BaL 1.06.19 - Mendelssohn: Symphony no. 4 "Italian"

[Edgy 2]

No, just one of questionable musical taste.

I can live with that,hey I even rate George Lloyd

[Edgy 2]

I would rather listen to Mend 2 - Sinfonia , then LvB 9 first three movts and avoid the choral movements of each - does that make me a bad person (and a bleeding chunker)!

[DracoM]

<< We shouldn't let over-familiarity dull our response to it.>>

A truism that needs constantly re-saying. Thx.

[gurnemanz]

Many of his Lieder (with words) are right up there with the best of the genre (eg from Janet Baker in her prime with Geoffrey Parsons). A recent favourite recital disc from BIS contains seven Mendelssohn duets beautifully done in soprano/countertenor versions by Carolyn Sampson and Iestyn Davies.

[MickyD]

Do any of you eager Mendelssohnians know this early curiosity? It's worth seeking out.

[Pulcinella]

I have this Brilliant box of choral works (though I didn't pay £40 for it); some interesting stuff in it:

https://www.amazon.co.uk/Mendelssohn-Sacred-Choral-Works-CDROM/dp/B005JWX8OO/ref=sr_1_3?crid=1NI7CYOWLP07H&keywords=mendelssohn+choral+works&qid=1559555365&s=gateway&sprefix=Mendelssohn+cho%2Caps%2C133&sr=8-3

[edashtav]

Poor Schubert, Mendelssohn, and Mozart: they all died young. They're all great composers but all were cut off in their prime and in each case, their last works suggested greater glories to come.

Mendelssohn's status suffered from a terrible diatribe by Richard Wagner.

If Wagner had died before reaching 40, he would not have achieved maturity with Rheingold and the rest of the Ring. Still, with little doubt, a Great composer, but we'd be busy arguing whether the early, derivative operas and his 'romantic' ones were reason enough.

[Master Jacques]

I listened live and whilst I agree with the thrust if your remarks, Master Jaques, Oliver, as the heart of his name suggests, was lively and quite witty. I instance his accurate, and deadly, characterisation of John Eliot Gardiner's interpretation.

Fair enough! To avoid any taint of an ad molinem attack, I'll amend my encomium to "all the lively wit and critical acumen of a stuffed squirrel". He had nothing bright to say, and exhibited no general culture as to period or religion, but chittered away with a perky merriment calculated to charm.

[LeMartinPecheur]

As we well know on these boards musical taste is wonderfully personal!

Bring back Sidney Grew and true objectivity!

[Master Jacques]

Do any of you eager Mendelssohnians know this early curiosity? It's worth seeking out.[/IMG]

Yes, Camacho's Wedding is a very pleasant toy.

It's intriguing to think what he might have done with Emanuel Geibel's intriguing libretto for Die Loreley, on which he was starting to work just before he died. This would have been a "big" opera, on themes - allied to Die erste Walpurgisnacht - of feminine sexuality and repressive Christianity. Mendelssohn's acolyte, the young Max Bruch, inherited the libretto and did a mighty fine job with it, but the lost Mendelssohn is (for me) one of the great "might-have-beens" of operatic history.

[vinteuil]

Fair enough! To avoid any taint of an ad molinem attack...

... ad talpam, surely?

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[Master Jacques]

... ad talpam, surely?

It's all Greek to me, vinteuil.

[vinteuil]

It's all Greek to me, vinteuil.

... ah, ο τυφλοπόντικας


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[Master Jacques]

... ah, ο τυφλοπόντικας

I would say "Tibi gratias, Vinteuil". But moles and squirrels are quite enough, without a cat to deal with too.

[Eine Alpensinfonie]

... ah, ο τυφλοπόντικας


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