Sinfonia No. 5: String Symphony in B flat Cover Image

Sinfonia No. 5: String Symphony in B flat: String Orchestra, Conductor Score

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Sinfonia No. 5: String Symphony in B flat Cover Image
Sinfonia No. 5: String Symphony in B flat: String Orchestra, Conductor Score

Sinfonia No. 5: String Symphony in B flat: String Orchestra, Conductor Score

By Felix Mendelssohn, ed./arr. by Hellmuth Christian Wolff/ Lucas Drew

Item: 36-A774501
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Description
This is the fifth among thirteen string symphonies written between 1821 and 1823, when Felix Mendelssohn (1809-1847) was twelve to fourteen years old. Like the other twelve, it was written as a tribute to early Classical symphonies by composers such as Haydn, J.C. Bach, C.P.E. Bach, and Mozart, a feature much more obvious in the first six as they were more imitative. The second grouping, starting with Sinfonia No. 7, show more of the composer's emerging personal style. Mendelssohn composed most of the thirteen works in three movements, and his fifth string symphony, completed only ten days after the fourth, is no exception. The set includes a string count of 8-8-5-5-5.

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Additional Details
Series: Kalmus Critical Editions
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852975-6
ISBN13: 979-8-88-852975-1
UPC: 659359561566
SKU: 36-A774501
Instrumentation: String Orchestra (8-8-5-5-5 in set)

More about this title

About the Composer: Felix Mendelssohn

Felix Mendelssohn (1809-1847) was a prodigy whose compositional gifts emerged early and decisively. Born in Hamburg and raised in Berlin in a cultured Jewish family, he received rigorous training in piano, violin, and composition, and by his teens was already performing and writing substantial works. His thirteen string symphonies, composed between ages twelve and fourteen, reveal a young composer studying the Classical masters while gradually finding his own voice.

Mendelssohn's early symphonies sit at a crucial point in music history: they show a student learning from Haydn and Mozart while already displaying the lyrical gift and orchestral sophistication that would define his mature style. These works matter not just as juvenilia but as genuine contributions to the string symphony repertoire, combining Classical structure with Romantic sensibility. His later fame as a composer of the Hebrides Overture, A Midsummer Night's Dream, and the Violin Concerto confirms what these early works already suggest: an exceptionally gifted musician with both technique and imagination.

Why we love this

String orchestras at the secondary level rarely encounter symphonic works written by composers at their own age, and this Fifth Symphony offers exactly that: a structurally sophisticated three-movement work that proves young musicians can handle real symphonic thinking. The piece balances accessibility with genuine musical substance, making it an ideal choice when you want to program something beyond arrangements or simplified versions without overwhelming your ensemble.

What to expect

The Fifth Symphony carries the grace of Classical formality alongside moments of genuine lyricism that hint at Mendelssohn's later Romantic voice. Despite its youthful provenance, the work never feels tentative or unfinished; instead it presents a young composer confidently synthesizing the models he admires while maintaining musical integrity throughout.

Who it's for

Intermediate to advanced string orchestras looking for single-work repertoire that combines pedagogical value with legitimate symphonic ambition. This score works well for programs that include secondary students capable of sustaining three-movement form and managing independent parts within a full ensemble texture.

How to get the most out of it

  • Balance the inner voices carefully. With five violas and five cellos, these parts often carry harmonic weight and thematic material that should emerge through the texture rather than disappear beneath first violins.
  • Attend to the Classical phrasing that Mendelssohn inherited from his study of Haydn and Mozart. Resist the urge to over-romanticize; these phrases want clarity and proportional breathing.
  • Use the three-movement architecture to shape rehearsal priorities. Typically the first and third movements present the greater technical and ensemble challenges, so sequence your sectional work accordingly.
  • Check the original instrumentation (8-8-5-5-5 string count) against your available players. If your section sizes differ significantly, adjust the dynamic markings to maintain the intended textural balance.

How to use it

Program this as a centerpiece of a concert devoted to string works, where it can stand beside contemporary string compositions or earlier Classical symphonies by the composers Mendelssohn studied. Alternatively, use it as the symphonic anchor in a mixed concert, since its three-movement form and moderate length make it a natural structural element.

Skills your students will build

  • Reading sustained symphonic form across three movements
  • Maintaining independence of inner string voices while preserving ensemble blend
  • Classical phrasing and proportional articulation
  • Balancing exposed viola and cello lines with upper strings
  • Understanding the relationship between Classical models and emerging Romantic language

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