Symphonies Nos. 3 & 4: CD

Name: Symphonies Nos. 3 & 4: CD
Brand: Alfred Music
SKU: 99-8553200
Price: 9.99 USD
Availability: InStock

Felix Mendelssohn

Item: 99-8553200

$9.99

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In childhood, Mendelssohn had written thirteen string symphonies between the ages of twelve and fourteen. In what must pass for maturity, starting at the age of fifteen, he wrote five more symphonies for full orchestra. Symphony No. 3 in A minor, Opus 56, was the second in conception and the last in order of completion. Its first inspiration came from a visit to Scotland in 1829. In April Mendelssohn had arrived in London, after an unpleasant voyage from Hamburg. Two months later in a letter to his teacher, Zelter, he mentioned his plans for the summer: After the end of London season, he projected a journey to Scotland, a country that figured largely in romantic imagination thanks to the work of Sir Walter Scott. Accompanied by his friend, Karl Klingemann, he travelled North. In Edinburgh, he recalled the story of Mary, Queen of Scots, and the murder of her secretary, David Rizzio, in the palace of Holyrood, and in the ruined chapel first entertained the idea of a Scottish symphony. Further north he could comment on the climate, remarking that the Highlands brew nothing but whisky, fog and foul weather, while the voyage by steamer to see the island of Staffa and what he described as the odious Fingal's cave, made him sea-sick. In spite of this he immediately sketched the opening theme of the Hebrides Overture, which was later revised to be performed in 1832 in London, where it won immediate popularity.

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Publisher: Naxos

UPC: 730099420020

SKU: 99-8553200

More about this title

About the Composer: Felix Mendelssohn

Felix Mendelssohn (1809-1847) was a German composer whose formal training and classical education set him apart from many of his Romantic contemporaries. A prodigy who conducted orchestras and performed as a virtuoso pianist, Mendelssohn spent his career synthesizing the architectural clarity of earlier symphonic traditions with the emotional directness and literary inspiration of his own era. His travels across Europe, particularly to Scotland and Italy, became direct sources for major orchestral works, including these two symphonies that showcase his gift for translating landscape and historical narrative into symphonic argument.

Mendelssohn's influence on music education extends beyond his compositions. As a conductor, teacher, and founder of the Leipzig Conservatory, he shaped pedagogical standards that remain central to instrumental and orchestral training. His symphonies reward conductors and orchestras willing to approach them with both textural clarity and emotional commitment, and they remain essential repertoire for understanding how the Romantic symphony developed.

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Why we love this

These recordings unlock two contrasting symphonic visions: the Scottish Symphony's turbulent A minor passion and structural innovation alongside the lyrical Italian Symphony's sunlit orchestration and dance rhythms. Mendelssohn's orchestration here is exemplary—transparent enough to reveal counterpoint but full enough to sustain Romantic sweep—making these works invaluable models for conductors studying how to achieve both clarity and drama.

What to expect

The Scottish Symphony unfolds with brooding intensity and architectural power, its themes emerging from mist and shadow. The Italian Symphony, by contrast, dances in brilliant A major light, evoking Mediterranean landscapes and the youthful optimism of Mendelssohn's Italian journey.

Who it's for

Conductors, orchestra members, and serious listeners studying Mendelssohn's symphonic output or seeking to understand how program music and absolute form coexist in the Romantic symphony. These recordings also serve music history courses exploring early nineteenth-century orchestral practice and the relationship between travel, inspiration, and large-scale composition.

How to get the most out of it

Study the historical context before your first listening pass. Mendelssohn sketched the Scottish Symphony's themes during his 1829 visit to Holyrood Palace; understanding this biographical link enriches how you hear the turbulence in the first movement and the reflective passages that follow.
Pay attention to Mendelssohn's handling of the orchestra across both works. The Italian Symphony's lighter orchestral textures and dance idioms contrast sharply with the Scottish Symphony's darker sonorities, offering insight into how composers use instrumental color to establish character.
Notice the harmonic language in both symphonies. While rooted in classical procedures, Mendelssohn explores chromatic voice-leading and unexpected modulations that feel forward-looking; this bridges Classical and late Romantic practice.

How to use it

Program the Scottish Symphony as an anchor for a concert exploring Romantic nationalism and literary inspiration in orchestral music; pair it with shorter character pieces or contemporary concert overtures. The Italian Symphony's brightness and accessibility make it an excellent bridge between Classical symphonic traditions and more ambitious Romantic repertoire in a survey concert or educational series.

Skills your students will build

Recognizing how historical events and travel experiences shape thematic material and orchestral color
Understanding harmonic language that bridges Classical structure and Romantic chromaticism
Identifying orchestration techniques that achieve both transparency and emotional intensity in large ensembles
Comparing symphonic approaches across related works (both symphonies in different keys, different emotional worlds)