Utwory na płycie:

• Symphony No 1: i. Allegro di molto
• Symphony No 1: ii. Andante
• Symphony No 1: iii. Scherzo: Sempre pianissimo e leggiero
• Symphony No 1: iii. Menuetto: Allegro molto
• Symphony No 1: iv. Allegro con fuoco
• Symphony No 4: i. Allegro vivace
• Symphony No 4: ii. Andante con moto
• Symphony No 4: iii. Menuetto: Con moto moderato
• Symphony No 4: iv. Finale (Saltarello): Presto

Constantly in the vanguard of enlightened interpretation, Sir John Eliot Gardiner stands as a leader in today’s musical life. His award-winning Mendelssohn cycle on LSO Live showcases his period performance expertise, the LSO muscians standing to play, highlighting their individual musicianship. As Gardiner notes: ‘It gives a different type of dynamism and energy... it means that the fiddles are freer in the way that they attack the extremely virtuosic lines and it gives a tremendous sense of occasion to the music making.’ Previous releases in the cycle have received widespread praise with Symphony No 3 ‘Scottish’, Overture: The Hebrides, Schumann: Piano Concerto reaching a high of #3 in the UK Specialist Classical Chart, awarded Editor’s Choice by Gramophone, and winning Gramofon Hungary’s Foreign Classical Disc of the Year 2015. Symphony No 5; Overtures: Ruy Blas, Calm Sea and Prosperous Voyage also charted in the UK, reaching #12, received featured airplay on Classic FM and was received warmly across international press, including 4* and 5* reviews from BBC Music Magazine, The Financial Times and Münchner Merkur. Dramatic and harmonically adventurous, Mendelssohn’s Symphony No 1 is presented here in an exceptionally unique format, with both the original and revised versions of the third movement. As Gardiner said when introducing the work in concert: ‘It’s not every evening that you get to hear a symphony by a fourteen-and-a-half-year-old genius and there’s an intriguing complication to this piece. When Mendelssohn came to London in 1829, he performed the symphony and he wrote back to his parents saying: “well, I looked over my symphony and, lord, the minuet bored me to tears! So what I did was to take the scherzo from my Octet and I added a few airy trumpets and it sounded lovely.” Well, actually he did an awful lot more than that; he re-orchestrated absolutely brilliantly. And it’s so good, we thought you should hear that version. But what about the minuet and trio? Why, when he came to publish the symphony did he use that version and leave out the scherzo? I happen to think they’re both really remarkable, as is the whole symphony, and perhaps you’d let us know which you prefer...?’