Felix Mendelssohn Bartholdy composed twelve symphonies for string orchestra - he was just at confirmation age. The dogma chamber orchestra is now presenting this youthfully fresh music for the first time in it's entirety, along with the five solo concertos with string accompaniment which were written at the same time. The symphonies one to three mark the beginning, as well as the virtuoso Piano Concerto in A minor with Herbert Schuch on the piano. Possibly the symphonies were written as "homework" for the lessons with Carl Friedrich Zelter. He must have been very satisfied, because he proudly presented his pupil to his friend Goethe, who in turn put the boy on a par with Mozart. In fact, however, it was probably more likely that Carl Philipp Emanuel Bach was the godfather with his "sensitive style", as can be heard in the expressive voice leading and the almost romantic expression in the slow movements. Even though the first three symphonies are short in duration throughout, it seems as if an irrepressible will to explore the expressive potential of the music is trying to break through. The much larger piano concerto, on the other hand, is based on the contemporary virtuoso literature, including a breathtaking stretta in the final rondo. Herbert Schuch is the ideal instrumentation for this work, whose sonically beautiful middle movement contains many a dreamy episode. The agile dogma chamber orchestra, led by Mikhail Gurewitsch from the concertmaster's desk, is in top form here: far more than just accompanying, the ensemble let's the carefree nature of the music run it's course, both concertante and symphonic. A Mendelssohn experience that one does not want to wait too long to continue.
Felix Mendelssohn Bartholdy composed twelve symphonies for string orchestra - he was just at confirmation age. The dogma chamber orchestra is now presenting this youthfully fresh music for the first time in it's entirety, along with the five solo concertos with string accompaniment which were written at the same time. The symphonies one to three mark the beginning, as well as the virtuoso Piano Concerto in A minor with Herbert Schuch on the piano. Possibly the symphonies were written as "homework" for the lessons with Carl Friedrich Zelter. He must have been very satisfied, because he proudly presented his pupil to his friend Goethe, who in turn put the boy on a par with Mozart. In fact, however, it was probably more likely that Carl Philipp Emanuel Bach was the godfather with his "sensitive style", as can be heard in the expressive voice leading and the almost romantic expression in the slow movements. Even though the first three symphonies are short in duration throughout, it seems as if an irrepressible will to explore the expressive potential of the music is trying to break through. The much larger piano concerto, on the other hand, is based on the contemporary virtuoso literature, including a breathtaking stretta in the final rondo. Herbert Schuch is the ideal instrumentation for this work, whose sonically beautiful middle movement contains many a dreamy episode. The agile dogma chamber orchestra, led by Mikhail Gurewitsch from the concertmaster's desk, is in top form here: far more than just accompanying, the ensemble let's the carefree nature of the music run it's course, both concertante and symphonic. A Mendelssohn experience that one does not want to wait too long to continue.
760623219363

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Format: CD
Label: MDG
Rel. Date: 01/15/2021
UPC: 760623219363

Mendelssohn Project 1 (Hybr)
Artist: Mendelssohn / Schuch / Gurewitsch
Format: CD
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Felix Mendelssohn Bartholdy composed twelve symphonies for string orchestra - he was just at confirmation age. The dogma chamber orchestra is now presenting this youthfully fresh music for the first time in it's entirety, along with the five solo concertos with string accompaniment which were written at the same time. The symphonies one to three mark the beginning, as well as the virtuoso Piano Concerto in A minor with Herbert Schuch on the piano. Possibly the symphonies were written as "homework" for the lessons with Carl Friedrich Zelter. He must have been very satisfied, because he proudly presented his pupil to his friend Goethe, who in turn put the boy on a par with Mozart. In fact, however, it was probably more likely that Carl Philipp Emanuel Bach was the godfather with his "sensitive style", as can be heard in the expressive voice leading and the almost romantic expression in the slow movements. Even though the first three symphonies are short in duration throughout, it seems as if an irrepressible will to explore the expressive potential of the music is trying to break through. The much larger piano concerto, on the other hand, is based on the contemporary virtuoso literature, including a breathtaking stretta in the final rondo. Herbert Schuch is the ideal instrumentation for this work, whose sonically beautiful middle movement contains many a dreamy episode. The agile dogma chamber orchestra, led by Mikhail Gurewitsch from the concertmaster's desk, is in top form here: far more than just accompanying, the ensemble let's the carefree nature of the music run it's course, both concertante and symphonic. A Mendelssohn experience that one does not want to wait too long to continue.