Mendelssohn & Schubert / Symphony No. 4 & Symphony No. 5 – Reviewed in 2014

More of the music of Felix Mendelssohn (1809-1847)

More of the music of Franz Schubert (1797-1828)

The strings are rich, with lovely rosiny texture and virtually no tube smear. Played with zest and the recording is every bit as lively. 

The grade on side one could even be better than Two Pluses — we just don’t have enough clean copies to know. Big bass at the end, powerful dynamics too.

Side two was good but nothing like this amazing side one. Too much smear hurts it badly, and the mark is not helping either.

We’re pricing this one for just the one side. Fortunately it’s the complete symphony, one of Mendelssohn’s most famous works.


Artist Biography by Rovi Staff

Mendelssohn was the only musical prodigy of the nineteenth century whose stature could rival that of Mozart. Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies.

Mendelssohn was a true Renaissance man. A talented visual artist, he was a refined connoisseur of literature and philosophy. While Mendelssohn’s name rarely arises in discussions of the nineteenth century vanguard, the intrinsic importance of his music is undeniable. A distinct personality emerges at once in its exceptional formal sophistication, its singular melodic sense, and its colorful, masterful deployment of the instrumental forces at hand.

A true apotheosis of life, Mendelssohn’s music absolutely overflows with energy, ebullience, drama, and invention, as evidenced in his most enduring works: the incidental music to A Midsummer Night’s Dream (1826-1842); the Hebrides Overture (1830); the Songs Without Words (1830-1845); the Symphonies No. 3 (1841-1842) and No. 4 (1833); and the Violin Concerto in E minor (1844).

TRACK LISTING

Side One

Symphony No. 4 (Mendelssohn)

Side Two

Symphony No. 5 (Schubert)


This is an Older Classical/Orchestral Review

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we started developing in the early 2000s and have since turned into a veritable science.

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)

We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.

Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.

As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.

The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.

The result of our labor is the hundreds of titles seen here, every one of which is unique and guaranteed to be the best sounding copy of the album you have ever heard or you get your money back.


New to the Blog? Start Here

What Exactly Are Hot Stamper Pressings?

Reviews and Commentaries for Other Recordings by Decca

Basic Concepts and Realities Explained

Important Lessons We Learned from Record Experiments 

More Classical and Orchestral Commentaries and Reviews