Mendelssohn: A Midsummer Night's Dream (SACD review)

Also, The Hebrides Overture; The Fair Melusine Overture. Camilla Tilling, soprano; Magdalena Risberg, soprano; Swedish Radio Choir (women's voices); Thomas Dausgaard, Swedish Chamber Orchestra. BIS-2166 SACD.

As you no doubt know, German composer Felix Mendelssohn (1809-1847) began work on his music for William Shakespeare's comedy A Midsummer Night's Dream as a teenager, composing the Overture in 1826 when he was only seventeen. Then he stopped, completing the work some sixteen years later in 1841 while employed by the Prussian court. It was here that King Frederick William IV suggested he compose some complete incidental music for a new production of the Shakespeare play, and Mendelssohn complied since he had already written the opening tune.

For me, any new recording of the music has the formidable job of living up to the airy, mercurial, and magical performances of Otto Klemperer and Andre Previn (both on EMI), the latter giving us pretty much all of the music Mendelssohn wrote for the play, including little interconnecting pieces. On the present disc, Maestro Thomas Dausgaard and the Swedish Chamber Orchestra give us most of the music, too, at least the parts most listeners probably want. The music itself, of course, is highly programmatic, representing Shakespeare's major plot ideas and characters, most notably Puck, Bottom, the Duke, and the fairies.

Having a smallish chamber orchestra helps Dausgaard, as the music can sound sweet and transparent performed on an intimate scale. Anyway, Dausgaard maintains some fairly quick tempos throughout the performance, starting right out with a fast-paced Overture. However, while it can appear to inject some new life into an old warhorse, it also tends to detract a bit from the music's lighthearted, fairy-tale charm. When the conductor does slow down within a movement, it can come more as a disconcerting contrast than an imaginative nuance.

I have to admit, though, that Dausgaard does project some lively and entertaining rhythms in the piece, and the Scherzo sounds especially buoyant and responsive. The chorus and soloist make a sweet contribution in "Ye Spotted Snakes"; yet the familiar Nocturne seems more perfunctory than it should be.

In the "Wedding March" Dausgaard's penchant for a swift gait works best, I think. This actually sounds like a fairy-tale wedding to me--enchanting and solemn at the same time.

Thomas Dausgaard
In all, I can't see Maestro Dausgaard displacing Klemperer or Previn in my own pantheon of Mendelssohn performances. Nevertheless, there is a great deal of life in this performance, and the Swedish Chamber Orchestra play enthusiastically.

Now, in terms of the couplings, I liked what the conductor did with the two overtures, particularly The Hebrides, which closes the program. He strikes a fine, delicate balance between the fury of the coastal waters and the eternal beauty of the sea.

I can't say I'm too keen on the darkness of the album cover, by the way. When did record companies give up providing covers to match the tone of the music? I dunno.

Producer Marion Schwebel and engineer Thore Brinkmann of Take 5 Music Production recorded the album at the Concert Hall of the School of Music, Theatre and Art, Orebro, Sweden in September 2014. They made the disc for hybrid SACD playback, so with SACD equipment one can play it back in two-channel stereo or multichannel, and with a regular CD player one can play it in two-channel stereo. I listened in two-channel stereo SACD.

BIS's sound from this smallish chamber orchestra is excellent: clear, clean, warm, smooth, dimensional, airy, you name it. There is a spacious feeling present without any undue highlighting of instruments. One will also find the dynamic range impressive and the transient quickness and overall impact quite natural. Voices, too, show up realistically, with no brightness or edge. It's among the better-sounding new recordings I've heard in a while.

JJP

To listen to a brief excerpt from this album, click on the forward arrow:



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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa