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Felix Mendelssohn 1809-1847
Symphony No. 3 in A minor, Op. 56, “Scottish”

We are all familiar with the romantic stereotype – and often the reality – of the struggling composer struggling for his daily bread and artistic survival. Probably the greatest exception to this picture was Felix Mendelssohn, an economically secure composer from a culturally sophisticated and highly supportive family. The Mendelssohn household was a Mecca for the intellectual elite of Germany, and the many family visitors fawned over the prodigy and his talented sister Fanny. Fortunately for the development of his rare abilities, his carefully selected teachers were demanding and strict.

Mendelssohn’s financial security gave him the opportunity to take the Grand Tour in what was then considered the civilized world, Western Europe, Italy and Britain. In 1829, he traveled to England and then on to Scotland, where his visit to Fingal’s Cave in the Hebrides Islands inspired The Hebrides Overture. It also produced the ideas that became the Scottish Symphony.

Started in Italy in 1830 but not finished until 1842, the Scottish Symphony was Mendelssohn's last – the numbering of the five symphonies reflecting their order of

publication rather than composition. He dedicated the Symphony to Queen Victoria and Prince Albert, whom he had met and charmed during one of his visits to England (the Queen actually sang with Mendelssohn accompanying her on the piano.)

While the music has an undeniably Scottish flavor, it does not quote any authentic folk melodies, a device that Mendelssohn despised. Writing to his father from Wales, he commented: "...anything but national music! May ten thousand devils take all folklore... a harpist sits in the lobby of every inn of repute playing so-called folk melodies at you – dreadful, vulgar, fake stuff; and simultaneously a hurdy-gurdy is tooting out melodies - it's enough to drive you crazy..." That being said, it’s difficult to distinguish Mendelssohn’s invented Scottish style melodies from the kind of musical nationalism he so despised.

Beginning with the introduction and the succeeding allegro agitato, the gloomy atmosphere gave rise to the myth that it was somehow inspired by the tragic life of Mary Queen of Scots. More likely, the Symphony reflects the bleak and stormy weather so prevalent in the Scottish highlands, lowlands and outlying islands. The climax of the first movement is a veritable hurricane, replete with chromatic moaning in the strings.

The second movement provides a little sunshine, its main theme as near to a Scottish folksong – with “Scotch snap” and all – as Mendelssohn could get without actually using one. The third movement comes through as passionate, at times even anguished. Its middle section suggests a horn-call summons of doom. Then, it’s back to the Sturm und Drang of the finale. But – perhaps with a bow to Beethoven’s Ninth Symphony – Mendelssohn ends the Symphony with a shift again to the major mode and a new and optimistic theme to end it.

Felix Mendelssohn 1809-1847
Symphony No. 3 in A minor, Op. 56, “Scottish”

We are all familiar with the romantic stereotype – and often the reality – of the struggling composer struggling for his daily bread and artistic survival. Probably the greatest exception to this picture was Felix Mendelssohn, an economically secure composer from a culturally sophisticated and highly supportive family. The Mendelssohn household was a Mecca for the intellectual elite of Germany, and the many family visitors fawned over the prodigy and his talented sister Fanny. Fortunately for the development of his rare abilities, his carefully selected teachers were demanding and strict.

Mendelssohn’s financial security gave him the opportunity to take the Grand Tour in what was then considered the civilized world, Western Europe, Italy and Britain. In 1829, he traveled to England and then on to Scotland, where his visit to Fingal’s Cave in the Hebrides Islands inspired The Hebrides Overture. It also produced the ideas that became the Scottish Symphony.

Started in Italy in 1830 but not finished until 1842, the Scottish Symphony was Mendelssohn's last – the numbering of the five symphonies reflecting their order of

publication rather than composition. He dedicated the Symphony to Queen Victoria and Prince Albert, whom he had met and charmed during one of his visits to England (the Queen actually sang with Mendelssohn accompanying her on the piano.)

While the music has an undeniably Scottish flavor, it does not quote any authentic folk melodies, a device that Mendelssohn despised. Writing to his father from Wales, he commented: "...anything but national music! May ten thousand devils take all folklore... a harpist sits in the lobby of every inn of repute playing so-called folk melodies at you – dreadful, vulgar, fake stuff; and simultaneously a hurdy-gurdy is tooting out melodies - it's enough to drive you crazy..." That being said, it’s difficult to distinguish Mendelssohn’s invented Scottish style melodies from the kind of musical nationalism he so despised.

Beginning with the introduction and the succeeding allegro agitato, the gloomy atmosphere gave rise to the myth that it was somehow inspired by the tragic life of Mary Queen of Scots. More likely, the Symphony reflects the bleak and stormy weather so prevalent in the Scottish highlands, lowlands and outlying islands. The climax of the first movement is a veritable hurricane, replete with chromatic moaning in the strings.

The second movement provides a little sunshine, its main theme as near to a Scottish folksong – with “Scotch snap” and all – as Mendelssohn could get without actually using one. The third movement comes through as passionate, at times even anguished. Its middle section suggests a horn-call summons of doom. Then, it’s back to the Sturm und Drang of the finale. But – perhaps with a bow to Beethoven’s Ninth Symphony – Mendelssohn ends the Symphony with a shift again to the major mode and a new and optimistic theme to end it.