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Edinburgh, a long and sometimes arduous trip by stagecoach that Mendelssohn documented through adept pencil drawings and pen and ink sketches. After that they toured the Scottish Highlands, went as far west as the Atlantic islands of Staffa and Iona, and then returned to England via Glasgow. Though Mendelssohn would visit England ten times counting that first trip, he would never again go to Scotland. Still, the three weeks he spent there in 1829 left a deep impression.
After visiting the Palace of Holyrood in Edinburgh, he wrote this account to his family back in Berlin:“ In the evening twilight we went today to the palace where Queen Mary lived and loved; a little room is shown there with a winding staircase leading up to the door: up this way they came and found Rizzio in that dark corner, where they pulled him out, and three rooms off there is a dark corner, where they murdered him. The chapel close to it is now roofless, grass and ivy grow there, and at that broken altar Mary was crowned Queen of Scotland. Everything around is broken and mouldering and the bright sky shines in. I believe I have found today in that old chapel the beginning of my‘ Scottish’ Symphony.” At that point he jotted down 16 measures of music; and though he set them aside for another decade, they would indeed serve as the eventual opening of his“ Scottish” Symphony.
Although Mendelssohn does not draw on Scottish melodies in his score, listeners have been happy to hear its flavor as authentically Scottish in spirit, replete with pentatonic melodies, sparkling rhythms, and, in its fast movements, an infectious warmth of heart.
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.
JAMES M. KELLER, the longtime Program Annotator of the San Francisco Symphony and the New York Philharmonic, is the author of Chamber Music: A Listener’ s Guide( Oxford University Press).
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