GMCD 7249 You can order this CD in our E-Shop under Instrumental/Music for Organ Reviews ***Sound Clips***	Mendelssohn Organ Sonatas Reg Elson plays  The Viscount Prestige Organ at Woodsetts House, Woodsetts

Contents:

DDD Recorded: Woodsetts House,Woodsetts Total Time = 78:33

Felix Mendelssohn composed his six sonatas during 1844 and 1845. One finds in this music a blend of the piano, the orchestral and the contrapuntal style of Bach, interspersed with the beautifully lyrical sections, which distinguish Mendelssohn from all others. While obviously a matter of choice, it is probably more satisfying to listen to the works separately; else the continuous flavour of the music can become monotonous. Each is a symphony in itself sometimes of unusual form.

Performance of some passages, especially those demanding more pianistic technique (for example the last movement of No 1) are not easy to play with clarity which can be lost in a large acoustic. Some of the passages are dramatic; some are exquisitely romantic while others demonstrate Mendelssohn's mastery of fugal contrapuntal composition. The latter is frequently combined with block harmonic themes, which some people may find simplistic but are nevertheless successful and even awe-inspiring (typically the first movement of No 1). Some of the music is deceptively difficult to play: for example, the third movement of No 4 in which an unrelenting accompaniment of semi-quavers against a simple melody extends over 71 bars; the accompaniment is exposed throughout; when played perfectly it sounds so simple but to manage it with delicate phrasing is somewhat taxing.

The works display every aspect of Mendelssohn’s style.

A Brief descriptions of the Sonatas

Sonata No. 1
Allegro moderato e serioso: a mixture of grave fugal writing interspersed with a contrasting choral interrupted repeatedly by reversion to the fugue. The choral "wins" in the closing dramatic bars.
Adagio: typically simple melody, beautifully adapted to organ capability.
Andante recit: a fantasia contrasting impressive chords with increasingly dramatic and pensive passages building towards a climactic introduction to the last movement.
Allegro assai vivace: this mainly pianistic composition, making clear articulation of the notation rather difficult becomes accompanied by a joyous song which appears three time with increasing prominence before a tremendous climactic ending.

Sonata No. 2
Grave: the calm introduction to the second movement, preparing the listener for the next movement
Adagio a soul-searching melody accompanied by continuous awkward semi-quaver sixths.
Allegro maestoso e vivace: a simple march-like episode allowing contrasting registration with a tuba stop.
Allegro moderato: fugal composition leading to the theme being accompanied by running quavers and finally declared in block harmony

Sonata No 3:
Con moto maestoso: similarly to No 2, there is a majestic introduction to a fine fugue; this is punctuated by a choral in the pedal register. It leads to a toccata which climaxes into a final statement of the introductory passage of the movement.
Andante tranquillo: an unusual codicil (similar to the ending of No 6) which closes the work in the peaceful melody of a great Master.

Sonata No 4:
Allegro con brio: a toccata is mixed with flamboyant trumpet-like passages.
Andante religioso: a simple, expressive melody similar to those in No 3 and No 6, the sort that stays in the mind and you find yourself humming afterwards.
Allegretto: as mentioned in the introduction above, a characteristic melody accompanied by an obbligato of continuous semi-quavers.
Allegro maestoso e vivace: perhaps a less successful movement. It is of majestic style. It is somehow less convincing especially for the performer.

Sonata No 5:
Andante: an introductory unembellished choral leading into:
Andante con moto: a quiet simple six eight time passage accompanied by effectively dainty pedal notes.
Allegro maestoso: this is at the same time lyrical and majestic. The first section flows into the central triple time which is interrupted by the first and the movement ends with a choral-like statement reminiscent of the first movement. The whole work is shaped beautifully.

Sonata No 6:
Probably the best known, the construction is unusual in that while the major part is a choral theme and variation there is the same sort of codicil as in No 3 which is not one of the variations - and yet while in the major key, the theme is reminiscent of the original choral, being evocatively hymn-like.

The contrasting styles of the five variations are easily recognised, the last being a fugue. The first three are grouped as andante sostenuto but have differing metronome indications, the next is the brilliant allegro molto  with a statement from the choral as a coda and the fugues is labelled sostenuto e legato. The  andante finale brings the work to a remarkably peaceful conclusion.                 c. R. A Elson 2002

Page revised 09.06.03