Jul 15, 2018

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

Also, Fanny Mendelssohn: Songs. Anna Lucia Richter, soprano; Barbara Kozelj, alto; Pro Musica women's choir; Ivan Fischer, Budapest Festival Orchestra. Channel Classics CCS SA 37418.

At the risk of making this review more about me than the music, let me start with a comment about myself anyway. I first started listening to recordings of Mendelssohn's A Midsummer Night's Dream in the mid Sixties with Otto Klemperer's 1960 EMI LP. It was the familiar suite we hear on the present recording, and Klemperer remains my favorite. In the late Seventies Andre Previn recorded more than the suite, adding most of the interludes and connecting music. His album, also for EMI, was just as charming as Klemperer's and equally well recorded. It's still a favorite, too, and between them they have served as touchstones for the dozens of recordings of the piece I've heard since.

Which brings us (rather long-windedly) to Ivan Fischer's Channel Classics recording with his Budapest Festival Orchestra. It's as light and airy, as cheerful and delightful, as any I've heard. But even though it comes to us on a modern digital SACD, the sound doesn't have quite the clarity or balance of the old EMI (now Warner) issues. Still, it's nice to have so refreshing a new release as Fischer's.

As you probably 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 to Mendelssohn that 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.

Ivan Fischer
Maestro Fischer gives us ten of the most-popular selections from Mendelssohn's incidental music, starting, of course, with that early Overture. Fischer's way with the music is gentle and affectionate, almost consistently keeping it as light and airy as it should be. Indeed, this is, overall, the best recorded performance I've yet heard from Fischer, and he has always seemed to me more than competent. In this case, he's a real contender, and his Budapest players seem to have a genuine feel for the music.

Throughout most of the other numbers, Fischer is quick and lively. This works in most cases, although his approach to the Nocturne tends to diminish some of its lyricism. Nevertheless, the sprightly vigor of the playing is a delight, and, as I say, practically everything dances along with unvarnished joy. Fischer's interpretation brings out all the humor, all the color, and all the fairy-tale qualities of the score. It's really quite charming. Oh, those "spotted snakes." Lovely.

And, no, I didn't forget the "Wedding March." Under Fischer it projects all the exuberance of the occasion. Above all, though, it's regal and elegant, things some conductors forget as they get carried away in the heat of the moment.

Accompanying the Midsummer Night music, we get three songs with orchestra composed by Fanny Mendelssohn (1805-1847), Felix's sister. Soprano Anna Lucia Richter, who sang the first fairy in the preceding Midsummer Night music, handles the solos. Because of the prevailing attitudes toward women in Fanny's day, Felix's music got all the attention. Fanny even had to publish some of her work under her brother's name. Fortunately, more of Fanny's music is coming to light these days, and we're more the better for it. Here, they are quite enchanting.

Producer Hein Dekker and recording engineers Hein Dekker and Jared Sacks recorded the music at the Palace of Arts, Budapest, Hungary in January 2015. They made the disc for hybrid multichannel and two-channel SACD and two-channel CD playback. I listened in the two-channel SACD mode.

The sound is quite nice. It's very dynamic, with a reasonably good depth of image for added realism. The stage width is not quite so wide as many competing recordings, yet it provides a lifelike perspective representing a moderate concert-hall listening distance. Ultimate definition is a tad lacking, but that, too, is not unlike what one might hear at a real concert as opposed to an entirely transparent audiophile studio effect. It's all warm and smooth and reverberant and easily listenable.

JJP

To listen to a brief excerpt from this album, click below:


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Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

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 for 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 Nehring, Editor and Contributor

For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds 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 technologies that enable us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

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 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. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


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.

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