Symphony No. 3 in A Minor

Had Mendelssohn finished his Scottish Symphony in 1829, it would have been his second such work in order of composition. However, its completion in 1842 made it his fifth, though his third in terms of publication. Its origins lie in a sombre melody, inspired by a visit to the ruined chapel at Edinburgh’s Holyrood House, which prefaces the first movement and can be detected throughout—not least the theme that dominates the following “Allegro”, its agitation provoking a tempestuous development and then, after a curtailed reprise, a forceful coda that subsides into a return of the introduction. Continuing without pause (as do all four movements), the “Vivace” is a scherzo whose animated main theme alternates with contrasted ideas before a close of deft understatement. The “Adagio” features a wistfully expressive melody, which is contrasted with the implacable chorale-like theme, twice intruding on its not untroubled course. Hitting the ground running, the final “Allegro” is dominated by a theme whose rhythmic impetus holds good until an allusion to the introduction seems to bring the whole work full circle. Instead, this becomes a majestic melody, which builds to a triumphant apotheosis. The audience at the Leipzig premiere on 3 March 1842 gave the Symphony an enthusiastic reception, one it has continued to enjoy even today.