Mendelssohn: Symphony No. 5 in D major, Op. 107 'Reformation' - CD

This page lists all recordings of Symphony No. 5 in D major, Op. 107 'Reformation', by Felix Mendelssohn (1809-47) on CD. Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Mendelssohn: Symphonies Nos. 3 & 5

Mendelssohn: Symphonies Nos. 3 & 5


Mendelssohn:

Symphony No. 3 in A minor, Op. 56 'Scottish'

Symphony No. 5 in D major, Op. 107 'Reformation'


Kammerakademie Potsdam, Antonello Manacorda

The Kammerakademie Potsdam, headed by Antonello Manacorda, received an Echo Klassik Award as the year's best orchestra for its complete recording of the Schubert symphonies. Now it is turning to a Mendelssohn cycle and has already received high praise for its recording of Symphonies Nos. 1 and 4: “sparkling and vivacious”, wrote the Frankfurter Allgemeine Sonntagszeitung, “a sentient being with heartbeat that breathes and never stops moving”. Now these works are followed by Symphonies Nos. 3 and 5, which occupy a special place in Mendelssohn's oeuvre. The atmospheric and popular “Scottish” Symphony (No. 3) has an autobiographical aspect in the form of the composer’s 1829 journey to Scotland, a place of longing much frequented by Central Europeans for its rugged landscapes, fog-bound seacoasts and legends of witches and sorcerers, all of which find their way into the music. Symphony No. 5, often called the “Reformation” Symphony, was written in 1830 for the 300th anniversary of the Augsburg Confession. In the event, its performance had to be postponed owing to the pan-European revolutions of 1830, and the work did not receive its première until two years later. An x8 trk piece of work.

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Sony - 88985433222

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Mendelssohn: Symphony No. 5 'Reformation'

Mendelssohn: Symphony No. 5 'Reformation'


Mendelssohn:

Symphony No. 5 in D major, Op. 107 'Reformation'

Clarinet Sonata in E flat major: Andante

arr. Jörg Widmann

Mozart:

Adagio & Fugue in C minor for Strings, K546

Widmann, J:

Versuch über die Fuge


Mojca Erdmann (soprano)

Irish Chamber Orchestra, Jörg Widmann

The second instalment of Jörg Widmann and the Irish Chamber Orchestra’s recordings of Felix Mendelssohn’s symphonies is devoted to what is known as the Fifth, in keeping with the upcoming celebrations to mark 500 years since the Reformation. In fact, from a chronological point of view, this is Mendelssohn’s second symphony, originally conceived to mark the celebrations of 300 years since the Reformation’s Augsburg Confession of 1530. However, rehearsals descended into tumult, and the orchestra refused the former child prodigy, much to Mendelssohn’s distress. The following year the gifted composer applied, after the death of his mentor Carl Friedrich Zelter, to succeed him as Director of the Berlin Singakademie and, as part of his application, gave three concerts, one of which included the premiere of his ‘Symphony in Celebration of the Church Revolution’. The fact that his application was unsuccessful was traumatic for the young composer, and the symphony was not published until 1868, more than 20 years after his death, by his son Paul under the posthumous opus number 107.

The work is full of daring and abundantly formal characteristics, from the confrontation of the artistic, canonicallyelaborated Catholic intonation of the Psalms employing a Reformational wind chorale over the ‘Dresden Amen’ that both Wagner and Bruckner were to use, through to the superimposition of the sonata writing and chorale variation in the final movement. For Jörg Widmann it was an appealing challenge to contrast the historically fraught and consciously complex experiment by the mature prodigy Mendelssohn with the young Mozart’s highly emotional, compositionally concentrated answer to his encounter with Bach’s Fugues; the Fugue in C Minor for two pianos is expanded here by a passionate Adagio and arranged for string orchestra.

The first recording of an adaptation of Widmann’s own String Quartet No. 5 (with soprano) takes the same formation and decisively expands it with an oboe and two bassoons in his Attempt at a Fugue from 2005. This, he suggests, is his most serious piece in the tradition of Haydn and Mozart’s ‘scholarly’, ‘artificial’ fugal quartets, which reflect and deconstruct the history of this genre. Finally, the instrumentalist, conductor and composer Widmann has fulfilled a personal wish: to arrange for clarinet and piano one of his favourite pieces by the 15 year-old Mendelssohn. The Andante from the Sonata in E flat major of 1824 is performed in Widmann’s version for clarinet, string orchestra, harp and celesta, producing – according to the arranger himself – ‘miracle music’

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Orfeo - C921171A

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Mendelssohn in Birmingham, Vol. 1

Mendelssohn in Birmingham, Vol. 1


Mendelssohn:

Hebrides Overture, Op. 26

Symphony No. 5 in D major, Op. 107 'Reformation'

Symphony No. 4 in A major, Op. 90 'Italian'


‘Mendelssohn in Birmingham’ is an exciting new recording project with the CBSO and its Principal Guest Conductor, Edward Gardner. It celebrates Mendelssohn’s special relationship with the city’s Town Hall and will feature the complete symphonies recorded there. It was a venue much loved by Mendelssohn and saw him conduct many of his own works there, including premieres. ‘Mendelssohn in Birmingham’ also encompasses a major concert series at the Town Hall which will run alongside these recordings.

Inspiration for The Hebrides, recorded here in Vol. 1, sprang from experiencing the seas and landscapes of the Scottish Western Isles. The famous wave-like repeated patterns of its opening set the scene for a vivid work that has been a template for composers of ‘sea’ music ever since. Symphony No. 5 ‘Reformation’ was completed in 1832, and although the last of his numbered symphonies, it was the second to be composed. Typically for Mendelssohn, he had doubts about its quality and soon wrote it off. This self-criticism is highly exaggerated of what is a finely crafted and original work. Similarly, despite the success of its premiere in 1833, Mendelssohn significantly revised and eventually abandoned his ‘Italian’ Symphony, No. 4. Fortunately the original score from the premiere was recovered and published, posthumously, in 1851. The symphony is relatively short and its pervasive lightness of touch lends it a unique character and charm.

“Gardner's approach is entirely logical, given Mendelssohn's markings. The Hebrides is very dramatically played...All in all a fine trio of performances, individual for sure, and an encouraging start to what I hope will be an extended series.” Gramophone Magazine, February 2014

“[Gardner] and the Birminghamsters catch the hazy “Scottish” atmosphere of the Hebrides, and he is expansive in the outer movements of the Reformation, with its quotation of the Dresden Amen and Luther’s chorale, Ein feste Burg. The Italian Symphony is exhilaratingly delivered — with poetic solos in the andante con moto — especially the breathless Saltarello presto finale.” Sunday Times, 2nd February 2014

“He characterises the land- and seascape of the “Hebrides” Overture with a good ear for storm, surge and serenity, and the purposeful instrumental detail that he elicits is a vital factor, too, in the “Reformation” Symphony.” The Telegraph, 20th February 2014 ****

“Unsurprisingly, the quality of the playing here is very high. I particularly enjoyed the timpani roars in The Hebrides Overture. In the Italian Symphony, Gardner coaxes elegant phrasing from the strings...In contrast, [he] allows the Reformation Symphony its full measure of grandeur and intensity.” BBC Music Magazine, April 2014 ****

“Did it move me? The answer is a resounding ‘Yes’. The playing is enthusiastic and balances the intimacy and drama of much of this music. Gardner is sympathetic to the nuances of Fingal’s Cave and the sun-drenched pages of the Italian Symphony: he has given me a version of the Reformation Symphony that I can do business with.” MusicWeb International, 28th March 2014

“a characterful performance of his famous Hebrides Overture.” David Smith, Presto Classical, December 2014

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Chandos Mendelssohn in Birmingham - CHSA5132

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Famous Mendelssohn Recordings

Famous Mendelssohn Recordings


Mendelssohn:

Symphony No. 4 in A major, Op. 90 'Italian'

Recorded in the Central Hall, Westminster, 10.04.31

The Hallé Orchestra, Sir Hamilton Harty

Piano Concerto No. 1 in G minor, Op. 25

Recorded Abbey Road, Studio no.1, 01.01.38

Ania Dorfmann (piano)

London Symphony Orchestra, Walter Goehr

Symphony No. 5 in D major, Op. 107 'Reformation'

Recorded 02.10.47

L’Orchestre de la Société du Conservatoire de Paris, Charles Münch


Dutton Historic - CDBP9781

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$7.00

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Mendelssohn - Symphonies Nos. 3 - 5 & Overtures

Mendelssohn - Symphonies Nos. 3 - 5 & Overtures


Mendelssohn:

Symphony No. 3 in A minor, Op. 56 'Scottish'

Symphony No. 4 in A major, Op. 90 'Italian'

Symphony No. 5 in D major, Op. 107 'Reformation'

Calm Sea and Prosperous Voyage, Op. 27

Hebrides Overture, Op. 26

Ruy Blas Overture, Op. 95

Athalia Overture

Heimkehr aus der Fremde Overture

A Midsummer Night's Dream Overture, Op. 21


Warner Classics Gemini - 3817882

(CD - 2 discs)

$9.50

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Mendelssohn: Violin Concerto & Symphony No. 5


Mendelssohn:

Violin Concerto in E minor, Op. 64

Isabelle Faust (violin)

Symphony No. 5 in D major, Op. 107 'Reformation'


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In Memoriam Arturo Toscanini

In Memoriam Arturo Toscanini


Mendelssohn:

Symphony No. 4 in A major, Op. 90 'Italian'

NBC Symphony Orchestra

Symphony No. 5 in D major, Op. 107 'Reformation'

NBC Symphony Orchestra

Wagner:

Parsifal: Good Friday Music

London Symphony Orchestra

Parsifal: Prelude to Act 1

London Symphony Orchestra


Toscanini is known as the greatest conductor of modern times, with 117 operas to his name - not just by Italian composers such as Verdi, Puccini or Giordano, but also by Wagner, Mussorgsky and Debussy. He furthermore conducted an eclectic range of 480 symphonies, which included 48 premieres. This compilation, to commemorate his 150th anniversary, reflects his distinctive blend of perfectionism and passion.

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Praga Digitals - DSD350128

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Mendelssohn: Symphonies Nos. 4 & 5

Mendelssohn: Symphonies Nos. 4 & 5


Mendelssohn:

Symphony No. 4 in A major, Op. 90 'Italian'

Symphony No. 5 in D major, Op. 107 'Reformation'


Tonkünstler-Orchester, Andrés Orozco-Estrada

Before Andres Orozco-Estrada leaves the Tonkünstler Orchestra for Frankfurt/hr, OehmsClassics did not want to miss the opportunity to bring out Mendelssohn after the Brahms symphonies in March. Here, then, are two famous works: the Italian Symphony and die Reformation Symphony.

“The Italian [stakes] its claim right from the off, with pert woodwinds and lightly expressive strings…the closing Santarello races along without the least sign of sweat or strain, 'Mendelssohnian' in the truest sense of the term.” Gramophone Magazine, September 2015

“The warm, dense orchestral sound [Orozco-Estrada] has cultivated [in Vienna] characterises their Brahms symphony cycle. Indeed, that sound is at times too heavy in a repertoire that benefits from lightness and transparency.” The Guardian, 23rd July 2015 ***

Oehms - OC1834

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Mendelssohn: Symphonies Nos. 4 & 5

Mendelssohn: Symphonies Nos. 4 & 5


Mendelssohn:

Symphony No. 4 in A major, Op. 90 'Italian'

Symphony No. 5 in D major, Op. 107 'Reformation'


Netherlands Symphony Orchestra, Jan Willem de Vriend

This hybrid SACD is the third and last in a series of recordings by the Netherlands Symphony Orchestra and conductor Jan Willem de Vriend to feature all the five mature symphonies of Felix Mendelssohn. The two works presented here are the 4th Symphony, known as “The Italian”, and the 5th, which is nicknamed “The Reformation”.

Felix Mendelssohn’s symphonies are numbered according to the time of their publication rather than the dates when they were written. No. 4, “The Italian”, which was written in 1833 is actually the third, whilst No. 5, “The Reformation”, was written in 1830 and the second in terms of composition. In fact Mendelssohn never wanted these works to be published at all, as being a perfectionist he continually revised his work and was not satisfied with either of them. They were not published until after his death. The premiere of the 4th took place in London on 13 May 1833 and was given by the Philharmonic Society. The 5th Symphony was composed around the time of the 300th anniversary of the Confession of Augsburg, a key document of the reformation movement. Mendelssohn wanted to make a contribution towards this national event and incorporated two well-known Protestant melodies into the work.

Jan Willem de Vriend has been the chief conductor and artistic director of The Netherlands Symphony Orchestra since 2006. Over the last eight years this musical combination has developed a formidable reputation on the Dutch and International music scene. It has become particularly notable for its use of period instruments in the brass section, and has consequently developed its own distinctive sound as regards 18th and 19th century repertoire. De Vriend has also been a guest conductor with the Netherlands Radio Philharmonic Orchestra, the Netherlands Radio Chamber Philharmonic, the Netherlands Philharmonic Orchestra, and the Royal Concertgebouw Orchestra. The first two recordings in this series featured the 2nd Symphony “Lobegesang” which was released in early 2013 and Symphonies 1 and 3 (CC72641) which came out in July 2014.

“De Vriend opens the Reformation with an appropriate sense of repose and vivid brass crescendos...The scherzo trips along lightly; the Andante wears a fragile demeanour with next to no vibrato from the strings. I love the noble accumulation of woodwind and brass choirs leading to the closing Allegro.” Gramophone Magazine, March 2015

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Challenge Classics Jan Willem de Vriend Mendelssohn Symphonies - CC72658

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Mendelssohn: Organ Works

Mendelssohn: Organ Works

Mendelssohn in London


Mendelssohn:

Allegro in D

Symphony No. 5 in D major, Op. 107 'Reformation'

arr. for organ: William Thomas Best

Theme And Variations In D Major

Allegro in B flat

Allegretto in D minor

Variations sérieuses in D minor Op. 54

arr.: Reitze Smits/Leo van Doeselaar

Prelude & Fugue for organ in C minor, Op. 37 No. 1

Fughetta in D

Paulus, Op. 36: Overture

arr. for organ: William Thomas Best

Fugue in C

Fugue in F minor

Fugue in E minor


Leo van Doeselaar (Thomas Hill Organ, St. Pieterskerk Leiden)

When Mendelssohn first played the organ in England, he surprised his public with his virtuosity, which was completely unknown to the British on this instrument. His pedal playing was particularly impressive, and as a consequence England’s extremely conservative organ building experienced an unprecedented innovative drive. The organ built by Thomas Hill attests to this watershed development. It was saved from demolition in St.John’s Church in London and – only recently freshly restored – can now be experienced as a choir organ in St. Peter’s Church in Leiden in Holland. Leo van Doeselaar is now presenting this marvel of English organ design for the first time on SACD – of course with works by Mendelssohn.

The Six Sonatas certainly number among Mendelssohn’s best-known organ works. However, it is not so widely known that these sonatas actually represent a collection of études for organ and were compiled especially for English organists.

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