The premise of this disc is appealing but one wonders if it’s too niche to be really worthwhile: a reconstruction of a concert in Düsseldorf in 1833, in which Mendelssohn conducted his own idiosyncratic edition of Handel’s oratorio Israel in Egypt. Fortunately, this recording is compelling, addictive, and of unquestionably high quality. Robert King has spent almost two years preparing the music, taking into account the forces available to Mendelssohn and how his orchestra would play, to recreate what would have been heard at the Düsseldorf “premiere.”
Interestingly, it’s not the first recording to do this. Hermann Max made a live recording in 2001 with his Rheinische Kantorei & Das Kleine Konzert, released by CPO in 2009 (still available), using similar musicological approaches to cobble together a performing version. Whilst that recording is a worthwhile comparison, it simply doesn’t match the energy and excitement inherent in King’s account.
So why should we even be bothered about Mendelssohn’s version? For a start, there’s an outrageous overture which is pure early 19th-century orchestral flair. Mendelssohn rewrote parts of his Trumpet Overture, Op. 101, adding extra instruments to thicken the texture, and the result, as played by The King’s Consort, is thrilling. His text is a German translation of the original English, giving extra bite to the Old Testament description of the exodus and numerous plagues. Arias are added, choruses are cut, extra recitatives are composed. All in all, substantial changes which make this version worth hearing in its own right. The King’s Consort and its Choir are on top form, and the intelligent choice of soloists seem to just “fit” with this work. Notably good sound from Vivat, too, the balance of the different instrumental groups is nigh-on perfect. Information about the instruments, full sung texts, plus two essays in the booklet make this a wonderful all-round release, and at this bargain price, it’s certainly something worth exploring.
About the recording
Made at St Jude’s, Hampstead Garden Suburb, London, a venue The King’s Consort has used for more than 65 recordings, the release includes a 60-page booklet with liner notes in three languages by Mendelssohn scholar Professor Larry Todd and by Robert King himself, alongside the full libretto, translation, and reproductions of Mendelssohn’s own manuscripts.
A note on this page
Originally published by Matthew Swan, recovered from mmmusic's own archive and reproduced here as the critic wrote it.
Questions about this recording
What exactly is being reconstructed on this recording?
A concert Mendelssohn conducted in Düsseldorf in 1833, using his own idiosyncratic edition of Handel's oratorio Israel in Egypt, Robert King spent almost two years preparing the music to recreate what audiences would have heard at that 'premiere'.
Is this the only recording of Mendelssohn's version?
No, Hermann Max made an earlier recording in 2001 with his Rheinische Kantorei and Das Kleine Konzert, released by CPO in 2009, but the review judges King's account more energetic and exciting.
What did Mendelssohn actually change from Handel's original?
A German translation of the English text, a reworked overture (adapted from Mendelssohn's own Trumpet Overture, Op. 101, with extra instruments), added arias, cut choruses, and additional composed recitatives, substantial enough changes to make the version worth hearing in its own right.
Is this recording still available to buy?
Yes, Vivat's catalogue number VIVAT111 remains findable through classical retailers. We don't run an in-house shop, so we link out to Amazon and Discogs below.
