Mendelssohn Symphony No. 3 in A Minor, op. 56 Part III
The slow movement takes the mood of a processional.
III. Adagio
Double variation form
A slow, lyric string introduction with pizzicato notes is answered by the horns. A pizzicato descent and and soft rising and falling string line is joined by the winds before theme one makes its first appearance at 0:39.
Theme one is lyric and calm, flowing amidst soft pizzicatos and occasional wind chords. A rising and falling string line (1:58) signals the transition to the second theme of the movement.
Theme two (2:22) contrasts sharply to theme one (as one might expect!). Where theme one is lyric and almost sings of contentment, theme two is pointed and solemn with its brass chorale and marshal color. The winds continue the theme before the orchestra crescendos to a series of tutti theme two motives over timpani rolls (2:57). A solemn horn call is interrupted by the flute at 3:38, returning us to theme one.
The second variation of theme two is very faithful to the initial statement, but is extended by the winds and strings.
At 4:25 the horns begin to play theme two motives along with pulsing low strings. A timid high string response is accompanied by rising and falling pizzicatos before nervous tremolos resolve to full-blown theme two at 4:54 in the entire orchestra. Motives sequence upwards in the strings and clarinet before a cello line returns us to theme one at 5:32.
The cello statement of theme one is deep and majestic, accompanied as it is with wind and string countermelodies. The deeper voice of the cello imbues the theme with more impetus than it had in previous statements. The transition (6:35) signals the return of theme two.
The third and final statement of theme two begins quietly in the trumpet, timpani, and winds (6:58). It rises powerfully in its second phrase to encompass the full orchestra; a final push for supremacy. A very bleak trumpet call leads back to theme one (8:18).
The last statement of theme one is richer than any other variation we’ve heard so far and is played in the entire string and wind sections. The absence of the pizzicatos and soft timpani rolls add depth. After the familiar phrases we’re treated to an extension of the theme with upward-sequencing motives (9:02) in the strings which soon descend, repeat, and finally resolve to the transitional ascents and descents in the flute and violins at 9:42. The transition is extended by a short string line.
At 10:14 the coda begins with a short theme one-based passage in the winds over pizzicato strings. The timpani sounds softly far in the distance as a series of gradually fading orchestral descents lead to a warm cadential chord.
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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1979 recording with the Israel Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. You can also buy this recording from the iTunes Music Store by clicking on the button below.
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