LindoroRossini's video: Hidden treasures Felix Mendelssohn Reformation Symphony No 5 in D major 1830 iv Andante

≈ History ≈ In comparison with its more renowned Italian and Scottish-themed brethren, Mendelssohn's Fifth Symphony is a work of striking obscurity and somewhat dubious standing among the maestro's oeuvres. Originally conceived for the Centenary of the Augsburg Protestant Confession with a possible premiere venue being the celebrations of the date in Berlin in June of 1830, the symphony due to a number of unfortunate events, including a bout of measles at the Mendelssohn household, was completed only in May, too late to be performed during the festivities (1). In any case, the planned European tour of the composer seemed to be of more pressing importance. However, Mendelssohn would return to the symphony in 1832 in a bid of mounting it as an independent work. In particular, during his stay in Paris he approached the Conservatoire Orchestra on the subject but was turned down on the grounds of the piece being "too learned, too much fugato, too little melody". Only in November of 1832 was the symphony first performed in Berlin under the title "Symphony in Celebration of the Church Revolution". Hereinafter, Mendelssohn virtually ignored the piece, referring to it as "juvenilia". Indeed, the work was published only in 1868 (2). (1): On an interesting note, the celebrations themselves were ultimately cancelled because of the rising political tensions in Europe. (2): Hence its designation as No. 5. ≈ Music ≈ The symphony in question, with its monumental opening of unfilled aspirations, a secondary allegro passage without a clear melodic center and a curiously profane andante, is an uneven work by any standard; thus, one does leave it partially in agreement with Mendelssohn's self-criticism. However, the finale of the piece, though overwrought in its development, is strikingly rich in moments of rare eloquence that one cannot overlook. There is no pause between the finale proper and the preceding andante, with strong cello/bass notes leading directly to the affecting melody of the hymn "Ein feste Burg" first stated by a lone flute (0:08) which is progressively joined in the subsequent descending line by the oboe/clarinet/bassoon (0:18). The violas/cellos/trombones add their voices to the winds' exposed ornamental lines in an even elaborate ensemble (0:47). This extended prelude is rounded out by the addition of the brasses heralding the stately conclusion of the hymn (1:21). After a brief transitional passage which includes allusions to the preceding melody in the wind section over a triplet-laden string bass line (1:36), the second principal theme of the movement is presented by the strings in a boisterous Allegro maetoso (2:08-2:53) with the winds providing support throughout in a series of gratifying effects, such as the doubling of the violins' lines by the flute (2:16) or the trumpet call of the oboe/clarinet/horn/trombone (2:27). The presentation of the second theme fulfilled, the whole string section, led by the second violins, goes through an extended counterpoint episode, faintly recalling the organ music of Bach, while the winds are reduced to a few grace notes (2:53), until a unified wave-like motion from the strings (3:22) leads into a slightly more introverted adaptation of the secondary theme by the flute/clarinet/trombone (3:37). The strings soon force a swift resolution of the secondary theme which cedes its place to a second lyric tableau (4:07), as the violins/violas form a doted accompaniment for an enlightened exchange between the bassoon/cello and the oboe (4:41), briefly developed by the whole orchestra in a manner of a formal chorale (5:14) before a gradual crescendo returns us to the triumphant partial repeat of the second main theme (5:34), most notably centered on a recapitulation of the counterpoint section, this time with the first violins at its helm (5:46), and the jubilant march melody, now stated by the whole orchestra (6:42). After the preceding exuberance, the transition to a stunning duet between the winds and the strings with its long breathed lines and warm violin runs comes as a breath of freshest air (7:08). A striking crescendo episode, employing echo effects in the horn section (7:51), sets up the monumental coda of the work, as the whole orchestra, playing solely in whole notes, restates the Lutheran hymn in a grandiose manner, completely removed from the fragility of the movement's opening yet just as moving (8:05). ≈ Score ≈ The complete sheet music of the movement can be found here (P. 4-36): http://216.129.110.22/files/imglnks/usimg/4/4f/IMSLP25456-PMLP22731-Mendelssohn_Symphony_5_III--IV.pdf ≈ Recording ≈ The Berliner Philharmoniker under Herbert von Karajan (Deutsche Grammophon, 1971-73), graced with the luminous clarity of its wind section and the full-headed attack of the strings, gives a most glorious interpretation of all of Mendelssohn's symphonies, as well as the movement in question. Hope you'll enjoy =).