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Mendelssohn - Symphony No. 4, "Italian", in A Major, Op. 90

 

The Bay of Naples painted by William James Müller, reflecting the landscape that inspired Mendelssohn’s Symphony No. 4 “Italian.”
"The Bay of Naples"  by William James Müller.
When Felix Mendelssohn visited Naples, he was struck by the city’s poverty yet captivated by the Neapolitan saltarello, which inspired the driving spirit of his Italian Symphony.


Encouraged by his close friend Johann Wolfgang von Goethe, Felix Mendelssohn embarked on an extended journey to Italy in 1830–1831. Arriving in October, he was immediately struck by the country’s noise, colour, and irrepressible vitality. His travels took him through Venice and on to Rome, where a solemn procession of cardinals and the sound of a choir at St Peter’s Basilica made a deep impression—an echo of which can be felt in the symphony’s second movement.

In Naples, Mendelssohn was both shocked by the widespread poverty he encountered and fascinated by the exuberance of local folk life. The rhythmic energy of southern Italian dances left a lasting mark on his imagination, finding its most direct expression in the fiery finale of the symphony. Completed in 1833, the Italian Symphony stands as one of Mendelssohn’s most radiant orchestral works and a vivid musical diary of his Italian experience.


Movements:

Ι. Allegro vivace

The opening movement bursts forth with a joyful and energetic flourish, immediately establishing the symphony’s sunlit character. This exuberant opening soon subsides, giving way to a transitional passage that leads to the second theme—luminous, graceful, and effortlessly flowing.

As the movement unfolds, Mendelssohn skillfully alternates between these contrasting ideas. The first theme returns in subtly varied forms, maintaining a sense of freshness and momentum. The movement concludes with a splendid crescendo and a confident, buoyant close that perfectly encapsulates the spirit of youthful excitement.



ΙΙ. Andante con moto

With the Andante con moto, the atmosphere changes completely. Oboes, bassoons, and violas introduce a solemn, chant-like melody, gently supported by soft pizzicato in the strings. The music evokes a slow, measured procession—often associated with the religious scenes Mendelssohn witnessed in Rome.

The theme briefly reappears as if heard from a distance, before a warmer, major-key idea emerges, glowing softly and then fading away. A series of variations follows, gradually deepening the emotional tone. The movement closes quietly, with a tender resonance in the lower strings.





ΙΙΙ. Con moto moderato

The third movement, Con moto moderato, has the elegant poise of a minuet, though filtered through Mendelssohn’s Romantic sensibility. Light and refined, it unfolds with gentle charm and balance.

A touch of mystery enters with the appearance of a horn trio, whose warm, rounded calls seem to knock softly at the door of the musical texture. When the horns return once more, the minuet theme briefly reasserts itself, only to fade away delicately, bringing the movement to a graceful conclusion.





IV. Saltarello: Presto 

The finale, Saltarello: Presto, erupts with restless energy. Based on a lively Neapolitan dance related to the tarantella, the movement launches almost immediately into its frenetic rhythm. At first restrained, the dance quickly gathers momentum, sweeping the listener along with its relentless drive.

Moments of brief relaxation offer fleeting respite, but the almost breathless whirl soon returns, propelled by the strings and reinforced by the full orchestra. In the final moments, the music briefly recalls the opening material before plunging back into the dance, driving irresistibly toward a thrilling and breathless close.






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