Born: Feb 3, 1809; Germany
Died: Nov 4, 1847; Germany
Far from the troubled, coarse libertine that has become an archetype of the Romantic composer, Felix Mendelssohn was something of an anomaly among his contemporaries. His own situation -- one largely of domestic tranquility and unhindered career fulfillment -- stands in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the nineteenth century whose stature could rival that of Mozart.Read more Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies. He and his sister Fanny were given piano lessons, and he also studied violin, and both joined the Berlin Singakademie. Carl Friedrich Zelter, director of the Singakademie, became Mendelssohn's first composition instructor. Even in his youth, Mendelssohn moved with natural grace among the circles of influence in society, politics, literature, and art. Although he did spend some time at the University of Berlin, most of his education was received through friendships and travel. Mendelssohn's advocacy was the single most important factor in the revival of Bach's vocal music in the nineteenth century, most famously realized in the 1829 performance of the St. Matthew Passion at the Berlin Singakadamie. He did some touring as a pianist with Ignaz Moscheles, then took the position as music director in Düsseldorf from 1833 to 1835, which involved conducting both the choral and orchestral societies, preparing music for church services and later, becoming intendant for the new theatre. Tension with the theater owner caused him to resign some of his duties, and he began looking for a new post. In 1835, Mendelssohn became municipal music director in Leipzig, where he also would conduct the Gewandhaus Orchestra. He would raise the level of the still-thriving ensemble to a new standard of excellence. In 1838, he married Cécile Jeanrenaud, enjoying an idyllic marriage and family life that was quite unlike the stormy romantic entanglements which profoundly affected such composers as Berlioz, Chopin, and Liszt. He was in demand as a conductor, spent some time as royal composer and music director in Berlin, but remained committed to musical life in Leipzig. He was even able to establish a new conservatory in the city, which is still a well-respected institution.
Mendelssohn was a true Renaissance man. A talented visual artist, he was a refined connoisseur of literature and philosophy. While Mendelssohn's name rarely arises in discussions of the nineteenth century vanguard, the intrinsic importance of his music is undeniable. A distinct personality emerges at once in its exceptional formal sophistication, its singular melodic sense, and its colorful, masterful deployment of the instrumental forces at hand. A true apotheosis of life, Mendelssohn's music absolutely overflows with energy, ebullience, drama, and invention, as evidenced in his most enduring works: the incidental music to A Midsummer Night's Dream (1826-1842); the Hebrides Overture (1830); the Songs Without Words (1830-1845); the Symphonies No. 3 (1841-1842) and No. 4 (1833); and the Violin Concerto in E minor (1844). While the sunny disposition of so many of Mendelssohn's works has led some to view the composer as possessing great talent but little depth, his religious compositions -- particularly the great oratorios Paulus (1836) and Elijah (1846) -- reflect the complexity and deeply spiritual basis of his personality. Read less
Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 1. Andante con moto - Allegro un poco agitato - Assai animato - Andante come prima
Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 2. Vivace non troppo
Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 3. Adagio
Mendelssohn: Symphony No.3 in A minor, Op.56 - "Scottish" - 4. Allegro vivacissimo - Allegro maestoso assai
About This Work
Mendelssohn's Symphony No. 3 in A minor, Op. 56, is the last symphony the composer completed. Mendelssohn's letters show that his first inspiration for the symphony came in 1829, during his first visit to England. After some sketching, MendelssohnRead more
set aside the piece until 1841, when disappointments in his life placed him in a mood similar to that he experienced in England 12 years earlier. The early conception and sketching may account for the squarness of some of the themes. The piece was completed on January 20, 1842; it was first performed on March 3, same year, in Leipzig, and was published in 1843. After a successful performance of the symphony in England in 1842, Mendelssohn received permission to dedicate it to Queen Victoria.
Each movement is to move immediately to the next without pause, setting it apart from Mendelssohn's other symphonies. To the tempo markings of each movement Mendelssohn adds directions reflecting the character of the music, which conveys Mendelssohn's impressions of the Scottish landscape.
Opening with a restrained, Haydn-esque slow introduction, the first movement moves suddenly to an Allegro un poco agitato tempo with a main theme that is treated with variation technique. The orchestration is among Mendelssohn's most dense; curious and exhilarating modulations open both the development section and coda. The development section is concise and effective. When the main theme returns in the recapitulation and the introduction returns in the coda, the themes are underpinned with a counter-theme in the cellos. The coda also contains the famous chromatic "wave," played by the strings.
The cheerful Scherzo, marked Vivace non troppo, is derived from Scottish folk music, which is a surprise, since in 1829 Mendelssohn complained that such sounds gave him "a toothache." It stands in stark contrast to the thick first movement and is in sonata form. The movement fades and dissolves to prepare for the ensuing Adagio.
Resignation reigns in the third movement, an Adagio cantabile in A major. A clear reference to Beethoven appears in the low strings, which play a motive resembling the theme of the Allegretto of Beethoven's Seventh Symphony. Reminiscences of Beethoven's Op. 74 String Quartet also appear. Beautifully orchestrated, the movement is in two major sections separated by returning material.
Folk melodies appear again in the Finale, an unusually powerful and militant movement for Mendelssohn. A leaping, aggressive theme in the violins begins the movement, appropriate for Mendelssohn's direction, Allegro guerriero (Fast and warlike). Fragmentation technique propels the development section as themes are layered and treated contrapuntally. After the recapitulation we do not hear a coda with thematic references to the exposition. Instead, Mendelssohn shifts to a Maestoso coda, in which we hear new material and the theme from the introduction, which is again taken through variations and now conveys an air of triumph after the "battle." The symphony closes in A major.
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