Mendelssohn: Symphony No. 5 in D major, Op. 107 'Reformation'

Mendelssohn’s ‘Scottish’ Symphony, Riccardo Muti’s choice for his first orchestral recording, led Gramophone magazine to judge that: ‘Muti seems a natural Mendelssohnian … this could hardly be more auspicious … full of electricity and a sense of occasion.’ The ‘Italian’ Symphony was subsequently greeted as ‘a glowing, exhilarating performance’, while assessing the ‘Reformation’ Symphony, the reviewer stated: ‘I am immediately impressed’. Complementing the works by Mendelssohn in this collection are tone-poems by Liszt and Franck.

This is one of the most important double-CD sets to be issued of the conducting genius of Arturo Toscanini, for it brings together virtually every single work by Mendelssohn he ever conducted in the USA. We have the last three symphonies- the Scotch, Italian and Reformation, plus the Violin Concerto with Jascha Heifetz (they never recorded it commercially) and three Overtures together with the Midsummer Night's Dream music. This is also the only recording of Toscanini conducting the Scotch - the only performance he ever gave in the USA - and the only recording of him conducting the Italian in which he makes the important first movement repeat. This is a unique release, commemorating also the Mendelssohn bicentenary, which will be widely welcomed by all collectors.

Celebrating the 200th anniversary of Felix Mendelssohn's birth in 1809, Bergen Philharmonic Orchestra and their music director Andrew Litton have recorded a three-disc survey of the composer's symphonies. This final disc in the series opens with the 'Scottish' Symphony (No.3), conceived during the composer's visit to what was at the time regarded as the Romantic retreat par excellence, celebrated in literature as the retreat of solitary heroes amid the rugged Highland scenery. From Edinburgh Mendelssohn wrote to his parents: 'At dusk we went today to the palace where Mary Stuart lived and loved. Everything there lies rotten and in ruins; the clear daylight shines right in. I think that today I found the beginning of my Scottish Symphony.' It would take him many years to complete what was begun that day in 1829, however, for the symphony was not ready until 1842 - actually more than 12 years after the 'Reformation' Symphony, even though this carries a higher opus number. The reason for this confusing state of affairs is that Mendelssohn was less than happy with the work he wrote for the 1830 celebrations of the Lutheran Reformation, and therefore refused to let it be published in his lifetime. Both works contain references to their stated subjects - the Scottish-sounding 'folk tune' in the finale of the Third Symphony, the use of Luther's chorale 'Ein' feste Burg' in that of the Fifth - but they also share the musical lightness of touch and the inventiveness that have made Mendelssohn a favourite with concert audiences for close to two centuries. These qualities are mirrored in the performances of Litton and the Bergen PO, whose recording of Symphony No.2, 'Lobgesang', earlier this year was described in a review in Financial Times as 'suitably glowing', with its emphasis 'on mercurial invention and spontaneity'.

Felix Mendelssohn managed the rare feat of composing twelve symphonies by the age of 15. However these string sinfonias were never published with their own opus numbers and thus regarded as ‘substandard’. The first ‘real’ symphony dates from 1824 and was published as no.1, a few years later he composed his fifth. This live recording offers superb interpretations of the two works, whose origins are so close to each other and allows fascinating insights into the musical world of the young Mendelssohn.

Canadian pianist Louis Lortie has been praised for the fresh perspective and individuality he brings to a broad spectrum of the keyboard repertoire. He has made more than 30 recordings, ranging from Mozart to Stravinsky. Here he performs as both pianist and conductor for the first time.