Mendelssohn’s evocative Hebrides Overture serves as an introduction to this summery programme that closes season 2009-10. Two Romantic composers who have often been somewhat dismissed, one for being too “classic”, and the other for having been born in an “un-Romantic” country such as France. However, their works are still here to reclaim with the strength of their surprising beauty and uniqueness a deserving spot in the pantheon of Romantic music.

Formal clarity and simplicity, a fluid and emphasised melodic impulse, balance and symmetry, subtle union and lightness define the music of Mendelssohn. Berlioz’s work, in turn, overcomes traditional structural moulds, and is characterised by the inevitability of the narrative process, a gift for melody – frequently irregular –, a fixed idea, rhythm, a careful dynamic and brilliant colours. Both very different characters and lives, but both sensitive to literary and poetic suggestions of the world surrounding them.

Les Nuits d'Été and A Midsummer Night’s Dream, Op. 61 were created practically at the same time. But for Mendelssohn this music, which he composed for a performance of Shakespeare’s play on October 14, 1843, would be one of his last works. The harmony between the style of the justly famous overture – which he conceived when he was barely 17– and the rest of the pieces for a female choir, two sopranos and an orchestra, proves the astounding precociousness of his polished, poetic style. However, after Les Nuits d’Été Berlioz would go on to composing many more pieces. His was originally a song cycle of six songs for voice and piano based on texts by the poet Théophile Gautier, which the composer himself transcribed for orchestra. Hugh Macdonald considers it an excellent piece for enjoying Berlioz’s talent. An excellent way to finish a music season - Happy Summer!

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