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EMSOC: Lauda Sion by Felix B. Mendelssohn

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He clearly has a nice instrument, but somehow it emerged a bit strangled in the climaxes. The unusual Wagner, written when the composer was just twenty-nine years old, is structured for maximum drama. When the orchestra finally enters, led by a soft tympani roll that quickly crescendos to a huge climax, the chorus announces, "What is that roar in the wind?

What is that sound, that ring?

Is the ground moving beneath our feet? As someone who generally avoids Liszt at all costs sorry, but the truth will come out sooner or later , I was shocked at how much I enjoyed this work — another buried treasure just waiting for the right conductor to say, "This should really be exhumed more often. Botstein another idea.

Lauda Sion, Op. 73

Opening with the chorus in dramatic chords in rising fifths, the work is lushly romantic for most of its span. The mood changes somewhat when we reach Crucifixus etiam pro nobis sub Pontio Pilato He was crucified for us under Pontius Pilate , and the texture becomes more ominous, punctuated by stark organ chords.


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The Chorale again did excellent work with a difficult score, and the balances seemed better than they sometimes are, when the orchestra overpowers the voices.