Symphonies of Youth & Maturity

I'm reviewing here two collections of symphonies, the first a set of String Symphonies composed by Felix Mendelssohn, begun by him at the age of eleven, and five symphonies of Camille Saint-Saëns, the 'French Mendelssohn', the first numbered symphony of Saint-Saëns begun at the age of fifteen.

Felix Mendelssohn Bartholdy, The Complete String Symphonies, also includes Concerto for Violin and Strings in D Minor, Münchner Rundfunkorchester, c. Henry Raudales, 3 CDs, BR Klassik

 There are twelve symphonies in this set and listening through them reveals the composer's self-development beginning with C.P.E. Bach, then, in No. 4, comes an experiment with the French overture, developing on further as the composer's skills and knowledge widenened, until come works with the four movements of the classical symphony. The later numbers all have their own form, such as No. 12, with its initial fugue and an expansive final movement. All are a joy! The Mendelssohn family dining-room concerts revived a tradition of 'house music', not only for amateur guests but, increasingly professional players who took part in this intimate setting. It's a mistake to binge on these symphonies - my recommendation is for listening to just one or two at a time to imbibe their full musical flavours.

 

Saint-Saëns, Complete Symphonies, Malmö Symphony Orchestra, c. Marc Soustrot, 3 CDs also includes Le rouet d'Omphale, Op. 31, La jeunesse d'Hercule, Op. 50 & Danse macabre, Op. 40, Naxos

The label of 'French Mendelssohn' implies a light and inventive touch, clear in these works from the word go. Only the composer's 'Organ Symphony' (No. 3), is well known, the others should be equally so. Two of the five symphonies have no catalogue number, but this certainly does not make them any the lesser. The Symphony in F Major was a prize-winning competition entry with a wonderful final movement of theme and variations. The symphony in A Major is the first, dated 1850 and is a tribute to Mozart. If you wish Mozart had given us more beyond his final 'Jupiter' symphony, let this satisfy your appetite.

Reviews: Schizophrenia and the Sublime

Sergei Prokofiev (1891-1953), Symphonies 1 ('Classical'), 2 and 3, Bergen Philharmonic Orchestra, c. Andrew Litton, published by BIS

The first of the Prokofiev symphonies is short and to the point, a delightful point which is of classical perfection, hence the appended title. The second contains an extreme contrast with no holds barred and in its relationship with the first appears completely schizophrenic, as if pent up rage finds its way out before being contained prior to the next outburst. In the third, the balance between containment and release is achieved and so, as a listening experience, is less alarming. Oft-times you can hear the great force of Russian industry and militarism at play, then come periods of the composer's inner world of reflection, even calm. 

 

Anton Rubinstein (1829-94), String Quartets, Op47, No 1 in E minor and Op. 47, No 3 in D minor, the Reinhold Quartet, published by CPO

These two quartets are more classical than classical can be! If you are in the mood for surprise and stimulation then go for the Russian Prokofiev. If not, turn the late night lights down low, sit back and chill to these delightfully formed and expressive pieces. The Russian Rubinstein's career as a composer was overshadowed by his success as a virtuosic pianist, conductor and educator, particularly as Tschaikovsky's composition tutor, so his name may be familiar but experience of works such as these may be lacking. While Beethoven penetrates deep into the musical psyche, these quartets play with it in perhaps a Mozartian way even though they are clearly post-Beethoven.

The cover artworks on these two CDs are well-chosen expressions of their content, the first a Russian utilitarian graphic expressing power counterbalanced by artful expression, the second a seemingly peaceful idyll brimming with strong emotion.

Review: A Very Nice Composer

It's a delight to discover a 'new' composer, the irony being that this composer's lack of fame was directly attributed to his lack of 'newness': Carl Reinecke (1824-1910, born in Altona, Hamburg, then under Danish rule).

Carl Reinecke Symphonies 1 & 3; Plus, music from the opera, 'King Manfred'. Munchner Ründfunkorchester, c., Henry Raudales. CPO

A man who avoided anything brash, outspoken, outlandish, he was cast in the mold of an upholder of the classical tradition. For a considerable part of his prodigious career, this went well, but by the end - as iconoclasts Richard Strauss and Gustav Mahler took to the stage - this did not continue, his music then cast as academic and stuck in the classical groove.

Reinecke's orchestral music is superbly crafted with no consequent lack of passion, grace, force and expression. If you enjoy a great symphony, try the two found on this CD. Always feeling in the shadow of other musical greats and geniuses, Reinecke humbly dedicated himself to the service of music, as conductor, director, composer and author, the pinnacle of his career taking place in Leipzig at the Gewandhaus and Conservatory, where as a shy Danish boy he sought out the musical director, Felix Mendelssohn. Reinecke eventually became head of the finest orchestra of his day at the Gewandhaus.

 For some reason he offended Johannes Brahms who wrote of his third symphony, "Everything is so coarse and ill-bred!" Clear nonsense and damaging. To make way for the new, Reinecke was sidelined, but his considerable repertoire is waiting to be fully rediscovered and appreciated as, to quote another reviewer, "His works are distinguished by nobility and form, melodic euphony and ingenious artistic construction."