Mendelssohn: Symphony No. 3 'Scottish'

A Trip That Took Thirteen Years

In 1829, twenty-year-old Mendelssohn set foot in Scotland.

He was deeply moved by the landscape, especially the ruins of Holyrood Palace in Edinburgh—where, it is said, the opening theme of this symphony first came to him.

But he spent a full thirteen years writing the symphony, not completing it until 1842.

Scotland’s mists, the weight of history, and a young man’s longing for distant places—all are sealed by Mendelssohn into this symphony.

The Opening in the Mist

The symphony’s opening is one of the most famous moments in the whole piece.

The low strings murmur, joined by woodwinds and harp, creating a moist, hazy atmosphere characteristic of the Scottish Highlands. Lahav Shani keeps this opening in exactly the right stillness—not mystery, but the patience of waiting in fog.

Then the theme emerges. It carries a Scottish folk color, evolving and developing throughout the movement.

Rotterdam’s Warmth

This album earned a 2025 pick from The Classic Review, which praised it as an “emotional satisfaction” for listeners tired of period-instrument performances.

In recent years many conductors have favored period instruments or historical approaches for Mendelssohn. Shani does not. He lets the Rotterdam Philharmonic, with modern instruments and rich tone, release Mendelssohn’s romance and passion fully.

This is not archaeology. It is making the music come alive.

Movement II — Bagpipes

The second movement is a signature of the symphony. Here Mendelssohn imitates Scottish bagpipes—not literally, but with clarinets and bassoons reproducing that melody over a sustained drone.

Shani makes this movement light and rustic with joy, like a festival in the Highlands.

Finale — Homecoming

The fourth movement is the symphony’s triumph. It moves from a chaotic, warlike opening to a final solemn and radiant conclusion.

Some scholars see this finale as symbolizing the glory of a Scottish national hero. Whatever the symbolism, Shani brings this ending to a true “epic” height—grand, affirmative, yet carrying a deep stillness.

Why Listen

This is an underrated symphony. Among Mendelssohn’s works, it is often overshadowed by the Italian.

But the Scottish has greater depth—it fuses the romance of a travelogue, the weight of history, and the brilliance of the finale. Shani and the Rotterdam Philharmonic attend to every side of it just right.

If you want a symphony recording that is an “emotional satisfaction,” this is it.

Further Listening

For Mendelssohn’s art-song tradition, Fatma Said’s Lieder includes songs by Mendelssohn and his sister Fanny. And Rachmaninoff’s orchestral works offer another romantic orchestral landscape.