MENDELSSOHN. Symphonies. No. 4 in A major, Op. 90, "Italian"; No. 5 in D major, Op. 107, "Reformation". London Philharmonic Orchestra conducted by Sir Eugene Goossens. Saga 0 XID5056 (12 in., 15s. 10d. plus 5s. 2d. P.T.).

The Toscanini-like speed of the first movement initially daunted me. It gives comparatively little chance for the sort of "lift" to the playing which comes from the players having full time to feel the spring of the triplet rhythm. But, after all, Mendelssohn did mark the movement

Allegro vivace and once one is adjusted to the degree of ruthlessness (even in the more lyrical passages) this is exciting and satisfying.

The Pilgrim's March strangely suffers in quite the opposite way. The basic speed is slow, andante perhaps but hardly con moto as Mendelssohn marked. Goossens could have got away with this had he concentrated on treating the music simply with comparatively little pointing, but as it is the phrasing and fluctuation of rhythm often sounds mannered (at times, in the staccato codettas for example, slower even than the basic speed). The result is altogether too sweet. The minuet has not anything like the stylishness it demands and though the presto of the saltarello is always exciting, there are one or two passages where the strings fall below perfection.

This is perhaps carping criticism when an often exciting, well-recorded performance is issued at bargain price. The coupling helps to draw a recommendation. Neither the first nor the last movement of the Reformation has quite the tension or virtuosity of the New York Philharmonic under Mitropoulos, whose version is now on the competitive GBL label coupled with the Scotch (Philips GBL5550). The New York players obviously had more rehearsal time, yet in many ways Goossens and the L.P.O. are more sympathetic and the recording they are given is much more agreeable than the rather fierce and shrill American product. Where Goossens and the L.P.O. score hands down over their American rivals is in the scherzo (allegro vivace, but curiously labelled andante vivace here). Goossens' deliberate exaggeration of the dotted rhythm and the "on-the-toes" expressiveness of the L.P.O. woodwind give just the sparkle needed in this typically Mendelssohnian movement. A mixed bag then, but a bargain at this price and a very sensible coupling. E.G.