Symphony No. 5 (Mendelssohn)
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The Symphony No. 5 in D Major, op. 107, called the "Reformation" Symphony, was composed by Felix Mendelssohn in 1832 in honor of the 300th anniversary of Martin Luther’s Augsburg Confession which had established the founding doctrines of Lutheranism and was a momentous document of the Protestant Reformation. The symphony was written for a full orchestra and was the first extended symphony that Mendelssohn had written. The late opus number is misleading. One theory is that Mendelssohn composed the symphony in 1830 prior to his 2nd, 3rd, and 4th Symphonies but it was lost and published, after his death, in 1868.[citation needed] Although the symphony is not very frequently performed, it is better known today than it was during Mendelssohn's lifetime.
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[edit] History
[edit] Composition
In December 1829, a year before the King of Prussia, Frederick William III, had even announced the tercentennial Augsburg celebrations, Mendelssohn began work on the Reformation Symphony. As a devout Lutheran, Mendelssohn hoped to have it performed at the festivities in Berlin which took place on 25 June 1830. He had intended to finish the composition by January 1830 and tour for four months before the celebrations began in June. However, his ill health caused the Reformation Symphony to take longer to compose than he had initially expected. In late March the symphony was still in a state of fabrication, and in an inauspicious turn of events Mendelssohn caught measles from his sister Rebecca. With a further delay of the composing and touring, Mendelssohn eventually completed the symphony in May. Unfortunately, it was too late for the Augsburg commission to recognize the symphony for the celebrations.
[edit] Failure for formal commission
There are many speculations why commissions and appointments, which Mendelssohn relied heavily on for his performance in the tercentennial Augsburg celebrations and perhaps the establishment of a career in Berlin, never materialized. It is believed that antisemitism may have played a role in the misfortune.Ballan, Judith. "Mendelssohn and his Reformation Symphony". JAMS 60(1987): 322. Mendelssohn was raised a Lutheran but was still considered Jewish in Berlin. Many of his friends, including Carl Friedrich Zelter and Wilhelm von Humboldt, may have been wary of his composition because of his Jewish heritage and especially because the Augsburg celebration was a religious one.[citation needed] Another speculation is the intervention of a competitor, Eduard Grell, who had already established himself as a competent and successful composer who was gaining considerable popularity in Berlin.[citation needed] Grell was extremely conservative in his compositions, which matched what the Augsburg celebrations demanded, in contrast to Mendelssohn's extensive, quixotic symphony, which may have been thought inappropriate at the time.[citation needed]
[edit] Touring
Mendelssohn resumed his touring immediately after he had completed the Reformation Symphony. Distraught and disappointed, he did not bother to try to perform at London.[citation needed] During the summer of 1832, Mendelssohn returned to Berlin where he revised his symphony.[citation needed] Later that year a performance of the Reformation Symphony finally took place.[citation needed] It was not performed again until 1868.[citation needed]
[edit] Loss of enthusiasm
Mendelssohn had considered the Reformation Symphony as one of his failed works, and did not allow for it to be published.[citation needed] However, the piece was published posthumously in 1868 and is now performed by many orchestras worldwide.[citation needed]
[edit] Instrumentation
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani and strings.
[edit] Form
The symphony is in four movements:
A typical performance lasts about 33 minutes.
[edit] First movement
The first movement is in sonata form. During the slow introduction, Mendelssohn institutes the "Dresden Amen" on the strings. Mendelssohn's version of the main theme of the "Dresden Amen" is as follows:
(This is essentially the same phrase as the "Grail" leitmotif used by Richard Wagner in Parsifal.
The strings are defeated by the full brass which plays as follows:
The "Dresden Amen" soon reappears back on the strings and the alternation continues until the Allegro con fuoco. The second theme, the Allegro con fuoco, shifts to D minor but is still a derivative of the "Dresden Amen." The Allegro con fuoco opens as follows:
[edit] Second movement
The second movement, a scherzo, is not much different from the first movement. It begins with a dotted inversion of the "Dresden Amen." The inversion of the "Dresden Amen" present throughout the second and third movements is as follows:
[edit] Third movement
The third movement, in G minor, is much more restrained and is primarily for the strings. Again, parts of the "Dresden Amen" emerge. The third movement ends with a reference to the second theme of the first movement.
[edit] Fourth movement
The fourth movement is in sonata form and is in 6/8 time. It is based on Martin Luther's chorale Ein' feste Burg ist unser Gott (A Mighty Fortress is Our God). The second theme is an inversion of the Allegro con fuoco of the first movement. At the very end of the coda, a powerful version of Martin Luther's chorale is played by the entire orchestra.
[edit] References
- Heuss, Alfred. 1904. "The 'Dresden Amen': In the First Movement of Mendelssohn's 'Reformation' Symphony." The Musical Times 45, no. 737 (4 July): 441–42.
- Marek, George R. 1972. Gentle Genius: The Story of Felix Mendelssohn. New York: Funk & Wagnalls.
- Palmer, John. 2007. "Symphony No. 5 in D major/D minor ('Reformation'), Op. 107."All Music Guide (2 February)
- Silber, Judith. 1987. "Mendelssohn and His ‘Reformation’ Symphony." Journal of the American Musicological Society 40, no. 2 (Summer): 310–36.
[edit] External links
- Symphony No. 5 was available at the International Music Score Library Project.
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