Felix 1 Mendelssohn Claudio Abbado London Symphony Orchestra - Mendelssohn Symphonies Nos 3 Scottish 4 Italian (8 tracks) +Album Reviews

Search - Felix [1] Mendelssohn, Claudio Abbado, London Symphony Orchestra :: Mendelssohn: Symphonies Nos. 3 "Scottish" & 4 "Italian"

Felix [1] Mendelssohn, Claudio Abbado, London Symphony Orchestra
Mendelssohn: Symphonies Nos. 3 "Scottish" & 4 "Italian"
Genre: Classical

Track Listings (8) - Disc #1
1. Symphony No. 3 in A minor ('Scottish'), Op. 56: 1. Andante con moto - Allegro un poco agitato
2. Symphony No. 3 in A minor ('Scottish'), Op. 56: 2. Scherzo: Vivace non troppo
3. Symphony No. 3 in A minor ('Scottish'), Op. 56: 3. Adagio
4. Symphony No. 3 in A minor ('Scottish'), Op. 56: 4. Allegro vivacissimo - Allegro maestoso assai
5. Symphony No. 4 in A major ('Italian'), Op. 90: 1. Allegro vivace
6. Symphony No. 4 in A major ('Italian'), Op. 90: 2. Andante con moto
7. Symphony No. 4 in A major ('Italian'), Op. 90: 3. Con moto moderato
8. Symphony No. 4 in A major ('Italian'), Op. 90: 4. Saltarello: Presto

Larger Image

CD Details

All Artists: Felix [1] Mendelssohn, Claudio Abbado, London Symphony Orchestra
Title: Mendelssohn: Symphonies Nos. 3 "Scottish" & 4 "Italian"
Members Wishing: 0
Total Copies: 0
Label: Decca
Original Release Date: 1/1/2007
Re-Release Date: 10/9/2007
Album Type: Original recording remastered
Genre: Classical
Style: Symphonies
Number of Discs: 1
SwapaCD Credits: 1
UPC: 028947586777

CD Reviews

A lean, refined view of Mendelssohn

Santa Fe Listener | Santa Fe, NM USA | 11/28/2007

(4 out of 5 stars)

"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.""