Mendelssohn: Symphony No.3 in A minor, Op.56, "Scottish" (Blomstedt)

Mendelssohn's third symphony is without a doubt one of the most visionary and influential works of the entire 19th century. Having worked on it for over a decade, it is by far the composer's most accomplished symphony, and the last published during his lifetime.

The symphony famously takes its roots from a trip that Mendelsshon made to Scotland during his early twenties. The sight of the ruins of the Holyrood Chapel inspired him the theme that not only begins the piece, but by the means of thematic transformation, will permeate the entire symphony and generate a lot of its thematic content.
The cyclic form of this symphony is already underlined by Mendelssohn's indication that all the movements should follow one another without the customary breaks. Besides, all four movements are in sonata form.

The symphony begins with a slow introduction and the Holyrood theme enunciated by the violas. Notice that violas are the only string instruments playing in this opening, which is how Mendelssohn achieves its somber, nostalgic sonority. Violins don't come until the middle section of the introduction, in bar 17 (01:02).

The first subject (03:09) audibly derives from the Holyrood theme. Interestingly enough, it also carries on while the second subject is being presented (04:21), clearly ratifying the importance of the Holyrood theme. The exposition shall be repeated (06:00).
The coda features pretty avant-garde sounding chromatic swellings played by the strings (13:30 to 14:00), which in some way remind me of the storm music we hear at the end of Sibelius' Tapiola.
A return to the introduction and the Holyrood theme in its original form brings this turbulent movement to a conclusion (14:33).

People who believe Mendelssohn isn't a particularly distinctive composer should listen to the second movement. It's a sort of scherzo-like, fairytale movement, full of the glitter than only Mendelssohn has the secret of. It is gloriously orchestrated, with particularly delicious passages for the woodwinds. It also features Mendelssohn's signature fast repeated chords (16:59, 17:47, 19:03).
Its first subject (15:12) is also a transformation of the Holyrood theme, although it is made less obvious as Mendelssohn now turns it into a folk-like tune, attested by the presence of the pentatonic scale and the so-called "Scotch Snap" rhythm.

The third movement presents a conflict between a lyrical theme reminiscing Mendelssohn's Songs Without Words (19:52), and a funeral march (21:09). This conflict is established right in the short introduction of the movement (19:21), where fragments of what will become the lyrical theme are interrupted by dotted rhythms played by the horns, and carries all the way to the very conclusion of the movement (27:25). In the main body of the movement, the contrast between these two opposing forces is striking and gives rise to tremendous tension in the development (23:08).

The last movement, initially marked Allegro guerriero (fast and warlike) by Mendelssohn, is full of fierceness and snappy rhythms. While its first subject may not have any apparent connection to the Holyrood theme, repeated listening reveals the way it's refering to it. The two motifs that constitue the first subject derive from the two parts of the Holyrood theme: the first motif (28:16) is based on the inversion of the bass line, while the second motif (28:28) reuses the idea of repeated notes followed by an ascending motion, except it's descending in the Holyrood theme.
The second subject (29:19) also uses a very similar melodic contour to the Holyrood theme.

The real conclusion (35:11) is a hymn-like transformation of the Holyrood theme, gradually gaining in magnitude and bringing the symphony to its victorious conclusion.

Finally, I want to say a few words about the performance. This music is absolutely tailored to Blomstedt. As you might expect, his approach is resolutely classical and the interpretation is straight to the point. The playing is very elegant, but no less exciting, which is a perfect fit for Mendelssohn's idiom.
The San Francisco Symphony has always been one of my personal favorite American orchestras. Its lean sonority, especially from the string department, is showcased throughout the performance. All the string tremolos are impressively in-sync, and the beautiful line carried by the cellos at the end of the development of the first movement (10:38) is magnificently songful and mellow. Woodwinds also take the opportunity to shine in the second movement.

00:00 Intro
00:13 I. Andante con moto - Allegro un poco agitato
15:05 II. Vivace non troppo
19:21 III. Adagio
28:13 IV. Allegro vivacissimo - Allegro maestoso assai

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