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Mendelsshon: Symphony Nos 3 & 4 Original recording remastered


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Audio CD, Original recording remastered, October 9, 2007
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$9.99 & FREE Shipping on orders over $35. Details Only 1 left in stock. Ships from and sold by Amazon.com. Gift-wrap available.

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
listen  1. Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come primaLondon Symphony Orchestra12:42Album Only
listen  2. Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 2. Vivace non troppoLondon Symphony Orchestra 4:15$0.99  Buy MP3 
listen  3. Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 3. AdagioLondon Symphony Orchestra10:12Album Only
listen  4. Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 4. Allegro vivacissimo - Allegro maestoso assaiLondon Symphony Orchestra 9:24$0.99  Buy MP3 
listen  5. Mendelssohn: Symphony No.4 in A, Op.90 - "Italian" - 1. Allegro vivaceLondon Symphony Orchestra10:29Album Only
listen  6. Mendelssohn: Symphony No.4 in A, Op.90 - "Italian" - 2. Andante con motoLondon Symphony Orchestra 6:57$0.99  Buy MP3 
listen  7. Mendelssohn: Symphony No.4 in A, Op.90 - "Italian" - 3. Con moto moderatoLondon Symphony Orchestra 6:38$0.99  Buy MP3 
listen  8. Mendelssohn: Symphony No.4 in A, Op.90 - "Italian" - 4. Saltarello (Presto)London Symphony Orchestra 5:44$0.99  Buy MP3 


Product Details

  • Audio CD (October 9, 2007)
  • SPARS Code: ADD
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Decca
  • ASIN: B000SSPKZY
  • Average Customer Review: 3.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #616,396 in Music (See Top 100 in Music)

Editorial Reviews

MSUCIA CLAISCA/CLASSIC MUSIC

Customer Reviews

3.3 out of 5 stars
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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Bernard Michael O'Hanlon on January 21, 2015
Format: Audio CD
For whatever mad reason, Abbado left us with three separate recordings of Mendelssohn's Italian Symphony and one less of the Scottish. Not one of them is memorable. As per his wont, he emphasized their "lightness of being" with a dash of classical restraint to the exclusion of darker currents or Romanticism per se. Think an update of Haydn (and Michael at that).

Dating from February 1967, these recordings are among his first outings. Nothing here predicates "a star is born." It's stock-standard stuff. As much as Abbado shied away from a strong bass-line like a vampire to a crucifix, he's somewhat blameless here: the sound is top-heavy. Cellos and double-basses have been eviscerated from the spectrum with a vengeance by Father Time or sound-engineers. This sucks - really sucks - in the slow introduction of the Scottish where the cellos should command the line. Nor was the LSO a byword for excellence in the Sixties.

Other than the cachet of Abbado's later career, I cannot see any reason why this polite, streamlined diet-Mendelssohn (good lord) in dodgy sound was released as an Original. To compare it with Karajan in this domain, well, would be a gratuitous act of cruelty. Not even a dirty rotten scoundrel would do that, surely?
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Format: Audio CD
This disc, made in 1967, has now been re-issued in a remastered form and is an astonishingly effective competitor to the later recording from 1985 with the same orchestra on DGG. The interpretations are very similar but the differences are considerable in their accumulative effect.

The sound is the first thing to notice with this remastered disc being far more vibrant and clear than the later disc. My wife, when asked for her response, unhesitatingly said it sounded like 'a veil had been lifted' and made the DGG disc sound 'muddy.' This is about as accurate as I can describe it in non-technical terms and is worth quoting. In addition the sound-stage is deeper with the tonal and dynamic ranges both being wider. The difference is really quite considerable which is some achievement considering the previous high recommendation of the later disc.

The performances are also different and provide many examples of how tiny adjustments can have a major effect. As an example, the timing of the last movement of the fourth symphony differs by only 23 seconds with the later performance being the faster. This difference allows far greater articulation from the woodwind and strings to be achieved in the earlier recording. That, combined with the greater clarity of the recording itself, is almost startling.

Another major difference worth quoting lies in the finale of the third symphony with Abbado taking a much slower speed in the later recording. This gives a far weightier effect. However, that weight coupled with relative lack of recorded clarity, makes a poor showing when compared directly with the livelier speed coupled with greater recorded clarity of the earlier recording.
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7 of 10 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 1000 REVIEWER on November 27, 2007
Format: Audio CD
Abbado's conception of Mendelssohn leans more toward Haydn than toward Beethoven, which is perfeclty legitimate. These readings are lean and quick, with elegant phrasing from the LSO and fine sound from Decca's engineers. The "Scottish" has received more dramatically exciting readings from Karajan and (above all) Bernstein, but they definitely lean more toward Beethoven. Abbado's "Italian" is also elegant and fairly small-scaled, which he uses to his benefit by relaxing into the phrase intstead of driving the tempo as so many modern conductors do (see Solti). There are so many great "Italins," going as far back as Cantelli's famous recording from the early Fifties, that I'm loath to call this one of the very best, but it's winning all the same, and more surprising in its relaxed geniality than the slightly too pared down "Scottish."
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