Mendelssohn - Overture and Incidental Music to A Midsummer Night's Dream (2018)

Mendelssohn

Budapest Festival Orchestra

Ivan Fischer

No doubt fairies exist. Mendelssohn spoke their language well. When he considered composing music to Shakespeare’s play, he decided to focus on the scenes with fairies.
Humans like this music. It entertains them. They are allowed to listen to this cd, too. However, we made this recording for fairies. They listen differently. This recording is full of hidden messages, which they will understand.
Fairies are around us all the time. They occasionally interfere but sometimes they take a long time waiting for the right moment. If you keep your voice down and open your eyes, you will notice them. They listen to this music with more attention.
- Iván Fischer

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Budapest Festival Orchestra

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "Cocoa-Concerts” for young children, "Midnight Music” concerts for students, "Surprise” concerts where the programme is not announced, "One Forint Concerts” where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

Ivan Fischer

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "cocoa-concerts" for young children, "Midnight Music" concerts for students, "surprise" concerts where the programme is not announced, "one forint concerts" where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

Anna Lucia Richter

The German soprano, Anna Lucia Richter, comes from a great musical family. As a long-standing member of the girls’ choir at Cologne Cathedral she received singing lessons from the age of 9 from her mother Regina Dohmen. Between 2004 and 2008 she studied with professor Professor Kurt Widmer in Basel; and from 2007 to 2013 completed her singing studies with distinction with Professor Klesie Kelly-Moog at the Cologne Academy of Music. She also benefited from working with Magreet Honig, Edda Moser, Christoph Prégardien and Edith Wiens. She has won several international prizes: in 2011 she was honoured with the Felix Mendelssohn-Bartholdy Preis; in July 2012 was awarded first prize in the Internationaler Robert Schumann Wettbewerb; in February 2016 she received the prestigious Borletti-Buitoni Trust Award. Her prizes also include those from the National Song Contest in Berlin and the advancement award of Nordrhein Westfalen for young artists.

Anna Lucia Richter has performed Johannes Brahms' A German Requiem with the Sächsische Staatskapelle Dresden and the Singakademie Dresden. After hearing her voice, Wolfgang Rihm immediately wrote three songs for her in Bad Kissingen. Other engagements include Engelbert Humperdinck's Hänsel und Gretel (Sandmann/Taumann) as well as W.A. Mozart's Le nozze di Figaro (Barbarina) and Don Giovanni (Zerlina) at the Deutsche Oper am Rhein in Düsseldorf. She also performed Gustav Mahler's Symphony No. 4 together with the Düsseldorfer Symphoniker.

During engagements, for instance, with Gürzenich-Orchester Köln, HR-Sinfonieorchester (Frankfurt), MDR Sinfonieorchester Leipzig, with the Düsseldorfer Symphoniker and also with the WDR Sinfonieorchester Köln and the Freiburger Barockorchester, Anna Lucia Richter has sung under the baton of Marin Alsop, Jonathan Cohen, Iván Fischer, Pablo Heras-Casado, Paavo Järvi and Kristjan Järvi, Axel Kober, Fabio Luisi, Roger Norrington, Andrés Orozco-Estrada, Markus Stenz, among others.

In the 2015-2016 season, Anna Lucia Richter has performed as a concert singer with the Lucerne Festival Orchestra and the London Symphony Orchestra under Bernard Haitink (G. Mahler's Symphony No. 4 , summer 2015), Los Angeles Philharmonic Orchestra, San Francisco Symphony Orchestra conducted by Sir András Schiff (autumn 2015), Royal Concertgebouw Orchestra Amsterdam and Budapest Festival Orchestra under Iván Fischer as well as the Dresden Staatskapelle conducted by Reinhard Goebel.

The 2016-2017 season started for Anna Lucia Richter with a major engagement in the opening concert of the Lucerne Festival where she performed in G. Mahler's Symphony No. 8 conducted by Riccardo Chailly. She sings in J.S. Bach's St. John Passion (BWV 245) with the Orchestre de Paris conducted by Thomas Hengelbrock, with the Danish National Symphony Orchestra under Sir András Schiff in Haydn's Nelson Mass, she sings the orchestral version of Schubert's Shepherd on the Rock with the Berlin Konzerthaus Orchester under Iván Fischer and then in Rome G. Mahler's Resurrection Symphony with the orchestra and chorus of the Orchestra dell'Accademia Nazionale di Santa Cecilia conducted by Daniel Harding. She goes on a major European tour with the Freiburger Barockorchester under Hans-Christoph Rademann singing in J.S. Bach’s Christmas Oratorio (BWV 248). During the series of opening concerts at the Elbphilharmonie in Hamburg she is a soloist in Haydn's The Creation with the NDR Elbphilharmonie conducted by Thomas Hengelbrock. Following successful concerts with the Concerto Köln and the Gürzenich-Orchester Köln, Anna Lucia Richter returns to the Cologne Philharmonie with a portrait series in which she presents her versatile repertoire encompassing Gluck's Eurydice, W.A. Mozart arias and her current recital programme. 

Anna Lucia Richter is a particularly enthusiastic lied singer. She has already built up an extensive repertoire and gives guest performances in all the major lied venues, for instance at the Schwetzingen SWR Festival, at the Heidelberger Frühling, the Schleswig-Holstein Music Festival, the Schubertiade Schwarzenberg and in der Wigmore Hall London. She made her USA debut giving three lied recitals in New York’s Park Avenue Armory, accompanied by Gerold Huber. This season she can again be heard in New York, this time in the Weill Hall of the Carnegie Hall singing her highly acclaimed and unusual Liederkreis programme of Eichendorff settings and improvisations, accompanied by Michael Gees. She also gives lied recitals at the Schubertiade Vilabertran, in the Bavarian Radio studio in Munich and in the Concertgebouw Amsterdam.

Anna Lucia Richter frequently includes contemporary compositions in her recitals, for instance the world premiere of the work Singet leise (Sing softly) by Moritz Eggert and the cycle Ophelia Sings by Wolfgang Rihm, which he composed especially for her. 

Her opera repertoire comprises roles such as the Sandmann/Dew Fairy in E. Humperdinck's Hansel and Gretel, Barbarina in W.A. Mozart's Le nozze di Figaro, Ilia in W.A. Mozart's Idomeneo and Zerlina in W.A. Mozart's Don Giovanni, as well as Eurydice/La Musica in Monteverdi’s Orfeo, in the highly acclaimed production by Sasha Waltz with performances at the Nederlandse Opera Amsterdam, in Luxemburg, Baden-Baden, at the Berlin State Opera and in Lille conducted by Pablo Heras-Casado. In spring 2017 she takes on the main role of Elizabeth Zimmer in Keith Warner’s new production of Hans Werner Henze’s Elegy for Young Lovers at the Theater an der Wien.

photographer: Julia Wesely

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Mendelssohn - Overture and Incidental Music to A Midsummer Night's Dream (2018)

Mendelssohn

Budapest Festival Orchestra

    HRAudio.net

(...) Fischer brilliantly conveys the magical world of fairies in the opening bars of the 'Overture', thanks to the superb playing of his crack Budapest Festival Orchestra. The immaculate wind chords and ethereal string textures are testament to the remarkable quality of this orchestra displayed throughout this recording. (...) It need hardly be stated that the recording (DSD 5.0) from engineers Jared Sacks and Hein Dekker made in the Palace of Arts, Budapest is in Channel Classic' usual house style, beyond reproach.

Graham Williams

    Classica -

(...) À défaut de pouvoir plaire à tout le monde, la lecture d’Ivan Fischer et ses musiciens donnera du baume au cœur à ceux qui déplorent la standardisation, réelle ou supposée, des orchestres symphoniques : depuis sa création en 1983, la phalange hongroise n’a de cesse d’être façonnée dans la tradition de la Mitteleuropa au risque de partis pris contestables. (...) La prise de son bien définie permet une restitution optimale des parties chorales et solistes.

Jérémie Bigorie

    WQXR

The Best Classical Albums of 2018 Iván Fischer again demonstrates why his Budapest Festival Orchestra is one of the world’s best, performing Mendelssohn’s will-o’-the-wisp masterpiece with shimmering delicacy, agility and precision.

    Telerama.fr -

(...) Clarté des plans sonores, cordes dansantes ou frissonnantes, délicatesse et inventivité des solos instrumentaux (comme cette clarinette aigre-douce, dont l’esprit klezmer colore la Marche funèbre), vivacité des tempos, chaleur et générosité du son constituent autant d’ingrédients essentiels pour que le sortilège agisse et déploie tous ses effets. (...)

    Classical Candor

(…) Fischer's way with the music is gentle and affectionate, almost consistently keeping it as light and airy as it should be. (…) warm and smooth and reverberant and easily listenable. (…)

    BBC Music Magazine [4 Stars] -

Ivan Fischer is alive to the magical atmosphere of Felix Mendelssohn's score (…) The playing throughout is of the highest quality. (…)

    Het Parool

(...) Dirigent Iván Fischer heeft met zijn veelgeprezen Boedapest Festival Orkest een prachtuitvoering gemaakt (...) Ze spelen het allemaal schitterend. (...)

Erik Voermans

    Classic FM [Album of the Week]

“It's a fresh take on established classics this week, as the incomparable Iván Fischer and his beloved Budapest Festival Orchestra have at some of Mendelssohn's finest works. In amongst the incidental music and overture to A Midsummer Nights Dream you'll find numerous corners of interest, orchestral detail that you'd perhaps forgotten over the years - what a pleasure it is to rediscover it now.”

John Suchet

    Classic FM - Album of the Week!

It’s the sign of an outstanding conductor if he can make you hear familiar music in a different way (...) Ivan Fischer‘s account of the celebrated Overture, composed when Mendelssohn was only 16, is full of delightful touches, like the braying of the asses, which has never before made me smile so much.

David Mellor

    BBC Radio 3 [Disc of the Week]

(...) a characterful, colourful account. Mendelssohn’s fairies have their wings in the air as they should but a few of them have their feet on the ground. There’s a rustic edge to the music making which I find very attractive. (...)

Andrew McGregor

    Audiophile Audition -

(...) a conscientious, joyous reading that delights in Bottom’s donkey effects, a drunken Funeral March, effervescent textures, and light graciousness of heart. (...)

Gary Lemco

    Presto Classical [Editor's Choice]

This Budapest Dream is a far more raucous and rustic affair than John Eliot Gardiner’s recent plush pastoral idyll with the LSO: it’s as if even Fischer’s fairies have dirt under their fingernails, and the spirit of Shakespeare’s ‘rude mechanicals’ is never far away. The horns and bassoons have an almost Mahlerian quality in the Nocturne, and likewise the tiny parodic funeral-march (incidental-music-within-incidental-music for Pyramus and Thisbe) wouldn’t be out of place in a Mahler symphony.

    The Guardian

Fischer and his Budapest forces cast a spell with A Midsummer Night’s Dream Midsummer fever is all around: Radio 3 recently took itself off Into the Forest for a week, including al fresco breakfasts with the gregarious Petroc Trelawny, documentaries and atmospheric, forest-inspired In Tune Mixtapes. Meanwhile the Budapest Festival Orchestra, under its ever original music director, Iván Fischer, released an album for fairies. “They listen differently,” he writes. “This recording is full of hidden messages which they will understand.” Fortunately this gloriously atmospheric account of Mendelssohn’s incidental music for A Midsummer Night’s Dream (Channel Classics) is also for humans (“they are allowed to listen to this album too”). It’s always been a favorite work of Fischer’s, and the depth he brings to this youthful marvel – starting with the Overture the precocious Mendelssohn wrote at the age of 17 – is made out of precisely characterised instrumental colours and perfect shaping of the lines. Transparent fairy wind chords, scuttling high strings, braying portamentos and then the edging in of the final wistful string melody – all are incomparably lovely. The drama continues in the later added movements: a truly impassioned, fast Intermezzo, a bucolic but exact Scherzo, a (deliberately?) stolid Wedding March, a Gypsy clarinet in the rarely heard Funeral March, and the crisply sung vocal numbers with Anna Lucia Richter – who aptly adds a bonus of three fine songs by Mendelssohn’s sister, Fanny. Surely a disc of the year.

Nicholas Kenyon[read full review]

    De Gelderlander

(...) sprankelende ouverture die nu weer vederlicht, dan weer stoer klinkt (...) Aan energie ontbreekt het hier niet. (...) Kleurrijk en perfect qua frasering en timing. (...) Aantrekkelijk is tenslotte de gekozen repertoireaanvulling: een drietal liederen van Fanny Mendelssohn. Die kom je immers niet zo vaak tegen en dat is jammer. Zeker in het geval van zo'n Gondellied, hier hartveroverend onder de aandacht gebracht door Anna Lucia Richter.

Maarten-Jan Dongelmans

    Opus Klassiek

Het gehele ensemble weet bovendien de sprookjessfeer uitstekend op te roepen en daar is het de componist uiteindelijk om begonnen. Bovendien: als het om ritmische precisie en dynamische nuancering gaat kun je Fischer wel om een boodschap sturen. Afgaande op de cover had hij er ook echt zin in. (…) een luisterfeest dat nog een extra dimensie krijgt als u over een surround-opstelling beschikt. (...) Fanny Mendelssohns drie voor orkest gezette liederen (op teksten van Hölty, Tieck en Geibel) vormen een welkome aanvulling. De uitvoering is eveneens top, terwijl we deze liederen helaas maar zelden horen.

Aart van der Wal

    The Sunday Times

I used to say that Mendelssohn never managed to recapture his teenage overture’s freshness when he returned to Shakespeare’s play 16 years later. Hearing this lovely performance, I realise that’s rubbish. Fischer’s wonderful orchestra works as if everyone revels in what they are doing.

DC

Mendelssohn - Overture and Incidental Music to A Midsummer Night's Dream (2018)

Mendelssohn

Budapest Festival Orchestra

Cables: van den Hul
Digital Converters: Grimm A/D
Editing Software: Pyramix
Mastering Engineer:

The recording was originally digitized using the Grimm AD1, which operates at DSD64. The original session tracks were edited and rebalanced (which meant going through the mixer)  in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 and DSD256 from that original DXD edited master, without going through any interim processing steps.

Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, and DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling.

We feel there is an audio advantage to this process in using the original files so we give you the choice and you can decide.

Jared Sacks

Mastering Room: Grimm LS1
Microphones: Bruel & Kyaer
Mixing Board: Rens Heijnis custom made
Producer: Hein Dekker
Recording Engineer: Hein Dekker, Jared Sacks
Recording location: Budapest Hungary
Recording Software: Merging
Recording Type & Bit Rate: 64fs

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37418: Mendelssohn - Overture and Incidental Music to A Midsummer Night's Dream
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Tracks.
1.
Overture
Mendelssohn
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2.
Scherzo
Mendelssohn
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3.
allegro vivace
Mendelssohn
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4.
Song with choir
Mendelssohn
00:04:24   Select quality & channels above
5.
Intermezzo
Mendelssohn
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6.
Notturno
Mendelssohn
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7.
Wedding March
Mendelssohn
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8.
funeral March
Mendelssohn
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9.
Dance of the clowns
Mendelssohn
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10.
Finale
Mendelssohn
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11.
May Night opus 9 no. 6
Mendelssohn
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12.
Distance opus 9 no. 2
Mendelssohn
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13.
Gondola Song opus 1 no. 6
Mendelssohn
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