Grove's dictionary of music and musicians

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786 SYMPHONY
called Saltarello, he seems to have given a,
more free rein to his fancy in portraying some
scene of unconstrained Italian gaiety of which
he was n, witness ;
and though there is an underlying
consistency in the usual distribution
of keys, the external balance of subjects is not
so obvious. The last movement is hence the
only one which seems to depend to any extent
upon the programme idea ; in all other respects
the symphony belongs to the ' classical ' order.
Indeed such a programme as the purpose to
reproduce impressions of particular countries is
far too vague to lend itself to exact and definite
musical portrayal of external ideas, such as
might take the place of the usual outlines of
structure. In fact it could lead to little more
than consistency of style, which would be
equally helpful to the composer and the
audience ; and it may well have served as an
excuse for a certain laxity and profusion in the
succession of the ideas, instead of that difficult
process of concentrating and making relevant
the whole of each movement upon th§ basis of
a few definite and typical subjects. The characteristics
of the work are for the most part
fresh and genial spontaneity. The scoring is of
course admirable and clear, without presenting
any very marked features ; and it is at the
same time independent and well proportioned
in distribution of the various qualities of sound,
and in fitness to the subject-matter.
In orchestral effects the later symphony
the Scotch, in A minor—is more remarkable.
The impressions which Mendelssohn received in
Scotland may naturally have suggested more
striking points of local colour ; and the manner
in which it is distributed from first page to
last serves , very good purpose in unifying
the impression of the whole. The effects are
almost invariably obtained either by using close
harmonies low in the scale of the respective
instruments, or by extensively doubling tunes
and figures in a similar manner, and in a
sombre part of the scale of the instruments ;
giving an effect of heaviness and darkness
which were possibly Mendelssohn's principal
feelings about the grandeur and uncertain
climate of Scotland. Thus in the opening
phrase for wind instruments they are crowded
in the harmonies almost as thick as they will
endure. In the statement of the first principal
subject again the clarinet in its darkest region
doubles the tune of the violins an bctave lower.
The use of the whole mass of the* strings in
three octaves, with the wind filling the harmonies
in rhythmic chords, which has so fine
and striking an effect at the beginning of the
'
working out ' and in the coda, has the same
basis ; and the same effect is obtained by
similar means here and there in the Scherzo ;
as for instance where the slightly transformed
version of the principal subject is introduced
by the wind in the Coda. The same qualities
are frequently noticeable in the slow movement
and again in the coda of the last movement.
As in the previous symphony, the structure is
quite in accordance with familiar principles.
If anything,, the work errs rather on the side
of squareness and obviousness in the outlines
both of ideas and structure ;
as may be readily
perceived by comparing the construction of the
opening tune of the introduction with any of
Beethoven's introductions (either that of the
D or Bi> or A Symphonies, or his overtures)
or even the introduction to Mozart's Prague
Symphony. And the impression is not
lessened by the obviousness of the manner in
which the succeeding recitative passages for
violins are introduced ; nor by the squareness
and tune-like qualities of the first subject of
the first movement, nor by the way in which
the square tune pattern of the Scherzo is
reiterated. In the manipulation of the familiar
distribution of periods and phrases, however,
he used a certain amount of consideration.
For example, the persistence of the rhythmic
figure of the first subject of the first allegro,
in the inner parts of the second section of that
movement, serves very good purpose ; and the
concludingof the movement w^ith the melancholy
tune of the introduction helps both the sentiment
and the structural effect. The scherzo is
far the best and most characteristic movement
of the whole. In no department of his work
was Mendelssohn so thoroughly at home ; and
the obviousness of the formal 'outlines is less
objectionable in a movement where levity and
abandonment to gaiety are quite the order of
the day. The present Scherzo has also certain
very definite individualities of its own. It is a
departure from the Minuet and ' Trio ' form,
as it has no break or strong contrasting portion
in the middle, and is continuous bustle and
gaiety from beginning to end. In technical
details it is also exceptionally admirable. The
orchestral means are perfectly suited to the end,
and the utterances are as neat and effective as
they could well be ; while the perfect way in
which the movement finishes off is delightful to
almost every one who has any sense for art. The
slow movement takes up the sentimental side
of the matter, and is in its way a good example
of his orchestral style in that respect. The last
movement, Allegro vivaoissimo, is restless and
impetuous, and the tempo-mark given for it in
the Preface to the work, 'Allegro guerriero,'
affords a clue to its meaning. But it evidently
does not vitally depend upon any ideal programme
in the least ; neither does it directly
suggest much, except in the curious independent
passage with which it concludes, which has more
of the savour of programme about it than any
other portion of the work, and is scarcely explicable
on any other ground, It is to be noticed
that directions are given at the beginning of the
work to have the movements played as quickly