The Hebrides Overture (or Fingal’s Cave) is a kind of miracle of melodic invention and subtle evocation of nature that vibrates everywhere. As is often the case, Mendelssohn seems touched by grace in this sensitive evocation that stirs the soul. We find this almost Shakespearean climate at the beginning of the Concerto for violin and orchestra that the Genevan composer Frank Martin wrote just after his Cinq Chants d’Ariel (Five Songs of Ariel) based on The Tempest by the English playwright. The entire atmosphere of the work seems to be imbued with this magical climate “as if I had remained somewhat bewitched by the charms of Prospero’s island,” wrote Frank Martin.

Beethoven also idolized Shakespeare, whose complete works he possessed and whom he often quoted in his conversations. The power of the word of one has often been compared to the musical strength of the other, and Symphony No. 5 in C minor is one of the most striking illustrations. Pom, pom pom, pom….