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Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day cover

Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

Chapter 95: SYMPHONY No. 3 ("SCOTCH"): Op. 56
By Lawrence Gilman
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About This Book

The guide offers concise, non-technical explanations of symphonies, overtures, and tone-poems, arranged by composer, that orient concert-goers to the illustrative or poetic intentions behind each work. A preface argues for knowing a composition's programme when it is central to the music; individual entries summarize a work's descriptive basis, thematic outline, and salient orchestral effects without indulging in speculative interpretations. Coverage ranges from Beethoven through late-nineteenth and early-twentieth century composers and selects items likely to appear on contemporary orchestral programs, providing practical background to enhance informed listening.

SYMPHONY No. 3 ("SCOTCH"): Op. 56

1. Andante con moto

Allegro un poco agitato

2. Vivace non troppo

3. Adagio

4. Allegro vivacissimo

Allegro maestoso assai

To Mendelssohn's Scotch visit in the summer of 1829 may be traced this third symphony in A minor, as well as the "Fingal's Cave" ["Hebrides"] overture (see page 200-202). In a letter dated July 30, 1829, he wrote from Edinburgh: "We went, in the deep twilight, to the Palace of Holyrood, where Queen Mary lived and loved. There is a little room to be seen there, with a winding staircase leading up to it. This the murderers ascended, and, finding Rizzio, ... drew him out; about three chambers away is a small corner where they killed him. The chapel is roofless, grass and ivy grow abundantly in it; and before the altar, now in ruins, Mary was crowned Queen of Scotland. [110] Everything about is broken and mouldering, and the bright sky shines in. I believe I found to-day in that old chapel the beginning of my Scotch symphony."

The symphony was planned in 1831. In a letter written from Rome in March of that year he says: "From April 15th to May 15th is the heyday of the year in Italy. Is it to be wondered at that I cannot call up the misty Scotch mood?" The work was not completed until more than a decade later—January 20, 1842.

The first movement has been said to record the sombre impressions made upon the composer by his visit to Holyrood. The second movement has been described as "a picture of pastoral nature, characterized by a continuous flow of rural gaiety," and as "the most wonderful compound of health and life, heath and moor, blowing wind, screaming eagles, bagpipes, fluttering tartans, and elastic steps of racing Highlanders, all rounded off and brought into one perfect picture." The third movement (Adagio) has been characterized as "a revery in which the composer meditates upon the ancient state and grandeur of the country. Its majestic strains might almost have been swept from Ossian's harp." In the last movement "the romantic sentiment disappears. In its place we have the heroic expressed with astonishing force and exuberant spirit." This movement has also been called "the gathering of the clans."