Noted for his Haydn and Mozart and for his affinity with 20th-century music from Berg to BartĂ³k to Messiaen, the Hungarian conductor Antal DorĂ¡ti also demonstrated a particularly idiomatic flair in presenting music of the early romantic era. Of these Mendelssohn and Schuman recordings, all but the Minneapolis 'Italian' Symphony are in stereo. Unlike many of his colleagues, DorĂ¡ti took pleasure in the process of recording, establishing a happy and concordant working relationship with the husband-and-wife Mercury team of Robert and Wilma Cozart Fine. One of the first fruits of that relationship was a pairing of Mozart's 40th and Mendelssohn's 4th symphonies, made in Minneapolis where DorĂ¡ti had been music director since 1949 and released in 1953 (the Mozart has been reissued separately by Eloquence, coupled with DorĂ¡ti's first Haydn recordings and more Mozart). DorĂ¡ti directs crisp, flowing accounts which inhabit the soundworld of Mendelssohn and Schumann, understood forward from Haydn and Mozart rather than backwards from Brahms and Wagner. He finds in Henryk Szeryng an artistic partner of happy mutual understanding for the Violin Concerto: a justly celebrated recording from 1964 and a classic of the Mercury catalogue, but also a natural companion for DorĂ¡ti's light touch in four movements from A Midsummer Night's Dream which were originally coupled in 1959 with excerpts from Grieg's score for Peer Gynt. Schumann's Fourth was also originally coupled with DorĂ¡ti's stereo traversal of Mozart's 40th. Long unavailable, this receives it's first CD release on Decca.
Noted for his Haydn and Mozart and for his affinity with 20th-century music from Berg to BartĂ³k to Messiaen, the Hungarian conductor Antal DorĂ¡ti also demonstrated a particularly idiomatic flair in presenting music of the early romantic era. Of these Mendelssohn and Schuman recordings, all but the Minneapolis 'Italian' Symphony are in stereo. Unlike many of his colleagues, DorĂ¡ti took pleasure in the process of recording, establishing a happy and concordant working relationship with the husband-and-wife Mercury team of Robert and Wilma Cozart Fine. One of the first fruits of that relationship was a pairing of Mozart's 40th and Mendelssohn's 4th symphonies, made in Minneapolis where DorĂ¡ti had been music director since 1949 and released in 1953 (the Mozart has been reissued separately by Eloquence, coupled with DorĂ¡ti's first Haydn recordings and more Mozart). DorĂ¡ti directs crisp, flowing accounts which inhabit the soundworld of Mendelssohn and Schumann, understood forward from Haydn and Mozart rather than backwards from Brahms and Wagner. He finds in Henryk Szeryng an artistic partner of happy mutual understanding for the Violin Concerto: a justly celebrated recording from 1964 and a classic of the Mercury catalogue, but also a natural companion for DorĂ¡ti's light touch in four movements from A Midsummer Night's Dream which were originally coupled in 1959 with excerpts from Grieg's score for Peer Gynt. Schumann's Fourth was also originally coupled with DorĂ¡ti's stereo traversal of Mozart's 40th. Long unavailable, this receives it's first CD release on Decca.
028948405060
Mendelssohn Schumann: Symphonies (Aus)
Artist: Mendelssohn / Schumann / Antal Dorati
Format: CD
New: Not in stock
Wish

Available Formats and Editions

DISC: 1

1. 1-4 Symphony No. 4 in A major, Op. 90 `Italian'
2. 5-7 Violin Concerto in E minor, Op. 64
3. 8-11 Ein Sommernachtstraum (excerpts)
4. 1 Overture: Die Hebriden, Op. 26
5. 2-5 Symphony No. 3 in A minor, Op. 56 `Scottish'
6. 6-9 Symphony No. 4 in D minor, Op. 120

More Info:

Noted for his Haydn and Mozart and for his affinity with 20th-century music from Berg to BartĂ³k to Messiaen, the Hungarian conductor Antal DorĂ¡ti also demonstrated a particularly idiomatic flair in presenting music of the early romantic era. Of these Mendelssohn and Schuman recordings, all but the Minneapolis 'Italian' Symphony are in stereo. Unlike many of his colleagues, DorĂ¡ti took pleasure in the process of recording, establishing a happy and concordant working relationship with the husband-and-wife Mercury team of Robert and Wilma Cozart Fine. One of the first fruits of that relationship was a pairing of Mozart's 40th and Mendelssohn's 4th symphonies, made in Minneapolis where DorĂ¡ti had been music director since 1949 and released in 1953 (the Mozart has been reissued separately by Eloquence, coupled with DorĂ¡ti's first Haydn recordings and more Mozart). DorĂ¡ti directs crisp, flowing accounts which inhabit the soundworld of Mendelssohn and Schumann, understood forward from Haydn and Mozart rather than backwards from Brahms and Wagner. He finds in Henryk Szeryng an artistic partner of happy mutual understanding for the Violin Concerto: a justly celebrated recording from 1964 and a classic of the Mercury catalogue, but also a natural companion for DorĂ¡ti's light touch in four movements from A Midsummer Night's Dream which were originally coupled in 1959 with excerpts from Grieg's score for Peer Gynt. Schumann's Fourth was also originally coupled with DorĂ¡ti's stereo traversal of Mozart's 40th. Long unavailable, this receives it's first CD release on Decca.