Mendelssohn: Symphony No. 2 in B-flat major, Op. 52 "Lobgesang" (with Score)

Felix Mendelssohn Bartholdy:
Symphony No. 2 in B-flat major, Op. 52 "Lobgesang (Hymn of Praise)" (with Score)
Composed: 1840
Soprano: Sona Ghazarian, Edita Gruberová
Tenor: Werner Krenn
Conductor: Christoph von Dohnányi
Chorus: Chor der Wiener Staatsoper
Orchestra: Wiener Philharmoniker

1. Sinfonia:
00:00 Maestoso con moto - Allegro (B-flat major)
12:15 Allegretto un poco agitato (G minor)
17:23 Adagio religioso (D major)
24:55 2. Soprano, Chorus: "Alles was Odem hat lobe den Herrn" Allegro moderato maestoso (B-flat major)
32:09 3. Tenor: "Saget es, die ihr erlöst seid durch den Herrn" Recitativ – Allegro moderato. (G minor)
34:56 4. Chorus: "Sagt es, die ihr erlöst seid vor dem Herrn" A tempo moderato. (G minor)
37:01 5. 2 Sopranos, Chorus: "Ich harrete des Herrn." Andante (E-flat major)
42:42 6. Soprano, Tenor: "Strick des Todes hatten uns umfangen." Allegro un poco agitato – Allegro assai agitato (C minor)
46:27 7. Chorus: "Die Nacht ist vergangen" Allegro maestoso e molto vivace. (D major)
51:17 8. Chorus: "Nun danket alle Gott." Andante con moto (G major)
56:41 9. Soprano, Tenor: "Drum sing’ ich mit meinem Liede" Andante sostenuto assai. (B-flat major)
1:01:15 10. Chorus: "Ihr Völker! bringet her dem Herrn Ehre und Macht" Allegro non troppo (B-flat major)

After the "Italian" symphony, Mendelssohn waited seven years before returning to the genre, composing the Symphony No. 2 in B flat major, Op. 52, for the celebrations in Leipzig of the 400th anniversary of the invention of the printing press. For this event Mendelssohn also composed his Festgesang. Mendelssohn entitled his second symphony "Lobegesang" (Song of Praise) and described it as a "symphony-cantata." After its first performance, on June 25, 1840, in Leipzig, the "Lobegesang" became very popular; today it is rarely performed. Mendelssohn completed revisions of the work in November 1840 for publication in 1841.

The "Lobgesang" symphony bears a superficial similarity to Beethoven's Ninth Symphony in that it begins with three instrumental movements and closes with a cantata-like structure featuring solo voices and chorus. Also, the slow movement is a set of variations. Mendelssohn's instrumental movements, however, are on a much smaller scale than Beethoven's.

Four of the symphony's five movements share material. The main theme of the first movement appears in the trio of the ensuing scherzo, and is present in the first and last sections of the choral Finale.

A ceremonial air pervades the first movement, marked Maestoso con moto. The leaping and falling first theme receives developmental treatment during the transition to the second theme, which is very similar to a theme in the first movement of Beethoven's Sonata in B flat major, Op. 22. The dotted-rhythm theme of the introduction appears in the development section, its character completely changed. Although deftly composed and orchestrated, the movement seems uninspired.

Mendelssohn's Allegretto second movement has a theme evocative of folk song. In 6/8, it resembles one of Mendelssohn's "Gondolier Songs" from his Lieder ohne Worte in its rocking motion. A refreshing section in the major features a conversation between the strings and winds.

Marked Adagio religioso, the third movement is a set of variations on a song-like melody. It seems Mendelssohn tries to emulate Beethoven's occasional use of simple, block chords to produce a majestic effect. However, Mendelssohn's conception of the technique makes the main theme stagnate. Its similarity to the Adagio of the "Scottish" Symphony lies in Mendelssohn's treatment of the orchestra.

The first section of the cantata is based on the first theme of the opening movement. Highlights from the movement include the invigorating chorus "Let all men praise the Lord." Quite touching is the tenor solo, "The sorrows of death," with its chromatic inflections, followed by "Watchman, will the night soon pass?" Throughout these two numbers Mendelssohn creates strong dramatic tension. Much of what follows, however, is anti-climactic. The close of the cantata begins with a choral fugue and moves to "All that has life and breath, sing to the Lord," a choral development of the first-movement theme. (https://www.allmusic.com/composition/...)