Composer: Felix Mendelssohn
Orchestra: Radio-Sinfonieorchester Stuttgart des SWR
Conductor: Sir Roger Norrington
Format: FLAC (tracks)
Label: Hänssler
Catalogue: HAEN93133
Release: 2004
Size: 336 MB
Recovery: +3%
Scan: cover
Symphony No. 3 in A minor, Op. 56, MWV N19, ‘Scottish’
01. I. Andante con moto – Allegro un pocco agitato
02. II. Vivace non troppo
03. III. Adagio
04. IV. Allegro vivacissimo
05. IV. Allegro maestoso assai
Symphony No. 4 in A major, Op. 90, MWV N16, ‘Italian’
06. I. Allegro vivace
07. II. Andante con moto
08. III. Con moto moderato
09. IV. Saltarello: Presto
Concert Introduction to Mendelssohn Symphonies Nos. 3 and 4
10. Introduction to Symphony No. 3 in A Minor
11. Introduction to Symphony No. 4 in A Major
Any composer attempting to write symphonies after Beethoven confronted awesome challenges. Mendelssohn’s own solution to the burden of history was to seek inspiration in the works of Bach and Mozart, and in doing so, revitalized the form and became himself, an inspiration for future generations, including both Brahms and Wagner. The present recording features two of Mendelssohn’s most popular works, and marks another return for Roger Norrington as he re-envisions his revolutionary performances of 15-years ago in the new century.
In these recordings of Mendelssohn’s “Scottish” and “Italian” symphonies with the SWR Radio-sinfonieorchester Stuttgart, English Roger Norrington has accomplished his stated purpose of restoring the colors and refurbishing the textures of these oft-played works. With the pure tones and clean articulation of the Stuttgart orchestra — a modern instrument ensemble taught period performance practice by Norrington — one can hear not only the subtleties and nuances submerged in many modern orchestras but also the shades and colors that have been effaced by the blended sound of modern orchestras. Beyond that, however, these performance have no particular merit. Norrington’s rhythms are too heavy for the “Scottish,” his tempos are too weighty for the “Italian,” and his interpretations of both works emphasize the picturesque moment over the long line and the structural function, making the symphonies sound more picaresque than dramatic and more than picture postcards than masterfully composed musical canvases. Aside from their tone and articulation, the Stuttgart Radio-sinfonieorchestra’s playing is professional but sometimes a bit raw in fortes and occasionally too rough in prestos. For a brightly colorful and wonderfully musical performance of the “Italian” Symphony, try Charles Mackerras’ lyrical yet driven recording with the Orchestra of the Age of Enlightenment. For a magnificently dramatic and wholly symphonic performance of the “Scottish” Symphony, try Peter Maag’s dark-hued yet glowing recording with the London Symphony. Hänssler’s 2004 sound is clear but slightly out of focus, warm but perhaps too diffuse.