Leipzig is synonymous with Felix Mendelssohn’s creativity as composer and conductor, with today’s centuries-old Gewandhaus Orchestra remaining in venerable contact with a musician whose genius is perhaps underestimated (in some quarters), yet think of the Octet, the MND music, and the two Piano Trios, and those offer some some prime evidence, among others, not least the neglected Sturm und Drang-ish First Symphony, a wonderful piece here given an outing of the utmost connection and distinction, Andris Nelsons and the Gewandhaus musicians – and they are as-one – judge to a nicety tempo, detail and dynamics (the latter subtly varied, especially down the scale, without contrivance), superbly recorded with tangibility and naturalness … oh, and the violins are antiphonal, throughout making this arrangement mandatory (basses to the left, their quietest pizzicatos here meaningful) and timpani ‘speak’ with clarity (sometimes thwacking impact), woodwinds excel, and strings are invitingly warm, holding true for the seven works included here.
Although the five “major” Symphonies (the dozen or so for strings are not included) are not necessarily numbered with an eye on chronology, the First is the First, superb in its emotional drive and melodic richness, fully seized upon by Nelsons and his musicians; and in Number Five (‘Reformation’, as in Martin Luther) there is a fine marriage between the expressive and the emotional (the equal of Berlin/Maazel, also DG, and Bavarian Radio/Colin Davis, Orfeo), the Scherzo utterly charming, Nelsons’s affection epitomised by a reduction in tempo for the irresistible Trio. There are many points where Nelsons’s intervention is illuminating..
Of the travelogue Symphonies, the ‘Scottish’ is presented with a culture that is bewitching (more rugged versions are available, however), a light touch that doesn’t negate tempestuous passages (the Northern weather changeable), the first-movement exposition not repeated, probably wisely given Nelsons’s leisurely but not loose-limbed approach, the second movement then a masterclass in unforced unanimity at speed, the slow one especially eloquent; although the marked attacca(s) between the first three movements are too long (at least the Finale jumps straight in). And if the first movement of the ‘Italian’ is a shade too fast, the poised playing brings exhilarating results with room for nuance (the repeat, with its twenty-odd lead-back bars, observed, always welcome) albeit the acceleration at the very end is miscalculated) whereas the Finale is not rushed and sports biting rhythms, as befits tarantella/tarantula music, including a dramatic timpani stroke at 2:14. The middle movements are lovingly shaped.
Symphony No.2 (‘Lobgesang’/’Hymn of Praise’) is a Symphony-Cantata, the first three movements serving the former followed by several sections of Scripture setting. From the arresting trombone motif to the uplifting ultimate pages this finely-judged account is a splendid fit with the ambitions of the music, beautifully played and sung, whether by chorus or soloists, the latter not spotlighted in the recorded sound. All of which holds good for the two Oratorios, Elijah still a firm favourite despite its many years of existence, and illuminating the perhaps less-well-known Paulus. Anyone unfamiliar (including me) with what turns out to be a score of impressive descriptive power, thrilling choruses and sacred chorales, will be fortunate indeed to discover this work through what is obviously an inspired and inspiring reading.
This commendable collection is on DG 486 8178 (7 CDs). Home is where the heart is. For Mendelssohn it’s Leipzig.
Georg Zeppenfeld (Paulus), Andrè Schuen (Elias), Julia Kleiter, Golda Schultz, Christiane Karg, Elsa Benoit (sopranos), Wiebke Lehmkuhl (alto), Werner Güra (tenor) and MDR-Rundfunkchor