A distinguished member of the Better Records Orchestral Music Hall of Fame.
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).
Symphony No. 4 (Mendelssohn)
Symphony No. 5 (Schubert)