Analysis of Mendelssohn’s Italian Symphony

Introduction Felix Mendelssohn is one of the most famous composers of the 19th century. He showed some romantic features in his music, but he was strongly influenced by traditional genres such as counter points. In this article we will learn about biographies of the author, background type, and analysis of works in Mendelssohn 's biography sketch. Mendelssohn was born in Hamburg in 1809. His father Abraham Mendelsohn was a banker and his mother Lea Mendelssohn was a highly educated artist and musician.

In childhood, Mendelssohn wrote a 13-string symphony from 12 to 14 years old. Since 15 years old, he has created five symphony for the orchestra. The third symphony of A 56 Op 56 is the second and last sequence of this concept. Its first inspiration came from visiting Scotland in 1829. In April, Mendelssohn arrived in London after an unpleasant voyage in Hamburg. Two months later, in a letter to his teacher Zelt, he said his plan for the summer after the end of the London season, expected to travel to the country for Scotland, Sir Walter Scott's job And mostly full of romantic imagination. Along with his friend Karl Klingemann, he set off on a north trip. In Edinburgh, he remembered Mary, the story of the Queen of Scotland, and David Rigio, who killed her at Holyrood Palace, accepting the idea of ​​the Scottish Symphony Orchestra at the first aged chapel.

The Italian symphony was completed in 1833, but it remained unpublished in Mendelssohn 's lifetime due to his intention to correct dissatisfaction with himself and the first movement. The creation of this work was developed during the stay in Italy in 1831. The entire symphony represented by Viennese critic Eduard Hanslick, "it is full of sweet appeal and being drunk by the scent of flowers" is very suitable for composition. Home perspective "The happiest thing I ever had" At the beginning of the first move, the violin provided the original cheerful subject, a repeated wind code. Following the classical program, clarinet and subwoofer play the second theme with busy string accompaniment. The central development of the movement introduced the third theme, and the materials provided by the numbers at the beginning brought about reappearance and re-establishment of the first theme.