Customer Reviews

Mendelssohn: Symphonies Nos. 4 "Italian" & 5 "Reformation"

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There seems to be general agreement that Mendelssohn's revised version recorded here is inferior to the original version premiered (although here it is given a wonderful performance), and I agree with this assessment. Gardiner does a fine job bringing out the clarity and details in the textures, particularly of the Italian, and the Reformation stirs up quite a bit of excitement. The Vienna Philharmonic sound almost like a chamber ensemble at times, which brings lots of incisiveness and vitality to the scores. My one problem with this recording is the opening phrases of the Allegro vivace of the Italian symphony (familiar version). In my view it lacks a little weight in the strings, especially when compared to Sinopoli's version with the Philharmonia on DG or Blomstedt with the San Francisco Symphony on Decca (sadly not currently available in the US). I admit this is a small personal preference, and overall these recordings can be confidently recommended particularly with the bonus of the revised Italian symphony.

Felix Mendelssohn was a Romantic composer who embraced the ideals of classicism when that trend in the Germanic countries were falling out of favor, save a few. The two symphonies represented on this disk show both the Romantic and Classicist: Symphony No. 4 "Italian" and Symphony No. 5 "Reformation".

The famous Symphony No. 4 is inspired after a trip to Italy, and so subtitled the Italian symphony. Like in his third symphony, the Scottish, Mendelssohn stays away from any direct quotes of folk music, but uses the ideas, modes, and dance rhythms of the culture in his symphony. The sunny first movement has the famous leaping melody, which literally drips with joy. The clarinets and bassoon have a secondary melody of simplicity, but still with optimism. The development, with whimsical strings, leads to a darker march, but all gloom is pushed aside for a happy conclusion. The mood quickly changes in the second movement with unison woodwinds and strings, and a mournful bassoon/oboe duet. The unswerving walking bass throughout gives the movement perpetual motion and an almost martial quality. Some serenity shines through when the flute ensemble sings, but the gloom prevails. The third movement is more a courtly dance in the style of Mozart. Woodwinds dot the string-based movement, and besides a bassoon/horn call, gentility presides. The whirlwind fourth movement is in the form of an Italian dance known as the Saltarello. The movement is almost menacing, with constantly repeated unison notes and an uneven switch between duples and triples. Gardiner chooses forward-moving tempos throughout, but especially in the Saltarello, where the Vienna Philharmonic show their virtuosity. He gives the triplets a fleet-footed quality, whereas the duples get extra weight, adding to the menacing sound. In addition, throughout the work, great work and detail has been put into the inner parts, which now receive as much attention by the listener, as the melody. Gardiner's love of the work is evident, and his swifter approach works well, without losing musicality. Many of the movements are based in dance forms, and the Vienna Philharmonic, whose history is steeped in dance forms, makes the music sparkle, not dwelling in unneeded heaviness or stuffiness. A fresh perspective of a popular work.

Mendelssohn's Symphony No. 5 (chronologically his 2nd) was written for the 300th anniversary of the Augsburg Confession, hence the subtitle Reformation symphony. A bit more serious sounding than the Fourth Symphony, it opens with a grand processional, and eventually into a faster section whose theme is a perfect fifth, much like a trumpet call. The action is interrupted occasionally, by a Dresden Amen cadence, a reminder of the religious subject. The second movement is a bit more upbeat, with an almost waltz-like feel. The third movement, primarily strings, seems to be a short prelude to the final movement, especially since there is no break. The finale is heralded on flute alone on the famous chorale, Ein feste Burg (A Mighty Fortress). An ingenious natural crescendo (by adding instruments) is very effective as it dramatically builds into an emotional cadence into the final fast section. The British march section (or so it sounds) has a stately melody mingled with quotations of the chorale, and a forceful conclusion. John Eliot Gardiner is faithful to the score, relishing in Mendelssohn's own dynamic and articulation markings, and bringing out the natural melodic materials. Again, great attention to detail, capturing a totally different mood than the previous symphony, with great success.

In addition, 20+ minutes of Mendelssohn's revisions of the Italian Symphony has been restored and performed. Probably only interesting to die-hard Mendelssohn fans, a unique addition to the disk. As mentioned, a fresh look at Mendelssohn's music, bringing out detail and the composer's innate classicism, with Vienna's lightness and fruity sound. An easy choice for anyone who wants these symphonies.

The ease and elegance of his music makes it tempting to believe that for Felix Mendelssohn, one of the great musical prodigies of history, the creative process was spontaneous and effortless. This CD of both the original and the recently unearthed revision of one of his most beloved works, the "Italian" Symphony No. 4, gives the lie to this myth. After successfully premiering the work in London in 1833, Mendelssohn, dissatisfied with the score, almost immediately began revising the last three movements--he desisted from tinkering with the first only because he was convinced a complete rewriting would be necessary, and hesitated to tackle such a Herculean task. In fact the changes in the movements that were revised are noticeable even to a listener not following a score.

It would be pleasant to report that the later revisions make a lovely work even more satisfying. In truth, they leave a mixed impression. In the 1834 version Mendelssohn retouches many details of the orchestration, giving more prominence overall to the winds. He simplifies the solemn theme of the second movement, but undercuts the apparent aim of increased austerity with the richer and more colorful scoring. The third movement receives the most extensive changes. With the arguable exception of a new and interesting transition back to the main section from the central trio, none of the alterations in the melodic line is any more beautiful than the flowing, graceful original. The central trio discards the dotted rhythms of the earlier version in favor of smooth interjections from the violins, pointing up the relationship to the main section but losing the airiness and grace that most listeners find to be one of Mendelssohn's most appealing traits. In comparison the insertion of an additional section, repeating an earlier theme, in the Presto finale seems a relatively minor alteration.

Even Fanny Hensel, Mendelssohn's sister and an accomplished composer in her own right, occasionally lamented her brother's inability to leave a good thing well enough alone. Schumann in his later years revised many of his most famous early piano works. Posterity has judged his alterations to be inferior to the freshness and fantasy of the originals. One has the feeling that the revised "Italian" Symphony may suffer the same fate. Moreover, to perform the unrevised first movement with the later versions of the other three, as is happening nowadays, is utterly contrary to Mendelssohn's intent and no doubt would horrify him.

Leaving such questions of musical ethics aside, it is difficult to fault the performances on this disc. Only in some slightly scrappy string passages in the first movement of the "Italian" do the Vienna Philharmonic and Gardiner sound a bit ill at ease. Otherwise orchestra and conductor capture the polished grace of both versions of the Symphony to perfection, and also make a strong case for the Symphony No. 5, the "Reformation," (actually written earlier than No. 4 and similarly unpublished during the composer's lifetime) bringing out its drama and varied moods, and minimizing its tendencies toward sanctimony. This CD is an essential addition to anyone's symphonic library.

John Eliot Gardiner may have been specializing in choral works with his fine forays into the Bach cantata series and his recordings of opera and oratorio, but his ability to spring to life the old standards of the repertoire was never more evident than in this fine recording of the Mendelssohn Symphonies 4 and 5. And in keeping with his academic penchant for 'true performances' he has graciously included Mendelssohn's own revisions to his symphony No. 4. It makes for an interesting survey for the aficionado and proves that composers' second thoughts are at times not as engaging as their intial spurt of inspiration!

Gardiner conducts the Salzburg Vienna Philharmoniker in what seems to be the finest recorded version of Symphony No. 4 in A major ("Italian"), Op. 90 in the catalogue. It is sprightly, full of zest and warmth, and yet always elegant. It is a masterful performance. The added revisions are likewise well performed, but serve as only interesting addenda to the wonderful reading of the original.

Gardiner's performance of the Symphony No. 5 in D major/D minor ("Reformation"), Op. 107 is also a model of superior architecture. His attention to inner voices and details in orchestration never impede the overall impact of the spirit of the symphony. Both of these symphonies are given fresh light and greater dignity and it is satisfying to hear the standard repertoire works handled so expertly. Grady Harp, April 06

I was intrigued to learn that there were 2 versions of the Italian Symphony and simply had to have this recording. I really can't understand why Mendelssohn felt that his first outting was lacking. The revision just doesn't have the ebullience that the first has, and I cannot see it in any way surpassing his first draft. The reading of the 5 symphony was intense. Gardiner and the VPO do an excellent job in presenting both.

John Eliot Gardiner does a masterful job delving into the rich orchestral textures of Mendlessohn's 4th symphony score. It's fascinating to compare both versions on the CD with Gardiner and the Vienna Philharmonic as superb musical guides. However, I don't think Gardiner is as successful as Sinopoli or Blomstedt in emphasizing the rich sonority of the strings; here, the Vienna Philharmonic's string section gives an understated performance that lacks its usual vibrancy and warmth. The 5th "Reformation" symphony is another fine performance, but I didn't find Gardiner's interpretation sufficiently unique. The sound quality is quite superb, close to Deutsche Grammophon's most recent superior standards.

As my regular readers will know, I am by no means a fan of Sir JEG in anything much outside his specialist repertoire, but these performances form a notable exception. A great deal of my liking for them, it is true, stems from the fact that the playing of the Vienna Philharmonic is a dream of elegant, civilsed perfection. Gardiner does not tamper with their creamy sound but he ensures that individual lines emerge cleanly, maintaining light, alert rhythms without trespassing into perky brittleness.

In addition to a fleet, sprung, joyous account of the "Italian", we have here a weightier, more sombre work in the form of the "Reformation" symphony (actually written years before the "Italian" and cast aside). I make the noble and determined effort as a Catholic to cast aside prejudice and really enjoy the sombre splendour of this celebration of the 300th anniversary of the Augsburg Confession. Gardiner judges the balance between proplusion and sententiousness very well; I particularly like the way he builds the sonorities of the finale based on the celebrated chorale "Ein feste Burg ist unser Gott".

The extra interest of this disc, apart from the intrinsic beauties of the music itself, lies in the provision of Mendelssohn's revision of the "Italian" made a year after its first performance. The first movement remained the same but the remaining three were recast - and I have to say that none was improved by the implementation of the composer's second thoughts. The revisions render the music inert and even bland in comparison with the original. Gardiner presents them with commitment and enthusiasm but it's clear that they lack the ebullience and inspiration of the first version.

A lovely disc which shows the orchestra at its best and Gardiner in a much better light than some of his less inspired, "time-beating" efforts.

The Italian and Reformation symphonies are both Mendelssohn classics. I moderately prefer the Reformation, but they are both lovely pieces with very "hummable" melodies. They are both relatively brief as orchestral symphonies go. Their combined duration is comparable to a single Beethoven symphony, I would suggest.

The other thing that's quite interesting about this CD is that it concludes with an alternative version of the Italian symphony. I don't know the history of this variation, but it's neat to hear. I think Mendelssohn made the right choice in the sense the "traditional" Italian symphony is ultimately a better tune, but hearing the variation gives insight into his creative process.

There's no point trying to paint Gardiner as radical or revolutionary. He leans towards the straightforward side, to put it mildly. On this disc, featuring the Vienna Philharmonic, he certainly doesn't try to change his record. He's not going to set your pulse racing and there are no jagged edges in sight.

But before you hasten off, I need to let you in on what Gardiner does have to offer. I usually have no sympathy for anything straightforward, but in this case, I surprised myself by liking, nay loving, what Gardiner has to say. I think most of my enthusiasm is caused by the Vienna Phil itself, which is beyond words, but it's unfair not to attribute a fair share of the credit to Gardiner. The approach the Gardiner takes is one of charm and gentility. This kind of a viewpoint certainly wouldn't work well with a lot of composers, but with Mendelssohn, it works like magic. (Despite my love for this disc, I'm not looking forward to hearing Gardiner's Beethoven.) The Vienna Phil plays incredibly, their wonderful clear sound sending me into raptures.

Lest you think that the sound of a top notch orchestra insures a favorable review from me, it doesn't. Just today I listened to both this album and one of Abbado leading this same orchestra in Beethoven's 7th. Abbado is certainly the greater conductor overall, but the Vienna plays with far more love and beauty of tone for Gardiner than they do for Abbado. While Gardiner isn't trying to unleash any prophetic visions like a Karajan, he clearly does have a wondrous gift of sensitivity. I don't think a moment goes by where I'm not hooked by the absolute splendor of the tone. Sure, sometimes a little more vigor wouldn't hurt, but this is hardly anemic music making, just tender and affectionate. The climaxes ring out with joy that leaves you wanting to sing along.

In closing, I've surprised myself by falling in love with this disc. Regardless of Gardiner's other outings, this is a splendid disc. You don't find music making this infectious every day.

Wonderful recordings of Mendelssohn #4 & #5.

The recording of the conventional 4 is stunning. So clear and many inner parts come out which are not normally heard. So this is now my favourite recording of this wonderfully fresh piece.

#5 is done just as nicely: fresh and clear.

Interesting to have the other version of #4 too.