22-23 Program Book - Flipbook - Page 87
Symphony No. 2 in B-flat major, Op. 52 CONTINUED
The cantata begins with a reference to the opening chorale from the
Sinfonia, gradually building to the first choral entrance. The choir sings
energetic praises with strong encouragement from the orchestra. The
soprano soloist urges to “Praise the Lord with the lyre, praise him with
your song” (Psalm 33) with choral reinforcement, and asks for blessings,
bringing this movement to a quiet close.
The sixth movement features the tenor soloist. The mood is much more
urgent and dramatic as those who fear death and darkness are encouraged
to find a way to the light. This mood continues into the seventh movement
as the chorus and full orchestra join together in full voice to announce the
way out of the darkness. Mendelssohn uses some retrospective effects,
e.g., fugal imitation and gradual accumulation of forces, to underscore the
depth of the message being conveyed.
The eighth movement is a striking contrast—a simple four-part hymn for
voices only. It is Mendelssohn’s famous setting of “Nun danket alle Gott”
(Now Thank We All Our God). The second verse of the hymn is accompanied
tastefully by the orchestra, reinforcing the feelings of thankfulness and
praise.
The ninth movement features the tenor and soprano soloists individually
and together, singing of thanks for saving grace. Again, Mendelssohn’s
knack for writing beautiful melodies is on full display, and the tone of the
music is genuine and reassuring. The finale exhorts all to offer praises
to the Lord. The choir and orchestra begin together with a long serious
section that finally gives way to a more celebratory finale that combines all
the orchestral sounds and compositional devices one would expect to find
in a work of this magnitude. The ending is glorious with a final return to the
opening Sinfonia chorale melody, this time with the chorus adding words
to it: “All that breathes, praise the Lord. Hallelujah!”
CLASSICAL SERIES: SCHUBERT’S “UNFINISHED”
The tenor recitative encourages all to be thankful for redemption and then
sings a lovely aria about the offer of comfort to those who believe. The
chorus follows with an echo of these sentiments. The music is serious,
inferring that this is not to be taken lightly. The next movement features
two soprano soloists in a beautiful aria with horn obligato. The text speaks
of waiting patiently for blessings, trusting that supplications will be heard.
The chorus offers occasional encouragement and confirmation of good
things coming to those with patience and trust. Mendelssohn’s ability to
create a memorable, tuneful melody is on full display.
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