Mendelssohn: Hebrides Overture
Peter Maag; London Symphony
Decca
The energetic Maag contrasts the highland calls, the flotsam of the waves, and the cresting melodies with rich, expansive playing and exciting pace, serving it up practically as a travelogue, which in a way was Mendelssohn’s intention. The overture is paired with an almost legendary performance of Mendelssohn’s “Scotch Symphony.”
Schumann: Piano Concerto
Murray Perahia; Colin Davis, Bavarian Radio Symphony
Sony Classical
Here are two artists and an orchestra in total partnership, moving together like dancers who win the gold. The music simply flows out of Perahia in an unforced, bright, natural manner (unlike in his later, rather mannered recording with Claudio Abbado). Davis keeps the orchestra fully present without ever becoming heavy or portentous. The second movement is like a love letter, and the final movement is simply one of the happiest recordings ever made, not “shout out loud” but more like the joy of a perfect spring day.
Vaughan Williams: Symphony No. 2 (“A London Symphony”)
Owain Arwel Hughes, Philharmonia Orchestra
ASV
Richard Hickox, London Symphony Orchestra
Chandos
As the second movement begins, Vaughan Williams asks that it be played “misterioso” and that the melody be played “cantabile” by muted strings! He might as well have used those same directions at the start of the first movement too, especially in Hughes’ recording, the most sumptuously atmospheric I’ve ever heard. The ambience of the woodwinds and French horns is delicate, transparent, and ethereal. In the second movement you can even hear the birds singing in the rafters of the church in which the recording was made--an utterly appropriate touch. Add Hughes’ limpid rhythms--always moving forward but never rushing--and you have quintessential Impressionism that’s the match for anything by Ravel (with whom VW studied). The composer himself described this depiction of London in sheer atmospheric terms (think of Monet’s famous painting of London); from the tender moments to the punchy moments and riveting climaxes, no other recording comes close to this one.
If you’re looking for the runner-up (see WebTips below), Hickox’s recording comes closest. Aficionados will miss Hughes’ sublime poetry, but Hickox’s flow is seamless, comforting, and thrilling. One important note: VW revised this symphony many times, and the 1936 version is what is heard today. VW’s widow gave Hickox permission to make this one recording only (and no concert performances) of the original 1913 version. Each of the last three movements is longer with different music in its final pages and not as structurally tight, but the performance is excellent. The very atmospheric engineering, however, doesn’t project details as effectively as the ASV recording.
WebTips: I could find Hughes’ recording on the web only by going directly to Amazon.com, searching under “Music,” and typing in “vaughan willliams symphony 2 hughes philharmonia orchestra.” (Doing it any other way gave me Hughes’ recording with the National Youth Orchestra of Wales, not the recommended one). The problem is that this ASV album, originally issued at budget price, was only available used for $33.00 (!) when I checked. Highway robbery, but then it’s the very best.
