Mendelssohn 2 & Mendelssohn 2.1

Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor

Martha Guth, soprano
Bonnie Joy, soprano
Matthew Plenk, tenor

Catalog #: TROY1983
Release Date: January 24, 2025
Format: Digital
Choral
Orchestral
Vocal

The Yakima Symphony Orchestra commemorates 50 years in music with MENDELSSOHN 2 & MENDELSSOHN 2.1, a new recording of Mendelssohn’s monumental choral Symphony No. 2.
It’s a challenge to capture this particular symphony’s dual nature — half transcendent exploration of faith, half a testament to the Romantic spirit. Accomplished conductor Lawrence Golan is more than up to the task, and so is his YSO: grandeur billows, tenderness whispers, and tonal richness reigns supreme. A newly commissioned take on Mendelssohn by Kenji Bunch, The Night is Departing, rounds off the program. Celebrations, it seems, are in order.

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Track Listing

# Title Composer Performer
01 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 1a, Sinfonia, Maestoso con moto - Allegro Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 11:38
02 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 1b, Sinfonia, Allegretto un poco agitato Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 5:09
03 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 1c, Sinfonia, Adagio religioso Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 5:29
04 Symphony No. 2 "Lobgesang" (Hymn of Praise) - No. 2(a), Chorus: Allegro moderato maestoso - Animato - Allegro di molto; "All men, all things, all that has life and breath" - "Praise the Lord" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 4:34
05 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 2b, Soprano, Chorus: Molto più moderato ma con fuoco; "Praise thou the Lord, o my spirit" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor; Martha Guth, soprano 1:50
06 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 3, Tenor: Recitativo - Allegro moderato; "Sing ye praise" - "He counteth all your sorrows" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor; Matthew Plenk, tenor 2:43
07 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 4, Chorus: A tempo moderato; "All ye that cried unto the Lord" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 1:42
08 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 5, Soprano I & II, Chorus: Andante; "I waited for the Lord" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor; Martha Guth, soprano; Bonnie Joy, soprano 4:56
09 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 6, Soprano, Tenor: Allegro un poco agitato - Allegro assai agitato; "The sorrows of death had closed all around me" - "We called thro' the darkness" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor; Martha Guth, soprano; Matthew Plenk, tenor 4:05
10 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 7, Chorus: Allegro maestoso e molto vivace; "The night is departing" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 4:33
11 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 8, Chorale: Andante con moto - Un poco più animato; "Let all men praise the Lord" - "Glory and praise to God" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 4:17
12 Symphony No. 2 "Lobgesang" (Hymn of Praise): No. 9, Soprano, Tenor: Andante sostenuto assai; "My song shall be therefore Thy mercy" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor; Martha Guth, soprano; Matthew Plenk, tenor 4:20
13 Symphony No. 2 "Lobgesang" (Hymn of Praise) - No. 10, Final Chorus: Allegro non troppo - Più vivace - Maestoso come prima; "Ye nations" - "O give thanks to the Lord" - "All that has life and breath" Felix Mendelssohn Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 5:36
14 The Night is Departing: Mendelssohn 2.1 Kenji Bunch Yakima Symphony Orchestra & Chorus | Lawrence Golan, conductor 15:15

Recorded live May 11, 2024 at the Capitol Theatre in Yakima WA

Producer David Rogers
Engineer Andrew David Meyer
Mastering Melanie Montgomery

The YSO’s 50th Anniversary Commission of The Night is Departing: Mendelssohn 2.1 was supported by Greta Bryan, Rosemary Gottlieb, and David Rogers.
Many thanks to Greta Bryan for sponsorship support of this recording.
Thanks also to YSO Assistant Conductor Bobby Collins.

The Point-One Series™
The brainchild of conductor Lawrence Golan, The Point-One Series™ is an ongoing project consisting of the commissioning and/or recording of contemporary compositions that are musically linked to great masterpieces of the orchestral repertoire. The objective of the project is to help create a body of high-quality contemporary works whose chances for a viable future are increased by the natural place within orchestral concert programming that they have.

Executive Producer Bob Lord
Artistic Directors, Albany Records Peter Kermani, Susan Bush

VP of A&R Brandon MacNeil
A&R Jeff LeRoy

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming, Morgan Hauber
Publicity Chelsea Kornago
Digital Marketing Manager Brett Iannucci

Artist Information

Yakima Symphony Orchestra - logo

Yakima Symphony Orchestra

Ensemble

Through five decades under the batons of Music Director Lawrence Golan and founding Music Director Brooke Creswell, the Yakima Symphony Orchestra has grown from an ambitious volunteer community orchestra into a polished professional ensemble recognized nationally as one of the finest regional orchestras in the country. This recording celebrates those first fifty years of exceptional artistry and service to the Yakima Valley.

Yakima Symphony Chorus and Orchestra performing live onstage

Yakima Symphony Chorus

Ensemble

The Yakima Symphony Chorus was formed in the spring of 1971 by the Yakima Symphony Orchestra’s founding music director, Brooke Creswell, as the official choral ensemble of the symphony. Dr. Scott Peterson led the chorus for 38 years from 1977–2015, during which time the chorus had the opportunity to tour Europe and Asia and perform at Carnegie Hall. Justin Raffa served as chorusmaster from 2015 to 2023, fostering regional collaborations and curating choral feature programs with local resonance, such as 2019’s Annelise and Heart Mountain performances. Current chorusmaster Steven Slusher has placed an emphasis on expanding the roster of singers and has established a Young Artist Program to provide leadership opportunities to emerging professional singers.

Richard McKay

Lawrence Golan

Conductor

Vibrant, inspired performances, imaginative programming, and an evocative command of different styles and composers are the hallmarks of American conductor Lawrence Golan. He currently serves as music director/conductor of the Yakima Symphony Orchestra (Washington), the York Symphony Orchestra (Pennsylvania), and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver (Colorado). In addition, he is the music director laureate of the Denver Philharmonic Orchestra.

Having conducted throughout the United States and in Bulgaria, Canada, China, Colombia, Czech Republic, El Salvador, England, Georgia, Germany, Hungary, Italy, Kazakhstan, Mexico, Poland, Portugal, Romania, Russia, South Africa, South Korea, Spain, Taiwan, Ukraine, and Uzbekistan, Maestro Golan continues to develop relationships with orchestras nationally and abroad.

An accomplished violinist, Golan served as principal second violinist of the Honolulu Symphony Orchestra (1989-1990) and then concertmaster of the Portland Symphony Orchestra for eleven years (1990-2001) before focusing his career on the podium. He has appeared as soloist with numerous orchestras, including the Chicago Symphony Orchestra, and continues to perform, primarily to benefit the orchestras of which he is music director.

Golan has made numerous recordings, both as conductor and violinist. His discography includes the Blu-ray disc and audio CD of composer Jiaojiao Zhou’s theatrical symphonic poem Ode to Nature and Beethoven 7 & Beethoven 7.1 with the Lamont Symphony Orchestra; Tchaikovsky 6 & Tchaikovsky 6.1, Funky Little Crustaceans, music of William Hill, and Visions, Dreams & Memories, a collection of works for Native American Flute and Orchestra featuring James Pellerite with the Moravian Philharmonic. As a violinist, Golan recorded Fantasia, a collection of works for solo violin, and Indian Summer: The Music of George Perlman with pianist Martin Perry.

As a composer/arranger/author, Golan’s edition and reduced orchestration of Tchaikovsky’s The Nutcracker is published by Spurwink River Publishing and is used by orchestras and ballet companies across North America and Europe. His scholarly-performing edition of the solo violin works of J.S. Bach, which includes a handbook on Baroque Performance Practice, and The Lawrence Golan Violin Scale System are both published by Mel Bay Publications. Golan’s Fantasia for Solo Violin is published by LudwigMasters. His original orchestral compositions, including Fantasia for Orchestra and Giovanna d’Arco (Joan of Arc), are available through Notation Central. Golan’s book on preparing musical scores for performance, called Score Study Passes, is published by Globe Edit.

Golan was the Grand Prize winner of the 2024 St. Cecilia International Music Competition in the United Kingdom and was also awarded First Prize in four different categories, both as conductor and composer. In addition, he is a 10-time winner of ASCAP Awards for the Innovative Programming of Contemporary Music, five-time Global Music Award winner, three-time American Prize winner, three-time Downbeat Magazine Award winner, and two-time Prestige Music Award winner. He was the Grand Prize winner of the American Prize in Orchestral Programming and the First Place winner of the Ictus International Music Competition.

A native of Chicago, Golan comes from a musical family. His father, the late Joseph Golan, was a member of the Chicago Symphony Orchestra for 49 years and principal second violinist for 35 of those years. Golan received his Bachelor of Music in Violin Performance and Master of Music in Violin Performance and Orchestral Conducting from the Indiana University School of Music and his D.M.A. in Violin Performance and Orchestral Conducting from the New England Conservatory of Music in Boston. In 1999 he was awarded Tanglewood Music Center’s Leonard Bernstein Conducting Fellowship, and in 2002, Aspen Music Festival’s Conducting Fellowship.

A staunch advocate for music education, Golan has been director of orchestral studies and head of the graduate conducting program at the University of Denver since 2001. There he has won eight ASCAP Awards for Adventurous Programming of Contemporary Music, three Downbeat Magazine Awards for “Best College Symphony Orchestra,” and The American Prize for Orchestral Performance – Collegiate Division. His latest honor is the 2021 Distinguished Scholar Award from the University of Denver.

Previous positions include principal guest conductor, Bayerische Philharmonie in Munich, Germany (2022–2024), music director, Denver Philharmonic Orchestra (2013–2024), resident conductor, Phoenix Symphony (2006–2010), founder and artistic director, Atlantic Chamber Orchestra (1998–2003), music director, Portland Ballet Company (1997–2013), and music director, Southern Maine Symphony Orchestra (1990–2001). Golan and his wife Cecilia, who is from Buenos Aires, Argentina, have two young children.

lawrencegolan.com

Steven Slusher

Chorusmaster

Steven S. Slusher, who hails from St. Louis MO, received his Master of Music degree as the choral conducting graduate assistant from Southern Illinois University, and he holds a Bachelor of Music in Vocal Performance from Ohio Northern University. Slusher has conducted throughout the United States from the Crystal Cathedral in California to Riverside Church in New York City. He was founding conductor of Summer Dreams, a city honors choir that performed in the Macy’s Thanksgiving Day Parade in New York City. He has been music director for many musicals, opera productions, and orchestral works. Slusher is the past assistant director and soloist of the Bach Society of St. Louis and a principal singer and soloist for the St. Louis Symphony. He was on the music faculty at Lindenwood University in St. Charles MO for almost a decade. Currently, Slusher is tenured associate professor of choral/vocal activities at Yakima Valley College and an active adjudicator throughout Washington DC and the United States.

Richard McKay

Martha Guth

Soprano

Juno-nominated soprano Martha Guth’s performance highlights include Wigmore Hall, Lincoln Center, The National Cathedral, St. John Smith Square, The Toronto Symphony Orchestra, Oxford Lieder, The Chicago Philharmonic, Voices of Ascension, and many more. Her longtime recital and touring partners include Graham Johnson, Javier Arrebola, and Erika Switzer, and performances have been recorded and broadcast for the CBC Radio/Radio Canada, the BBC Radio in the United Kingdom, and the WDR in Germany. She is proud to have worked under the batons of Maestros Seiji Ozawa, Robert Spano, Helmut Rilling, John Nelson, Richard Bradshaw, and Alan Gilbert among many others. Her discography includes Summer Night, a Juno-nominated disc of songs by Healy Willan on Centrediscs; Das Ewig Weibliche, a solo disc of Schubert songs with Penelope Crawford on fortepiano; Roberto Sierra’s Beyond the Silence of Sorrow with the Orquesta Sinfonica de Puerto Rico for Naxos (nominated for a 2016 Latin GRAMMY); John Fitz-Rogers’ Magna Mysteria for Innova; Go by Contraries, songs of Andrew Staniland with Baritone Tyler Duncan and Pianist Erika Switzer for Centre Discs; The Brahms Liebeslieder Waltzes for Sparks & Co.; and The Five Boroughs Song Book for GVR records. First Prize winner of the Wigmore Hall International Song Competition, she is co-founder/ director of Sparks & Wiry Cries, a non-profit dedicated to art song spanning publication, live performance, and commission of new works.

marthaguth.com  sparksandwirycries.org

Bonnie Joy

Soprano

Passionate about performing and teaching, Bonnie Joy runs a private voice studio while actively collaborating on projects and songwriting. Joy teaches voice lessons at Make Music Ellensburg as well. She has performed with Sempre Chamber ensemble in 2020, Joy and Hope as a solo recital in 2021, and Around the World in 80 Minutes at The Seasons Performance Hall in early 2023.

Spending her formative years in Yakima, Joy graduated in 2017 with a B.A. in Vocal Performance from Central Washington University, where she studied with Dr. Gayla Blaisdell. In 2019 she received her M.M. in Voice Performance from West Virginia University after studying with Dr. Hope Koehler and James Kennon Mitchell. At West Virginia University, she won the WVU Young Artist Competition, making her solo concert debut with Sieben Frühe Lieder by Alban Berg. She has appeared in operas such as Die Fledermaus, The Barber of Seville as Barbarina, and Die Zauberflöte as both Pamina and Papagena. In the summer of 2018, Joy received a scholarship to the American Institute of Musical Studies in Graz, Austria, where she studied in the Lieder program. Aside from intense study of German language and poetry, she worked with masters of classical music and performed in an authentic Lieder Abend.

Matthew Plenk - Tenor Portrait Photo

Matthew Plenk

Tenor

American tenor Matthew Plenk holds a Bachelor’s degree from the Hartt School of Music, a Master’s degree from Yale University, and is a Samling Scholar. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and has sung several roles with the company, including Arturo in Lucia di Lammermoor, Tamino in The Magic Flute, and Janek in The Makropulos Case.

Plenk has been seen on the operatic stages of Los Angeles Opera, Opera Theatre of St. Louis, Virginia Opera, Atlanta Opera, Boston Lyric Opera, Lyric Opera of Kansas City, and Des Moines Metro Opera. In concert, he has appeared with the Cleveland, Boston, Philadelphia and Minnesota Orchestras, the Los Angeles Philharmonic, Orchestra Sinfonica Nazionale della RAI, Baltimore, Houston, Colorado and Hartford Symphonies, University Musical Society, Aspen Music and La Jolla Summerfest festivals, and with the Orchestra Sinfonica di Milano Giuseppe Verdi.

In 2005, Plenk was one of 16 singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives. Amongst a number of awards and recognitions, he was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions. Plenk is the artistic director of Lamont Opera Theatre at The University of Denver’s Lamont School of Music, where he also serves as assistant professor of voice.

Yakima Symphony Orchestra Members

Lawrence Golan, the Helen N. Jewett Music Director

First Violin
Denise Dillenbeck, Concertmaster
Elizabeth Scott, Assistant Concertmaster
Susan Drew Hotchko
Patricia Freimuth
Alistair Kok
Lea Fetterman
Paul Christian
Emma Bruce
Ella Kim

Second Violin
Quinn Price, Principal
Laura Schactler, Assistant Principal
Keri Stredwick
Erik Relation
Marilyn Wilbanks
Patrice Weed Shearer
Gregory Dziekonski
Vanessa Moss

Viola
Brian Hillyard, Principal
Julia Adams, Assistant Principal
Emily Kurlinski
Lauren Hall
Anna Aldrich
Kelly Moore
Tim Betts

Violoncello
Kara Hunnicutt, Principal
Nikolai Dorosh, Assistant Principal
Kevin Leiferman
Bret Smith
Erik Nils Velasquez Sencial
David Tan
Dieter Ratzlaff

Double Bass
Bren Plummer, Principal
Will Gibbs, Assistant Principal
Ramon Salumbides
Paul Gabrielson
Christopher Symer

Flute
Hal Ott, Principal
Joyce Lee
Linda Doria

Oboe
Brent Hages, Principal
Scott Erickson

Clarinet
Angelique Poteat, Principal
Leslie Edwards

Bassoon
Ryan Hare, Principal
Brian Rolette

Horn
Jeffrey Snedeker, Principal
Josiah Boothby
Harry Bell
Sandon Lohr

Trumpet
James Smock, Principal
Maegan Ley
William Berry

Trombone
Sara Mayo, Principal
John Neurohr
David Kroschell

Tuba
David McLemore, Principal

Timpani
Mitchell Vogel

Keyboard
Anne Schilperoort, Principal
The Herbert L. and Heather C. Frank Chair

Yakima Symphony Chorus Members

Steven Slusher, chorusmaster
Anne Schilperoort, accompanist
Bonnie Joy, Brittany Stahley, young artists

Soprano
Marin Anderson
Naomi Anderson
Shauna Avery
Sandy Baxter
Sylvana Bendana
Joann Benson
Laney Campbell
Alexis Coe
Erin Darling
Ciara Hansen
Denise Hillis
Eliza Hisey
Kristi Hunziker
Bonnie Joy
Julia Keller
Tarina Lee
Kathryn Long
Ava Lovelace-Porter
Rachelle Patching
Piper Richmond
Kaitlyn Rodriguez
Claudia Rohlfs
Myra Salapang-Duncan
Mindy Sparks
Mary Sundquist
Seiko Werts

Alto
Diana Abramson-Tilley
Kylee Baker
Mistie Barfus
Carol Boykin-Hicks
Alyssa Brandt
Nicole Fabela
Amy Hausske
Nita Hinman
Joyce Keller
Karen Merola Krueger
Rondi Marsh
Corinne Murphy-Hines
Chris Pearce
Noemi Reyes
Sally Rose
Kimberly Ruck
Sheryl Scott
Barbara Skipworth
Brittany Stahley
Julie Tamez
Kris Vestad

Tenor
Kay Allan
Kerry Chama
Shauna Dahlin
Grace De Jong
Nicole Franklin
Ricardo Iriarte
Timothy Jeske
Sue Kendall
Sam Kim
Tanya Knickerbocker
Mark Northcott
Job Rabinowitz
Paul Reiss
Sara Routt
Steven Slusher
Carol Stuebs
Robert Swires
Lance Van Arsdell
Tehila Wentworth
Douglas Werts
Kathy Wilcox

Bass
Joel Anderson
George Braff
Drake Chandler
Joel Donofrio
Al Fischer
Sam Hines
Lucas Janssen
John Jones
Noah Levine
Jack Lovern
David Lucas
Jeremiah Mann
Lance Myler
Matthew Owens
Larry Peterson
Kevin M. Sak
David Teske
Adam Thompson
Gary Tilley
Peter Wachsmith
Ben Webber
Dustin Wunderlich

Notes

Mendelssohn composed this work to celebrate the 400th anniversary of the invention of the printing press and the appearance of the Gutenberg Bible. Since a Symphony No. 2 had never been published during Mendelssohn’s lifetime, after his death the editors of the Mendelssohn complete edition decided his Op. 52 Lobgesang (Hymn of Praise), “A Symphony-Cantata for Soloists, Chorus, and Orchestra,” should be called Symphony No. 2 in the sequence for editorial reasons. There is no indication that this represented the composer’s intentions.

Mendelssohn’s experience conducting massive sacred works by Handel and J.S. Bach was particularly influential for this work — these predecessors are updated to a mid-19th-century style, using all available resources, past and present, to convey the meaning of the text to the fullest extent possible. The piece consists of a three-movement orchestral Sinfonia attached to a nine-movement vocal cantata in which Biblical excerpts and a text by Martin Rinkart from the Evangelical Church Hymnal celebrate mankind’s progress from darkness to enlightenment (as represented by the Gutenberg Bible). The symphony and cantata are connected by a recurring motif, first heard at the beginning of the Sinfonia. The work is almost twice as long as any of Mendelssohn’s other symphonies. The first performance was June 25, 1840.

The Sinfonia begins with a majestic chorale featuring the trombones. The Allegro that follows presents an uplifting theme for full orchestra, contrasted by a gentler second theme in the winds and violas. Both themes are developed in a variety of keys, melodic variations and combinations. The music eventually comes to a halt and the gentler second theme returns. After one final reprise of the uplifting music, the movement comes full circle with the opening majestic chorale. Surprisingly, this leads to a direct segue to the second movement.

A tuneful melody contributes to a pleasant, occasionally melancholy mood for the second movement. A contrasting section presents a theme in a chorale-like setting reminiscent of the first movement. The first theme returns and the movement ends gently.

The third movement, Adagio religioso, begins with a quiet, reverent chorale in the strings. Winds are gradually added to fill out the sound. Accompanying figures under the chorale melody become increasingly active, creating a gradual build to a full orchestral climax. After the climax, the music slowly winds down, bringing the Sinfonia to a reverent, satisfying close.

The cantata begins with a reference to the opening chorale from the Sinfonia, gradually building to the first choral entrance. The choir sings energetic praises with strong encouragement from the orchestra. The soprano soloist urges to “Praise the Lord with the lyre, praise him with your song” (Psalm 33) with choral reinforcement, asks for blessings, and the movement concludes quietly.

The tenor sings a recitative that encourages all to be thankful for redemption, and then a lovely aria offers comfort to those who believe. The chorus echoes these sentiments. The music is serious, inferring that this is not to be taken lightly. The next movement features two soprano soloists in a beautiful aria with horn obligato. The text speaks of waiting patiently for blessings, trusting that supplications will be heard. The chorus offers occasional encouragement and confirmation of good things coming to those with patience and trust.

The sixth movement features the tenor soloist. The mood is much more urgent and dramatic as those who fear death and darkness are encouraged to find a way to the light. This mood continues into the seventh movement as the chorus and full orchestra join together in full voice to announce the way out of the darkness. Mendelssohn uses some retrospective effects, e.g., fugal imitation and gradual accumulation of forces, to underscore the depth of the message being conveyed.

The eighth movement is a striking contrast — a simple four-part hymn for voices only. It is Mendelssohn’s famous setting of “Nun danket alle Gott” (Now Thank We All Our God). The second verse of the hymn is accompanied tastefully by the orchestra, reinforcing the feelings of thankfulness and praise.

The ninth movement features the tenor and soprano soloists individually and together, singing of thanks for saving grace. Again, Mendelssohn’s knack for writing beautiful melodies is on full display, and the tone of the music is genuine and reassuring. The finale exhorts all to offer praises to the Lord. The choir and orchestra begin together with a long serious section that finally gives way to a more celebratory finale that combines all the orchestral sounds and compositional devices one would expect to find in a work of this magnitude. The ending is glorious with a final return to the opening Sinfonia chorale melody, this time with the chorus adding words to it: “All that has life and breath, sing to the Lord. Hallelujah!”

Kenji Bunch’s music integrates popular styles like bluegrass, hip hop, jazz and funk into classical settings in innovative and interesting ways. The Night Is Departing: Mendelssohn 2.1 was commissioned by the Yakima Symphony Orchestra as a companion piece to a performance of Mendelssohn’s epic Symphony No. 2: Lobgesang (Hymn of Praise), for chorus and orchestra. The composer says, “This positioning of my humble work next to Mendelssohn’s soaring and profound opus was quite daunting indeed, so I made the decision to avoid any quotation or musical reference to his writing. Rather, I drew my inspiration from the pivotal dramatic moment in the work and its Biblical text. Mendelssohn’s setting of Psalm 116 (“The sorrows of death encompassed us / Fear of hell had struck us / We wandered in darkness”) struck me as deeply resonant with our shared experience of surviving the recent coronavirus pandemic.

“When Mendelssohn follows this with a setting of Romans 13:12 (“The night has passed, and the day has come. So let us cast off the works of darkness, and put on the armor of light, and take up the armor of light”), the uplifting sense of triumph over tragedy is electric. So in a sense, with my work I tried to capture musically a reflective meditation on these words and the hopeful moment we find ourselves in as we see the light emerging from an extended period of darkness.”

– Jeffrey Snedeker

*Album cover provided for Editorial use only. ©Albany Records. The Albany Imprint is a registered trademark of PARMA Recordings LLC. The views and opinions expressed in this media are those of the artist and do not necessarily represent or reflect the views and opinions held by PARMA Recordings LLC and its label imprints, subsidiaries, and affiliates.