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La Sinfonia n. 2 in si bemolle maggiore, op. 52, Lobgesang (Inno di lode) fu composta da Felix Mendelssohn nel 1840. Fu in realtà la sua quarta sinfonia in ordine di composizione. Il compositore la descrisse come «Una Sinfonia–Cantata sul testo della Sacra Bibbia, per solisti, coro ed orchestra». È formata da tre movimenti puramente orchestrali e nove per orchestra, solisti e coro. La sinfonia fu eseguita per la prima volta il 25 giugno 1840 nella chiesa di San Tommaso a Lipsia sotto la direzione dello stesso Mendelsshon, in occasione della celebrazione del quattrocentesimo anniversario dell’invenzione della stampa da parte di Gutenberg, per la quale l’opera era stata composta.
Felix Mendelssohn
Symphony No. 2 in B flat major (“Lobgesang”, “Hymn of Praise”), Op. 52
Description by John Palmer
After the “Italian” symphony, Mendelssohn waited seven years before returning to the genre, composing the Symphony No. 2 in B flat major, Op. 52, for the celebrations in Leipzig of the 400th anniversary of the invention of the printing press. For this event Mendelssohn also composed his Festgesang. Mendelssohn entitled his second symphony “Lobegesang” (Song of Praise) and described it as a “symphony-cantata.” After its first performance, on June 25, 1840, in Leipzig, the “Lobegesang” became very popular; today it is rarely performed. Mendelssohn completed revisions of the work in November 1840 for publication in 1841.
The “Lobgesang” symphony bears a superficial similarity to Beethoven‘s Ninth Symphony in that it begins with three instrumental movements and closes with a cantata-like structure featuring solo voices and chorus. Also, the slow movement is a set of variations. Mendelssohn‘s instrumental movements, however, are on a much smaller scale than Beethoven‘s.
Four of the symphony’s five movements share material. The main theme of the first movement appears in the trio of the ensuing scherzo, and is present in the first and last sections of the choral Finale.
A ceremonial air pervades the first movement, marked Maestoso con moto. The leaping and falling first theme receives developmental treatment during the transition to the second theme, which is very similar to a theme in the first movement of Beethoven‘s Sonata in B flat major, Op. 22. The dotted-rhythm theme of the introduction appears in the development section, its character completely changed. Although deftly composed and orchestrated, the movement seems uninspired.
Mendelssohn‘s Allegretto second movement has a theme evocative of folk song. In 6/8, it resembles one of Mendelssohn‘s “Gondolier Songs” from his Lieder ohne Worte in its rocking motion. A refreshing section in the major features a conversation between the strings and winds.
Marked Adagio religioso, the third movement is a set of variations on a song-like melody. It seems Mendelssohn tries to emulate Beethoven‘s occasional use of simple, block chords to produce a majestic effect. However, Mendelssohn‘s conception of the technique makes the main theme stagnate. Its similarity to the Adagio of the “Scottish” Symphony lies in Mendelssohn‘s treatment of the orchestra.
The first section of the cantata is based on the first theme of the opening movement. Highlights from the movement include the invigorating chorus “Let all men praise the Lord.” Quite touching is the tenor solo, “The sorrows of death,” with its chromatic inflections, followed by “Watchman, will the night soon pass?” Throughout these two numbers Mendelssohn creates strong dramatic tension. Much of what follows, however, is anti-climactic. The close of the cantata begins with a choral fugue and moves to “All that has life and breath, sing to the Lord,” a choral development of the first-movement theme.
Parts/Movements
- Sinfonie. Maestoso con moto – Allegro
- Sinfonie. Allegretto un poco agitato
- Sinfonie. Adagio religioso
- Alles, alles, Chorus
- Saget es, die ihr erlöst seid durch den Herrn … Er zählet unsre Tränen, Recitative & Aria
- Sagt es, die ihr erlöset seid, Chorus
- Ich harrete des Herrn, Duet
- Stricke des Todes hatten uns
- Die Nacht ist
- Nun danket alle Gott, Choral
- Drum sing’ ich mit meinem Liede ewig dein Lob, Duet
- Ihr Völker! bringet her dem Herrn, Chorus
https://www.allmusic.com/composition/symphony-no-2-in-b-flat-major-lobgesang-hymn-of-praise-op-52-mc0002377428
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