Mendelssohn’s Masterpieces | Popular Classical Music

From the oratorio “St. Paul,” Part I, No. 2: “Lord, Lord God”Felix Mendelssohn

Mendelssohn – PAULUS – Nr.2 Chor “Herr, der du bist der Gott”

One piece from the oratorio St.

Paul is known as a masterpiece of sacred music.

Completed in 1836, this work is based on the life of the Apostle Paul.

Its majestic choruses—praising God’s greatness and compassion—are striking; while influenced by Bach, the piece shines with Mendelssohn’s unique Romantic sensibility.

A superb fusion of devout faith and musical talent, it is recommended not only for those interested in sacred music but also for classical music enthusiasts.

Its beautiful melodies, which convey a profound bond between the sacred and the human, are deeply cleansing to the soul.

Cello Sonata No. 2 in D major, Op. 58Felix Mendelssohn

Felix Mendelssohn: Cello Sonata No. 2 / Sol Gabetta, Bertrand Chamayou

This work is a chamber piece composed by Mendelssohn in 1843.

It blends features of the early Romantic period with Classical traditions, offering a rich musical texture for cello and piano.

It consists of four movements and has a performance time of about 25 minutes.

In particular, the third movement features recitative-like passages for the cello that quote Bach’s Chromatic Fantasy and Fugue, expressing Mendelssohn’s reverence for Bach.

Expressive and technically demanding, this piece is an important part of the cello repertoire and is one that every classical music enthusiast should hear.

Symphony No. 1 in C minor, Op. 11Felix Mendelssohn

Mendelssohn: 1. Sinfonie ∙ hr-Sinfonieorchester ∙ Andrés Orozco-Estrada

Composed when Mendelssohn was just fifteen, this work fully showcases his talent.

Consisting of four movements, it reflects Classical influences while shining with the originality of a young genius.

The strength of the first movement, the elegance of the second, the vitality of the third, and the grandeur of the fourth—each movement presents a different character that keeps listeners engaged.

It was premiered in November 1824 at a celebration for his sister’s birthday.

This piece is recommended not only for lovers of classical music but also for those who are just beginning to explore the world of music.

Symphony No. 3 in A minor, Op. 56 “Scottish”Felix Mendelssohn

Mendelssohn: Symphony No. 3 in A Minor, Op. 56, MWV N 18 “Scottish”: 3. Adagio

Mendelssohn has five well-known symphonies, numbered Nos.

1 through 5; among them is Symphony No.

3, the “Scottish.” The symphonies were not composed in numerical order, and No.

3 was actually the last to be completed, in 1842.

He began composing it during his visit to Scotland in 1829, inspired—like what one might call Mendelssohn’s own “Moon over the Ruined Castle”—when he stood amidst the ruins of a palace.

The first movement features a beautifully dark introduction, followed by the sense of knights marching on horseback and fierce battle.

The second movement is marked by a lively, pleasant idea reminiscent of bagpipes.

The third movement is a heavy march, and the fourth conveys tragedy and weariness.

Yet in the end, the work concludes in a bright, triumphant mood.

Scherzo from A Midsummer Night’s Dream, Op. 61Felix Mendelssohn=Rachmaninoff

Rachmaninoff Paraphrasing Mendelssohn : Scherzo “A Midsummer Night’s Dream” – Lugansky

A Midsummer Night’s Dream was composed in 1843 as incidental music based on Shakespeare’s play.

Among its movements, the Scherzo portrays, in music, the fairies’ light and nimble dancing, marked by a distinctive rhythm and brilliant melodies.

This work is a transcription of that piece for solo piano by the Russian composer Rachmaninoff.

Its virtuosic performance, which recreates the orchestra’s rich sonorities on a single piano, draws listeners into a dreamlike world.

It is frequently performed in concerts and is a recommended piece for those who wish to enjoy a fantastical atmosphere and delicate expression.

Oratorio ‘Elijah’ Op. 70Felix Mendelssohn

Mendelssohn | Elias Oratorium

It is a work performed through solo and choral singing that depicts the life of the prophet Elijah from the Old Testament Book of Kings.

The Book of Kings recounts the reigns of the successive rulers of the Kingdom of Israel, beginning with Solomon, the successor of David, and tells the story of the kingdom’s decline.

This piece is a highly popular oratorio known for fusing Baroque music with opera, inheriting Handel’s established style and sonorous choral writing.

Moving from lamentation and suffering to hope and overflowing joy, it resonates with Beethoven’s idea of “through suffering to joy.” Mendelssohn held Beethoven in great esteem.

Parts I and II together run 2 hours and 10 minutes.

As it is long, we recommend listening in sections.

Barcarolle of Venice, Op. 57 No. 5Felix Mendelssohn

Mendelssohn – “Venezianisches Gondellied” – Schreier

This is a work from 1842.

It is a plaintive yet passionate song in which a man, disguised as a Venetian gondolier, longs for his beloved and sings as he waits for her.

The text is by Thomas Moore.

Thomas Moore was an Irish poet born in 1805, known for “The Last Rose of Summer.” The Venetian barcarolle, Venetianisches Gondellied, was translated into German; it begins with the lines, “When the evening breeze blows across the square, Ninetta, you know who is waiting here.” Performed by tenor Peter Schreier with Walter Olbertz at the piano.

Peter Schreier, born in 1935, was a German tenor who in later years also conducted.

He was active across a wide range of repertoire—opera (Mozart, Wagner, Strauss, etc.), oratorio, the St.

Matthew Passion, and German Lieder.

The accompanist, Walter Olbertz, is a pianist specializing in the Classical era (especially Haydn).