- Andante con moto – Allegro un poco agitato
- Vivace non troppo
- Adagio
- Allegro vivacissimo – Allegro maestoso assai
When Felix Mendelssohn first visited Scotland in 1829, the atmosphere of Holyrood Palace, the Highlands, and the sea instantly inspired him. Writing down the somber theme that would become the opening of the Scottish Symphony in his letters was of the moods of those places, and not yet the structure. Although brilliant at the age of 20, Mendelssohn lacked the maturity and necessary life experiences to weave those sketches into a complete symphony.
By the early 1840s, he had lived through experiences such as his father’s death in 1835, which deepened his sense of responsibility, and his marriage to Cécile Jeanrenaud in 1837, which gave him domestic stability and happiness. Mendelssohn’s recent position as conductor of the Gewandhaus Orchestra in Leipzig also helped him hone his craft as an orchestral composer. By 1841, Mendelssohn was invited to Prussia by King Frederick William IV. The king admired the composer’s work so much that he wanted Mendelssohn involved in Berlin’s musical life and to produce new works. Inspired by the encouragement of King Frederick William IV, the composer was driven to complete his major works. However, he never forgot the powerful impressions of Scotland and his visit many years before, and in January of 1841, 12 years after its conception, Mendelssohn’s Symphony No. 3 in A minor, Op. 56 “Scottish Symphony” came to its completion.
Mendelssohn conducted this Symphony on March 3, 1842, with the Gewandhaus Orchestra in Leipzig, and it was immediately recognized as one of his most outstanding achievements. Later, after the premiere, he was invited by Queen Victoria and Prince Albert to Great Britain, where he dedicated the published Symphony No. 3 to the Queen.
Let’s walk through the Scottish Symphony (No. 3 in A minor, Op. 56) as though it were Mendelssohn’s own musical travel diary, reflecting his impressions of Scotland and its atmosphere.
Andante con moto – Allegro un poco agitato. The Symphony opens with a visit to Holyrood Palace in Edinburgh, where Mary, Queen of Scots, once lived and suffered tragedy. Wondering through the ruins at twilight, the mood is mysterious and somber, which leads to the Allegro where the music grows restless with stormy and dramatic surges, depicting the winds sweeping across the Scottish cliffs.
Vivace non troppo. Mendelssohn loved going on walking tours, and in the Highlands of Scotland, he was also enchanted by the brisk air and quick-shifting skies. The second movement reflects the playful, untamed spirit of the Scottish landscape with light and nimble dancing rhythms. The woodwinds reflect the sounds of birdsong carried by the wind.
Adagio. Although the third movement initially lacked a source, it reflects the sound of many laments and the aura of Scotland’s tragedies. This movement is noble, solemn, and intensely lyrical, much like a song of mourning. It reflects the quiet evening by the fire after Mendelssohn reflected on seeing the ruins and thinking about Mary Stuart’s fate, as well as Scotland’s centuries of struggle.
Allegro vivacissimo – Allegro maestoso assai. The fourth and final movement of this Symphony reflects Scotland’s fierce independence, resilience, and martial traditions, with its fiery, energetic, and martial feel that evokes thedances of warriors or the gathering of clans. The ending broad, majestic coda in A major, described as a “hymn of victory.” The radiant close transforms the brooding opening into a triumphant, almost ceremonial farewell.