Three other great recordings
Peter Maag (conductor) This 1960 recording is one of Decca’s early stereo trailblazers and first pressings of the LPS fetch eye-wateringly high prices these days. It’s a muscular performance and the London Symphony Orchestra simply relishes Maag’s drive and enthusiasm for a symphony that was not much in favour at the time. From the ominous opening paragraphs to the Finale’s exuberant conclusion, it’s a terrific musical ride. The brass fanfares in the Coda may be over the top, but they are thrilling and raise the hairs on the back of the neck every time. (Decca E466 9902)
Heinz Holliger (conductor)
In a scaled-down, ‘historically informed’ version from Heinz Holliger and his nonperiod Musikkollegium Winterthur, the ‘Scottish’ is paired in this 2011 recording with Mendelssohn’s rarely heard revised version of the ‘Italian’. Not all will be convinced by the latter, but I cannot fault this thoroughly engaging ‘Scottish’, which delivers driving energy, lightness of touch, excellent inner balance and surprisingly swift tempos. According to Clara Schumann, Mendelssohn himself was
a bit of a speed merchant, so would have endorsed Holliger’s sprightly reading. MDG’S engineers have done a splendid job, too. (MDG MDG9011663)
Kurt Masur (conductor) On this 1987 recording, the ‘Scottish’ is coupled with an equally neat account of the original ‘Italian’. Masur is aided in no small measure by an orchestra steeped in Mendelssohnian tradition. Together, they produce a big sound but one which avoids any feeling of heaviness. Masur also comes close to following Mendelssohn’s instruction to leave no pauses between movements. It’s all magnificently conceived and played, while sound quality is warm and reverberant, but well focused.
(Apex 0927 49817 2)
And one to avoid…
Otto Klemperer’s live 1969 recording with the Bavarian Radio Symphony Orchestra is hard going. While the first three movements possess an impressive rugged grandeur, the Finale is an unrelenting plod – imagine Walter Scott at his most turgid. But what rules this recording out completely is the Coda – Klemperer disliked Mendelssohn’s so much that he wrote his own. I think I’ll stick with the original, thank you.