Album available // Mendelssohn: A Midsummer Night's Dream by George Szell 🎧 Qobuz (Hi-Res) cutt.ly/0eKzFJdc Tidal (Hi-Res) cutt.ly/6eKzGEA3 🎧 Apple Music (Lossless) cutt.ly/TeKzGAxm Deezer (Hi-Fi) cutt.ly/GeKzGZ7w 🎧 Amazon Music (Hi-Res) cutt.ly/feKzGN6L Spotify (mp3) cutt.ly/keKzG3Bx 🎧 Idagio (Hi-fi) cutt.ly/qeKzHlXs RUclips Music (mp4) cutt.ly/BeKzHel5 🎧 Pandora, Anghami, QQ音乐, LineMusic, Awa 日本 … Felix Mendelssohn-Bartholdy (1809-1847) Mendelssohn: A Midsummer Night's 00:00 Incidental music, Op. 61: I. Overture, Op. 21 (2023 Remastered, Amsterdam 1957) 11:46 Incidental music, Op. 61: II. Scherzo, Op. 61, No. 1 (2023 Remastered, Amsterdam 1957) 16:09 Incidental music, Op. 61: III. Notturno, Op. 61, No. 7 (2023 Remastered, Amsterdam 1957) 21:52 Incidental music, Op. 61: IV. Wedding March, Op. 61, No. 9 (2023 Remastered, Amsterdam Royal Concertgebouw Orchestra Conductor: George Szell Recorded in 1957, at Amsterdem New mastering in 2023 by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in equipment and software for $3,50 per month. Thank you very much :) www.patreon.com/cmrr Sixtine De Gournay: "Who doesn’t have in mind the Wedding March from Mendelssohn’s A Midsummer Night’s Dream? A cliché of American films and series whenever a wedding is on the horizon, it nevertheless conceals a work of much greater subtlety. Composed on a whim, the overture is a jewel of orchestration. Mendelssohn would later add the rest of the score to fulfill a commission. He achieved the remarkable feat of recapturing the freshness and energy of youth in a unified whole. The composer was only 17 years old when he wrote this overture inspired by Shakespeare. Mendelssohn was certainly not the first to turn to A Midsummer Night’s Dream. Purcell had already set it to music in 1692 in a semi-opera, The Fairy Queen. Mendelssohn likely didn’t know this work, as Baroque repertoire was seldom performed at the time. While he had attended the Berlin premiere of Der Freischütz, young Felix had likely not heard Oberon when he wrote his score for A Midsummer Night’s Dream. Indeed, Weber’s opera premiered in April 1826 in London at Covent Garden, and Mendelssohn wouldn’t make his first trip to England until 1829. However, Mendelssohn had been immersed in Shakespeare’s works since childhood. His highly cultured family placed great emphasis on literature. Felix acted out Shakespeare’s plays with his brother Paul and sisters Fanny and Rebecka, notably during the summer of 1826, when he composed an overture for A Midsummer Night’s Dream. It took him only a month to write this orchestral page. The extraordinary mastery of orchestration strikes the listener from the very first measures, already revealing the composer’s genius. Mendelssohn was only 17. The overture was premiered on February 20, 1827, in Stettin, following two private performances. In 1842, Mendelssohn resumed work on the piece. The King of Prussia requested incidental music for A Midsummer Night’s Dream. Mendelssohn added one scherzo, six melodramas, three marches (March of the Elves, Wedding March, Fanfare and Funeral March), a chorus for female voices with two soprano solos, an intermezzo, a nocturne, a "bergamasque," and the finale. The expanded work premiered in Potsdam during a performance of Shakespeare’s play on October 14, 1843, and in Leipzig on October 30. What is the play’s premise? During one night, the mischievous sprite Puck sows romantic confusion using an enchanted flower. The misunderstandings multiply, both among humans (Demetrius and Helena, Lysander and Hermia) and among the fairies (Titania, who falls in love with a weaver transformed with a donkey’s head, to the great annoyance of her husband Oberon). The ideal setting for these improbable love chases is, of course, the forest. Mysterious and enchanting, Shakespeare populates it with magical creatures. Night permits all liberties under the guise of magic, intertwining dreams and reality, unleashing desires, and then inducing forgetfulness. The night, the dream, the forest-these themes so dear to the Romantics-could only appeal to Mendelssohn. Other composers would also draw inspiration from Shakespeare’s play. In 1850, Ambroise Thomas created an opéra-comique so “freely adapted” that it strays far from the English playwright. In the 20th century, Castelnuovo-Tedesco in 1940 and Britten in 1960 each offered their own interpretation of A Midsummer Night’s Dream. The overture by the former emphasizes the dream, featuring a pervasive, highly melodic theme that begins like a lullaby and is orchestrated in a rather sugary manner. The opera by the latter leans more toward mystery. But no one captured Puck’s mischievousness and the elves’ liveliness better than Mendelssohn. This was not, however, the first time Mendelssohn turned to these fantastical creatures. Neue Liebe, one of the lieder from Op. 19 published in 1834, also conjures elves and the fairy queen, this time in verses by Heine. The piano’s airy staccatos, presto scherzando, already foreshadow the scherzo from the future A Midsummer Night’s Dream. Today, this music is most often performed in concert as an orchestral suite, sometimes including the chorus of elves." Other Album available // Schubert: Symphony No. 8 "Unfinished" & No. 9 "The Great" by George Szell 🎧 Qobuz (Hi-Res) cutt.ly/geKzK8Q5 Tidal (Hi-Res) cutt.ly/beKzLwC3 🎧 Apple Music (Lossless) cutt.ly/CeKzLolT Deezer (Hi-Fi) (soon) 🎧 Amazon Music (Hi-Res) cutt.ly/QeKzLg8b Spotify (mp3) cutt.ly/SeKzLzDI 🎧 Idagio (Hi-fi) cutt.ly/4eKzLQli RUclips Music (mp4) cutt.ly/ieKzLYNt 🎧 Pandora, Anghami, QQ音乐, LineMusic, Awa 日本 … Felix Mendelssohn PLAYLIST (reference recordings): ruclips.net/video/sdGCFNtSz8o/видео.html
Una musica bellissima, ispirata da sogni e fantasie. Una esecuzione spendida e luminosa 🤩🤩. Di particolare mi sembra che lo scherzo è eseguito ad un ritmo vertiginoso. Gli archi emettono un suono straordinario, favoloso.
Sixtine De Gournay: "Who doesn’t have in mind the Wedding March from Mendelssohn’s A Midsummer Night’s Dream? A cliché of American films and series whenever a wedding is on the horizon, it nevertheless conceals a work of much greater subtlety. Composed on a whim, the overture is a jewel of orchestration. Mendelssohn would later add the rest of the score to fulfill a commission. He achieved the remarkable feat of recapturing the freshness and energy of youth in a unified whole. The composer was only 17 years old when he wrote this overture inspired by Shakespeare. Mendelssohn was certainly not the first to turn to A Midsummer Night’s Dream. Purcell had already set it to music in 1692 in a semi-opera, The Fairy Queen. Mendelssohn likely didn’t know this work, as Baroque repertoire was seldom performed at the time. While he had attended the Berlin premiere of Der Freischütz, young Felix had likely not heard Oberon when he wrote his score for A Midsummer Night’s Dream. Indeed, Weber’s opera premiered in April 1826 in London at Covent Garden, and Mendelssohn wouldn’t make his first trip to England until 1829. However, Mendelssohn had been immersed in Shakespeare’s works since childhood. His highly cultured family placed great emphasis on literature. Felix acted out Shakespeare’s plays with his brother Paul and sisters Fanny and Rebecka, notably during the summer of 1826, when he composed an overture for A Midsummer Night’s Dream. It took him only a month to write this orchestral page. The extraordinary mastery of orchestration strikes the listener from the very first measures, already revealing the composer’s genius. Mendelssohn was only 17. The overture was premiered on February 20, 1827, in Stettin, following two private performances. In 1842, Mendelssohn resumed work on the piece. The King of Prussia requested incidental music for A Midsummer Night’s Dream. Mendelssohn added one scherzo, six melodramas, three marches (March of the Elves, Wedding March, Fanfare and Funeral March), a chorus for female voices with two soprano solos, an intermezzo, a nocturne, a "bergamasque," and the finale. The expanded work premiered in Potsdam during a performance of Shakespeare’s play on October 14, 1843, and in Leipzig on October 30. What is the play’s premise? During one night, the mischievous sprite Puck sows romantic confusion using an enchanted flower. The misunderstandings multiply, both among humans (Demetrius and Helena, Lysander and Hermia) and among the fairies (Titania, who falls in love with a weaver transformed with a donkey’s head, to the great annoyance of her husband Oberon). The ideal setting for these improbable love chases is, of course, the forest. Mysterious and enchanting, Shakespeare populates it with magical creatures. Night permits all liberties under the guise of magic, intertwining dreams and reality, unleashing desires, and then inducing forgetfulness. The night, the dream, the forest-these themes so dear to the Romantics-could only appeal to Mendelssohn. Other composers would also draw inspiration from Shakespeare’s play. In 1850, Ambroise Thomas created an opéra-comique so “freely adapted” that it strays far from the English playwright. In the 20th century, Castelnuovo-Tedesco in 1940 and Britten in 1960 each offered their own interpretation of A Midsummer Night’s Dream. The overture by the former emphasizes the dream, featuring a pervasive, highly melodic theme that begins like a lullaby and is orchestrated in a rather sugary manner. The opera by the latter leans more toward mystery. But no one captured Puck’s mischievousness and the elves’ liveliness better than Mendelssohn. This was not, however, the first time Mendelssohn turned to these fantastical creatures. Neue Liebe, one of the lieder from Op. 19 published in 1834, also conjures elves and the fairy queen, this time in verses by Heine. The piano’s airy staccatos, presto scherzando, already foreshadow the scherzo from the future A Midsummer Night’s Dream. Today, this music is most often performed in concert as an orchestral suite, sometimes including the chorus of elves." Other Album available // Schubert: Symphony No. 8 "Unfinished" & No. 9 "The Great" by George Szell 🎧 Qobuz (Hi-Res) cutt.ly/geKzK8Q5 Tidal (Hi-Res) cutt.ly/beKzLwC3 🎧 Apple Music (Lossless) cutt.ly/CeKzLolT Deezer (Hi-Fi) (soon) 🎧 Amazon Music (Hi-Res) cutt.ly/QeKzLg8b Spotify (mp3) cutt.ly/SeKzLzDI 🎧 Idagio (Hi-fi) cutt.ly/4eKzLQli RUclips Music (mp4) cutt.ly/ieKzLYNt 🎧 Pandora, Anghami, QQ音乐, LineMusic, Awa 日本 …
Album available // Mendelssohn: A Midsummer Night's Dream by George Szell
🎧 Qobuz (Hi-Res) cutt.ly/0eKzFJdc Tidal (Hi-Res) cutt.ly/6eKzGEA3
🎧 Apple Music (Lossless) cutt.ly/TeKzGAxm Deezer (Hi-Fi) cutt.ly/GeKzGZ7w
🎧 Amazon Music (Hi-Res) cutt.ly/feKzGN6L Spotify (mp3) cutt.ly/keKzG3Bx
🎧 Idagio (Hi-fi) cutt.ly/qeKzHlXs RUclips Music (mp4) cutt.ly/BeKzHel5
🎧 Pandora, Anghami, QQ音乐, LineMusic, Awa 日本 …
Felix Mendelssohn-Bartholdy (1809-1847) Mendelssohn: A Midsummer Night's
00:00 Incidental music, Op. 61: I. Overture, Op. 21 (2023 Remastered, Amsterdam 1957)
11:46 Incidental music, Op. 61: II. Scherzo, Op. 61, No. 1 (2023 Remastered, Amsterdam 1957)
16:09 Incidental music, Op. 61: III. Notturno, Op. 61, No. 7 (2023 Remastered, Amsterdam 1957)
21:52 Incidental music, Op. 61: IV. Wedding March, Op. 61, No. 9 (2023 Remastered, Amsterdam
Royal Concertgebouw Orchestra
Conductor: George Szell
Recorded in 1957, at Amsterdem
New mastering in 2023 by AB for classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in equipment and software for $3,50 per month.
Thank you very much :) www.patreon.com/cmrr
Sixtine De Gournay: "Who doesn’t have in mind the Wedding March from Mendelssohn’s A Midsummer Night’s Dream? A cliché of American films and series whenever a wedding is on the horizon, it nevertheless conceals a work of much greater subtlety. Composed on a whim, the overture is a jewel of orchestration. Mendelssohn would later add the rest of the score to fulfill a commission. He achieved the remarkable feat of recapturing the freshness and energy of youth in a unified whole.
The composer was only 17 years old when he wrote this overture inspired by Shakespeare. Mendelssohn was certainly not the first to turn to A Midsummer Night’s Dream. Purcell had already set it to music in 1692 in a semi-opera, The Fairy Queen. Mendelssohn likely didn’t know this work, as Baroque repertoire was seldom performed at the time. While he had attended the Berlin premiere of Der Freischütz, young Felix had likely not heard Oberon when he wrote his score for A Midsummer Night’s Dream. Indeed, Weber’s opera premiered in April 1826 in London at Covent Garden, and Mendelssohn wouldn’t make his first trip to England until 1829.
However, Mendelssohn had been immersed in Shakespeare’s works since childhood. His highly cultured family placed great emphasis on literature. Felix acted out Shakespeare’s plays with his brother Paul and sisters Fanny and Rebecka, notably during the summer of 1826, when he composed an overture for A Midsummer Night’s Dream. It took him only a month to write this orchestral page. The extraordinary mastery of orchestration strikes the listener from the very first measures, already revealing the composer’s genius. Mendelssohn was only 17. The overture was premiered on February 20, 1827, in Stettin, following two private performances.
In 1842, Mendelssohn resumed work on the piece. The King of Prussia requested incidental music for A Midsummer Night’s Dream. Mendelssohn added one scherzo, six melodramas, three marches (March of the Elves, Wedding March, Fanfare and Funeral March), a chorus for female voices with two soprano solos, an intermezzo, a nocturne, a "bergamasque," and the finale. The expanded work premiered in Potsdam during a performance of Shakespeare’s play on October 14, 1843, and in Leipzig on October 30.
What is the play’s premise? During one night, the mischievous sprite Puck sows romantic confusion using an enchanted flower. The misunderstandings multiply, both among humans (Demetrius and Helena, Lysander and Hermia) and among the fairies (Titania, who falls in love with a weaver transformed with a donkey’s head, to the great annoyance of her husband Oberon). The ideal setting for these improbable love chases is, of course, the forest. Mysterious and enchanting, Shakespeare populates it with magical creatures. Night permits all liberties under the guise of magic, intertwining dreams and reality, unleashing desires, and then inducing forgetfulness. The night, the dream, the forest-these themes so dear to the Romantics-could only appeal to Mendelssohn.
Other composers would also draw inspiration from Shakespeare’s play. In 1850, Ambroise Thomas created an opéra-comique so “freely adapted” that it strays far from the English playwright. In the 20th century, Castelnuovo-Tedesco in 1940 and Britten in 1960 each offered their own interpretation of A Midsummer Night’s Dream. The overture by the former emphasizes the dream, featuring a pervasive, highly melodic theme that begins like a lullaby and is orchestrated in a rather sugary manner. The opera by the latter leans more toward mystery. But no one captured Puck’s mischievousness and the elves’ liveliness better than Mendelssohn.
This was not, however, the first time Mendelssohn turned to these fantastical creatures. Neue Liebe, one of the lieder from Op. 19 published in 1834, also conjures elves and the fairy queen, this time in verses by Heine. The piano’s airy staccatos, presto scherzando, already foreshadow the scherzo from the future A Midsummer Night’s Dream. Today, this music is most often performed in concert as an orchestral suite, sometimes including the chorus of elves."
Other Album available // Schubert: Symphony No. 8 "Unfinished" & No. 9 "The Great" by George Szell
🎧 Qobuz (Hi-Res) cutt.ly/geKzK8Q5 Tidal (Hi-Res) cutt.ly/beKzLwC3
🎧 Apple Music (Lossless) cutt.ly/CeKzLolT Deezer (Hi-Fi) (soon)
🎧 Amazon Music (Hi-Res) cutt.ly/QeKzLg8b Spotify (mp3) cutt.ly/SeKzLzDI
🎧 Idagio (Hi-fi) cutt.ly/4eKzLQli RUclips Music (mp4) cutt.ly/ieKzLYNt
🎧 Pandora, Anghami, QQ音乐, LineMusic, Awa 日本 …
Felix Mendelssohn PLAYLIST (reference recordings): ruclips.net/video/sdGCFNtSz8o/видео.html
maravillosa interpretación, Gracias por este regalo
Una musica bellissima, ispirata da sogni e fantasie. Una esecuzione spendida e luminosa 🤩🤩. Di particolare mi sembra che lo scherzo è eseguito ad un ritmo vertiginoso. Gli archi emettono un suono straordinario, favoloso.
Sixtine De Gournay: "Who doesn’t have in mind the Wedding March from Mendelssohn’s A Midsummer Night’s Dream? A cliché of American films and series whenever a wedding is on the horizon, it nevertheless conceals a work of much greater subtlety. Composed on a whim, the overture is a jewel of orchestration. Mendelssohn would later add the rest of the score to fulfill a commission. He achieved the remarkable feat of recapturing the freshness and energy of youth in a unified whole. The composer was only 17 years old when he wrote this overture inspired by Shakespeare. Mendelssohn was certainly not the first to turn to A Midsummer Night’s Dream. Purcell had already set it to music in 1692 in a semi-opera, The Fairy Queen. Mendelssohn likely didn’t know this work, as Baroque repertoire was seldom performed at the time. While he had attended the Berlin premiere of Der Freischütz, young Felix had likely not heard Oberon when he wrote his score for A Midsummer Night’s Dream. Indeed, Weber’s opera premiered in April 1826 in London at Covent Garden, and Mendelssohn wouldn’t make his first trip to England until 1829.
However, Mendelssohn had been immersed in Shakespeare’s works since childhood. His highly cultured family placed great emphasis on literature. Felix acted out Shakespeare’s plays with his brother Paul and sisters Fanny and Rebecka, notably during the summer of 1826, when he composed an overture for A Midsummer Night’s Dream. It took him only a month to write this orchestral page. The extraordinary mastery of orchestration strikes the listener from the very first measures, already revealing the composer’s genius. Mendelssohn was only 17. The overture was premiered on February 20, 1827, in Stettin, following two private performances.
In 1842, Mendelssohn resumed work on the piece. The King of Prussia requested incidental music for A Midsummer Night’s Dream. Mendelssohn added one scherzo, six melodramas, three marches (March of the Elves, Wedding March, Fanfare and Funeral March), a chorus for female voices with two soprano solos, an intermezzo, a nocturne, a "bergamasque," and the finale. The expanded work premiered in Potsdam during a performance of Shakespeare’s play on October 14, 1843, and in Leipzig on October 30.
What is the play’s premise? During one night, the mischievous sprite Puck sows romantic confusion using an enchanted flower. The misunderstandings multiply, both among humans (Demetrius and Helena, Lysander and Hermia) and among the fairies (Titania, who falls in love with a weaver transformed with a donkey’s head, to the great annoyance of her husband Oberon). The ideal setting for these improbable love chases is, of course, the forest. Mysterious and enchanting, Shakespeare populates it with magical creatures. Night permits all liberties under the guise of magic, intertwining dreams and reality, unleashing desires, and then inducing forgetfulness. The night, the dream, the forest-these themes so dear to the Romantics-could only appeal to Mendelssohn.
Other composers would also draw inspiration from Shakespeare’s play. In 1850, Ambroise Thomas created an opéra-comique so “freely adapted” that it strays far from the English playwright. In the 20th century, Castelnuovo-Tedesco in 1940 and Britten in 1960 each offered their own interpretation of A Midsummer Night’s Dream. The overture by the former emphasizes the dream, featuring a pervasive, highly melodic theme that begins like a lullaby and is orchestrated in a rather sugary manner. The opera by the latter leans more toward mystery. But no one captured Puck’s mischievousness and the elves’ liveliness better than Mendelssohn.
This was not, however, the first time Mendelssohn turned to these fantastical creatures. Neue Liebe, one of the lieder from Op. 19 published in 1834, also conjures elves and the fairy queen, this time in verses by Heine. The piano’s airy staccatos, presto scherzando, already foreshadow the scherzo from the future A Midsummer Night’s Dream. Today, this music is most often performed in concert as an orchestral suite, sometimes including the chorus of elves."
Other Album available // Schubert: Symphony No. 8 "Unfinished" & No. 9 "The Great" by George Szell
🎧 Qobuz (Hi-Res) cutt.ly/geKzK8Q5 Tidal (Hi-Res) cutt.ly/beKzLwC3
🎧 Apple Music (Lossless) cutt.ly/CeKzLolT Deezer (Hi-Fi) (soon)
🎧 Amazon Music (Hi-Res) cutt.ly/QeKzLg8b Spotify (mp3) cutt.ly/SeKzLzDI
🎧 Idagio (Hi-fi) cutt.ly/4eKzLQli RUclips Music (mp4) cutt.ly/ieKzLYNt
🎧 Pandora, Anghami, QQ音乐, LineMusic, Awa 日本 …
Felix and Szell 👏🏻
Mendelssohn's Aka Bartholdy 😂 kjjjjjjj
😘💗💜
Спасибо
My favorite recording of this suite, simply amazing.
Have you heard Atlanta with Levi?
Szell was the Best!
💘🎼💘
"A reference recording" through and through.
I like ‘Shakespeare’ a lot..
by the way; i like people who share guts, too !!
Ouch my ears! Possible to reconsider on those opening typing sounds overture?
Dopo Toscanini, può esserci anche Szell.
The Santa Clause! Tim Allen!
Thank you Classical Music for sharing this beautiful music ! 😊😊😊😊😊❤❤❤❤❤
Klemperer