Mendelssohn Symphony 4 Italien, Sheet Music, Program notes and recordings

A Postcard in Blue and Gold

"This is Italy!" the 21-year-old Felix Mendelssohn wrote to his family from Rome in 1830. "And now has begun what I have always thought… to be the supreme joy in life." For the young German composer, his grand tour of Italy was a life-changing experience. He was utterly enchanted by the vibrant culture, the sun-drenched landscapes, and the magnificent art of Rome, Naples, and Florence. It was in this state of overwhelming joy and inspiration that he began to sketch his Symphony in A major. He worked on it throughout his travels, writing to his sister Fanny that it was "making great progress" and would be his "jolliest" work yet. The symphony is a direct and brilliant translation of his experiences into sound—a musical diary of a young Northerner captivated by the warmth and energy of the South.

The Unhappy Perfectionist

Given the symphony’s radiant confidence and enduring popularity, it is one of music history’s great ironies that Mendelssohn himself was never happy with it. The work was a resounding success at its 1833 London premiere, yet the composer, a relentless perfectionist, immediately began to have doubts. He revised the score in 1834 and planned further, more extensive changes that he never found the time to complete. Because of this deep dissatisfaction, he refused to allow the symphony to be published during his lifetime. It was only released posthumously in 1851, which is why this work, the third symphony he completed, is confusingly numbered as his fourth. Fortunately for us, the world has chosen to ignore the composer’s misgivings and has embraced the "Italian" Symphony as a perfect masterpiece.

Movement I (Allegro vivace): A Burst of Sunshine

The symphony opens with one of the most joyful and explosive gestures in the entire repertoire. Over rapidly pulsing woodwind chords that shimmer like light on water, the violins launch into an exuberant, leaping theme that soars with pure, unadulterated glee. This is music of brilliant blue skies and boundless youthful energy. The entire movement, a perfectly crafted sonata form, is propelled by this ceaseless rhythmic vitality. Mendelssohn’s orchestration is at its most brilliant, creating a sound that is both powerful and transparent. It is a breathtaking depiction of the sheer exhilaration Mendelssohn felt upon his arrival in Italy.

Movement II (Andante con moto): A Solemn Procession

The second movement provides a complete contrast in mood and color. The key shifts to a somber D minor, and the music takes on the character of a solemn, steady march. It is widely believed that Mendelssohn was inspired by a religious pilgrims' procession he witnessed in Naples. The movement opens with a chant-like melody intoned by the oboe, bassoon, and violas, over a walking bass line in the cellos. This austere, almost archaic theme alternates with a more lyrical, brighter passage in the clarinets. The music creates a powerful sense of historical depth and reverence, a moment of shade and reflection after the brilliant sunshine of the opening.

Movement III (Con moto moderato): A Graceful Interlude

In place of a lively scherzo, the third movement is a poised and graceful dance of a distinctly non-Italian character. Its flowing melodies and refined, elegant orchestration feel more like a German minuet or Ländler than a rustic Italian folk dance. It is a beautiful and gentle interlude, showcasing Mendelssohn the classicist. Delicate fanfares in the horns and bassoons add a touch of romantic nostalgia, but the overall mood is one of calm and effortless poise. It is a moment of refined beauty before the wild, unrestrained energy of the finale.

Movement IV (Presto and Saltarello): A Fiery Italian Dance

The symphony’s finale is its most overtly "Italian" and arguably its most brilliant movement. It is a wild, whirling dance based on the Roman Saltarello, a folk dance characterized by its fast tempo and energetic leaps. Mendelssohn combines the saltarello’s leaping rhythm with the frantic, perpetual-motion energy of another Italian dance, the Tarantella. The most surprising and ingenious feature of this finale is its key. After a symphony that has been overwhelmingly in the bright key of A major, Mendelssohn casts his finale in a fiery A minor. This gives the dance a wild, almost demonic and dangerous edge. It is not the happy, carefree folk dance of a tourist's postcard, but something more primal, ancient, and exhilarating. The orchestra, led by the frenetic flutes and strings, becomes a whirlwind of motion, bringing the symphony to a breathless and electrifying conclusion.

A Legacy of Joy

Despite Mendelssohn's own reservations, the "Italian" Symphony has become his most popular and frequently performed symphony. It is a work that perfectly captures the spirit of a place as seen through the eyes of an enchanted visitor. It is a brilliant fusion of German structural discipline and Italian light and energy. From its radiant opening to its fiery close, the symphony is a celebration of life, youth, and the profound joy of discovery. It is the ultimate musical holiday, a work that has never failed to captivate and exhilarate audiences.