Felix Mendelssohn-Bartholdy (1809-1847) - The Complete Symphonies. *Click to activate the English subtitles for the presentation* (00:00-04:40) Symphony No.1 in C minor / c-moll / ut mineur, Op.11 1.Allegro di molto (00:00) 2.Andante (07:43) 3.Menuetto - Allegro molto (14:29) 4.Allegro con fuoco (20:48) Symphony No.2 in B flat, Op.52 ‘’Hymn of Praise’' B-dur ‘’Lobgesang’’ Si bémol Majeur ‘’Chant des louanges’’ 1.Sinfonia (29:15) 2.Alles was Odem hat, lobe den Herrn (54:46) Lobt den Herrn mit Saitenspiel Lobe den Herrn, meine Seele 3.Saget es, die ihr erlöst seid (1:01:53) Er zählet unsre Tränen 4.Sagt es, die ihr erlöset seid (1:04:49) 5.Ich harrete des Herrn (1:06:56) 6.Stricke des Todes hatten uns umfangen (1:12:15) 7.Die Nacht ist vergangen (1:16:28) 8.Nun danket alle Gott (1:20:51) Lob, Ehr’ und Preis sei Gott 9.Drum sing ich mit meinem Liede (1:24:49) 10.Ihr Völker! bringet her dem Herrn (1:29:26) Alles danke dem Herrn Alles was Odem hat, lobe den Herrn Sopranos : Helen Donath & Rotraud Hansmann Tenor : Waldemar Kmentt New Philharmonia chorus Chorus master : Wilhelm Pitz Symphony No.3 in A minor, Op.56 ‘’Scottish’’ a-moll ‘’Schottische Symphonie’’ la mineur ‘’Ecossaise’’ 1.Andante con moto - Allegro un poco agitato (1:35:09) Assai animato - Andante come prima 2.Vivace non troppo (1:50:33) 3.Adagio (1:54:50) 4.Allegro vivacissimo - Allegro maestoso assai (2:04:18) Symphony No.4 in A, Op.90 ‘’Italian’' A-dur ‘’Italienische Symphonie’’ La Majeur ‘’Italienne’' 1.Allegro Vivace (2:14:03) 2.Andante con moto (2:24:35) 3.Con moto moderato (2:31:00) 4.Saltarello (2:37:38) Symphony No.5 in D minor, Op.107 ‘’Reformation’' d-moll ‘’reformations-Symphonie’' Ré mineur ‘’Réformation’’ 1.Andante - Allegro con fuoco (2:43:32) 2.Allegro vivace (2:55:11) 3.Andante (3:01:13) 4.Choral : Ein’ feste Burg ist unser Gott ! (3:04:43) Andante con moto - Allegro vivace Allegro maestoso - Più animato poco a poco New Philharmonia Orchestra Wolfgang Sawallisch Recorded in 1967, at London Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr La paraphrase de cette devise allemande « Wer rastet, der rostet » (littéralement, « se reposer, c'est rouiller »), décrit parfaitement l'enthousiasme, l'énergie et la ferveur avec lesquels les Mendelssohn conduisaient leur vie. Les voyages furent toujours d'une grande importance pour eux, aussi n'est-il pas surprenant d'apprendre que Mendelssohn lui-même était souvent par monts et par vaux, donnant concerts sur concerts partout en Europe. Il voyagea seul pour la première fois en 1829. Son père l'y avait incité afin qu'il étendît sa vision de la vie et qu'il pût affermir sa position d'homme et d'artiste, avant de prendre un poste permanent ou bien d'autres engagements. De 1829 à 1832, ses voyages le menèrent des brumes écossaises et des brouillards londoniens au ciel pur d'Italie, puis à Paris, puis à Londres encore : il avait satisfait alors aux espérances de son père au-delà de toute prévision. Chacun de ses voyages lui avait inspiré une composition : l'Ouverture des Hébrides, la Symphonie « Italienne » ou la Symphonie « Ecossaise » par exemple (cette dernière ne sera cependant achevée que dix ans plus tard). Cette symphonie ne fut que l'une des œuvres a naître de sa fascination pour l'Ecosse, mais c'est la plus grandiose. D'une structure musicale très brillante et aboutie, elle recèle une abondance de mélodies et exprime des themes d'une grande beauté et d'une grande solidité. Le thème cadencé qui ouvre le mouvement final révèle tout particulièrement une influence écossaise, impression qui se fait plus forte à mesure que l'on s'approche de la fin vibrante du mouvement et de la symphonie. Mendelssohn atteignit Venise le 10 octobre 1830. Ses premières lettres sont pleines émerveillement et d'un bonheur communicatif. A Venise, il fut par-dessus tout impressionné par les peintures de Titien, et notamment par son Assomption, mais il goûta également le pont des Soupirs, la place Saint-Marc et l'ambiance particulière des festivals locaux, dont il fut un observateur plein de sensibilité. De Venise il se rendit à Florence, puis à Rome, pour l'hiver. Sa première vision de Rome eut lieu « par un brillant et radieux clair de lune ». Il loua un appartement ensoleillé équipé d'un bon piano à queue Viennois, où il prit rapidement ses habitudes. Chaque jour, jusqu’à midi, il travaillait sur la composition ‘Nuit de Walpurgis’ (de Goethe) et sur sa symphonie « Italienne », qu'il décrivit comme « folâtre ». Lorsque le printemps arriva, il se hâta d'aller à Naples et dans les îles d'Ischia et de Capri. Il ne fut pas déçu par la beauté de la baie et de la campagne environnante, et il trouva l'inspiration nécessaire pour achever sa Symphonie « Italienne ». Mendelssohn avait également décidé du pays dans lequel il voulait vivre et travailler - son Allemagne natale - même si, comme Haendel et Haydn avant lui, il avait conçu un attachement tout particulier pour Londres « cet endroit enfumé est destiné à être pour toujours ma résidence favorite », comme il l'écrivit à ses sœurs. Mendelssohn a composé douze Symphonies de jeunesse, pour cordes seules, qu'on ne joue que rarement et ces cinq grandes Symphonies, dont on joue essentiellement les trois dernières, sont l’Ecossaise, l’Italienne et Réformation. L'intérêt est de réunir les Cinq Symphonies et de leur donner à toutes leur dimension complète, leur flamme réelle qui situe bien Mendelssohn au bout du classicisme mais dans la perspective assumée du romantisme. On découvrira ainsi, outre la Première Symphonie, pleine d'exubérance, l'étonnante Deuxième Symphonie, Chant et louanges, incluant deux sopranos, un ténor et un chœur, autant oratorio que symphonie, admirablement déployée tant vocalement qu'orchestralement. Quant aux Symphonies majeures elles rayonnent comme jamais sous la baguette de Wolfgang Sawallisch : aussi bien l'ambiance nostalgique et légendaire de l'Ecossaise que le chatoiement coloré et énergique de l'Italienne, tout empreinte de la vitalité de ce pays qui « dispense le bonheur » (disait Mendelssohn). Dans ce qui est sa dernière symphonie, Mendelssohn dépeint en musique la lutte entre l'Eglise catholique et le réformateur Martin Luther. En dehors du charmant deuxième mouvement, la musique est entièrement absorbée par l'expression des conflits entre ces deux forces, en des motifs brillamment orchestrés et développés. Sous la baguette de Sawallisch, la symphonie « Réformation » est grave mais claire, de texture et de lignes, fluide et spontanée. Globalement, Sawallisch affirme un panache affirmé, une conviction rythmique palpitante, et par-dessus tout un chic fou, c'est ce bonheur éclaboussant mais sans mièvrerie, ce bonheur gagné, beau comme un amour qu'on a voulu, qui fait de ce bouquet de Symphonies un cadeau à s’offrir pour vivre mieux. Schumann - Symphonies No.1,2,3,4 / Overture Op.52 (reference recording : Wolfgang Sawallisch) ruclips.net/video/OSgv7iciZXM/видео.html Felix Mendelssohn PLAYLIST (reference recordings) : ruclips.net/video/mo_1CdiehDI/видео.html&list=PL3UZpQL9LIxNEOECwK4VjfNazYgWVbApx
I am 67 years old and every day I find something I have never heard before. Of course I have heard Mendelssohn before but never listened to all his symphonies together. thanks for providing this.
It's 1st time that I listened to Mendelssohn's symphonies and I'm impressed with the musical quality. Mendelssohn's underappreciated, he shines in positive, uplifting tunes, conveys the power of emotional expressions.
That Mendelssohn should be underappreciated is new to me. It always has felt for me that he was generally considered one of the greatest composers of all time. Above whom shall we put him above whom we aren't putting him yet?
@montyvierra2678 Certainly, classical music, especially the one produced in our days by masters like John Williams, is altogether underappreciated. It, apparently, uses to sound atonal to most people when it's new. Synchronously, it has to battle with the problem that after a while it gets bland. Although I have earnestly endeavored, I, for example, find currently bland a big part of the music of the Baroque, also quite a few things by Mozart. Bach and his reincarnation Brahms now begin to appear to me as bland likewise, even Dvořák. I begin to be able to enjoy Handel only in the sense of entertainment, as a sound panorama for folkloristic ideas on old-fashioned, extraterrestrial societies - just like the music of the period from the Middle Ages until, c., Monteverdi. Apparently, if you wanna enjoy classical music, you'll have to work hard on making the novelties taste you, while scrambling to surround yourself with such classical music which you just have already learned to appreciate the charms of while you also have not yet gotten tired of it. Sibelius will currently match such criteria for many people. But who _is_ that Lyle Lovett, now?
Wunderschöne und spannende Interpretation dieser fünf romantischen und perfekt komponierten Sinfonien mit gut phrasierten und perfekt vereinigten Tönen aller Instrumente. Die genialen Solisten und der ausgezeichnete Chor in der zweiten Sinfonie sind echt bewundernswert. Der geniale Maestro dirigiert das ausgezeichnete Orchester im inspirierenden Tempo und mit möglichst effektiver Dynamik. Alles ist wunderbar und atemberaubend!
The second symphony is indeed a brilliant choral work. I also loved the whirl through Lovely Italy too. That would make a wonderful Italian travel video with just the music as background and a subtext as guide .
My first exposure to these works in total. They are uniquely listenable for me, who generally shudders at the mention of Symphonies per se. Far too many exposures as a young child (7/8) at adult ASO concerts in our Adelaide city town hall didn't help create 'liking' in an active child forced to sit still and silent amongst many grown-up strangers for a lengthy period, listening to very different sounds in semi-darkness at night. The more I hear of Mendelssohn now, the more I wish his health had allowed him at least another decade. A wonderful recording thank you.
Try the symphony recordings prior to 1968! There have been poor conductors then, already (Karajan, Konwitschny), but by far not yet as many as now. If you have heard things like ruclips.net/video/XvCjb9zci3c/видео.html (Antonín Dvořák Symphony No 9 ''From the New World'' Václav Neumann, Czech Philharmonic Orchestra, provided by Alan deBaran), I can understand you. I have myself experienced concerts with "classical" music just like you, around the early eighties. What about ruclips.net/video/pgkGQKiZi8k/видео.html (Antonin Dvorak Symphony no. 9 / LSO, Istvan Kertesz (2016), by cgoroo [not of 2016!])?
@@catherinejones9396 I just am finding that you also today have a concert milieu of a similar magnitude like that one before 1968 I've meant. John Williams (born 1932), a composer of concerts and of film music, rivals Brahms (compare what both have written for horn)! The great creations which in the 19th century have been symphonies now seem to coagulate as film music. For example, Hans Zimmer has made magnificent music for Christopher Nolan's Interstellar. With good headphones and a DVD of such a film, you can dive into grand oeuvres now quite easily.
Wunderbare Symphonie, alle ! Mendelssohn war ein wirklicher Genie, ein der wichtigsten Komponisten nach Beethoven. Er war auch der Dirigent, der Bach wiederentdeckt hat. Viele Danke.
In 1967, W.S was already on the top of expressions of classical works of many composers. Isn't it amazing? Normally, conductor show their top of expressions after 50 years old. He was not really a show man, but achieving truthful works of composers. In fact, he was in full of enthusiasm for classical musics from early days of his music life though he was not professional actor.
I saw/heard him do the Eroica. Have never heard it so perfectly, so powerfully done since. He didn't miss a thing and the orchestra (Philadelphia) was a perfect extension of him. It was awesome.
I had always felt WS to be a stodgy conductor. I don't know why, because his Schumann with Dresden was very lively. But this set shows me how wrong I was, it's so fresh and absorbing.
Try it again, via a comparison to Fritz Rieger's interpretation of the Italian Symphony with the Munich Philharmonic released in January of 1958, first movement currently at ruclips.net/video/WdT3o8kn9HQ/видео.html&start_radio=1&rv=WdT3o8kn9HQ&t=17 ! Sawallisch conducts much more smoothly, somewhat more quickly (see 2:14:03ff), while Rieger develops more life, more soul, more feeling. Sawallisch sounds as if he was delivering you a wallpaper, Rieger showing you a Raphael. I think "stodgy" is an epithet well fitting on Sawallisch.
The work the genius composer evoked by voice of God creates certainly flicks the heartstrings in the inside depth to the human soul . From there , emotion ,lamentation and compassion are born . These performance is tremendous . I was so moved that I felt dizzy . Please tell me the way where our impression survives . Greeting from mysterious Japan
As a big fan of ad seriatim performances, I especially like these groupings of works by one composer - and I appreciate the time and effort you put into finding really fine recordings. The Second was new to me - not something I've ever heard in its entirety, and perhaps not even excerpts, while the other four show up on the radio very frequently. As someone with no musical talent or training, I can only say what appeals to me - and Mendelssohn does, but so do many other composers - and who am I to judge whether Schumann is superior to Mendelssohn - or Beethoven to Schumann. In the end, musical criticism comes down largely to a matter of taste, apart from considerations about whether the notes were played correctly, or the tempo was too fast or slow. And who says Mendelssohn is at the head of the B list composers - and what makes that a valid criticism?
Richard Cleveland You should be interested in an interview with a leading Mendelssohn specialist. She answers your question for a moment. Remember to activate the English subtitles:) ruclips.net/video/fZJLAAspeaU/видео.html
Wagner appreciated Mendelssohn as "a man who was endowed by nature with a special musical talent like few musicians before him". Though, Mendelssohn being jewish made him, in the antisemitic thinking of Wagner, a tragic figure whose talent was wasted because he never accomplished "a deep, heart and soul touching effect beyond brilliant craftsmanship". That's probably why Wagner felt all the more entitled to steal from him.
I have to listen to this song for homework witch is kinda wired becuase I never had to listen to music for homework but I gusse it’s normal in middle school,THIS HOMEWORK IS SO LONG but it sounds pretty good;)
I'm not certain if they're playing very well. It largely sounds negligent, even distinctively rough. Perhaps the German Sawallisch couldn't communicate with the English, so greatly.
@@cedericocosantorini8013 Mendelssohn's music is rather tender and feminine while also expressing great earnest. I do think that he by this will interest English gentlemen and ladies.
@@chrisarchard2009 You sound as if there couldn't be a doubt about Sawallisch with these accounts constituting the peak of what can be achieved. Okay, if you wanna revere Sawallisch, carry on! I have to say that for my part, I prefer Klemperer. There is, for example, a grandiose account of Mendelssohn's third symphony conducted by him.
Whoa and looks like you inherited his inferiority complex when it came to anyone close to his skill. This guy? No you're a guy, a nameless loser in 10 million we will all forget. Now eat shit and get lost lolololololol
yes, Sawallisch has the best Mendelssohn and Schubert .... I've heard Maag, Munch, Karajan, too tight and unnatural... Klemperer and Furtwangler, too heavy on orchestration, too narrow a trnslation...
its light and pretty ... not with precise force of Sawallisch ... Maag's positive aspect is he is integral to the tempi in the Allegro and Brio movements
I agree- Sawallisch is simply brilliant with both Mendelssonh and Schubert. Listened to many recordings of Schubert, and for me, none could surpass his Schubert. And his Mendelssohn contains so much live.
When Philips recorded in Amsterdam and Switzerland the sonic results were invariably bright and airy. When recording at London venues they generally sound dull and lifeless with the cavernous recessed quality evidenced here. Coupled with the rather turgid Sawallisch this does not make for particularly sparkling results. By 1967 the New PO were long past their glory days of Klemperer/Walter Legge.
Felix Mendelssohn-Bartholdy (1809-1847) - The Complete Symphonies.
*Click to activate the English subtitles for the presentation* (00:00-04:40)
Symphony No.1 in C minor / c-moll / ut mineur, Op.11
1.Allegro di molto (00:00)
2.Andante (07:43)
3.Menuetto - Allegro molto (14:29)
4.Allegro con fuoco (20:48)
Symphony No.2 in B flat, Op.52 ‘’Hymn of Praise’'
B-dur ‘’Lobgesang’’
Si bémol Majeur ‘’Chant des louanges’’
1.Sinfonia (29:15)
2.Alles was Odem hat, lobe den Herrn (54:46)
Lobt den Herrn mit Saitenspiel
Lobe den Herrn, meine Seele
3.Saget es, die ihr erlöst seid (1:01:53)
Er zählet unsre Tränen
4.Sagt es, die ihr erlöset seid (1:04:49)
5.Ich harrete des Herrn (1:06:56)
6.Stricke des Todes hatten uns umfangen (1:12:15)
7.Die Nacht ist vergangen (1:16:28)
8.Nun danket alle Gott (1:20:51)
Lob, Ehr’ und Preis sei Gott
9.Drum sing ich mit meinem Liede (1:24:49)
10.Ihr Völker! bringet her dem Herrn (1:29:26)
Alles danke dem Herrn
Alles was Odem hat, lobe den Herrn
Sopranos : Helen Donath & Rotraud Hansmann
Tenor : Waldemar Kmentt
New Philharmonia chorus
Chorus master : Wilhelm Pitz
Symphony No.3 in A minor, Op.56 ‘’Scottish’’
a-moll ‘’Schottische Symphonie’’
la mineur ‘’Ecossaise’’
1.Andante con moto - Allegro un poco agitato (1:35:09)
Assai animato - Andante come prima
2.Vivace non troppo (1:50:33)
3.Adagio (1:54:50)
4.Allegro vivacissimo - Allegro maestoso assai (2:04:18)
Symphony No.4 in A, Op.90 ‘’Italian’'
A-dur ‘’Italienische Symphonie’’
La Majeur ‘’Italienne’'
1.Allegro Vivace (2:14:03)
2.Andante con moto (2:24:35)
3.Con moto moderato (2:31:00)
4.Saltarello (2:37:38)
Symphony No.5 in D minor, Op.107 ‘’Reformation’'
d-moll ‘’reformations-Symphonie’'
Ré mineur ‘’Réformation’’
1.Andante - Allegro con fuoco (2:43:32)
2.Allegro vivace (2:55:11)
3.Andante (3:01:13)
4.Choral : Ein’ feste Burg ist unser Gott ! (3:04:43)
Andante con moto - Allegro vivace
Allegro maestoso - Più animato poco a poco
New Philharmonia Orchestra
Wolfgang Sawallisch
Recorded in 1967, at London
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
La paraphrase de cette devise allemande « Wer rastet, der rostet » (littéralement, « se reposer, c'est rouiller »), décrit parfaitement l'enthousiasme, l'énergie et la ferveur avec lesquels les Mendelssohn conduisaient leur vie. Les voyages furent toujours d'une grande importance pour eux, aussi n'est-il pas surprenant d'apprendre que Mendelssohn lui-même était souvent par monts et par vaux, donnant concerts sur concerts partout en Europe. Il voyagea seul pour la première fois en 1829. Son père l'y avait incité afin qu'il étendît sa vision de la vie et qu'il pût affermir sa position d'homme et d'artiste, avant de prendre un poste permanent ou bien d'autres engagements.
De 1829 à 1832, ses voyages le menèrent des brumes écossaises et des brouillards londoniens au ciel pur d'Italie, puis à Paris, puis à Londres encore : il avait satisfait alors aux espérances de son père au-delà de toute prévision. Chacun de ses voyages lui avait inspiré une composition : l'Ouverture des Hébrides, la Symphonie « Italienne » ou la Symphonie « Ecossaise » par exemple (cette dernière ne sera cependant achevée que dix ans plus tard). Cette symphonie ne fut que l'une des œuvres a naître de sa fascination pour l'Ecosse, mais c'est la plus grandiose. D'une structure musicale très brillante et aboutie, elle recèle une abondance de mélodies et exprime des themes d'une grande beauté et d'une grande solidité. Le thème cadencé qui ouvre le mouvement final révèle tout particulièrement une influence écossaise, impression qui se fait plus forte à mesure que l'on s'approche de la fin vibrante du mouvement et de la symphonie.
Mendelssohn atteignit Venise le 10 octobre 1830. Ses premières lettres sont pleines émerveillement et d'un bonheur communicatif. A Venise, il fut par-dessus tout impressionné par les peintures de Titien, et notamment par son Assomption, mais il goûta également le pont des Soupirs, la place Saint-Marc et l'ambiance particulière des festivals locaux, dont il fut un observateur plein de sensibilité. De Venise il se rendit à Florence, puis à Rome, pour l'hiver. Sa première vision de Rome eut lieu « par un brillant et radieux clair de lune ». Il loua un appartement ensoleillé équipé d'un bon piano à queue Viennois, où il prit rapidement ses habitudes. Chaque jour, jusqu’à midi, il travaillait sur la composition ‘Nuit de Walpurgis’ (de Goethe) et sur sa symphonie « Italienne », qu'il décrivit comme « folâtre ». Lorsque le printemps arriva, il se hâta d'aller à Naples et dans les îles d'Ischia et de Capri. Il ne fut pas déçu par la beauté de la baie et de la campagne environnante, et il trouva l'inspiration nécessaire pour achever sa Symphonie « Italienne ».
Mendelssohn avait également décidé du pays dans lequel il voulait vivre et travailler - son Allemagne natale - même si, comme Haendel et Haydn avant lui, il avait conçu un attachement tout particulier pour Londres « cet endroit enfumé est destiné à être pour toujours ma résidence favorite », comme il l'écrivit à ses sœurs.
Mendelssohn a composé douze Symphonies de jeunesse, pour cordes seules, qu'on ne joue que rarement et ces cinq grandes Symphonies, dont on joue essentiellement les trois dernières, sont l’Ecossaise, l’Italienne et Réformation. L'intérêt est de réunir les Cinq Symphonies et de leur donner à toutes leur dimension complète, leur flamme réelle qui situe bien Mendelssohn au bout du classicisme mais dans la perspective assumée du romantisme. On découvrira ainsi, outre la Première Symphonie, pleine d'exubérance, l'étonnante Deuxième Symphonie, Chant et louanges, incluant deux sopranos, un ténor et un chœur, autant oratorio que symphonie, admirablement déployée tant vocalement qu'orchestralement. Quant aux Symphonies majeures elles rayonnent comme jamais sous la baguette de Wolfgang Sawallisch : aussi bien l'ambiance nostalgique et légendaire de l'Ecossaise que le chatoiement coloré et énergique de l'Italienne, tout empreinte de la vitalité de ce pays qui « dispense le bonheur » (disait Mendelssohn).
Dans ce qui est sa dernière symphonie, Mendelssohn dépeint en musique la lutte entre l'Eglise catholique et le réformateur Martin Luther. En dehors du charmant deuxième mouvement, la musique est entièrement absorbée par l'expression des conflits entre ces deux forces, en des motifs brillamment orchestrés et développés. Sous la baguette de Sawallisch, la symphonie « Réformation » est grave mais claire, de texture et de lignes, fluide et spontanée. Globalement, Sawallisch affirme un panache affirmé, une conviction rythmique palpitante, et par-dessus tout un chic fou, c'est ce bonheur éclaboussant mais sans mièvrerie, ce bonheur gagné, beau comme un amour qu'on a voulu, qui fait de ce bouquet de Symphonies un cadeau à s’offrir pour vivre mieux.
Schumann - Symphonies No.1,2,3,4 / Overture Op.52 (reference recording : Wolfgang Sawallisch) ruclips.net/video/OSgv7iciZXM/видео.html
Felix Mendelssohn PLAYLIST (reference recordings) : ruclips.net/video/mo_1CdiehDI/видео.html&list=PL3UZpQL9LIxNEOECwK4VjfNazYgWVbApx
Nagyon szeretem Mendelssohnt
Csak kár volt az 5 szimfóniát egy lemezre fölvenni
The older and wiser I get, the more I appreciate Mendelssohn...and Haydn. Overlooked those two for far too long.
I am 67 years old and every day I find something I have never heard before. Of course I have heard Mendelssohn before but never listened to all his symphonies together. thanks for providing this.
It's 1st time that I listened to Mendelssohn's symphonies and I'm impressed with the musical quality. Mendelssohn's underappreciated, he shines in positive, uplifting tunes, conveys the power of emotional expressions.
Then you may also enjoy his unfinished 6th symphony: ruclips.net/video/CsSbVr-RyqI/видео.html
That Mendelssohn should be underappreciated is new to me. It always has felt for me that he was generally considered one of the greatest composers of all time. Above whom shall we put him above whom we aren't putting him yet?
@montyvierra2678 Certainly, classical music, especially the one produced in our days by masters like John Williams, is altogether underappreciated. It, apparently, uses to sound atonal to most people when it's new. Synchronously, it has to battle with the problem that after a while it gets bland. Although I have earnestly endeavored, I, for example, find currently bland a big part of the music of the Baroque, also quite a few things by Mozart. Bach and his reincarnation Brahms now begin to appear to me as bland likewise, even Dvořák. I begin to be able to enjoy Handel only in the sense of entertainment, as a sound panorama for folkloristic ideas on old-fashioned, extraterrestrial societies - just like the music of the period from the Middle Ages until, c., Monteverdi.
Apparently, if you wanna enjoy classical music, you'll have to work hard on making the novelties taste you, while scrambling to surround yourself with such classical music which you just have already learned to appreciate the charms of while you also have not yet gotten tired of it. Sibelius will currently match such criteria for many people. But who _is_ that Lyle Lovett, now?
With Mendelssohn we have almost the perfect meeting of the classical forms of an earlier era, and the new, fresh visionary spirit of the Romantics.
großartig! mendelssohn: ein total unterschätzter komponist und ein ideenbringer für viele komponisten nach ihm!
_Who_ underestimates Mendelssohn, and how? Above what other composer shall we put him above whom we do not use to put him, so far?
Wunderschöne und spannende Interpretation dieser fünf romantischen und perfekt komponierten Sinfonien mit gut phrasierten und perfekt vereinigten Tönen aller Instrumente. Die genialen Solisten und der ausgezeichnete Chor in der zweiten Sinfonie sind echt bewundernswert. Der geniale Maestro dirigiert das ausgezeichnete Orchester im inspirierenden Tempo und mit möglichst effektiver Dynamik. Alles ist wunderbar und atemberaubend!
The second symphony is indeed a brilliant choral work. I also loved the whirl through Lovely Italy too. That would make a wonderful Italian travel video with just the music as background and a subtext as guide .
My first exposure to these works in total. They are uniquely listenable for me, who generally shudders at the mention of Symphonies per se. Far too many exposures as a young child (7/8) at adult ASO concerts in our Adelaide city town hall didn't help create 'liking' in an active child forced to sit still and silent amongst many grown-up strangers for a lengthy period, listening to very different sounds in semi-darkness at night. The more I hear of Mendelssohn now, the more I wish his health had allowed him at least another decade. A wonderful recording thank you.
Try the symphony recordings prior to 1968! There have been poor conductors then, already (Karajan, Konwitschny), but by far not yet as many as now. If you have heard things like ruclips.net/video/XvCjb9zci3c/видео.html (Antonín Dvořák Symphony No 9 ''From the New World'' Václav Neumann, Czech Philharmonic Orchestra, provided by Alan deBaran), I can understand you. I have myself experienced concerts with "classical" music just like you, around the early eighties. What about ruclips.net/video/pgkGQKiZi8k/видео.html (Antonin Dvorak Symphony no. 9 / LSO, Istvan Kertesz (2016), by cgoroo [not of 2016!])?
@@HansDunkelberg1 Vielen danks!
@@catherinejones9396 I just am finding that you also today have a concert milieu of a similar magnitude like that one before 1968 I've meant. John Williams (born 1932), a composer of concerts and of film music, rivals Brahms (compare what both have written for horn)!
The great creations which in the 19th century have been symphonies now seem to coagulate as film music. For example, Hans Zimmer has made magnificent music for Christopher Nolan's Interstellar. With good headphones and a DVD of such a film, you can dive into grand oeuvres now quite easily.
I didn't know that he composed a choral symphony wow 😍
Recording is so so but shows clearly Sawallish sound with dignity, color of music, and dynamics with rich sounds of orchestra.
Wonderful Music Forever !
Wunderbare Symphonie, alle ! Mendelssohn war ein wirklicher Genie, ein der wichtigsten Komponisten nach Beethoven. Er war auch der Dirigent, der Bach wiederentdeckt hat. Viele Danke.
you also must hear Sawallisch's Schubert recordings done in studio - excellent integrals to Schubert
Also Schumann's.
Thank you for sharing this wonderfful music
In 1967, W.S was already on the top of expressions of classical works of many composers. Isn't it amazing? Normally, conductor show their top of expressions after 50 years old. He was not really a show man, but achieving truthful works of composers. In fact, he was in full of enthusiasm for classical musics from early days of his music life though he was not professional actor.
I saw/heard him do the Eroica. Have never heard it so perfectly, so powerfully done since. He didn't miss a thing and the orchestra (Philadelphia) was a perfect extension of him. It was awesome.
my first time listening to Mendelssohn's Symphonies. Thanks for uploading this.
You welcome and good travel :)
Merci pour votre travail, toujours un bonheur d'écouter vos sélections de choix ! MERCI
I had always felt WS to be a stodgy conductor. I don't know why, because his Schumann with Dresden was very lively. But this set shows me how wrong I was, it's so fresh and absorbing.
Try it again, via a comparison to Fritz Rieger's interpretation of the Italian Symphony with the Munich Philharmonic released in January of 1958, first movement currently at ruclips.net/video/WdT3o8kn9HQ/видео.html&start_radio=1&rv=WdT3o8kn9HQ&t=17 ! Sawallisch conducts much more smoothly, somewhat more quickly (see 2:14:03ff), while Rieger develops more life, more soul, more feeling. Sawallisch sounds as if he was delivering you a wallpaper, Rieger showing you a Raphael. I think "stodgy" is an epithet well fitting on Sawallisch.
Je viens de découvrir cette pépite deux ans après sa publication ! Merci infiniment ;)
What uplifting music!
Какой многогранный композитор. Потрясающая музыка! Thank you for uploading.
Потрясающая = stunning, amazing, astonishing. That's correct!
@@HansDunkelberg1 Stunning+amazing +tempo=thrilling musik
Thanks for uploading these excellent recordings by Sawallisch.
Wunderschöne und spannende Interpretation.
Not a little hasty?
@@HansDunkelberg1 I agree, as for the Allegretto of the Symphony n°2 : way too fast.
EXCELENTE Y, MUCHAS GRACIAS POR COMPARTIR LAS OBRAS DEL GRAN MAESTRO MENDELSSOHN. BELLA Y MAGNIFICA MUSICA
Gracias por todo tu esfuerzo para compartir estas obras maestras y el gran trabajo de Swallisch.
What marvelous voices in #2
Thank you for your diligent efforts!
thanks Avrum ;-)
What a genius.
Who: Mendelssohn or Sawallisch?
@@HansDunkelberg1 More Mendelssohn I guess.
The work the genius composer evoked by voice of God creates certainly flicks the heartstrings in the inside depth to the human soul .
From there , emotion ,lamentation and compassion are born .
These performance is tremendous .
I was so moved that
I felt dizzy .
Please tell me the way where
our impression survives .
Greeting from mysterious Japan
Wolfgang Sawallisch is the best !
Mendelssohn - Complete Symphonies "convey positive attitude through the enchantment of decent music."
As always, thank you!!!
:-)
Felix Mendelssohn =1809=1847= The Complete Symphonies =Out Standing Performance,Wonderful to Listen To🎶🎼🎶💥⭐️⭐️⭐️✨✨@ Classical Music/Reference =9,50pm
As a big fan of ad seriatim performances, I especially like these groupings of works by one composer - and I appreciate the time and effort you put into finding really fine recordings. The Second was new to me - not something I've ever heard in its entirety, and perhaps not even excerpts, while the other four show up on the radio very frequently. As someone with no musical talent or training, I can only say what appeals to me - and Mendelssohn does, but so do many other composers - and who am I to judge whether Schumann is superior to Mendelssohn - or Beethoven to Schumann. In the end, musical criticism comes down largely to a matter of taste, apart from considerations about whether the notes were played correctly, or the tempo was too fast or slow. And who says Mendelssohn is at the head of the B list composers - and what makes that a valid criticism?
Richard Cleveland
You should be interested in an interview with a leading Mendelssohn specialist. She answers your question for a moment. Remember to activate the English subtitles:) ruclips.net/video/fZJLAAspeaU/видео.html
A@
Lovely. Thank you.
Magnifique....
Lobgesang is wonderfull
This probably my favorite vaporwave album
1:48:49 Klingsor!
1:50:02 welsungo suffering
wagner took these themes from here?
Wagner was not very appreciative of Mendelssohn, to put it lightly.. (Wagner was wrong)
Wagner appreciated Mendelssohn as "a man who was endowed by nature with a special musical talent like few musicians before him". Though, Mendelssohn being jewish made him, in the antisemitic thinking of Wagner, a tragic figure whose talent was wasted because he never accomplished "a deep, heart and soul touching effect beyond brilliant craftsmanship". That's probably why Wagner felt all the more entitled to steal from him.
PUBBLICITÀ È INSOPPORTABILE!!!
I couldn't agree more with this choice! What do you think of Gardiner's recordings?
#5 was wonderful!
discover the work for piano :-) ruclips.net/video/fZJLAAspeaU/видео.html
NO 4 OP 90 : " I T A L I A N " ( DESDE A S T I , ITALIA )
1:35:09 （symphony no. 3）
Sawallisch one of the last Kapellmeister.
2:46:19 Wow, this is the Grial's theme from Wagner's Parsifal!!! => and again: 2:46:45
oh yes ;-)
It's a phrase called the "Dresden Amen" created well before either Mendelssohn or Wagner used it
Wow nice catch. wonder how it originated?
@@dabedwards Thanks a lot for the info ^^
@@daniel3231995 en.wikipedia.org/wiki/Dresden_amen
although Klemperer has a Fingals Cave and Midnight Summer that's beautiful beyond others .... of those pieces .
Yes we love « a Midsummer... » by Klemperer :-)
I have to listen to this song for homework witch is kinda wired becuase I never had to listen to music for homework but I gusse it’s normal in middle school,THIS HOMEWORK IS SO LONG but it sounds pretty good;)
haha :-)
I. “Napoleon’s playlist”
II. “Chillin Station”
IV. “Napoleon’s playlist”
Symphony 2 I. “Superior Tastes”
Gostei.
Mendelssohn brought Bach.
I'm not certain if they're playing very well. It largely sounds negligent, even distinctively rough. Perhaps the German Sawallisch couldn't communicate with the English, so greatly.
What do the English have to do with this, in any way ?
@@cedericocosantorini8013 Mendelssohn's music is rather tender and feminine while also expressing great earnest. I do think that he by this will interest English gentlemen and ladies.
Stop snorting tweak dude
@@chrisarchard2009 You sound as if there couldn't be a doubt about Sawallisch with these accounts constituting the peak of what can be achieved. Okay, if you wanna revere Sawallisch, carry on! I have to say that for my part, I prefer Klemperer. There is, for example, a grandiose account of Mendelssohn's third symphony conducted by him.
I think also his unfinished 6th symphony from 1845 should be considered here: ruclips.net/video/CsSbVr-RyqI/видео.html
🌹 💖 😍 🤩
Do u have a favorite midsummer nights dream recording you recommend?
That bust looks an awful lot like Wagner. I don't suppose the comparison would have pleased RW.
Listening to this, I truly understand Wagner's feelings when it comes to this guy.
Oh, you mean what is explained in this article:
www.theguardian.com/music/2009/may/05/felix-mendelssohn-richard-wagner-classical-music
@@brkahn Thanks for that link. The article explains it well.
@@dabedwards You are welcome. Glad that it was helpful.
personally feel Wagner needed to lighten up a bit, despite his contributions to music.
Whoa and looks like you inherited his inferiority complex when it came to anyone close to his skill. This guy? No you're a guy, a nameless loser in 10 million we will all forget. Now eat shit and get lost lolololololol
Not an important symphonic composer. Schumann is far more important.
Si si , Mendelsohnn est très important , tout autant que Scumann.
Comment pouvez vous émettre un tel jugement ?
@@philippeboisson2048 Mendelsohnn is often listed as the greatest B list composer.
Quatsch!
yes, Sawallisch has the best Mendelssohn and Schubert .... I've heard Maag, Munch, Karajan, too tight and unnatural... Klemperer and Furtwangler, too heavy on orchestration, too narrow a trnslation...
Do you know Maag's rendering of Mendelssohn 3rd??
Mendelssohn - Scottish Symphony, Fingal's Cave, Midsummer... (recording of the Century ; Peter Maag) ruclips.net/video/7SM_iiNzeL0/видео.html
its light and pretty ... not with precise force of Sawallisch ... Maag's positive aspect is he is integral to the tempi in the Allegro and Brio movements
yes, two different approaches and it works very well :-)
I agree- Sawallisch is simply brilliant with both Mendelssonh and Schubert. Listened to
many recordings of Schubert, and for me, none could surpass his Schubert. And his Mendelssohn contains so much live.
When Philips recorded in Amsterdam and Switzerland the sonic results were invariably bright and airy. When recording at London venues they generally sound dull and lifeless with the cavernous recessed quality evidenced here. Coupled with the rather turgid Sawallisch this does not make for particularly sparkling results. By 1967 the New PO were long past their glory days of Klemperer/Walter Legge.
you also must hear Sawallisch's Schubert recordings done in studio - excellent integrals to Schubert