Copper has an exchange program with AAA (Analogue Audio Association) magazine of Switzerland (and other publications), where we share articles, including this one.
The Swiss author Ernst Müller is a profound connoisseur of the classical music scene, with a large analog record collection. In Issue 203 Copper presented his review of the Sibelius symphonies on LP. In issue 207 you can find his review of the legendary classical pianist Sviatoslav Richter. This article also discusses vinyl recordings. These can be found on the second-hand market, and most of them are also available as CDs. Ernst Müller points out the most important recordings of both symphonies at the end of the article.
Like Johannes Brahms and Robert Schumann, the German composer Felix Mendelssohn Bartholdy (1809 – 1847) is one of the most important musicians of the Romantic period. Many record collectors have several copies of his Violin Concerto – probably the most frequently-recorded violin concerto – on their shelves. They may also have other compositions by Mendelssohn such as his String Octet in E-flat major, The Hebrides overture, and the overture to A Midsummer Night's Dream or the Third or Fourth symphony. These are the works that are probably performed most frequently in concert halls. The following article aims to arouse interest in the “Italian” and “Scottish” symphonies. This article only discusses recordings that have been released on vinyl records (LP).
The acceptance of Mendelssohn's music has fluctuated greatly over the past 200 years. Mendelssohn, who traveled to several countries, was a celebrated composer, conductor, pianist and organist during his lifetime, and was most acclaimed in England. Richard Wagner's anti-Semitic propaganda (see his pamphlet, “Judaism in Music”) was subsequently partly responsible for the disdain the composer Mendelssohn received. Around 1900, critics tended to regard Mendelssohn's music as formally high-quality, but musically as non-committal art. The Mendelssohn family was originally Jewish, but converted to the Protestant faith in 1816. During the National Socialist era, Mendelssohn's music was nevertheless considered Jewish and was not performed.
Five Symphonies
If you take a look at record and CD catalogs, it is obvious that the first two symphonies have received little attention. The First Symphony is the work of a 15-year-old and still strongly indebted to Viennese classicism. Although it has individual features, it was also held in low esteem by Mendelssohn himself. It was composed for a full orchestra and yet it is classified as a work that is still in the tradition of Mendelssohn's 12 string symphonies from his youth. Symphony No. 2 (Lobgesang) is a symphonic cantata. The fact that it is rarely heard in the concert hall or on media is partly due to the fact that it lasts over an hour and does not have the proportions typical of symphonies: the three instrumental movements, which last just over 20 minutes and which are not very imaginative, are followed by the good and long fourth movement, a hymn of praise for two sopranos, a tenor and choir.
Symphony No. 5, the so-called “Reformation” Symphony, is heard more frequently. The final movement features a chorale variation of Martin Luther's “Ein feste Burg ist unser Gott,” which gave the symphony its name.
A rather confusing comment on the numbering of the five symphonies: basically, the Third symphony is Mendelssohn's last. However, since the Italian and Reformation symphonies (Nos. 4 and 5) were only published posthumously, it is listed as the third in the catalog of works. The Reformation Symphony was composed in 1830 as the second of the five symphonies. However, as the composer shelved the work, it only appeared in print posthumously in 1968 and was thus given the number five.
Having the Complete Recordings is Not a Must
There were probably only four albums with the complete symphonies on vinyl. Is the best one from the late Sixties with Wolfgang Sawallisch and the New Philharmonia Orchestra? Sawallisch finds an adequate orchestral sound and a suitable arrangement for each symphony. In terms of sound, the recordings are fine (Philips SC71AX404, 4 LPs). A possible alternative is the set with Herbert von Karajan and the Berlin Philharmonic released on Deutsche Grammophon in 1973 (DG 2561 278/81, 4 LPs). For my personal taste, his Mendelssohn is mostly massive. However, the album received much praise when it was released and it is better-sounding.
Less convincing is the complete recordings by Kurt Masur with the Leipzig Gewandhaus Orchestra from the 1970s. This is the orchestra that Mendelssohn conducted himself from 1835 to 1847 (Vanguard VCS 10133/6, 4 LPs). It seems to me that these interpretations are uninspired. The woodwinds in particular, but also the brass, sound cloaked. Moreover, one has the impression that Sawallisch and Karajan had the better orchestral musicians at their disposal.
The recording by Christoph von Dohnányi with the Vienna Philharmonic has been released on three LPs (Decca 6.35700-1/2/3). The quality of the interpretations of the five symphonies varies. At least, one can be pleased with the quality of the orchestral musicians.
The question remains whether it is absolutely necessary to have the complete recordings by one conductor. Analog lovers who only own symphonies Three to Five and would like to fill the gap can look on the second-hand market for one of the two 2-LP albums with the first two symphonies with Karajan (DG 2721 107) or with Sawallisch (Philips 802 856/57 LY),
What is “Italian” about the Italian? – Symphony No. 4 in A Major, Op. 90
For many artists in the 19th century, so-called educational journeys were a desirable way of broadening their horizons. While Mendelssohn had traveled to the British Isles in 1829 – the “Scottish” symphony was written in this context – he turned his attention to Italy in 1830. And of course, Mendelssohn, like so many of the 19th century's education-seekers, had read Johann Wolfgang von Goethe's Italian Journey and used this travelogue as a travel guide. And as befitted a German artist, Mendelssohn visited the almost 80-year-old prince of poets for two weeks on his way to Italy. Incidentally, Goethe was a fan of Mendelssohn. He was moved when this young man played the piano for him during his visit.
So, what is Italian about the 4th Symphony? There are no Italian folk songs in this symphony. There is nothing “authentic” about it; it does not depict a scenic backdrop. One could say that Italy is present in the work through its clarity and melodic light. A Mediterranean character can only be attributed to the two outer movements; the two middle movements are rather melancholy. Incidentally, it is very unusual that the symphony begins in a major key but ends in a minor key.
The composer began to conceptualize his impressions of Italy in this symphonic work during the journey. He only completed the work in 1832 and 1833. Mendelssohn's compositional style does not represent a break with the classical style of Mozart's time, but the inspiration is romantic in its orchestral timbres. Although the premiere in London was a triumph, the composer was dissatisfied with his work and withdrew it. It was only after its posthumous publication that the “Italian” became a hit as a symphonic work.
Interpretations That Bring Joy
As always with my articles about LPs that were released during the vinyl era, I assume that readers have one or two records on their shelves and will be inspired to put them on again or, if interested, to look for them second-hand.
I would describe Mendelssohn as the master of the beginning. Who can resist the musical pull of the opening to the “Italian” (or, for example, the Violin Concerto, the Hebrides Overture, or the Piano Concerto No. 1)? Which interpretation would you like most to travel with?
In preparation for a comparison of interpretations, I put all the recordings available to me in front of me (I have 17 records, of which I selected 13) and decided to put them in a listening order. To start, I deliberately choose one record as a benchmark, one whose interpretation and sound I know to be quite good, but certainly not a “reference.”
So, there was the 1979 EMI recording by André Previn with the London Symphony Orchestra on my turntable. And lo and behold, I was very wrong. This is a fresh, articulate and rhythmically light interpretation. The dramaturgical concept is convincing, and the interpretation breathes magnificently. Previn succeeds better than others in articulating details that are a pleasure to listen to. It is also an ideal Mendelssohn record in that the B-side contains three wonderful overtures: The Hebrides, “Ruy Blas,” and that to A Midsummer Night's Dream (EMI ASD 3763 or 1C 063-03 625).
The next LPs I put on brought disillusionment. First there was the Philips recording with Wolfgang Sawallisch and the Vienna Symphony Orchestra (coupled with Schubert's “Unfinished” Symphony). Sawallisch is faster than Previn, but less gripping. The sound is not as good, although the label on my copy says “Hi-Fi Stereo” (835 035 AY). Next came the recording with Ernest Ansermet and his Orchestre de la Suisse Romande (Decca SXL 6166, released in 1965). Ansermet is slower than the two previous conductors. The sound is good, better than that of Sawallisch. The interpretation is broad; there is no Italianate tempo here. The whole thing is restrained, not gripping.
What about the 1962 recording by George Szell with the Cleveland Orchestra? This is a brisk interpretation with an unvarying (not to say somewhat inflexible) style. I don't get warm with it; it's a dry Italian. What also irritates me: the differences between loud and quiet passages are so strongly accentuated that they are tonally disconcerting. It seems as if Szell had instructed the sound engineer to “help” with the controls (Columbia MS 6975, coupled with Schubert's “Unfinished”).
One of the better recordings is that by Lorin Maazel with the Berliner Philharmoniker from 1960 (Deutsche Grammophon SLPM 138 684). It has the advantage of having Mendelssohn's Reformation symphony on the B side. Here we find a good tempo, a balanced and good interpretation, which is also a better one in terms of sound.
There are two interpretations by Leonard Bernstein: The one from the Sixties with the New York Philharmonic seems to me to be more significant. The tempo is moderately fast. The middle movements in particular have a simple, pastel-colored and poetic flow. In terms of sound, this LP is reasonable, but Bernstein's later live recording from 1979 with the Israel Philharmonic Orchestra sounds better. As beautiful as this recording is, the poetry of the piece is (too?) much in the foreground and the temperament seems restrained (DG 2531 097).
A reference recording is the LP Decca SXL 6363, with Claudio Abbado conducting the London Symphony Orchestra in 1968. This disc, which contains the “Scottish” and the “Italian” Symphony, has an excellent sound, with an exemplary balance between woodwinds and strings. Hardly anywhere else can you hear so many details as in this recording, which is also gripping in terms of interpretation.
The LP by Otto Klemperer with the Philharmonia Orchestra from 1961 (Columbia SAX 2398) is also excellent in sound. My fears that Klemperer would choose tempi that were too slow were wrong. This is a balanced and good interpretation.
Not to commit sins of omission, I would also point to the 1958 recordings of the Fourth and Fifth by Charles Munch with the Boston Symphony Orchestra (RCA VICS 1293). The sound lacks brilliance, but the lively interpretation has vitality and shows that Mendelssohn's music can be humorous. Shouldn't we also mention the quite irresistible 1966 recording by Pablo Casals with the Marlboro Festival Orchestra (CBS 72523)? In this recording, however, the string sections are not very differentiated, and the Beethoven 8th coupled with it is not very satisfying. Even more important, however, is the following:
Food for a Mono Cartridge
When it comes to mono recordings, there are two by Italian conductors that are among the most important interpretations of all: first, that of Arturo Toscanini with the NBC Symphony Orchestra (RCA LM 1851, recorded in 1954, coupled with the “Reformation” symphony). The mixture of energy, light, sharpness and cantabile that the 87-year-old lends the score is hard to beat. Anyone who complains about the sober and dry sound of this conductor's recordings should listen to the recording made by his spiritual son Guido Cantelli with the Philharmonia Orchestra in July 1955. This is a crackling, warm fire and has bite (HMW ALP 1325 or Angel 35524, with Schubert's “Unfinished”).
How Scottish is the “Scottish”? – Symphony No. 3 in A Minor, Op. 56
A year before his stay in Italy, Mendelssohn visited the British Isles in 1829. After concerts in London, he traveled to Scotland. He wanted to visit places where Mary Stuart had lived and loved. Impressed by this and by the dark nature of the country, he was inspired to write the now popular Hebrides overture, and the Third (“Scottish”) Symphony. It was not completed and published until 13 years later. What applies to the “Italian” is also valid for the “Scottish”: it is inspired by the landscape but is not based on Scottish melodies. One hears that the composer was inspired by different landscapes in both symphonies; however, the search for a literal location should not be taken too far.
Conductors That Inspire
Let me start by mentioning those recordings that I would put in the back row: With Kurt Masur and the Gewandhaus Orchestra, the quality of the orchestral playing leaves something to be desired and I miss a convincing interpretation (the recording is available on Eterna or Eurodisc). Charles Munch with the Boston Symphony Orchestra does not convince me either in terms of sound or interpretation.
In the later of his two recordings, Leonard Bernstein (here with the Israel Philharmonic Orchestra) gives an interesting and somewhat sought-after, not to say mannered, interpretation. In this concert recording, released in 1980, Bernstein opts for rather slow tempi. (DG 2531 256). The earlier recording with the New York Philharmonic seems better, but its sound is less attractive; the strings come over the loudspeakers garishly. Here, too, Bernstein chooses a moderate tempo in the first movement (CBS SBRG 72572).
Herbert von Karajan with his Berlin Philharmonic captures the mood of the individual movements very well. A (likewise?) gentle beginning emphasizes the beauty – and the slow movement “sings” impressively. This is a successful recording from 1971 (DG 2530 126).
I was caught by an unexpectedly positive surprise for Peter Maag's recording with the London Symphony Orchestra from 1960. Maag and the excellent orchestra breathe freely and well. The style of the interpretation is convincing. This Decca SXL 2246 disc is also a pleasure to listen to. (I own it as a reissue.)
The recording of the same London orchestra with Claudio Abbado was made eight years later. Here, too, the development of the themes and design are convincing and the transitions are harmonious. The final movement is magnificent. Abbado's orchestra sounds beautifully jubilant, where many conductors become pompous (Decca SXL 6363).
Otto Klemperer presented a serious vision of beauty with the Philharmonia Orchestra in 1960. He takes the fast movements moderately, even in the last movement (vivacissimo) Klemperer remains on the slow side (Columbia SAX 2342).
The latest recording, which has been released on vinyl (there is no CD of it), is by Gustavo Dudamel and the Vienna Philharmonic. It is a live recording from December 2011 (DG 479 0083). The Viennese prove to be an excellent orchestra here, and there are many good moments. However, Dudamel is less-flexible with the score than Abbado or, above all, Maag. Sometimes there is a lack of tension, especially in the transitions.
A Brief Overall Conclusion
If you want the “Italian” and the “Scottish” on one LP, Claudio Abbado is an excellent choice, also in terms of sound. André Previn, Otto Klemperer and possibly Lorin Maazel are also good choices for the “Italian.” For the “Scottish,” I would clearly advocate Peter Maag and possibly Karajan alongside Abbado.
Header image: portrait by Eduard Magnus, courtesy of Wikimedia Commons/public domain.
