The composer Hector Berlioz once said, “There is but one God – Bach – and Mendelssohn is his prophet.”
For selection #18 on our way to the top 50 classical recordings of all time, I have chosen a recording made in 1960 of Felix Mendelssohn’s Symphony no. 3 “Scottish” and The Hebrides Overture played by the London Symphony Orchestra conducted by Peter Maag on the Decca record label.
The Composer
Felix Mendelssohn (b. 1809 – d. 1847) was a German composer, pianist, organist, and conductor of the late Classical and early Romantic period. If you think you’ve never heard Mendelssohn’s music, think again. Everyone has heard the Christmas hymn Hark! The Herald Angels Sing and the melody we know for the hymn today was supplied by Felix Mendelssohn. It is quite likely you also know Mendelssohn’s other extremely famous melody, the “Wedding March” that is part of the incidental music from A Midsummer Night’s Dream. Today Mendelssohn is known for many outstanding compositions including: A Midsummer Night’s Dream Overture and Incidental Music, “Scottish” Symphony, “Italian” Symphony, Violin Concerto, the oratorios St. Paul and Elijah, the overture The Hebrides, his Octet for strings, and his solo piano masterpiece Songs Without Words.
Felix was a child prodigy. He is often compared to Mozart in terms of his prodigious talent, but also because they both died far too young. Felix’s parents recognized his genius at an early age, but avoided the pitfalls of touring him around and showing him off like other prodigies. Both Felix and his sister Fanny were given piano lessons, and Felix also took violin lessons. It should be noted that sister Fanny was also very talented, and was also celebrated as a prodigy. One story has Felix trying to pass off one of Fanny’s compositions as his own. Given the attitudes toward women at the time, it is perhaps not surprising that Fanny never gained the level of fame of her brother and was not encouraged to continue developing her abilities. The siblings were close. Fanny also died relatively young, and it is said that her death in May 1847 precipitated Felix’s own decline and death later that same year.
Felix grew up in a wealthy family, his father Abraham was a rich German Jewish banker. The Mendelssohns were a well-known family as well, his grandfather Moses Mendelssohn being a famous philosopher. His father was an art lover, and it is said his mother was known to read Homer in the original Greek. Their home was comfortable and cultured. They moved from Hamburg to Berlin when Felix was very young due to Hamburg being invaded by the French. In 1822, the family converted from Judaism to Lutheranism and all four children were baptized.
Felix made such rapid progress in his lessons that the family employed the finest musical teachers of the day, and he gave his first public concert in Berlin at the age of nine. He came to the attention of such German luminaries as the composer Karl Maria von Weber and the poet Johann Wolfgang von Goethe (who had supplied the text for the final choral movement of Beethoven’s Ninth Symphony). At the age of 17, Mendelssohn composed his Overture to A Midsummer Night’s Dream, an astonishingly mature composition for such a young man. Felix had studied the works of Bach, Mozart, and Beethoven intently, but quickly developed his own style.
One of Mendelssohn’s most enduring legacies involve his role in the revival of the music of the immortal Johann Sebastian Bach. In 1829 at the age of 20, himself already an accomplished pianist, composer, and conductor, he organized a performance of one of Bach’s greatest works, the St. Matthew Passion. This sparked a renewed interest and appreciation of Bach’s music, and since then Bach has never needed a revival. Soon after, Mendelssohn became the music director of the Gewandhaus Orchestra of Leipzig and became the foremost conductor of his day. He continued composing, while also working as a conductor, pianist, organist, and teacher. Unlike many composers, he was well regarded during his own lifetime.
Mendelssohn was one of the most “complete” musicians in history, but that very fact at times worked against him with the critics. Because he was so talented in many areas, he perhaps never reached the heights of the greatest composers. He was truly a Renaissance man, also being an outstanding visual artist, and a connoisseur of literature and philosophy. Some have commented on how his music lacks the emotional depth of Beethoven or even his contemporaries Schubert and Schumann. Mendelssohn was a rather restrained and cautious composer. He is quoted as saying to his sister Fanny, “Do not commend what is new until it has made some progress in the world and acquired a name, for until then it is a mere matter of taste.” He adhered more closely to Classical traditions, and was not original in an unconventional sense such as Berlioz or Liszt. Nevertheless, Mendelssohn’s distinct musical sophistication, his gift for melody, his genius at writing for various instruments of the orchestra, and his ability to paint colors in his music, has endeared him to the listening public. His music is often lighthearted, ebullient, and graceful. Toward the end of his life, his compositions became more emotionally expressive as you can hear in his Symphony no. 3 “Scottish” and especially the oratorio Elijah.
Some of Mendelssohn’s musical conservatism may have been related to his Jewish heritage, especially in anti-Semitic Berlin. He may have been anxious to not rock the establishment and to be accepted. Another possibility is he felt German nationalism strongly, and was justly proud of the German musical tradition he inherited. In any case, he was typical of wealthy German bourgeoisie of the time. Felix was refined, well-bred, cultured, tended to be rather snobbish, and preferred a quiet family life with his wife and children later in life.
It is quite unfortunate that Mendelssohn’s music largely declined in popularity in German during the early twentieth century. Germans seemed to insist Mendelssohn was Jewish, even though he lived virtually his entire life as a Christian. The avowed and vitriolic anti-Semitic composer Richard Wagner dismissed Mendelssohn’s work repeatedly. By the time of the Nazis, Mendelssohn had been nearly eliminated from German musical history due to the belief he was Jewish. His statue in Leipzig was removed and sold for scrap. It was only after the war that Mendelssohn’s music was gradually revived and later celebrated in Europe and North America.
Symphony no. 3 “Scottish” and The Hebrides Overture
During Mendelssohn’s first visit to England when he was 20 years of age, he also visited Scotland. While visiting Edinburgh, he wrote a letter home to his sisters in July 1829:
“We went today in the deep twilight to the Palace of Holyrood, where Queen Mary lived and loved…The chapel is roofless, grass and ivy grow abundantly in it; and before the altar, now in ruins, Mary was crowned Queen of Scotland. Everything around is broken and mouldering, and the bright sky shines in. I believe I found today in that old chapel the
beginning of my Scottish symphony.”
The resulting symphony was the third to be published, hence the numbering. However, it was actually the last symphony to be composed by Mendelssohn. Although he had begun composing it shortly after his trip to Scotland, he set it aside until 1841 when he found himself in a similar sort of mood to take it up again. He completed it in 1842, it was first performed later that same year in Leipzig, and then had a very successful premiere in England. Mendelssohn requested permission to dedicate it to Queen Victoria, which was granted.
Each movement is designed to move directly into the next one without a break, unique to Mendelssohn’s symphonies. Mendelssohn also made indications on the score on the character that should be reflected in the music, including his impressions of the Scottish landscape.
The movements progress as follows:
I. Andante con moto – Allegro un poco agitato – Assai animato – Andante come prima
II. Vivace non troppo
III. Adagio
IV. Allegro vivacissimo – Allegro maestoso assai
The main theme that opens the symphony recurs at other times as well. It may be described as somewhat melancholy and somber. The second movement is a scherzo that is brilliantly conceived and executed, sparkling and fleet. For me, this is one of Mendelssohn’s best creations. The third slower movement may be considered a reflection of the bleakness of Holyrood Palace, or perhaps the stark nature of the Scottish landscape. The finale is direct and furious, almost like a battle being fought. It gives way in the closing section to a boisterous and rousing song of triumph complete with brass fanfares and a fitting conclusion.
Mendelssohn’s other work that was inspired by his trip to Scotland is The Hebrides Overture. Completed in 1832, it went through several name changes such as Overture to a Lonely Isle and Fingal’s Cave (which it is still called at times, including on the recording reviewed here), and finally The Hebrides Overture. Regardless of the title, it was a visit to the uninhabited Isle of Staffa (where Fingal’s Cave is located) just off the Isle of Mull that provided the inspiration. Since the Isle of Staffa is identified as being part of the Inner Hebrides chain, the name has persevered. More importantly, the music sounds similar to the Scottish symphony and, if anything, is more remarkable. Many consider the overture to be Mendelssohn’s finest composition, as it contains a very memorable second theme which returns in variations. I once had the good fortune to travel to the Isle of Mull and to visit Staffa and Fingal’s Cave. If you have been there, this music is quite evocative of the feelings that are reminiscent of the place. It is an other-wordly place where you almost feel as though you are on the edge of the earth. In the music you may be able to hear and feel the waves, the wind, the mist, and the isolation.
The recording
The recording that makes our list at #18 is Mendelssohn’s Symphony no. 3 “Scottish” and The Hebrides Overture played by the London Symphony Orchestra led by Peter Maag on the Decca label. Some re-issues of the recording also include the Overture and Incidental Music from A Midsummer Night’s Dream. The symphony was recorded in 1960, and The Hebrides Overture in 1957. Yet another series of Decca “Legends” includes the symphony and A Midsummer Night’s Dream, but not The Hebrides. The bottom line is you want the version with The Hebrides (Fingal’s Cave). I found the symphony paired with the overture on Spotify, so if you stream music from that source you can find it. It is also available for purchase on Amazon, and from used CD sellers.
There was a time when the Decca recording label used the London Symphony Orchestra and Kingsway Hall quite often for recording projects. Decca had some of the best sound engineers in the world, the London Symphony Orchestra was (and remains) one of the best in the world, and Kingsway Hall was the venue for many legendary recordings and was in high demand for its fine acoustics. We are fortunate that for this recording these elements came together to produce a classic.
The Swiss conductor Peter Maag (b. 1919 – d. 2001) was a sort of maverick of the classical music world. While attending university as a young man, he was equally called to study Music as well as Philosophy and Theology. Among his Theology and Philosophy professors were none other than famous theologians Karl Barth and Emil Brunner, and philosopher Karl Jaspers. He studied piano in Paris with Alfred Cortot (among the greatest interpreters of Chopin’s music ever), and he studied conducting with Ernest Ansermet and Wilhelm Furtwangler (both legendary conductors of the twentieth century). Maag would later say his association with Furtwangler was the most important of his life because Furtwangler encouraged him to make the switch from pianist to conductor.
Maag did just that, and over the course of his career he held conducting posts in Dusseldorf, Bonn, Vienna Volksoper, Parma, Turin, Padua and Veneto, and Madrid. Maag was particularly drawn to opera, and became known especially for his interpretations of the Mozart operas. He conducted at Covent Garden in London, the Metropolitan Opera in New York, and the Glyndebourne Festival Opera in the UK. He also made guest conducting appearances all over the world.
From 1962 to 1964, Maag left the musical world and embarked on a personal religious retreat. Feeling he was losing touch with his spiritual self, he said “I decided it was time to retire because I was having too much success.” He had planned to only spend a few months away, first turning to the Greek Orthodox Church, and then later retreating to a Buddhist monastery near Hong Kong. The few months turned into two years. When Maag attempted to return to conducting, he discovered the time away made it quite difficult to return.
Maag became quite known for his vivid interpretations of Mendelssohn’s symphonies. What makes this recording special is the full-throated, uninhibited sound Maag draws from the LSO. The brass in particular are captured very well. There is a freshness and alertness which brings forth a sense of spontaneity. Maag pays very close attention to the dynamic tension between the soft and loud passages, as well as the shifts from slower to faster passages. Sample the first movement of the symphony at 4’30 when it goes from andante (moderately slow) to allegro (brisk), and then again at 12’00 when it goes into assai (very fast). Those changes are handled so well, and the orchestra is on top form.
The second movement scherzo is taken at a perfect clip, not too fast and not too slow. The tension builds with alternating softer and louder sections with the horns, trumpets, and woodwinds all making excellent contributions. Finally the climax is reached at 2’55 in the movement when the dance hits the peak. It is a sunny, exuberant piece.
The string playing throughout, but especially in the third movement, is executed with a heartfelt singing tone and lovely legato tone. In the final movement, the attack and precision of the strings and brass at the beginning are immediately noticed. You also hear the bass line more clearly than in any other recording. The rhythmic bounce and clarity of this recording are astonishing. You can actually hear all the instruments clearly, and you can definitely hear what Maag is doing with accents (sample at 4’00 into the final movement where you can hear how the basses lean into the notes). There is some slight background noise, but it is hardly noticeable.
You hear another of those tempo and mood shifts at 6’57 in the finale when the Allegro maestoso assai begins. We change into a major key, and it is almost an entirely different section tacked on to the symphony which takes up a big, triumphant tune complete with horns braying and trumpets blaring. I always look forward to this ending, no matter how many times I’ve heard it played. In this recording, the horns play for their lives and the swell they put into the notes toward the end are thrilling. Maag clearly brings the horns forward at the end, and the impact it makes is undeniable. I haven’t heard another recording of this symphony that comes close.
The Hebrides is played with equal commitment and vigor, and the same qualities in the recorded sound of the symphony are also present here. I would never want to be without this recording.
The combination of the sensitivity and consistent brio of the playing and conducting, along with the remarkable recording engineering of Kenneth Wilkinson from Decca put this recording in our top 50.
Other recommended recordings of Symphony no. 3 “Scottish” and/or The Hebrides Overture:
· Symphony no. 3 “Scottish” and Symphony no. 4 “Italian” with The Hebrides Overture; Berlin Philharmonic conducted by Herbert von Karajan on the Deutsche Grammophon label (1971 – 1973). Typically big band performances but played with precision and weight.
· Symphony no. 3 “Scottish” and Symphony no. 4 “Italian” with The Hebrides Overture; New York Philharmonic conducted by Leonard Bernstein on the Sony label (1964, 1966). Bernstein’s earlier recordings with the NYPO are easily his best here are vigorous and lively performances. These versions are far preferable to his later recordings with the Israel Philharmonic.
· Symphony no. 3 “Scottish” and The Hebrides; London Symphony Orchestra conducted by Sir John Eliot Gardiner on the LSO Live label (2014). Fresh and exciting, these live performances are light on their feet, and still use modern instruments, albeit with some period performance practices.
· Symphony no. 3 “Scottish” and Symphony no. 5 “Reformation”; Staatskapelle Dresden led by Sir Colin Davis on the Profil label (1997). This is an “old school” performance in the sense that some slower tempi are used with a big modern orchestra. But Sir Colin gets it exactly right in his flexibility and the clarity of the text. The recorded sound is outstanding.
· Symphony no. 3 “Scottish” and Symphony no. 4 “Italian”; Freiburger Barockorchester conducted by Pablo Heras-Casado (2016). A fresh and revealing look at these symphonies by a period orchestra using little vibrato. Controversial perhaps, but definitely invigorating and interesting.
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Notes:
Dettmer, Roger. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. The Hebrides. Pp. 823. Backbeat Books, San Francisco. 2005.
Goulding, Phil G. Classical Music, The 50 Greatest Composers and Their 1000 Greatest Works. Felix Mendelssohn (1809 – 1847). Pp. 220-229. 1992.
Lunday, Elizabeth. Secret Lives of Great Composers. Felix Mendelssohn. Pp. 74-80. Quirk Books, Philadelphia. 2009.
Newman, Bill. Peter Maag Conducts Mendelssohn. London Symphony Orchestra, Peter Maag. 2000. Decca “Legends” Liner Notes. Pp. 4-5.
Palmer, John. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Symphony no. 3 “Scottish”. Pp. 822. Backbeat Books, San Francisco. 2005.
Schonberg, Harold C. The Lives of the Great Composers, Revised Edition. Bourgeois Genius Felix Mendelssohn. Pp. 216-217. Norton & Company, London and New York. 1981.