Mendelssohn Symphony No. 3 in A Minor, op. 56 Part IV
The cathartic fourth and final movement of Mendelssohn’s Symphony No. 3 in A Minor.
IV. Allegro vivacissimo- Allegro maestoso
Sonata form
A powerful descending fifth reveals a march-like rhythm in the brass, quickly pierced by descending strings in a dotted rhythm (theme one). The theme repeats in the winds, growing into the transition (0:37). The transition is characterized by two-note chromatically descending steps and sounds chaotic before the trumpets cut through the haze at 0:55 with a loud fanfare over rapid rising and falling strings.
Theme two appears at 1:08, a furtive, quiet wind theme over tremolo strings. After the first phrase the orchestra, lead by the trumpets, enters with a descending line in major. The winds answer with the first phrase before the trumpets return. Restrained, upward-sequencing three note turn motives end the exposition.
Theme one returns at the beginning of the development (1:53) with rapid alternation between the strings and winds. Theme-one based string descents under a trumpet note rise again before a transitory passage (2:17) with tutti theme one ascents and a rising bass line. The opening phrase of theme one is passed between the winds and strings before a fluttering wind choir begins the development of the transition theme at 3:06.
The transition’s development starts with a faithful statement followed by immediate modulation by the strings. A long bassoon and flute descent (3:16) is heard over increasingly agitated low strings as the two-note descents sound in the clarinet and oboe. Transition motives gather strength and pass to the strings and brass (3:35), building into a tutti theme two (3:51).
Theme two does not last long, as theme one returns at 4:04 in an almost squawking wind section and answered by forceful strings to begin the recapitulation. Theme one returns in earnest at 4:11, followed by theme two at 4:37. The pace slows as the brief recapitulation ends and the orchestra gathers its breath for the blistering coda.
The tempo starts to accelerate again at 4:59 with theme one motives in the strings and winds. Theme one with playful little wind runs (5:08) builds into the transition (5:21) over another powerfully rising bass line. The tumultuous battle music continues with a repeating bass line and massive two-note figures everywhere in the orchestra.
As the music quiets, the flutes, horns, and trombones play a fanfare-like motive (6:09) and the strings begin a quiet tremolo. This is the same type of background that Johannes Brahms used in the fourth movement of his Symphony No. 1 in C Minor. The clarinets quietly intones theme two, repeated by the bassoon. They begin to repeat a series of arpeggios before the strings descend at 6:56.
An entirely new theme against a timpani roll rises after a long pause at 7:15. In stark contrast to the tense and dramatic material presented earlier in the movement, this section symbolizes the triumph of light over dark in the tradition of Beethoven’s 5th and later Brahms’ 1st. Slow and majestic, the theme seems to describe a royal procession or celebration. Trumpet countermelody decorates the main theme in its second repetition at 8:03. Low brass statements are answered by faster trumpet and timpani figures at 8:45. This section is repeated with the strings before the opening motive is reprised and repeated (9:19). The symphony ends on tutti descent and a series of cadential chords.
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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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