Mendelssohn: Song without Words, Op. 38 No. 2 in C minor

Martin Stadtfeld performs Mendelssohn, Schumann & Bach, with the renowned Academy of St. Martin in the Fields, under its founder, Sir Neville Marriner. This is the first Mendelssohn (1809-1847) disc from acclaimed, award winning German pianist Stadtfeld, who caused a stir in 2002, becoming the first German to win the 'International Bach Competition' in Leipzig. There are two CD's, with disc one being a x13 piece body of Mendelssohns work & then a bonus disc two containing x4 pieces of work, covering Schumann & Bach.

Ronald Brautigam here performs the first four books of Felix Mendelssohn’s Songs Without Words (Lieder ohne Worte).

If claims could be made for a composer to have invented a genre single-handedly, Mendelssohn would be a strong candidate with his ‘Songs Without Words’ - short lyrical pieces for the piano using a song-like structure. They were immediately popular across Europe, and were imitated by several composers, including Robert Schumann.

One of today’s leading fortepiano players, Ronald Brautigam has released complete sets of piano music by Mozart and Haydn, and is currently recording a highly regarded series of the solo piano works by Beethoven.

Perfectly poised for all the Royal sentiments in the air for the forthcoming Royal Wedding, Music All Powerful - Music to entertain Queen Victoria provides a delightful flashback of the British Royal Family and is the first release on CD of a delightful Argo LP. It offers solo songs, unaccompanied and accompanied choral songs and a handful of instrumental numbers such as would have been performed for and during Queen Victoria’s reign. The Purcell Consort of Voices under Grayston Burgess are joined by a group of instrumental soloists, including the superb violinist Iona Brown, with pianist Jennifer Partridge both accompanying and playing a Mendelssohn Song without Words and a Chaminade piece. For bringing back songs from obscurity alone this is a worthy CD. But it also recalls obscure composers like Pinsuti, Klosé, Beale, Galkin, Walmisley and Callcott and an obscure instrument - the ophicleide (the instrument Mendelssohn wanted for Bottom’s braying in the Midsummer Night’s Dream overture). The performances are idiomatic and charming, the programming a joy. Geoffrey Coleby provides the amusing notes: ‘…when they could burst the shackles of their dreadful academic training, the Victorians could show a touching great-heartedness which is their most endearing feature’. All song texts are included.

A timely release of a recording of songs and instrumental pieces composed during the reign of one of England’s most beloved monarchs.

Felix Mendelssohn Bartholdy is regarded as the inventor of the ‘Songs without Words’ genre. He wrote eight volumes, each containing six Songs without Words. Michael Korstick performs these genial atmospheric pieces, which are all too often only heard only as encores, with a dazzling interpretive guise.

Cyril Huvé is a disciple of Claudio Arrau and pioneer in the rediscovery of nineteenth century keyboards and their expressive possibilities. He sees these instruments as a means to affirm the values of the Romantic tradition of piano performance which his mentors passed on to him. This recording, performed on a Broadwood 1840, is testament to his dedication and skill.

Mendelssohn’s well known Songs Without Words have been arranged for mixed choir and organ. Stergmann has set sacred texts and the melodies and accompaniment are sometimes simple but at other times are in four or six part choral settings or use polyphony. Rich colour and striking music is combined with profound texts which invite reflection as well as listening.

In the 18th Century composers often simplified the orchestral part of their own concertos so as to be able to play them in private circles, replacing the orchestra with a string quartet. Today, Cord Garben has taken this very liberty to bring out a version of Mendelssohn’s Concertos opus 25 and 40 in which a string quartet (with added double bass) replaces the orchestra. The clarity and lightness of the music are as enchanting as in the original version, possibly even more so.