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Donald Macleod examines the frenzied years of 1845 and 1846, when Mendelssohn admires the voice of Jenny Lind and composes his popular Elijah.

Felix Mendelssohn has been described as one of the most gifted and versatile musical prodigies ever, becoming a prolific composer writing in many genres from incidental stage and symphonic music, to works for chamber ensembles and solo piano. However, his was a life which was cut short in his thirties. Towards the end of his life, he was at the height of his fame, and at the forefront of German music not only as a composer, but also as conductor, pianist, organist and teacher. In this series, Composer of the Week focuses upon the final five years of Mendelssohn’s life, as Donald Macleod surveys the many iconic works he composed during that period, and journeys through Mendelssohn’s extremely hectic schedule which undoubtably led to the composer's early demise.

During the year 1845, Mendelssohn continued to try and strike a balance between his heavy work commitments, and his personal and family life. Yet his sister Fanny had concerns that Mendelssohn was rushing about too much. He was now in negotiations with the Saxon court about resuming his duties as chief conductor of the Gewandhaus Orchestra, as well as duties at the Leipzig Conservatory. Later in the year Mendelssohn was also in discussions with the Prussian King about further duties in Berlin. At the height of his fame and popularity, everyone wanted Mendelssohn working for them. There were however moments of respite from this schedule, not only so he could compose his popular second piano trio, but also so he could attended performances of the Swedish Nightingale, Jenny Lind. In 1846, we see yet another year of little respite in the busy and frantic schedule for Felix Mendelssohn. As well as a sell-out concert accompanying the soprano Jenny Lind, Mendelssohn found time to complete his oratorio Elijah. The work was a huge success immediately after its premiere in Birmingham, and was hailed in the British press as genius, Mendelssohn’s greatest achievement.

Wenn sich zwei Herzen scheiden, Op 99 No 5
Barbara Bonney, soprano
Geoffrey Parson, piano

Lieder ohne Worte in C, Op 67 No 4
Daniel Barenboim, piano

Piano Trio No 2 in C minor, Op 66
Wanderer Trio

Lauda Sion, Op 73 (excerpt)
Evelyn Brunner, soprano
Naoko Ihara, contralto
Alejandro Ramirez, tenor
Philippe Huttenlocher, bass-baritone
Gulbenkian Orchestra
Gulbenkian, Choir
Michel Corboz, conductor

Elijah, Op 70 (excerpt)
Rosemary Joshua, soprano
Jonty Ward, treble
Sarah Connolly, mezzo-soprano
Robert Murray, tenor
Simon Keenlyside, baritone
Wroclaw Philharmonic Choir
Gabrieli Young Singers’ Scheme
Gabrieli Consort and Players
Paul McCreesh, director

Produced by Luke Whitlock, for Â鶹ԼÅÄ Wales