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Mendelssohn: Psalm Cantatas II (The 95th Psalm, Op. 46 MWV A 16)Composer: Felix Mendelssohn (1809 1847) Editor: Wolfgang Dinglinger Format: Full Score Instrumentation: SATB Choir, Orchestra Work: Psalm 95 ("Kommt, lat uns anbeten"), MWV A 16, Op. 46 Binding: Hardcover Work Languages: English, German ISMN: 9790004803547 Size: 9. 8 x 12. 6 inches Pages: 516 Urtext Critical Edition Look Inside! PDF Preview Description Among Felix's numerous psalm compositions, the extensive settings, in which an orchestra is used in
- Composer: Felix Mendelssohn (1809-1847)
- Editor: Wolfgang Dinglinger
- Format: Full Score
- Instrumentation: SATB Choir, Orchestra
- Work: Psalm 95 ("Kommt, laßt uns anbeten"), MWV A 16, Op. 46
- Binding: Hardcover
- Work Languages: English, German
- ISMN:
- Size: 9.8 x 12.6 inches
- Pages: 516
- Urtext / Critical Edition
Description
Among Felix's numerous psalm compositions, the extensive settings, in which an orchestra is used in addition to the vocal parts, stand out as a separate group of works. The 115th Psalm, Op. 31 MWV A 9, which begins this series of compositions in 1829/30, is followed by the 42nd Psalm, Op. 42 MWV A 15, the 95th Psalm, Op. 46 MWV A 16 and the 114th Psalm, Op. 51 MWV A 17, all composed between 1837 and 1841. The series concludes with the 98th Psalm MWV A 23, which was composed for the New Year's service in Berlin Cathedral in 1844 and is thus an exception to the previous works, which were not liturgically bound for the concert hall.
The present volume (Series VI/8,2 Psalm Cantatas II) contains the 95th Psalm, Op. 46 MWV A 16, composed in the four years from early 1838 to early 1842. The long period of composition makes it clear that Mendelssohn had to struggle with considerable difficulties before it could be printed. in addition to the publication of the various versions and alternative or additional movements, the volume documents the countless deletions, corrections and extensive changes that Mendelssohn made in the course of working on this composition. This continues right through to the final version, from which Mendelssohn repeatedly removed entire sections and replaced them with extensive new passages. Mendelssohn signed these removed sheets and gave them away. This is how they ended up scattered in different libraries and have been joined again in the present volume.
The history of the composition of the 95th Psalm, which can be found in the music section and the Critical Report of this volume, clearly shows the intensity with which Mendelssohn worked to create a version of the 95th Psalm that satisfied him in all respects. No other psalm with orchestra has such an extensive and complicated genesis.
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