The Hebrides Overture "Fingal's Cave" Symphony No. 1 Symphony No. 4 "Italian"

Abstract

A most poetic mind, playing upon another, and so a cherishable recording. As Mendelssohn, so vividly alert to immediate impressions, especially of nature, was rowed into the great Fingal's Cave, the opening phrase sprang out of it to meet him. The episodes are clearly marked off : Beecham makes much of the slower one, before the final rally. There is here again that spirit of deliberation that now and again can slightly detract From the strength of a long passage, but Beecham's hold in the long sections is extremely good. It is worth observing how he maintains the last half side so trimly and truly. Mendelssohn, we remember, was a skilful painter. You may prefer to think of 'this as among the politer seascapes—remembering who made it, and its period (1829). The wildness is not that of Wagner's Dutchman sea (it is interesting to compare the two—hear Beecham's record, made recently). Not least among the choice manipulations in the Mendelssohn are the little changes he gives to the melodies : the sea is never twice alike, even in successive glances. The end is truly poetic—one of the surest " marks of the mint of this composer. In its period mildness, the record has a little flavour of its own. Those who prefer a rougher sea may like some other recording.