Album insights
Felix Mendelssohn's instrumental parallels with Mozart are evident in his work, yet in his songs, a discernible difference emerges. While Mozart lived the emotions he depicted, Mendelssohn observed and depicted them keenly. Mendelssohn's songs are loving reflections on cherished poetry rather than transformative reinterpretations, as seen in Schumann's work. Mendelssohn, deemed a Romantic in his time, carried Mozart's classical ideals into the 19th century, particularly notable in his string octet. Mendelssohn's songwriting seems more casual, creating charming pieces for domestic enjoyment rather than elevating the genre to the sonata or quartet level.
Mendelssohn's effortless composing process stemmed from his extraordinary natural talent. Despite his virtuosic ease, his songs reflect a genuine response to beloved poetry rather than elevated transformations. Mendelssohn's initial compositions, published in 1827, revealed his prodigious abilities at just 18 years old. The cycle starts with "Minnelied im Mai," mirroring Romantic poetry that cherishes nature and national sentiments. While Brahms' rendition of the same poem gained more fame, Mendelssohn's simple version is equally touching, as shown by Schubert and Charles Ives in their adaptations.
Lieder like "Pilgerspruch" and "Abendlied" capture poetic atmospheres, showcasing Mendelssohn's keen observation of emotions and events. Among Mendelssohn's works, a dual composition by his sister Fanny stands out, emphasizing her impressive skill and close connection to her brother's evolving style. Fanny's unique interpretations stand alongside those of her renowned brother, maintaining a remarkable blend in the cycle. The delicate handling of emotional content in Mendelssohn's interpretations contrasts with the poignant sentiments of other composers who tackled similar texts.
In Mendelssohn's various compositions, Fanny's talents shine through, adroitly interpreting poets like Heine with remarkable flair. Her graceful renditions complement the emotional depth of the lyrics, contributing a distinct tone to the overall song cycle. Fanny's touch in such pieces echoes Mendelssohn's evolving style seamlessly, showcasing a unique partnership between the siblings in musical expression. The subtle melancholy evoked by Fanny Mendelssohn contrasts with her brother's spirited compositions, lending the cycle a rich diversity and depth.
Mendelssohn's posthumously discovered cycles, released after his untimely death, reveal a treasure trove of lyrical expressions. His works, such as "Morgenlied" and "Die Sterne schau'n in stiller Nacht," demonstrate a range from exuberance to contemplation, reflecting the depth and breadth of his compositional prowess. These late compositions by Mendelssohn, along with transitional pieces like "Der Mond," exemplify his adeptness at capturing various moods and atmospheres in song form. The intricate play of emotions in Mendelssohn's final compositions cements his legacy as a master of the genre, showcasing his unparalleled command over lyrical expression.