Wilhelm Hensel, was rather more supportive of her great gifts. Fanny remained a sounding-board for Felix until her death, a few months before Felix’s own in 1847. The String Quartet, Op.80, written then, is a powerful statement of grief, and presages a whole new direction in Mendelssohn’s work.

Power and the Passion

The beginning of 1829 saw Mendelssohn’s performance of his version of the St Matthew Passion, at that time a work still occasionally done in Bach’s last home-town, Leipzig, but elsewhere unknown. Then it was off on one of his many European tours, this time taking in Scotland, which would inspire the Hebrides Overture and Scottish Symphony. He would later visit Paris and Rome, where he experienced Holy Week liturgies in the Sistine Chapel. Nevertheless, major works from this time include the Reformation Symphony.

As the 1830s dawned, Mendelssohn considered a permanent appointment, and he spent 1833-35 as music director in Düsseldorf, which meant directing music for the Catholic liturgy (mainly classics like Mozart, but a certain amount of Renaissance music) as well as concerts and oratorios and the organisation of the Lower Rhine Festival. More congenial was the appointment to the Gewandhaus Orchestra in Leipzig from 1835, where, with occasional official forays back to Berlin, he would be based until his death. In 1837 he married Cécile Jeanrenaud, and it is all too easy to find evidence of great joy in the works of this time

like the String Quartets, Op.44.

In Leipzig he helped found the Conservatory, bringing in from all over Europe great musicians like Schumann and Ferdinand David, for whom he wrote the Violin Concerto. He was committed to new music, but paradoxically his enthusiasm for reviving novelties of Baroque and Classical music led indirectly to the ‘masterpiece culture’ that drives out the new. (A letter written to his friend Ferdinand Hiller in 1838 shows he was aware of that risk.) Mendelssohn’s enthusiasm for the Baroque naturally feeds into the language of his own sacred music throughout his career, just as his love of Mozart and Beethoven suffuses his own mature symphonies. The experience of the St Matthew Passion, and of hearing still-popular works like Messiah in England, sparked his determination to revive the oratorio as a contemporary genre.

Rosen accuses Mendelssohn of ‘substituting for religion itself the shell of religion’ in his two oratorios, and it is to an extent true that their tone reflects the undemanding piety of the 19th century. But it is surely too hard on Mendelssohn, who no doubt understood the experience of conversion that is at the heart of St Paul, and who in the bleak time before his own premature death, gained some comfort from setting some of Christianity’s central texts, the Nunc dimittis, Jubilate and Magnificat.

And he understood the power of music, famously noting that words ‘seem to me so ambiguous, so vague, so easily misunderstood in comparison to genuine music that fills the soul with a thousand things better than words’.

© Gordon Kerry 2015


Suite No 3 in D, BWV 1068

Ouverture

Air

Gavotte I and II

Bourrée

Gigue

Very little is known about the origins of Bach’s four orchestral suites. For many years, it was commonly believed that they dated from his time at Cöthen (1717-1723), largely because Bach’s situation there was so ideal for the composition of instrumental music: Prince Leopold of Cöthen was a great music lover, but also a Calvinist, so there was little call for church music and certainly no requirement for Bach to produce a new cantata every few weeks, as would be the case when he moved to Leipzig. But more recent studies, looking at original sources and the way Bach’s style gradually evolved over the years of his composing life, have come to the conclusion that the orchestral suites were actually written in Leipzig, or at least heavily revised there.

Despite the heavy workload associated with his position as Kantor of the Thomasschule and Musical Director for the whole of Leipzig, Bach in 1729 took on the responsibility of directing the Collegium

Musicum, a voluntary association of professional musicians and university students which gave regular weekly public concerts. This was after six years of concentrated work producing sacred music for authorities who consistently refused to place at his disposal the professional instrumentalists needed to do justice to his cantatas – the added workload must have seemed to Bach more of a relief than a burden!

The Collegium Musicum performed on Friday evenings at the coffee-house of Gottfried Zimmermann; in summer, the concerts took place outdoors in his garden outside the city walls. No programs survive to tell us how the concerts were constructed or what repertoire would have been performed there, but there are performing parts which indicate that the orchestral suites were among the works presented.

The surviving parts of Suite No.3 show that it was conceived for a double orchestra: two groups of four instrumental parts each. One consists of three trumpets and kettledrums, the other of two violins, violas and continuo. The two oboes play in unison with the violins throughout; according to Thurston Dart they were an afterthought, added to give the strings more bite.

One origin of Bach’s suites lay in the ‘French’ suite (allemande – courante –

Johann Sebastian Bach 1685-1750


Johann Sebastian Bach 1685-1750

sarabande – gigue, with optional dances such as the gavotte, minuet, rigaudon and bourrée sandwiched between sarabande and gigue), as standardised by the German composer Froberger (1616-1667) who spent his later years in France. Bach, however, called his orchestral suites Ouvertüren, a form of shorthand which became common in Germany, and referred to a ‘French’ overture followed by a set of dances. The ouverture as standardised by Lully in his operas consisted of a slow, often majestic introduction, followed by a fast fugal section, then a return of the slow opening. Suites for orchestral performance arose in France when the most popular dance numbers from an opera were performed away from the stage; this was Bach’s model.

Although the music of the suite was closely based on dances which were actually popular when it was developing as a form, it was not written as music to be danced to but was dance-inspired music. Bach’s expression and ideas go far beyond the limitations of the original dance form. His choice and arrangement of dances is very free, as can be seen from the variety of dances to be found in his orchestral suites. What is so remarkable in all these works is Bach’s carefully worked-out balance between solo and tutti passages, between harmonic and polyphonic writing; and his thoughtful choice and ordering of dances for the emotional and musical contrasts available from different dance rhythms.

The Ouverture is followed in this suite by an Air which became famous in a lush Romantic arrangement for solo violin and keyboard (the Air on the G String, arranged by Wilhelmj). In Bach’s original conception it is a much more beautiful piece, keeping

some of the character of a measured dance, and with much interest in the interplay of the string parts.

Originally a peasant dance, probably from Gap in the Dauphiné region of France, at court the gavotte became a moderate dance in pastoral style, having two, or more usually four, beats to the measure with phrases beginning and ending in the middle of a bar.

The bourrée was the most vigorous and earthy of the old dance forms used in the suite; it possibly originated in the Auvergne. Suite No 3 closes with a gigue, customarily the final movement in the classical suite.

© Symphony Australia

In a letter to his teacher, Carl Zelter, of June 1830, Felix Mendelssohn describes having played the first movement of Bach’s Suite No 3 on piano for Goethe, who famously likened the opening to a ‘crowd of smartly attired people walking down the steps of a great staircase’. The Adelaide Symphony Orchestra first performed the complete suite on 27 April 1951 at a Student/Youth concert given at the Elder Conservatorium directed by Professor John Bishop, and most recently in March 1995 with David Porcelijn.

Duration 20 minutes.


‘An unintelligible musical arithmetician, with an astonishing facility in writing fugues.’ That was the typical assessment of Johann Sebastian Bach in Mendelssohn’s day. His music was studied (by advanced students), but hardly ever performed in public.

Mendelssohn first met Bach’s St Matthew Passion as a pre-teen, during a series of private rehearsals in the home of his teacher, Carl Friedrich Zelter. His enthusiasm was so obvious that his grandmother arranged to have a handwritten copy of the score made for him. A few years later, in 1827, Mendelssohn assembled his own small choir to start learning the music. The first rehearsals, crowded around the piano, did not go well; as one of the singers recorded, ‘We didn’t just have difficulty sight-singing this music, it was almost impossible to read the very illegible notes and text; nonetheless we were deeply shaken and felt as though we were transported into a new musical world.’

It was his friend Eduard Devrient who persuaded Mendelssohn that it would be possible to mount an actual performance, with full chorus and orchestra; this would however have to happen within the space of a bare two months, before Mendelssohn headed off to England! There was much work to be done. The Passion in its original form was never going to appeal to a mainstream 19th-century audience who believed Bach to be ‘unmelodious, mathematical, dry and unintelligible’ (as Devrient himself admitted): it was as alien in musical language as the serial music of Schoenberg and Webern would be to

concert-goers one hundred years later. It was also unappealing in theological terms. Bach’s Passions were designed to take the listener inside the experience of Christ’s betrayal, torture and death at the deepest level. That kind of personal spirituality was out of fashion in Mendelssohn’s day: the emphasis was more on the importance of the community of believers than on the individual.

The solution to both problems was to make substantial cuts to the score. A shorter version would be less of a test of the audience’s goodwill, and would make it possible to avoid the most theologically unpalatable aspects. The recitatives were tightened up to keep the focus on the drama of the narrative. Da capo arias, in which the first part is repeated after a contrasting central section, now stopped at the end of the first section (as we hear in tonight’s performance of ‘Mache dich, mein Herze, rein’). The more inward-looking arias were dropped entirely – in fact, both ‘Mache dich’ and ‘Gebt mir meinem Jesum wieder’ were culled from Mendelssohn’s first version of the score, though they were reinstated by him for a performance in Leipzig in 1841. Instruments such as the oboe da caccia, whose mellow timbre Bach featured in the aria ‘Mache dich’, were unknown to Mendelssohn, who replaced them with clarinets.

The result – with Devrient as Christus, and the 20-year-old Mendelssohn directing from the piano, from memory – was a resounding success: one performance turned into three in close succession, and soon the

Johann Sebastian Bach & Felix Mendelssohn Arias


St Matthew Passion was being performed throughout Germany. Bach’s music had been transformed from a theoretical curiosity into a living, breathing work of art for all to enjoy.

‘Gebt mir meinen Jesum wieder’ comes early in the second half of the St Matthew Passion, straight after Judas, in despair, has tried to undo his crime by giving back to the high priests the money they had paid him for betraying Christ. The aria places the listener in the scene, pouring out their anger and frustration that Christ is still lost, even though the blood money has been repaid; perhaps the descending phrase that opens the aria represents the sound of Judas’s silver coins being hurled to the ground.

‘Mache dich, mein Herze, rein’ is the last aria in the Passion. Christ has died on the cross and his body is about to be taken down for burial: the bass soloist offers his own heart to be a soft and tender final resting place for his beloved lord.

‘Grosser Herr, o starker König’ comes not from the St Matthew Passion, but from Bach’s Christmas Oratorio, a collection of six cantatas written to be performed across the week following Christmas Day, each focusing on a different aspect of the story: the angels, the shepherds, the wise men, the circumcision of the baby Jesus, the flight into Egypt. This aria is part of the music for Christmas Day itself, and while it may seem rather noisy for a nursery, the sense of splendour created by the use of the trumpet is meant to capture the paradox of the Nativity: that the lord of all creation has been born in the humblest of circumstances, shunning all earthly pomp and ceremony.

Given Mendelssohn’s profound love and understanding of the music of Bach, it is not surprising that he should look to Bach for inspiration when he came to write his own oratorios. But Bach was not his only model: Mendelssohn was also intimately acquainted with the oratorios of Handel. These of course had not been ‘lost’ like the works of Bach, but in their journey through the late 18th and early 19th centuries, they had acquired some ‘extra layers’ of instrumental colour. Mendelssohn was determined to restore this music to its original state, studying the original manuscripts in England, and creating performing editions of his own.

The idea of writing an oratorio on the subject of the prophet Elijah first came to him in 1836, hot on the heels of his immensely successful first oratorio, Paulus (St Paul). Finding the right librettist proved difficult, though, and it was not until 1846 that Elijah was finally completed (to a libretto largely of his own creation), in response to a request from the Birmingham Music Festival. It was a massive success, premiered before an audience of 2,000 who demanded encores of four choruses and four arias; in the 19th century, Elijah was almost as popular as Messiah.

The structure is unusual (though not without precedent, as we know from Messiah). Rather than retelling a single story, it presents a series of tableaux: the resurrection of a dead boy, the bringing of rain after years of deadly drought, Elijah’s ascension into heaven in a fiery chariot. The first two arias in this program come from an episode in which Elijah singlehandedly confronts 450 priests of Baal: to prove that Jehovah is the living God, he challenges the priests to make a sacrifice to their god


and see if he will come down in fire to consume it. When Baal fails to appear, Elijah prepares his own sacrifice and calls on Jehovah in a surprisingly warm and tender aria ‘Lord God of Abraham, Isaac and Israel’: unlike the priests of Baal, who have tried to summon their god with shouts and cries, Elijah, knowing that Jehovah is listening, speaks with a quiet confidence, as if to a friend standing in front of him. Fire instantly falls from heaven, and the people turn on the priests of Baal and kill them all. Elijah’s triumphant aria ‘Is not His word like a fire?’ shares the same driving, intense energy as Handel’s ‘Why do the nations so furiously rage together?’ in Messiah.

Elijah’s victory is short-lived, however: Queen Jezebel, enraged at the slaughter of her priests, declares that she will see him dead before the next day is out, and Elijah is forced to flee into the wilderness. Overcome with weariness and despair, he calls on the Lord to let him die; this time, it is Bach, rather than Handel, that we hear in the aria ‘It is enough’, with its echoes of ‘Es ist vollbracht’, from the St John Passion.

Jehovah’s response is to send angels to comfort him (singing the famous trio ‘Lift thine eyes’) and then to strengthen him by allowing him for a moment into the divine Presence. His confidence restored, Elijah declares his faith in the everlasting kindness of God in the exquisite arioso ‘For the mountains shall depart’, an intimate conversation with the oboe, which seems to be speaking on God’s behalf.

Natalie Shea © 2015

In a letter to his teacher, Carl Zelter, of June 1830, Felix Mendelssohn describes having played the first movement of Bach’s Suite No 3 on piano for Goethe, who famously likened the opening to a ‘crowd of smartly attired people walking down the steps of a great staircase’. The Adelaide Symphony Orchestra first performed the complete suite on 27 April 1951 at a Student/Youth concert given at the Elder Conservatorium directed by Professor John Bishop, and most recently in March 1995 with David Porcelijn.



Bach - Christmas Oratorio

Großer Herr, o starker König

Großer Herr, o starker König, liebster Heiland, o wie wenig achtest du der Erden Pracht! Der die ganze Welt erhält, ihre Pracht und Zier erschaffen, muss in harten Krippen schlafen.

Great Lord, O mighty King, Dearest saviour, O how little You heed earthly splendour. He who keeps the entire world And created its glory and adornment Must sleep in a hard crib.

Translation © Symphony Australia

Bach - St Matthew Passion

Gebt mir meinen Jesum wieder!

Gebt mir meinen Jesum wieder! Seht, das Geld, den Mörderlohn, wirft euch der verlorne Sohn zu den Füssen nieder!

Give my Jesus back! Look, the money, the murderer’s wage, is thrown by the lost son down at your feet!

Mache dich, mein Herze, rein

Mache dich, mein Herze, rein, ich will Jesum selbst begraben.

Make yourself pure, my heart, I myself would be Jesus’ tomb.

Original German texts:

Christian Friedrich Henrici (Picander)

Translation © Natalie Shea

Mendelssohn - Elijah

Lord God of Abraham, Isaac and Israel

Lord God of Abraham, Isaac and Israel! This day let it be known that Thou art God; and I am Thy servant! O shew to all this people that I have done these things according to Thy word! O hear me, Lord, and answer me; and shew this people that Thou art Lord God; and let their hearts again be turned. [1 Kings 18: 36-37]

Is not His word like a fire

Is not His word like a fire: and like a hammer that breaketh the rock into pieces? For God is angry with the wicked every day; and if the wicked turn not, the Lord will whet his sword; and He hath bent his bow, and made it ready. [Jeremiah 23: 29;

Psalms 7: 11-12]

It is enough

It is enough; O Lord, now take away my life, for I am not better than my fathers! I desire to live no longer: now let me die, for my days are but vanity! I have been very zealous for the Lord God of Hosts! For the children of Israel have broken Thy covenant, and thrown down Thine altars, and slain all Thy prophets – slain them with the sword: and I, even I only, am left; and they seek my life to take it away! [Job 7: 16; 1 Kings 19: 10]

For the mountains shall depart

For the mountains shall depart, and the hills be removed; but Thy kindness shall not depart from me, neither shall the covenant of Thy peace be removed. [Isaiah 54: 10]

Text compiled by Mendelssohn and

Julius Schubring; English version by

William Bartholomew.


Symphony No 5 in D minor, Op 107 Reformation

Andante – Allegro con fuoco

Allegro vivace

Andante

Chorale (Ein’ feste Burg ist unser Gott): Andante con moto – Allegro vivace – Allegro maestoso

In 1830 Mendelssohn sent a copy of his new untitled symphony to his sister Fanny: ‘Try to collect opinions as to the title I ought to select: “Reformation” Symphony, “Confession” Symphony, Symphony for a Church Festival, “Juvenile” Symphony or whatever you like. Write to me about it and instead of all the stupid suggestions, send me one clever one; but I also want to hear all the nonsensical ones that are sure to be produced.’

Whether or not he considered ‘Reformation’ Symphony a stupid name, it was the name that stuck, with the full title ‘Symphony for the Festival of the Reformation of the Church’ appearing on the first title page. The symphony was composed for the 300th anniversary celebrations of the Augsburg Confession (the moment that signifies the birth of the Protestant church) – celebrations that failed to take place due to civil unrest. To make matters worse, the orchestra of the Paris Conservatoire, who were the next to consider giving the premiere, rejected the symphony as ‘dry and scholastic’, citing ‘too much counterpoint, too little melody’. This was something of a shock for the young

composer: an attack not just on himself, but on counterpoint itself, which was his homage to his beloved Bach. The premiere performance did not take place until 1832, and the work was not published until after the composer’s death, which explains why his second symphony is now known as No.5.

Musicologist Charles Rosen claimed that ‘Mendelssohn is the inventor of religious kitsch in music’. He defines this as music that ‘substitutes for religion itself the emotional shell of religion’. Such comments may recall the Fascist attempts to remove Mendelssohn from the canon: ‘Mendelssohn was an Ersatz for German master,’ wrote critic Karl Grunsky in 1935. However, Rosen saw the ‘pseudo-religious’ or ‘hyper-religious’ in Mendelssohn as an important part of his legacy. Mendelssohn, Rosen maintained, begat Franck and Saint-Saëns at their most pious, and even Wagner.

Much has been made of the similarities between the ‘Reformation’ Symphony and Wagner’s ‘Grail’ motif in Parsifal. Both composers drew on the well-known (and still sung today) ‘Dresden Amen’ for their material. Wagner’s friend Wilhelm Tappert refuted any allegations of plagiarism on Wagner’s part, claiming that Mendelssohn and Wagner were independently exposed to the ‘Amen’, in Dresden. Rosen, however, suggested that the debt runs deeper. In creating Parsifal, Wagner wanted the audience to feel like participants in a religious experience, and ‘Mendelssohn’s technique of turning his listeners into devout worshippers lay conveniently at hand’.

Felix Mendelssohn 1809-1847


So how does a composer turn his ‘listeners into devout worshippers’? One way of creating a ‘hyper-religious’ experience is by using already existing religious material. The first movement of the ‘Reformation’ Symphony opens with a slow and pious introduction, which introduces the ‘Dresden Amen’. The rising intervals create a feeling of ascent, as if the music itself were nudging the listener heavenward. Mendelssohn then launches into a dramatic Allegro con fuoco which develops this material. Commentators have suggested this movement describes the ‘reformers’ joy in combat, their firmness of belief and trust in God’. We hear a religious fervour that verges on ferocity, and then an abbreviated version of the opening – as if the affairs of humanity were interrupted for a moment by God.

The middle two movements act as foils to the religious gravitas of the outer two. The second movement is a gracious expression of joy, and grows in exultation and celebration. The third movement, an Andante, is simple in conception, but deeply felt.

The flute introduces the theme of the finale: a Lutheran hymn – ‘Ein’ feste Burg ist unser Gott’ (A mighty fortress is our God) – allegedly written by Luther himself. From simple beginnings, Mendelssohn builds a mighty fortress indeed, drawing on all the resources of counterpoint. The work concludes with a triumphant statement of the chorale.

© Anna Goldsworthy

Mendelssohn conducted the premiere of his Symphony No 5, on 15 November 1832 at the Singakademie in Berlin. The Adelaide Symphony Orchestra first performed it on 27 April 1979, with Patrick Thomas conducting, and most recently with Christopher Seaman in August 2010.


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Documents

Mendelssohn’s Bach - aso.com.au · PDF fileMendelssohn’s Bach. ... Bach Suite No 3 In D Major BWV 1068 Ouverture Air ... Associate Principal Trumpet Martin Phillipson Supported