Mendelssohn: 5 Symphonies and 7 Overtures
By Gramophone
Symphonies Nos 1-5. Octet – Scherzo. Overtures – A Midsummer Night’s Dream; Die schöne Melusine; The Hebrides, ‘Fingal’s Cave’; Ruy Blas; Meerestille und Gückliche Fahrt; Trumpet Overture.
It is in the choral Second Symphony that the advantage of the wide-ranging digital sound comes out most strikingly, in clarifying the big tuttis with choir, at the same time providing extra weight of sound, notably in the way that pedal notes on the organ come over in a rich and realistic way. As to interpretation, Abbado in the first instrumental movement conveys a keener sense of joy with a wide expressive range. Again, in the choral finale Abbado’s speeds tend to be a degree more relaxed and the sense of joyful release is all the keener. His three soloists are very fine and their tonal beauty and natural feeling for words and phrasing are a delight. So too is the singing of the London Symphony Chorus, particularly beautiful in the chorale, ‘Nun danket alle Gott’.
It is that avoidance of Victorian blandness which is striking in Abbado’s accounts of Nos 1 and 5. In No 1 he is tough and biting, slower and simpler in the second movement, returning to a tough, dark manner for the Minuet and finale. This is a performance which has one marvelling that Mendelssohn could ever have countenanced the idea of the Octet Scherzo as substitute, a piece so different in mood. The first movement of the Reformation finds Abbado in dramatic mood, and crisper and again quicker in the second movement Allegro vivace.
In both the Scottish and Italian Symphonies Abbado’s earlier Decca versions clearly come into contention, but where in the Scottish the differences of interpretation are relatively unimportant – mainly a question of the slow movement being a little slower and heavier this time – those in the Italian are more striking. Here the outer movements are fractionally faster than before, and that difference brings just a hint of breathlessness in the playing of the LSO; but whatever my disappointment over those movements, this is now the most centrally recommendable version of the Italian on CD.
As for the overtures, they too bring fresh and attractive performances, very fast and fleet in the fairy music of A Midsummer Night’s Dream and with the contrast between first and second subjects of The Hebrides underlined. This was one of Abbado’s biggest recording projects with the orchestra of which he was music director and remains a richly rewarding legacy.
By The truth and nothing but (The High Peak, in the United Kingdom)
Abbado offers some lushly textured Mendelssohn recording here. He is beautifully and ably supported by the sterling playing of the London Symphony Orchestra. Dating from the mid `80s, the recorded sound is also good despite its early digital vintage. Abbado takes a very classical view of Mendelssohn, however. He generally eschews any romanticism and perhaps that is where he falls down.
Performance: 4/5
For the most part these performances are incisive and the playing of the LSO is first rate. The overtures are generally invigorated with plush textures shining out quite consistently. It's a credit to Abbado that he has always produced golden throated playing from all the orchestras he has worked with. In that sense, who can doubt his natural talent for leading an orchestra? In the Symphonies, however, it feels like concentration and commitment does have the tendency to sag on occasion. This seems particularly true in the inner movements of the First Symphony (though the alternative scherzo is very pleasant) and the outer movements of the `Reformation' Symphony. Otherwise everything is quite excellent on this front. A small caveat would be that the palette of colour and timbre is rather restricted. Here, Previn got more out of this orchestra.
The `Lobgesang' may be the best part of this set, along with the overtures. It is realised beautifully, affectionately and musically. The singing of London Symphony Chorus is very good. It is very powerful at times. Elizabeth Connell (Soprano), Karita Mattila (Soprano) and Hans Peter Blochwitz (Tenor) do good justice to the work as solo voices, though superior singing in this work has been recorded before and since.
Sound: 5/5
There is very little indeed to complain about regarding the sound for this set. It is full blooded, warm and weighty with good detail as well. Perhaps it lacks a little sparkle but this is a very minor issue indeed and not too detrimental a caveat. Throw in a wide soundstage and it is some of the best sound the DG engineers were producing at the time. The main weakness in the sound is to be found in the Lobgesang where some may feel it to be a little fogged, muddy and overly reverberant.
Interpretation: 2/5
This is where the most telling problems arise. I must state now that I see Mendelssohn, along with Schumann, Bruch and Brahms, as a more romantic composer than Abbado apparently does. I suppose taste dictates much here. If you see Mendelssohn as closer in idiom to Haydn, Mozart and Schubert than he is to Schumann, Beethoven or Bruch then Abbado's set is almost certainly the set for you. Unfortunately, I don't see Mendelssohn like that.
True, there is no getting away from the fact that the First Symphony is classical in idiom. That is easy to accept and, as such, Abbado has followed Flor, Ashkenazy and Karajan (among others) in interpreting it classically. The Second Symphony is where Abbado diverges from the Classical path. This is a broad, magnificent view of the work. Indeed, it has something valedictory in the way he conceives it. Having said that, it has been equally well interpreted by the likes of Litton, Karajan and Dohnanyi. They each have a valedictory about them.
The `Scottish' Symphony marks a return to the classical idiom. Others have got more darkness and tragedy from this score. See, for example, Karajan and Bernstein. Indeed, these two took an almost impressionistic account of the first movement. Abbado continues his genial approach which is rather superficial and uninspiring in this work. The coda of the third is taken with almost vulgar amounts of rhetoric. This is not in keeping at all with what preceded these closing passages.
The Fourth can be interpreted classically or romantically and here Abbado has much more success. This Symphony comes off much better in this set than the Third does. Abbado's Fifth wobbles between classicism and romanticism without firm decision either way. Much of the expression in the outer movements suggests a romantic conception but the inner movements seem to be decidedly classical while the final coda doesn't come off with the incisiveness and finality that Munch, Bernstein and Karajan brought.
Overall, this is a mixed set musically. There is some uncertainty as to how Abbado sees Mendelssohn but generally he opts for a classical approach, in line with Mozart or Haydn. There is validity in that as Mendelssohn drew greatly from both composers. Orchestras such as those of Bamberg, Vienna and Berlin seem more in touch with Mendelssohn's Germanic roots as well. This is a solid set, the stand outs being the Second Symphony, the Fourth and the eight shorter pieces. Indeed, the Hebrides receives a very strong performance. If Abbado's way appeals, you will enjoy this set more than I did.
Track List:
Disc 1:
1. Symphony No.1 in C minor, Op.11 - 1. Allegro di molto 10:39
2. Symphony No.1 in C minor, Op.11 - 2. Andante 6:40
3. Symphony No.1 in C minor, Op.11 - 3. Menuetto (Allegro molto) 6:45
4. Symphony No.1 in C minor, Op.11 - 4. Allegro con fuoco 8:14
5. Octet in E flat, Op.20 - Arr. for orchestra by the composer - 3. Scherzo 3:58
6. Overture "A Midsummer Night's Dream", Op.21 - Overture (Allegro di molto) 12:03
7. The Hebrides, Op.26 (Fingal's Cave) - Allegro moderato 10:24
8. Meeresstille und glückliche Fahrt, Op.27 13:08
Disc 2:
1. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 1. Sinfonia: Maestoso con moto 13:48
2. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 1. Sinfonia: Allegretto un poco agitato 7:00
3. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 1. Sinfonia: Adagio religioso 8:09
4. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 2. "Alles was Odem hat, lobe den Herrn" - "Lobe den Herrn, meine Seele" 5:30
Performance: 4/5
For the most part these performances are incisive and the playing of the LSO is first rate. The overtures are generally invigorated with plush textures shining out quite consistently. It's a credit to Abbado that he has always produced golden throated playing from all the orchestras he has worked with. In that sense, who can doubt his natural talent for leading an orchestra? In the Symphonies, however, it feels like concentration and commitment does have the tendency to sag on occasion. This seems particularly true in the inner movements of the First Symphony (though the alternative scherzo is very pleasant) and the outer movements of the `Reformation' Symphony. Otherwise everything is quite excellent on this front. A small caveat would be that the palette of colour and timbre is rather restricted. Here, Previn got more out of this orchestra.
The `Lobgesang' may be the best part of this set, along with the overtures. It is realised beautifully, affectionately and musically. The singing of London Symphony Chorus is very good. It is very powerful at times. Elizabeth Connell (Soprano), Karita Mattila (Soprano) and Hans Peter Blochwitz (Tenor) do good justice to the work as solo voices, though superior singing in this work has been recorded before and since.
Sound: 5/5
There is very little indeed to complain about regarding the sound for this set. It is full blooded, warm and weighty with good detail as well. Perhaps it lacks a little sparkle but this is a very minor issue indeed and not too detrimental a caveat. Throw in a wide soundstage and it is some of the best sound the DG engineers were producing at the time. The main weakness in the sound is to be found in the Lobgesang where some may feel it to be a little fogged, muddy and overly reverberant.
Interpretation: 2/5
This is where the most telling problems arise. I must state now that I see Mendelssohn, along with Schumann, Bruch and Brahms, as a more romantic composer than Abbado apparently does. I suppose taste dictates much here. If you see Mendelssohn as closer in idiom to Haydn, Mozart and Schubert than he is to Schumann, Beethoven or Bruch then Abbado's set is almost certainly the set for you. Unfortunately, I don't see Mendelssohn like that.
True, there is no getting away from the fact that the First Symphony is classical in idiom. That is easy to accept and, as such, Abbado has followed Flor, Ashkenazy and Karajan (among others) in interpreting it classically. The Second Symphony is where Abbado diverges from the Classical path. This is a broad, magnificent view of the work. Indeed, it has something valedictory in the way he conceives it. Having said that, it has been equally well interpreted by the likes of Litton, Karajan and Dohnanyi. They each have a valedictory about them.
The `Scottish' Symphony marks a return to the classical idiom. Others have got more darkness and tragedy from this score. See, for example, Karajan and Bernstein. Indeed, these two took an almost impressionistic account of the first movement. Abbado continues his genial approach which is rather superficial and uninspiring in this work. The coda of the third is taken with almost vulgar amounts of rhetoric. This is not in keeping at all with what preceded these closing passages.
The Fourth can be interpreted classically or romantically and here Abbado has much more success. This Symphony comes off much better in this set than the Third does. Abbado's Fifth wobbles between classicism and romanticism without firm decision either way. Much of the expression in the outer movements suggests a romantic conception but the inner movements seem to be decidedly classical while the final coda doesn't come off with the incisiveness and finality that Munch, Bernstein and Karajan brought.
Overall, this is a mixed set musically. There is some uncertainty as to how Abbado sees Mendelssohn but generally he opts for a classical approach, in line with Mozart or Haydn. There is validity in that as Mendelssohn drew greatly from both composers. Orchestras such as those of Bamberg, Vienna and Berlin seem more in touch with Mendelssohn's Germanic roots as well. This is a solid set, the stand outs being the Second Symphony, the Fourth and the eight shorter pieces. Indeed, the Hebrides receives a very strong performance. If Abbado's way appeals, you will enjoy this set more than I did.
Track List:
Disc 1:
1. Symphony No.1 in C minor, Op.11 - 1. Allegro di molto 10:39
2. Symphony No.1 in C minor, Op.11 - 2. Andante 6:40
3. Symphony No.1 in C minor, Op.11 - 3. Menuetto (Allegro molto) 6:45
4. Symphony No.1 in C minor, Op.11 - 4. Allegro con fuoco 8:14
5. Octet in E flat, Op.20 - Arr. for orchestra by the composer - 3. Scherzo 3:58
6. Overture "A Midsummer Night's Dream", Op.21 - Overture (Allegro di molto) 12:03
7. The Hebrides, Op.26 (Fingal's Cave) - Allegro moderato 10:24
8. Meeresstille und glückliche Fahrt, Op.27 13:08
Disc 2:
1. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 1. Sinfonia: Maestoso con moto 13:48
2. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 1. Sinfonia: Allegretto un poco agitato 7:00
3. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 1. Sinfonia: Adagio religioso 8:09
4. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 2. "Alles was Odem hat, lobe den Herrn" - "Lobe den Herrn, meine Seele" 5:30
5. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - Molto più moderato ma con fuoco:"Lobe den Herrn,... meine. Elizabeth Connell 2:42
6. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 3. "Saget es, die ihr erlöst seid" Hans Peter Blochwitz 0:51
7. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 3. "Er zählet unsre Tränen" Hans Peter Blochwitz 2:20
8. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 4. "Sagt es, die ihr erlöset seid" Hans Peter Blochwitz 2:08
9. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 5. "Ich harrete des Herrn" Elizabeth Connell 6:46
10. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 6. "Stricke des Todes hatten uns umfangen" Hans Peter Blochwitz 4:14
11. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 7. "Die Nacht ist vergangen" 4:58
12. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 8. "Nun danket alle Gott" - "Lob, Ehr' und Preis sei Gott" London Symphony Chorus 4:13
13. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 9. "Drum sing ich mit meinem Liede ewig" Hans Peter Blochwitz 5:12
14. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 10. "Ihr Völker, bringet her dem Herrn Ehre und Macht" 6:32
6. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 3. "Saget es, die ihr erlöst seid" Hans Peter Blochwitz 0:51
7. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 3. "Er zählet unsre Tränen" Hans Peter Blochwitz 2:20
8. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 4. "Sagt es, die ihr erlöset seid" Hans Peter Blochwitz 2:08
9. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 5. "Ich harrete des Herrn" Elizabeth Connell 6:46
10. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 6. "Stricke des Todes hatten uns umfangen" Hans Peter Blochwitz 4:14
11. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 7. "Die Nacht ist vergangen" 4:58
12. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 8. "Nun danket alle Gott" - "Lob, Ehr' und Preis sei Gott" London Symphony Chorus 4:13
13. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 9. "Drum sing ich mit meinem Liede ewig" Hans Peter Blochwitz 5:12
14. Symphony No.2 in B flat, Op.52 - "Hymn of Praise" - 10. "Ihr Völker, bringet her dem Herrn Ehre und Macht" 6:32
Disc 3:
1. Symphony No.3 in A minor, Op.56 - "Scottish" - 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima 16:55
2. Symphony No.3 in A minor, Op.56 - "Scottish" - 2. Vivace non troppo 4:04
3. Symphony No.3 in A minor, Op.56 - "Scottish" - 3. Adagio 11:28
4. Symphony No.3 in A minor, Op.56 - "Scottish" - 4. Allegro vivacissimo - Allegro maestoso assai 9:56
5. Overture "The Fair Melusine", Op.32 - Allegro con moto 10:48
6. "Trumpet Overture", Op.101 - Allegro vivace - Allegro vivace 9:10
7. Ruy Blas, Op.95 - Overture to Victor Hugo's play - Lento - Allegro molto 8:21
Disc 4:
1. Symphony No.4 in A, Op.90 - "Italian" - 1. Allegro vivace 10:30
2. Symphony No.4 in A, Op.90 - "Italian" - 2. Andante con moto 5:56
3. Symphony No.4 in A, Op.90 - "Italian" - 3. Con moto moderato 6:30 4. Symphony No.4 in A, Op.90 - "Italian" - 4. SaPltarello (Presto) 5:24
2. Symphony No.4 in A, Op.90 - "Italian" - 2. Andante con moto 5:56
3. Symphony No.4 in A, Op.90 - "Italian" - 3. Con moto moderato 6:30 4. Symphony No.4 in A, Op.90 - "Italian" - 4. SaPltarello (Presto) 5:24
5. Symphony No.5 in D minor, Op.107 - "Reformation" - 1. Andante - Allegro con fuoco 12:13
6. Symphony No.5 in D minor, Op.107 - "Reformation" - 2. Allegro vivace 5:48
7. Symphony No.5 in D minor, Op.107 - "Reformation" - 3. Andante 3:45
8. Symphony No.5 in D minor, Op.107 - "Reformation" - 4. Choral "Ein' Feste Burg ist unser Gott!" (Andante con moto - Allegro vivace - Allegro maestoso - Più animato poco a poco) 9:09
9. Overture for Wind Instruments, Op.24 (für Harmoniemusik) 9:46
6. Symphony No.5 in D minor, Op.107 - "Reformation" - 2. Allegro vivace 5:48
7. Symphony No.5 in D minor, Op.107 - "Reformation" - 3. Andante 3:45
8. Symphony No.5 in D minor, Op.107 - "Reformation" - 4. Choral "Ein' Feste Burg ist unser Gott!" (Andante con moto - Allegro vivace - Allegro maestoso - Più animato poco a poco) 9:09
9. Overture for Wind Instruments, Op.24 (für Harmoniemusik) 9:46
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