CONCERTS WITH

COMMENTARY

Eugenie Middleton and Peter Thomas

Symphony No.4 “Italian”
by Felix Mendelssohn

INTRODUCTION AND INDEX

This unit provides teachers with an easily usable interactive resource which supports the film APO Unwrap
the Music – Symphony No. 4 “Italian” by Felix Mendelssohn. There are a range of activities which will
see students gain an understanding of the music of Mendelssohn, orchestral music, and how music is
composed. It provides activities suitable for primary, intermediate and secondary aged students.
In the primary and intermediate portion of this resource, the activities are transdisciplinary. They integrate
all strands of the arts curriculum as well as incorporating other curriculum areas across the New Zealand
Curriculum. The goal is for this unit to be able to be used throughout the term, integrated into all areas of
learning. In the secondary section, the activities are designed to align with a range of assessment systems,
while also encouraging students to explore orchestral music, as well as developing their own creativity.
The activities can be adapted to suit the needs and abilities of all students. There are provocations for
inquiries, independent activities and collaborative tasks to explore.

GENERAL INFORMATION SECONDARY FOCUS

1. Introduction and Index 31. The Symphony
2. Background Information 33. Sonata Form
3. Listening Guide 37. Transposition
14. Transcript of Film 39. Transposition Answers
41. Arranging and Improvising
PRIMARY & INTERMEDIATE FOCUS 42. Analyse a Substantial Music Work
19. Wordfin 43. Research Ideas
20. Terminology Task 44. Class Research Task
22. Art Response 49. Recall Assessment
23. Dance Activities 55. Context Questions
24. Sonata Form Composition Activity
27. Improvisation Task RESOURCES
29. Original Composition Activity 56. Movement One Arrangement
30. Inquiry Suggestions 61. Movement One – first page of score
62. Movement Two – first page of score
63. Movement Three – first page of score
64. Movement Four – first page of score

Here is a link to the full orchestra score – Full Score

You may wish to print it, or alternatively download the PDF and annotate directly on to it.

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Symphony No.4 “Italian”
by Felix Mendelssohn

BACKGROUND INFORMATION
THE SYMPHONY
This symphony was Mendelssohn’s Fourth Symphony
and is often referred to as the “Italian”, as he
composed this wonderful work after a trip to Italy. It
is evident in the many letters he wrote back to his
friends and family, that Mendelssohn felt very alive in
Italy, he found it beautiful and exciting and the ideas
in the Symphony reflect this. It was commissioned
by the London Philharmonic Society in 1831 and
fi st performed in London in 1833, but Mendelssohn
was never completely happy with the work and kept
revisiting it and refi ing parts of the composition. It
wasn’t published until after he died.
places he visited. He loved to learn new ideas from
people all over the world. His famous quote is “If I rest,
I rust.” What an amazing positive mindset he must
have had!
THE ROMANTIC PERIOD
The Romantic Period went from approximately 1820
to 1900. Romanticism originated in Europe and
encompassed literary, artistic, musical and intellectual
elements. Romantic music contained many song-
like melodies, and Mendelssohn was well known
for his lyrical, romantic motifs. In contrast to the
Classical Period, Romantic music had much more
freedom in form and design. The music contained

THE SYMPHONY IS IN FOUR MOVEMENTS contrasts in dynamics, a rich harmonic language and
a wider range of melodic ideas. In most orchestral
1. Allegro Vivace compositions, larger orchestras were utilised,
2. Andante con moto however, in his Fourth Symphony, Mendelssohn
composed for only two of each woodwind and brass
3. Con moto moderato
instruments, a relatively small orchestra for the time.
4. Presto and Finale
It is scored for a relatively small orchestra for the time
of composition, the Romantic Period.
2 fl tes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2
trumpets, timpani and strings.

The Composer
Felix Mendelssohn was a famous German Romantic
composer. He lived from 1809 - 1847, dying at the
young age of 38 after a series of strokes. He was a
child prodigy, was inspired by many composers and
is famous for helping revive the music of J.S. Bach.
Bach may not have been so famous today if it had not
been for Mendelssohn – imagine that! Mendelssohn
loved to travel and his works were often inspired by

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Symphony No.4 “Italian”
by Felix Mendelssohn

LISTENING GUIDE
The following worksheet will help you get the most out of watching the APO Film Unwrap the
Music: Mendelssohn Symphony No.4 – “Italian”.
The numbers in brackets indicate the minutes and seconds where pertinent information for that
section can be found.
Possible viewing sequences:
1. Watch the film in its entirety.
2. Watch the film and take notes under the headings.
3. Watch the film, stopping and starting, with the classroom teacher explaining content further.
4. Go back to specific areas to gather extra information.
5. Google additional information from reputable sources to gain an even greater
understanding under each of the headings.

MOVEMENT 1: MOVEMENT 3:
 llegro Vivace – Opening until 17’04’’
A Con moto moderato – 28’37’’ - 33’12’’
EXPOSITION Orchestration focus
First Subject Section – 2’55’’ - 6’55’’
Second Subject Section – 7’56’’ - 9’49’’
MOVEMENT 4:
Presto and Finale : Saltarello – 33’13’’ - 40’17’’
Codetta – 9’50’’ - 10’39’’
Dance forms of Saltarello and Tarantella discussed
DEVELOPMENT Section – 10’40’’ - 13’56’’
RECAPITULATION Section – 14’07’’ - 17’04’’ ENTIRE PERFORMANCE:
40’18’’ - end
MOVEMENT 2:
Andante con moto: Pilgrim’s March –
17’05’’ - 28’36’’
Transposition focus – 24’50” - 28’36’’

NOTE TAKING
Watch the fi m and take notes under the following headings.
Research further areas pertinent to your area of study.

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MENDELSSOHN (OPENING - 2’03’’)
In which style of music did Mendelssohn compose?

What infl enced the composition of this work and it’s style?

Listen to the opening excerpt played by the Auckland Philharmonia Orchestra (55’’ - 1’17’’). Write down words
that describe this opening melody. Can you hear the infl ence of his happy travels to Italy?

The conductor informs us of some of Mendelssohn’s famous works.

What are they? (1’17’’ - 2’03’’)

Why is his Fourth Symphony considered one of his happiest?

Who was a major infl ence on Mendelssohn’s works? What effect did he have on that composer’s works?

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MOVEMENT 1: ALLEGRO VIVACE (2’04’’ - 17’04’’)
What form is this movement in? What are the main sections of this form?

EXPOSITION SECTION
FIRST SUBJECT: (2’55’’ - 5’49’’)
What section of the orchestra plays the theme?

In this opening subject, how do the fi st and second violins relate to each other? What is unusual about this?
What could have infl enced this?

What is the role of the woodwind and french horns in the fi st subject?

How does the composer achieve momentum?

How does the music change when this feeling of momentum is altered?

ANTIPHONAL WRITING (5’38’’ - 6’55’’)

What is antiphonal writing? How does Mendelssohn use this technique?

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Where is the trumpet motif in this section from?

SECOND SUBJECT: (6’56’’ - 9’55’’)

What instruments introduce the second subject? How do they do this?

How has Mendelssohn composed for the second clarinet and bassoon to support the fi st players?

Describe the string accompaniment throughout the second subject:

CODETTA: (9’55’’ - 10’40’’)

What is the difference between a coda and a codetta?

ADDITIONAL EXPOSITION SECTION NOTES:

DEVELOPMENT SECTION: (10’40’’ - 13’55’’)

Explain what happens in a development section?

What compositional devices does Mendelssohn use in the development section?

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What is unusual about this particular development section?

The conductor talks about how the uncharacteristic new theme is introduced into this movement. Describe how it
is explained. What composer inspired Mendelssohn here?

What do the wind, brass and timpani play on top of the string fugal section?

ADDITIONAL DEVELOPMENT SECTION NOTES:

RECAPITULATION SECTION: (13’56’’ - 16’37’’)

What is a recapitulation?

What differences can you hear in the recapitulation of the fi st subject compared to the exposition?
(You may need to return to the start of the video to listen to the opening again)

What timbral differences can you hear in the recapitulation of the second subject compared to the exposition?

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In the recapitulation section, Mendelssohn now recaps part of the development section. He also uses a pedal
note and contrary motion.
What are these? Can you hear them? Which sections of the orchestra plays each part?

CODA (16’54’’ - 17’04’’)

What is a coda? What chords are used in the coda?

MOVEMENT 2: ANDANTE CON MOTO (17’05’’ - 28’35’’)

What is this movement often called? What does the beautiful hymn tune represent? What instruments play it?

What is the texture at the very start of this movement? What does this mean?

Watch the opening of movement two from 17’45’’ to 19’34’’. Write down the order in which the instruments enter.

When the fl tes join in – what are they playing? What is that?

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WALKING BASS LINE (21’33’’ - 24’49’’)
The conductor explains in detail what a walking bass line is. Can you write in your own words what a walking
bass line is and how you could use it in your own composition. As you listen, try to imagine your own original
melody to go with the bass part.

TRANSPOSITION (24’50’’ - 28’36’’)

What has the conductor asked the clarinettist to do? How does it change the sound of the passage?

Which transposing instruments does the conductor discuss in this section? List information he teaches us about
these instruments below:

Why do we have transposing instruments? Name some which are listed in the film:

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Explain in your own words the transposition rule the conductor discusses, giving two examples from the film:

MOVEMENT 3: MINUET AND TRIO (28’36’’ - 33’12’’)

How does the number of players on a part impact the sound of the orchestra?

Can you hear the difference between one player in each string part compared to the entire string section
playing? What do you prefer and why?

TRIO SECTION (31’20’’ - 33’12”)

What is the trio section? What happens in this section?

What is the form of the minuet and trio?

What key is the minuet?

What is the key of the trio?

What does Mendelssohn use in the last section of the minuet that is compositionally interesting?

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MOVEMENT 4: SALTARELLO (33’13’’ - 39’04’’)
What key is this movement in? Is this usual in a symphony fi ale at the time?

FIRST SUBJECT: SALTARELLO

What is a saltarello? What are the musical characteristics of a saltarello?

Andrew, the concertmaster plays a traditional saltarello from Southern Italy. In your opinion what similarities /
differences can you hear between this and Mendelssohn’s Saltarello?

SECOND SUBJECT: TARANTELLA (36’05’’ - 39’00’’)

What is a tarantella? What is it based on?

What other dance styles do you know which have inspired composers?

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In this passage, the conductor can hear the scurrying of Tarantulas. Can you? What else can you hear? Draw a
picture as you listen. (37’14’’ - 38’31’’)

In the last section, the woodwind join in the tarantella. (38’31’’ - 39’00’’)
In what order do they enter?

1.

2.

3.

4.

ENTIRE SYMPHONY (40’18’’ - END)

Now listen to the entire symphony. Look back at the listening guide and the notes you took as you watch the
complete performance. Enjoy the APO performance and write additional notes below:

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13
Symphony No.4 “Italian”
by Felix Mendelssohn
TRANSCRIPT OF FILM
Hello and welcome to the Unwrap series from the
Auckland Philharmonia. My name’s Peter Thomas
and on stage with me are the wonderful musicians
of the Auckland Philharmonia Orchestra. In this
video we are going to unwrap Mendelssohn’s Fourth
Symphony, the “Italian”.
Background (0’22’’)
Mendelssohn! A great romantic 19th century
composer and somewhat of a prodigy. He wrote
numerous works in his short life and this stands out
as one of the sunniest, one of the happiest. At the
age of 21 he went on his O.E. to Italy, where he had
some of the most rewarding and positive experiences
of his life and as a result he came up with this.
Orchestra plays bars 1-23
Mendelssohn is remembered for numerous works
including his gorgeous violin concerto, his stunning
octet, and of course the twelve string symphonies,
as well as the incidental music to Shakespeare’s
Midsummer Night’s Dream. Of the symphonies,
number four stands out as probably the most famous,
and as well as that, it’s also one of the most popular
and, dare I say it again, happiest. It captured those 10
months he spent in Italy.
Mendelssohn is also famous because he lead to a
revival of the work of Johann Sebastian Bach. Now
just wonder, if he hadn’t been an admirer of Bach,
whether Bach’s music would be where it is today.
First Movement (2’04’’)
We’re going to start by looking at the fi st of the four
movements. This is in sonata form. Sonata form has
three distinct sections. The exposition, where the
composer exposes their ideas to the listener and the
players for the fi st time. The development section
where he or she develops, grows, and changes those
ideas. And in fact in this case, Mendelssohn’s a bit
naughty. He brings in a new theme in that section.
Then there’s the recapitulation section - basically
a recap of the opening, with subtle changes. We’ll
watch out for those. Within each section, the
exposition, the development and the recapitulation we
have themes. We have a fi st subject and a second
subject. We’re going to go back to the opening and
pull that apart and see what Mendelssohn does with
these themes.
First Subject (2’55’’)
Orchestra plays
You’ll notice that the fi sts and seconds (violins) are
playing in octaves - unison octaves. This is quite
unusual. It’s actually taken (perhaps) from Italian
opera. So here we see another inspiration from his
tour of Italy. Often the fi sts and seconds won’t play
perfect unison like that in octaves. They’ll play in
thirds, fourths or fifths depending on the composer.
You’ll also notice it’s a very uplifting, sunny theme,
and as we go back to the very opening when the
whole orchestra played, you’ll notice that the upper
woodwind and upper strings are playing, while the
lower instruments don’t come in until a little bit later.
Some suggest this is to provide a little bit of light
heartedness - some positivity.
We’re just going to pull apart the opening. We’ve just
heard the strings play the theme. The uplifting nature,
the positivity. It’s based on lots of arpeggiated figures.
We’re now going to hear what goes in behind that,
with the woodwind and the horns.
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Woodwind and horns play
That impetus, that momentum, the driving quavers
helps the sunny disposition but it also helps propel
the music forward. Let’s contrast that. What if
Mendelssohn had just gone with dotted minims, long
tones in each bar? Let’s hear that.
Woodwind and horns play dotted minims
Let’s get the whole orchestra playing now, but with
our adjustment, to show you the dramatic change
in the effect. And it’s just not the same. This is not
Mendelssohn as we know it.
Orchestra Plays with dotted minims adjustment
Something is missing and it’s so important to
sometimes contrast what might’ve been. So as
composers, you out there, and as arrangers, really
think about how you can make the music momentous,
have momentum, have a sense of direction. But as
Mendelssohn does, we’re going to go back to the
original now and hear what he wanted and just hear
the difference.
Orchestra plays bar 1-10
Antiphonal writing (5’38’’)
Later in the movement he shows a little bit of what
we call antiphonal writing. It’s sort of like a call and
response across the orchestra. We’re going to hear
that moment now.
Orchestra Plays
And let’s now just hear the strings without the wind,
brass and timpani.
Strings play
And let’s see what goes in the gaps.
Woodwind, Brass and Timpani play
Now you’ll notice that when we heard the whole
orchestra, the trumpet was doing a little fanfare
figure. See if you can figure out where this comes
from.
Trumpets play
Let’s put it all together and see how this little bit of
the jigsaw works - Antiphonal writing.
Orchestra plays
Second Subject (6’56’’)
We’re still in the exposition of the fi st movement, but
now he’s going to introduce his second subject or
second theme. It’s played by the bassoons and the
clarinets
Orchestra plays the second subject
Beautiful and lyrical. That’s a word we hear a lot
around Mendelssohn - lyricism. He writes a good
tune, but this is a beautiful lyrical theme presented
fi st all in the clarinets and the bassoons. Let’s just
hear how they do that.
First bassoon and clarinet play
You heard the fi st bassoon and the fi st clarinet.
Let’s hear how they’re supported by the second
clarinet and the second bassoon - just them.
Second bassoon and clarinet play
So they’re largely playing in thirds. Let’s just put it
together so you’re hearing all four parts together.
Of course clarinet one and bassoon one are unison,
clarinet two and bassoon two have similarities. Let’s
hear what it sounds like.
Bassoons and clarinets play
Underneath that is a beautiful string accompaniment,
with little undulating arpeggios which are quite
intricate. The flow is still there - the flow that we hear
right from the beginning of the movement. Let’s hear
the string section and what they do underneath.
Strings play
Let’s put all the bits together now and see the result.
Orchestra plays
Codetta (9’50’’)
We’re going to head to the end of the exposition now,
to what’s called a codetta. A coda is an end-piece,
while a codetta is like a mini end-piece just to wrap
up the section. This is the codetta from the fi st
movement exposition.
Orchestra plays the codetta
So after the codetta we actually go right back to the
beginning and play the whole exposition again. This
is called a double exposition. It is really reinforcing his
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ideas, making sure we’re really comfortable and that
we’ll recognise things when they come back later in
the symphony.
Development (10’40’’)
After the exposition we have the fun part, the
development. The composer takes us off to different
places. It is often harmonically very interesting,
with some challenges in terms of taking us through
chromatic places, exploring different motifs, and of
course Mendelssohn’s a bit naughty. As I said before,
he brings in a completely new theme in the middle of
this.
Orchestra plays the beginning of the development
section
I’ve talked before about how traditionally you would
not bring in a new theme in the development section.
Mendelssohn’s throwing tradition in our faces. He’s
bringing in this lovely new theme. It’s fi st stated by
the second violins joined by the fi st violins, then the
violas, and then the lower strings. It’s the beginning of
this little fugue. I’d even call it an homage to Bach (his
hero), and it’s a little fugato section. See if you can
spot all the entries.
Orchestra plays new theme
We’re going to hear the strings play their bit of the
theme. Here is the new part of the development with
the new material. It’s also the thing I keep thinking
about as an homage to Bach. Starting with the
second violins, moving to the fi sts, then the violas,
and then fi ally the cellos and basses.
Strings play
On top of this fugal section in the strings, the wind,
brass, and timpani come back with the opening motif
from the symphony.
Wind, brass and timpani play
Recapitulation (13’56’’)
After the development section we go to what’s called
the recapitulation. It’s a recap of the exposition. This
is the opening. You’ll recognise this but I want you to
listen for some differences and see if you can spot
what Mendelssohn changes compared to the very
opening of the symphony.
Orchestra plays the recapitulation section of the first
subject
We’re now going to hear the recapitulation of the
second subject. I want you to have a listen and see if
you can compare and see what’s different compared
to how Mendelssohn fi st stated it in the exposition.
The clue is timbre.
Orchestra plays the recapitulation of the second
subject
Mendelssohn now recaps part of the development
where he introduced the new theme. Now again
look at the contrast from earlier, with the different
instruments and different accompaniment. I want you
to look out for two other things - a pedal note and
some contrary motion writing.
Orchestra plays development theme of
recapitulation
He now recaps a mixture of the opening theme and
the new theme, and he puts them together like a little
dialogue. It’s not just a dialogue of thematic material
but it’s a dialogue between parts of the orchestra.
The strings are conversing with the rest of the
orchestra.
Orchestra plays
We now move to the end of the coda. The end piece
of the fi st movement and it’s a dramatic fi ish. A lot
of tonic, a little bit of dominant and a big fi ale.
Orchestra plays coda
Second Movement (17’05”)
We now move to the second movement, which is
commonly known as the Pilgrim’s March.It’s said to
include a beautiful hymn tune that represented an
image he saw while on tour in Italy. Now we start with
full unison orchestra, it’s monophonic - everybody’s
playing the same thing. It moves to a walking bass
line. Then there is this gorgeous hymn like melody
played by the oboe, the bassoon and the violas. Later
on other instruments join in, particularly the fl tes in
a countermelody. Here is the opening of Movement
Two.
Orchestra plays the opening
We’re going to play that passage again for you now,
but we’re going to leave out the main tune. This
provides you with an opportunity to play along, or to
even develop your own theme to go on top of this
walking bass.
16
Orchestra plays walking bass without the main tune
(19’50’’)
We’re now going to change things up a little bit and
look at the bass line. We have a walking bass line
which basically means walking in steps, with very
simple rhythm and giving a harmonic foundation
that meanders around a little bit. Now this goes
back to baroque times and even earlier, but it’s also
something that’s prevalent a lot in jazz music. So
we’re going to turn the Auckland Philharmonia into
a bit of a nightclub session. We’ve got Gordon on
bass and he’s going to change from arco (bowing),to
pizzicato (plucking) and set up a bit of a jazz bass
sound. We are going to provide a little bit of rhythmic
accompaniment. Now you can improvise on top of
this. You can be inspired by this little line and include
it in some of your arrangements or compositions.
Nightclub session (22’24’’-24’49’’)
Transposition (24’50”-28’35’’)
We’re just going to pop back to the beginning of this
movement, the second movement, the Pilgrim’s March
to illustrate a point. We’re going to play the opening. See
what you can hear that might be a little bit different.
Orchestra plays
We’ll just do that one more time - just with the
woodwind.
Woodwind plays
There’s some funny notes in there we haven’t heard
before. I have asked the principal clarinettist, Bridget,
to play the oboe part but not to transpose it. So the
clarinet she plays on is an A clarinet. It’s pitched in A
and all of her music has to be written out especially
so that it fits with everybody else. When she picks
up something like the oboe part and plays it we get
this little clash - we get a bunch of wrong notes. So,
transposition in orchestras is very important and we
have a range of transposing instruments, from the
clarinets, which come in B flat and A varieties, to the
french horns, which even though the instruments are
largely in F, most of the music of this time is in things
like D and E and a whole bunch of things They’re very
clever because they often just do the transposition
off the written music. We also have the B flat
trumpets, but in this symphony, have a look, there
are D trumpets and E trumpets. Now lesser known
transposing instruments are things like the double
bass. They’re still at concert pitch but their music is
written an octave higher than it sounds which means
it’s still a transposing instrument. We don’t have a
piccolo here today but a piccolo is the same as that
but the opposite. It’s written an octave lower than it
sounds. Otherwise there would be millions of ledger
lines. So to go back to this opening, I’m going to ask
Bridget, clarinet, and some of the other woodwind
players just to play it again. Have a listen and then
we’re going to play it correctly with just the woodwind.
Woodwind play
We’re going to leave Bridget out now and just have
the opening as it should be.
Woodwind play
One more thing about transposing. It can be a little
confusing at times. Why does it have to happen? Why
can’t everybody just play concert pitch instruments?
It’s a mixture of tradition and technology. The fact is
that a lot of the wind and brass instruments sound
really good that long. If they’re a bit longer or a bit
shorter they don’t sound so good, so we have B flat
clarinets and A clarinets etc. Some other transposing
instruments not in orchestras are things like the
saxophones and obviously a lot of other brass
instruments in bands and so forth.
Last point is a very simple transposing rule to think
about. When any instrument reads a C (on their music
they read a C), the note we hear is what I’d call the
key name of that instrument. So if it’s a clarinet in A,
they’re reading a C, we hear an A. If it’s a trumpet
in B flat, they’re reading a C, we’re hearing a B flat.
And that’s a really easy way for you to remember
how transposition works, obviously there’s more
connotations to it but I’ll leave that for you to look at
in the booklet.
Third Movement (28’37”)
We now move to the third movement, which is a
minuet in a more classical style. That’ll make more
sense when we move to the Fourth Movement and
explain the contrast and differences between the
two movements. We’re going to start with the full
orchestra.
Orchestra plays
It’s full of elegance (again the lyricism) and a certain
gorgeousness of sound. We’re now going to look at
the way an orchestra works. I often get asked, “why
are there so many string players?” “Why are there
so few wind and brass?” It comes down to 2 things:
17
Balance of sound and the fact that one string player
sounds completely different to maybe twelve. We’re
going to illustrate that by playing that sequence again,
just with a little chamber ensemble with one player
per part. Then on the repeat we’re going to gradually
add in the other string players and you’re going to see
and hear the difference. This is the opening of the
Third Movement, the minuet.
Orchestra plays with gradual addition of players
Here now is the trio section of the minuet movement.
This is a contrasting middle section. Basically a minuet
is usually an A section, a lyrical dance, and then
there is a contrasting middle section. Our B section,
which you’re about to hear, which is the trio.Then we
return to the A section. Now in this section we have
the horns and bassoons with almost fanfare figures
and then we have the fi st violins and the fl tes with
a little dance-like number that joins in. Now this is
tonally where we move to the dominant. So we’re in E
major here, the minuet was in A major. Here’s the trio.
Orchestra plays the trio
To wrap up the minuet, Mendelssohn uses a little bit
of genius. He brings in bits of the opening minuet,
bits of the trio, and gets the orchestra discussing
those motifs together.
Orchestra plays the coda
Fourth Movement (33’13”)
The last movement is a joyous dance, but not
completely joyous. It’s actually in a minor key which
is quite unusual for a fi al movement of a symphony.
It’s fast. It’s a presto. It rollocks along. It’s called a
Saltarello which is a Southern Italian dance, based
on a triplet feel. It’s got a huge arresting opening, like,
“Wake up audience. We’re fi ishing this with a bang!”
Orchestra plays
We’re going to go back to the beginning of the last
movement. We’re going to play the fi st bar and one
note and show you a gradual build up of orchestral
colour and texture.
Orchestra plays
Saltarello (35’15”)
As I said before, the fourth movement is called the
Saltarello. It’s based on a Southern Italian dance.
Actually, the word saltarello means to jump and it’s
got a very jumpy feel, hasn’t it? We’ve asked Andrew,
our concertmaster to play a traditional saltarello from
Southern Italy.
Andrew plays traditional saltarello
We’re now going to contrast that with what
Mendelssohn uses, which is the fl tes playing in
thirds. Here is a little bit from the beginning of the
Fourth Movement.
Flutes play bars 7-10
Tarantella (36’05’’)
The second subject of the fi al movement is actually
another type of dance called, a tarantella, and it’s
based on the word tarantula, which is a spider. We’re
going to hear what Mendelssohn wrote and then
we’re going to contrast that with Andrew playing a
more folksy tarantella.
Orchestra plays second subject - tarantella
Andrew plays a traditional folk tarantella
The various dance styles of Southern Italy are coming
through really strongly in this movement. Perhaps you
could explore other dances that come from that area
or from other parts of the world, and other composers
that have used dance in their music. We’re now going
to look at a passage where the strings portray, in my
opinion, the scurrying of the tarantulas. It’s a very
busy passage. In the build up, you can see the layers
getting busier. If you’ve got the score in front of you,
you can see the gradual addition of the string section.
Orchestra plays
The last little passage of that section has the
woodwinds joining just before the climactic point. We
hear them coming in, in score order, with beautiful
overlapping entries. Bassoons, clarinets, oboes and
fi ally the fl tes.
Woodwind play
Orchestra plays
We return to the opening driving rhythm of the last
movement for the little coda at the end.
Orchestra play the coda
And now for a complete performance with the
Auckland Philharmonia Orchestra.
18
Symphony No.4 “Italian”
by Felix Mendelssohn

WORDFIND WORDFIND

A R P I L G R I M P Y F Z O I
I C S D P Q G O D E X I W L T
M E N D E L S S O H N N M L A
P B T E C J Y N O K C A E E L
R X R W O Q M F R H F L L R I
O A T F M I P M G B B E O A A
V R U Q P R H A E R L A D T N
I T S V O Z O E L M H F Y L U
S S E G S H N M L N I Y V A I
A E T U E A Y L A T F O T S J
T H N Y R B Y D O N K H Q H I
I C A Z G E R M A N T P B R M
O R D N V C M D D N G I A S T
N O N W O T S E R P C K C E J
X T A R A N T E L L A E H L O

MENDELSSOHN ITALY SYMPHONY

BACH IMPROVISATION ALLEGRO
ANDANTE PRESTO FINALE
COMPOSER GERMAN RHYTHM
PILGRIM SALTARELLO TARANTELLA
ORCHESTRA MOTIF MELODY
DANCE

19
Symphony No.4 “Italian”
by Felix Mendelssohn

TERMINOLOGY TASK
MENDELSSOHN CODA CODETTA
SONATA FORM IMPROVISATION ALLEGRO
ANDANTE PRESTO FINALE
COMPOSER GERMAN WALKING BASS
PILGRIM SALTARELLO TARANTELLA
ORCHESTRA MOTIF MELODY
EXPOSITION DEVELOPMENT RECAPITULATION

Choose 10 of these words, find their definition, and write how these words connect to Mendelssohn’s Fourth Symphony.

20
21
Symphony No.4 “Italian”
by Felix Mendelssohn
ART RESPONSE
ACTIVITY ONE
ART RESPONSE TO MOVEMENT ONE
1. Watch or listen to the APO playing the First
Movement of the Symphony – (from 40’’ to 50’58’’
on the Unwrap film).
2. In groups, students are to brainstorm ideas about
what they think the piece could be about.
What is the setting? Who are the main subjects?
What is happening?
Students brainstorm ideas either independently, in
pairs or collaboratively on a shared doc or piece of
paper.
Using media of their choice – coloured pencils /
paint / collage / sketching pencils / pastels, ask
students to draw their scene.
3. Afterwards, in a sharing circle, students share their
art with the class and explain what is happening
in their picture. What aspects of the music
infl enced their art creation?
Display ideas:
• Attach a brief description or narrative about their
creation to their framed artwork.
• Take a photo of the artwork, upload it to student’s
shared learning spaces and attach the story to the
picture.
• Buddy up students with another friend in the class.
They share art responses and write a story in
response to each other’s work.
• The teacher chooses one art reponse and asks
the class to write a story about what they think is
happening in the picture.
ACTIVITY TWO
ART RESPONSE TO MOVEMENT FOUR
In the fourth movement, Mendelssohn bases his
two main themes on traditional Italian dance forms.
– the saltarello and the tarantella. A tarantella is a
folk dance which is famous in Southern Italy. It’s
characteristics include an upbeat tempo, it is usually
written in 6/8 or 4/4 time and is often accompanied
by tambourines. It is based on the word tarantula,
which is a large spider!
1. Watch from 36’05’’ where the conductor explains
about this type of dance form. Listen and compare
the two types of tarantellas played: the traditional
tarantella and Mendelssohn’s tarantella.
2. Ask the students to research what a tarantula
spider looks like – how many legs? Is it hairy?
Where are their eyes? How many do they have?
What is their habitat? What colour are they? Are
there different types of spiders? (this could link to
a science inquiry)
Using this information, ask children to listen to the
excerpt of music and draw a tarantula spider scene,
show the wonderful example from Nico Yeoman below.
Drawn by Nico Yeoman, Year 6 at Milford School
22
Symphony No.4 “Italian”
by Felix Mendelssohn
DANCE ACTIVITIES
BACKGROUND INFORMATION:
The Fourth Movement of the Italian Symphony, is
entitled Saltarello. This is a traditional Southern
Italian dance, based on a fast triplet feel. The word
“saltare” means to jump and there is a lot of jumping
in a saltarello dance! Mendelssohn also uses another
traditional dance form in this movement for the
second subject – a tarantella.
ACTIVITIES:
1. Watch the film from 33’13’’, where the conductor
explains the two dance forms used in this
movement – the saltarello and the tarantella.
Students should listen to the music and start
developing ideas of how they may respond to this
piece.
2. Saltarello (35’15’’ - 36’04’’)
Watch the film where the conductor explains a
Saltarello. Compare the traditional saltarello played by
the leader of the orchestra and the one Mendelssohn
composed which is played initially by the fl tes.
3. Tarantella (36’05’’ - 37’33”)
Students watch the film where the conductor explains
about the second subject dance form, the tarantella.
This is based on the word tarantula which is a type of
spider!
37’34’’: In this passage, the conductor asks the
orchestra to play a one minute passage that he thinks
best portrays the tarantula. Asks students to watch
and listen to this specific excerpt. Do they agree?
Why? Why not? What else does it sound like?
CREATIVE DANCE ACTIVITIES BASED ON
THE TARANTELLA:
(This refers to 37’34’’ - 38’28’’ sound track
in the film)
1. Search on the internet and show students
examples of traditional tarantella dances.
Afterwards, ask the children to brainstorm the
main features of the tarantella dance that they
have observed.
2. Play from 37’34’’ to 38’28’’ and ask the students
to move around in response to this music – the
goal is for the students to stay in time with the
beat and to also experiment and use some of the
dance steps observed.
3. Talk about patterns used in traditional folk dances
and how partners interact with each other. Place
cards on the floor with the following words on
them: Following, copying, mirroring, going around,
parting, circle formation. At each station ask
students to make up dance moves to go with
these cards.
4. Using all the information and ideas from above,
ask children to create their own tarantella dance
to the tarantella music from the film.
5. In Shenanigans Primary Folk Dance resource,
volume 2, there is a traditional Tarantelle. The
teacher resource contains the music and the CD
for you to teach the children.
23
Symphony No.4 “Italian”
by Felix Mendelssohn

SONATA FORM COMPOSITION ACTIVITY

This activity is written for Year 4-8 students. Adapt activities to suit the level of your students.

PROVOCATIONS:
1. Watch the film from the beginning to 2’55’’, where the conductor explains the background to the Symphony
and the orchestra plays the fi st subject of movement one.
2. Brainstorm information students learnt from the excerpt.
3. In listening to the music, what feelings did it evoke in the class?
4. Collaborate together as a class, or in groups and listen to the fi st subject / melody again from 2’55’’ to 3’14’’.
Students draw images while they listen to this.

LEARNING THE RHYTHM AND MELODY OF THE FIRST SUBJECT:

1. While listening to the excerpt (2’55" to 3’14’’), students use body percussion to clap the rhythm of the
melody. In groups, students, make up their own body percussion to match the rhythm of melody line.
2. Divide the class into two parts – half clap the repeated quaver passages played by the woodwind and french
horns, the rest of the class clap body percussion to the melody line.
Students can use chopsticks, claves, drum sticks or rolled up paper to conduct the melody, walk around to the
beat, clapping the beat, learning through movement!

24
LEARNING A SONG BASED ON THE MELODY LINE:
A successful and natural way for students to become familiar with the rhythm and the shape of the melody is
to sing it fi st. Here are some suggested words written to go with the melody line. You can write your own too!
Teach this song to your students – this is not in the original key as it is easier to use G major for the rest of this
lesson progression:

Felix Mendelssohn Song – first subject of First Movement

LYRICS:
So this is the famous fourth Symphony
It was written by a famous Romantic composer
His name was Felix, Felix Mendelssohn
He was a German, who went on an OE.
He travelled to Italy where he was inspired to write the Fourth Symphony!

An extension to this activity would be for the children to then write their own lyrics to the melody, based on
information they have either learnt from the film, or by researching online for information.

PLAYING THE ARRANGEMENT ON TUNED AND UNTUNED PERCUSSION INSTRUMENTS.

The original key of the fi st subject is A major, but we have transposed this arrangement into the key of G major
so that it can be played on tuned percussion instruments like xylophones, marimbas, metallophones and Orff
style glockenspiel.
See the arrangement at the back of the book – “Movement One Arrangement” on page 56.

25
SUGGESTED WAYS THIS ARRANGEMENT CAN BE USED:
1. The whole class could play the arrangement together – some students on melody line, some on quaver
passage, some children keeping the pulse on untuned percussion instruments.
2. Once the students are familiar with each part, they can be divided into groups. They can collaborate to
put parts together, choosing instruments for each part and making it their own. They can then share these
arrangements with the class.

COMPOSITIONS:
Now that students can successfully play an arrangement of the opening melody, they can extend their learning,
be creative, and compose a B section to this arrangement.
They will use their new understanding of Sonata form – A B A, from the film (watch from 2’04’’ to 2’55’’) and
compose a B section which compliments Mendelssohn’s original motif.
Students may want to keep the quaver pulse throughout their B section, or compose something that contrasts
this rhythmic motif.
Students complete their compositions by repeating the A section again.
They perform to their peers and upload performances on a sharing site. They can receive critical feedback,
reflect on their learning, refine heir compositions if necessary – just like Mendelssohn did!

26
Symphony No.4 “Italian”
by Felix Mendelssohn

IMPROVISATION TASK
Improvisation is one of the best ways to start composing and developing ideas. Many jazz musicians improvise
all the time and this activity will give students the opportunity to improvise over a walking bass line from the
second movement of the symphony.

ACTIVITY:
1. Watch the film from 17’05’’ - 24’49’’ where the conductor explains about improvisation and shows an excellent
example of members of the APO improvising over a walking bass line.

2. The teacher can either play the walking bass line on piano, or isolate the section of the film where the cellos
and double bass play the part below (19’50’’ - 21’33’’)

3. Students listen to the bass line – they can walk around the room to it, add body percussion etc. until they are
familiar with the melodic shape and rhythmic feel.

4. While it is being played, students can use percussion instruments and improvise over the top, or improvise by
singing over the top.

27
5. Now ask students to choose a tuned percussion instrument. They need to take off notes C and B so that
only DEFGA remain. These notes will harmonically fit with the notes of the walking bass line. Students sit in a
circle and take turns at improvising over the walking bass line – using either the recording or the teacher can
play it.

6. Extension: Students can now get into groups of 4 or 5 and have a turn at improvising themselves. Each
group will need a device and the link to the walking bass recording, or music for one child to play the walking
bass (depending on your classroom set up). Students in the group can choose a variety of both untuned and
tuned instruments to improvise collectively over the top of the bass line.

They will need to discuss form, layered entries, which instruments will play together etc..

The improvisation may lead to a more structured composition eventually as ideas start to cement together
and children have specific roles in the group.

7. Composition from improvisation: After this improvisation task over Mendelssohn’s walking bass line,
students may then be inspired to compose their own bass line for other class members to improvise over the
top. The ideas are endless!

28
Symphony No.4 “Italian”
by Felix Mendelssohn

CREATE AN ORIGINAL COMPOSITION

INSPIRED BY MENDELSSOHN
BACKGROUND: A PROCESS TO FOLLOW COULD BE:
Mendelssohn wrote his Fourth Symphony, the
1. Brainstorm all the places /activities that inspire
Italian, after he was inspired by a trip to Italy.
you.
In a letter he wrote to his family and friends, he
described the piece as “the jolliest piece I have 2. Choose one that is your favourite.
ever written.” The piece was finished in 1832
and performed in London in 1833. Mendelssohn 3. Draw the images and record adjectives that
wasn’t happy with his original composition and kept describe the place or activity.
revisiting it. It was not published until after he died.
4. Share your ideas with a friend or your teacher.

5. Use a tuned percussion instrument, or melodic

TEACHING THROUGH INSPIRATION AND MOTIVATION:
This story is a great lesson for the students – it
teaches them two wonderful points.
1. It encourages them to find ut what inspires or
motivates them.
2. It teaches them to develop a positive mindset
– never give up , always reflect and refine nd
develop ideas further.
COMPOSE A PIECE BASED ON THESE CONCEPTS:
Inspired by Mendelssohn, compose your own piece of
music. Use a trip that you have recently been on as
motivation, or a passion that inspires you!
instrument to compose a simple 8 bar melody that
reflects this place or activity.
Hint: pentatonic scales can help make composing
a melody easier!
6. Play your melody to a friend. Ask for feedback
and refine he melody until you are happy with the
sound.
7. Add a simple drone, bordun or ostinato to the
melody.
8. Perform to teachers, friends, family and ask for
feedback.
9. Refine ntil you are happy with the result, then
perform or record your wonderful composition.

29
Symphony No.4 “Italian”
by Felix Mendelssohn

INQUIRY SUGGESTIONS
There are many references to independent research
activities from the conductor throughout this film.
These can be used as independent inquiries, as
whole class provocations at the start of units, or as
group activities.
Below are references to various activities. I suggest
that you share the link to the film with your students
so they can refer to the portion of the film that
relates to their unit of inquiry.
1. Mendelssohn (beginning to 2’04’’)
Research about Felix Mendelssohn. Find out about
his nationality, his life-span, what infl enced him,
when he started to compose, what pieces of music
he was most famous for and what inspired him.
2. Symphony
Research about the Symphony. What is it? Has it
changed throughout the different periods? How has
it changed? How many movements does it have? Are
there different types?
4. Improvisation (17’05’’ - 24’49’’)
What is improvisation? What styles of music use
improvisation? When did musicians fi st start to
improvise?
5. Transposing Instruments (24’50’’ - 28’35’’)
The conductor is very detailed in his explanation
about transposing instruments in the orchestra and
beyond. Watch the pertinent excerpt in the film and
take notes about transposing instruments. Research
further information and present your fin ings.
6. Dance Forms (33’13 - 37’34’’)
The conductor suggests in this passage that you
research about various forms of traditional dance
that inspired many composers like Mendelssohn.
Search on youtube for examples, google other types
of dance forms, initially Italian and then from other
countries. What other composers were infl enced by
dance forms?

3. Instruments of the Orchestra (28’37’’ -

33’13’’)
Throughout the film, the presenter talks about the
different instruments of the orchestra. Research what
instruments were used in this symphony. How many
of each instrument. Why did he choose to use this
number? The information in the film can help you!

30
Symphony No.4 “Italian”
by Felix Mendelssohn

THE SYMPHONY
What is a Symphony?

Symphonies developed in form and size throughout each era. List the features of each symphonic
composition under the following headings: Include features like the size of the orchestra used in each era,
the number of movements, the forms of specific movements, the length of composition and where they were
traditionally played.
Features of the Classical Symphony:

31
Features of the Romantic Symphony:

Features of the 20th Century Symphony:

32
Symphony No.4 “Italian”
by Felix Mendelssohn

SONATA FORM – EXPLORE THE SCORE

Here is a link to the full orchestra score – Full Score
You may wish to print it, or alternatively download the PDF and annotate directly on to it.

Using the following chart, find ach of the main themes from the fi st movement in the score and write the
beginning of them out on the manuscript below. The 1st subject has been done for you. If you have your own
printed score, you should also mark the sections on the score.

FIRST MOVEMENT STRUCTURE

SECTION SUBJECT STARTS AT BAR

EXPOSITION 1st Subject 1

Transition / Bridge 66

2nd Subject 110

Codetta 159

DEVELOPMENT Section 1 210

New Theme 225

Section 2 297

RECAPITULATION 1st Subject 369

Transition 391

2nd Subject 405

New (Development) Theme 456

CODA 510

33
First Subject

34
35
36
Symphony No.4 “Italian”
by Felix Mendelssohn

TRANSPOSITION
After you watch the Transposition topic in the film (24’50”-28’35”), work through these tasks.

SIMPLE TRANSPOSITION RULE

FILL IN THE BLANKS
When any instrument reads a C on their , the note we hear is the “ ”

of that instrument. So if it’s a clarinet in A, they’re reading a C, we hear an . If it’s a trumpet

in B flat, they’re reading a C, we’re hearing a . And that’s a really easy way for you to

remember how works.

INSTRUMENTS
Look at the opening of the fi st movement of the symphony and complete the following chart.
You can find he page at the back of this resource, along with the fi st page from movement.

Section of Transposing Pitch of

Instrument Italian Orchestra (yes or no) instrument Sounding vs written
Flutes Flauti Woodwind No Concert Pitch same
Oboes
Clarinets
Bassoons
French Horns
Trumpets
Timpani
First Violins
Second Violins
Violas
Cellos
Basses

37
On the score below, provide the players with the following:
1. The fl te players need the oboe part put up an octave.
2. The clarinet needs to be able to play in unison with the oboes.
3. The horns need to be able to play in unison with the bassoons.
4. The fi st violins want to play the viola part in bars 3 & 4, but up an octave.
5. The second violins want to play the viola part in bars 3 & 4, at the same pitch as the viola.
6. The bass players want to sound at the same pitch as the cellos.

38
Symphony No.4 “Italian”
by Felix Mendelssohn

TRANSPOSITION – ANSWERS
After you watch the Transposition topic on the video (24:50-28:37), work through these tasks.

SIMPLE TRANSPOSITION RULE

When any instrument reads a C on their music, the note we hear is the “key name” of that instrument.
So if it’s a clarinet in A, they’re reading a C, we hear an A. If it’s a trumpet in B flat, they’re reading a C, we’re
hearing a B flat. And that’s a really easy way for you to remember how transposition works.

INSTRUMENTS
Look at the opening of the fi st movement of the symphony and complete the following chart:
You can find he page at the back of this resource, along with the fi st page from movement.

Section of Transposing Pitch of

Instrument Italian Orchestra (yes or no) instrument Sounding vs written
Flutes Flauti Woodwind No Concert Pitch same
Oboes Oboi Woodwind No Concert Pitch same
Clarinets Clarinetti Woodwind Yes A Sounding a minor third
lower than written
Bassoons Fagotti Woodwind No Concert Pitch same
French Horns Corni Brass Yes A Sounding a minor third
lower than written
Trumpets Trombe Brass Yes D Sounding a tone (major 2nd)
higher than written
Timpani Timpani Percussion No Concert Pitch same
First Violins Violino I Strings No Concert Pitch same
Second Violins Violino II Strings No Concert Pitch same
Violas Viola Strings No Concert Pitch same
Cellos Violoncello Strings No Concert Pitch same
Basses Basso Strings Yes Concert Pitch Octave lower

39
On the score below, provide the players with the following:
1. The fl te players need the oboe part put up an octave.
2. The clarinet needs to be able to play in unison with the oboes.
3. The horns need to be able to play in unison with the bassoons.
4. The fi st violins want to play the viola part in bars 3 & 4, but up an octave.
5. The second violins want to play the viola part in bars 3 & 4, at the same pitch as the viola.
6. The bass players want to sound at the same pitch as the cellos.

40
Symphony No.4 “Italian”
by Felix Mendelssohn

ARRANGING AND IMPROVISING

Video time link: 17’05’’ - 24’49’’

With this tasks we will use the walking bass line from the second movement as a starter for some arranging and
improvising tasks.

ARRANGING / IMPROVISING
Jazz it up!
In small groups, play the walking bass line on a suitable instrument. Add some simple percussion to create a jazz
feel similar to what the orchestra does in the video. Add a melody, selecting notes from the bass part. You may
also wish to choose some chords to add. Take turns to play all the parts. Record and refin . Share your work in a
performance for the class.
You may wish to explore other parts of the symphony (or other works by Mendelssohn) which may lend
themselves to being arranged in a similar style.

41
Symphony No.4 “Italian”
by Felix Mendelssohn

ANALYSE A SUBSTANTIAL MUSIC WORK

SENIOR MUSICAL KNOWLEDGE TASK

SYMPHONY NO. 4 “ITALIAN” BY FELIX MENDELSSOHN

This task involves perceptively analysing a substantial work. The work you study must have significance
and/or complexity in the chosen style or era. Your analysis must explain the musical elements and features,
compositional and structural devices in order to show understanding of the style and structure of the work.
You will do this through the study of Symphony No. 4 “Italian” by Felix Mendelssohn. You will be assessed
through the completion of an essay which evaluates the elements of music; form, texture, melody, rhythm,
harmony, timbre, and dynamics.

ESSAY: AN ANALYSIS OF SYMPHONY NO. 4 “ITALIAN” BY FELIX MENDELSSOHN

In order to complete a thorough analysis of the Mendelssohn you may want to consider the following points and
questions:
• Can you place this work historically? Is it typical of the era? How?
• Why did Mendelssohn write it? What was he trying to express? How?
• Consider the instrumentation used, is this typical of the period? How?
• Consider the use of form and what a symphony is and should be?
• Consider the tonality used throughout the piece – are there any unusual chords or keys, why do you think he
used them? Are there interesting harmonic devices?
• Consider the directions in the score, such as tempo markings. How do these affect the music?
• Consider the compositional features used throughout the work. How effective are they and what purpose do
they serve?
• What is the purpose and musical meaning of the work? Do you think Mendelssohn achieved what he set out
to do?
• Why do you think this work is typical of the Romantic Era?

42
Symphony No.4 “Italian”
by Felix Mendelssohn

RESEARCH IDEAS
These research ideas can be adapted for a range
of year levels and situations, from classroom
discussion, online collaboration, through to more
extensive and in-depth tasks.
THE ROMANTIC ERA
Listen to a range of Romantic compositions. Discuss
the elements that make their music typical of the
time. Refer to melody, harmony, rhythm, timbre,
texture, dynamics and form. How do they differ from
the music of the Classical Era, and how do they help
lead on to the various styles of the Twentieth Century
Era?
DANCE
Investigate how Mendelssohn incorporates dance
forms into the third and fourth movements of the
Italian Symphony. What is the significance of this?
Find other composers from a range of eras who use
dance forms in their music.
THE DEVELOPMENT OF ORCHESTRAL
INSTRUMENTS
What changes occured with the makeup of the
orchestra during the Romantic Era?
Investigate orchestra size, new instruments and new

FELIX & FANNY MENDELSSOHN techniques.

What impact did the industrial revolution have on this?
Read about the Mendelssohn siblings. Compare their
upbringing and opportunities.
What other famous composer families can you think
of and how did their experiences differ to those of the
Mendelssohn’s. If they were born today, what would
be different?

MENDELSSOHN & BACH

What role did Felix Mendelssohn play in the revival of
the music of Johann Sebastian Bach? Why was this
important? Can you find ther examples of musicians
doing the same thing for other composers?

43
Symphony No.4 “Italian”
by Felix Mendelssohn

CLASS RESEARCH TASK

Fill in the following table. Work individually or in groups, perhaps creating a shared document.

LEVEL 3 MUSICAL KNOWLEDGE

FELIX MENDELSSOHN
Composer dates

Country

Other relevant info about

the composer

Contemporaries of the
composer

Infl ences on / from

44
THE ROMANTIC ERA
Musical Era

Notes on era

Melody

Rhythm

Harmony

Timbre

Texture

Dynamics

Form

What is a concerto

45
FELIX MENDELSSOHN – SYMPHONY NO.4 “ITALIAN”
Notes on the work

Genre

Melody

Rhythm

Harmony

Timbre

Texture

Dynamics

Form

46
Special Characteristics

Examples of
development

Date composed

Performance notes

Why did Mendelssohn

write this?

Social & Historical

Factors

47
General Observations

Composer legacy

Useful quotes

Useful links

48
RECALL ASSESSMENT
SENIOR MUSICAL KNOWLEDGE TASK
SYMPHONY NO. 4 “ITALIAN” BY FELIX MENDELSSOHN
NAME GRADE GRADE

A. MUSICAL KNOWLEDGE
1. The piece of music that you have studied is called

2. It was composed by (full name)

3. The music was from which period in music history. Please provide dates.

4. Describe 3 important features or characteristics of the music of the composer of the work studied. .

a.

b.

c.

49
5. Write a brief summary of the composer’s life and who he is. Include his year of birth and death.

6. Give a brief description of the following elements of music, and how the composer has used each in the work
you have studied. Provide specific examples.

Melody

Rhythm

Harmony

50
Timbre

Texture

Dynamics

B. ANALYSIS/SCORE READING
1. How many movements are there in the work?

2. Name and explain the structure of one of the movements. You may wish to draw a diagram.

51
3. In English, and in score order list all the instruments used in this work.

4. How would you describe the overall mood of this piece?

52
5. In English, what do the following terms and signs used in the score mean:

a) p

b) fp

c) sf

d) cresc.

e) Arco

f)

g) Allegro vivace

6. Give a brief description of the following compositional devices, and how the composer has used each in the
work you have studied. Provide specific examples.

Sequence

Repetition

Antiphonal

53
C. SKILLS
1. Name the key of the fi st movement

2. Write a one octave scale, ascending and descending, in the key you provided in question one (Use treble clef,
provide a key signature and use semibreves)

3. Write out the tonic, dominant and subdominant chords for the key you provided in question 1 (Use treble clef,
accidental and crotchets.)

4. What is the word we use to describe the rhythm of a melody that doesn’t start on the fi st beat?

5. Here is a section of the Violin part:

Transpose it down an octave and into the alto clef so the viola could play it:

54
Symphony No.4 “Italian”
by Felix Mendelssohn

CONTEXT QUESTIONS
1. Music can be a powerful form of self-expression. To what extent have the personality, life and experiences of
the composer infl enced the conception, production and interpretation of your chosen work?
2. Compare two contrasting recordings or performances of your chosen work, and examine how the recording/
performance contexts have infl enced the different interpretations.
3. How does your chosen work relate to you as a student in New Zealand today? Discuss the cultural, social and
geographical implications.
4. Look at your chosen work in an historical and/or political context. What is the composer trying to express and
how effectively is this done?:

NOTES

55
 MOVEMENT ONEItalian
ARRANGEMENT
Symphony
Italian
Opening
ItalianofSymphony
First Movement
Symphony
GOpening
Majorof
Opening (not
of original
First
First Movement
Movementkey)
GGMajor
Major(not original
(not original key)
key)
q.=132
# 6 q.=132 j j œ ™ jj ‰ j j œ ™ j j ‰j j™ œ ™ . œ œ. œ.
∑ Œ Œ ‰‰
q.=132
Melody & #8 #
& 8∑ ∑ Œ ™ Œ Œ Œ jœ œœ™ ™ œœj‰‰œœj œ ™œ ™ œ ‰œj œ‰ œj œ ™œ œ. œœ œ. ‰.‰ œœ ‰ ‰ œ œ
œ
6 œ œ
6
™
Melody & 8 œ this isisœ thethe œ fa fa- mous œFourthFourth
œSym -Sym œ œœ
Melody
™
SoSothis - mous ph-o -- nyph-o - itnywas œ was
it œ
fSof this
° # 1 °& #68 œ œœ œœ œœ œœ œœ œœ œœ œœ œœfœ œœ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
is the fa - mous Fourth Sym - ph-o - ny it was
Harmony 6
Harmony 1 °& #8 œ œ œœ œœ fpœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œ œœœœ œœœ œœœ œœœ œœœ œœœœ œœœ œœœ œœ œœ œœ œœ
Harmony 1 & 8 fp
6 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
fp#6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
#6 œ œ œ œ œ œ
& 8 œœœœœœ œœœœœœ œ œœœ œ œ œ œœ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ
œ œœ œœ œœ œœ œœ œœ
Harmony 2
Harmony 2 & #86 œœ œœ œœ fpœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Harmony 2 & 8 fpœ œ# œ œ œ œ œœ œœ œœ œœ œœ œœ
6 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
¢fp& 8 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
# 6 œ œ œ fpœ œ œ œ œ œ œ œ œ
Harmony 3

¢& #86 œœ?œœ#œ6œ œœ œœ‰œœŒ ™ œœ œœ œœ œœ œ∑œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ∑œœ œœ œœ œœ œœ ∑œœ œœ œœ œœ ∑œœ œœ œœ œœ œœ œœ∑ œœ œœ œœ œœ œœ œœ
Harmony 3
Harmony 3
¢&Bass8 fpœ œ 8œ fœœ œ œ œ œ œ œ œ œ
? # 6
fp
8 ‰ Œ™ ∑ ∑ ∑ ∑ ∑
? # 6 œ
8 f7œ ‰ Œ ∑ ∑ ∑ ∑ ∑
Bass
Bass
™
f&
# j œ œ œ œj œ œJ œ ™ œ œ. œ. œ ‰ Œ œj œ™ œ œ œ ‰Œ œ
j
Melody
œ œ J J
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-

# j œ œ™ œ . . jj œ œ œ ‰ Œ œjj
7

& # ° œ#j œ œJ œ œj œ Jœ œ ™ œ œ. œ. œ ‰ Œ œj œ™
MelodyHarmony 1 & œ
7
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™
6
œq.=132
& œ œj œ œJ œ œ œ J
# œ œ œ ‰ Œ œ œ™
j œ œ œj œ œj œ j j œ œ œ. œ Jœ œ ‰ Œ œ
œœ œœ œœ œœ œœ œœ
Melody
- ten8 by a∑ fa - mous
writ&œ Œ Ro
™ œ œ- tic œ ‰ œcomœpo - ser
Œ - man ™ ™ œ ‰ œ His
™
j
.
name œ was œ ‰Fe‰ œ-lixœ J
#
Melody Fe-
œ œ œ
writ - tenœbyœ œ aœ œfaœ- mous Ro -So œ œ œ œœ œœisœœ œœthecom
œœ faœœpo- œmous
œ œ œFourth œ ‰ name
œ œ Sym ‰- Œph œœ œœ Fe
œœ œœ itœœ-lix
œœ
& œ œ œ œ œ œ œ œ œ œf œ œ man - tic
œ œœœœ œ œ
- ser His ™ -o -was Fe-
° # ° # j
Harmony 2 this ny was

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ8 œœœ œœœœœœœœ œœœœœœ œœœœœ œœ œœœ œœœœœœ œœ œœœœœœœœœœœœœœ œ œœ œœœ œœ œœœ œœœ œœœœ œœœœjœœ œœ œœœjœœ‰ œœ‰ Œœœ™ œœ œœ œœ œœœœœœœœ œœ œœ œœ œœ
œ œ œ
°& # 1œœ & 6
œœ# œfpœœœ œœœ œœœ œœœœœœœœœœ œ œœ œœœ œœœœ œœ œœ œœœœœœ œ œœ œœœœ œœœ œœœ œœœ œœœœœ‰ ‰ œœŒ ™ ‰ ‰ Œœœ™ œœ œœ œœ œœœœœ œ œ œ œ œ
1 & 3œœ
Harmony 1Harmony
Harmony Harmony œ
& œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœœœœœ œ œœ œ œ œ œ œ œ œ œœœœ œ
# œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ Œ ™
¢
j
& # 2œœ &œ œ68 œœœ œœœœœœœœ œœœœœœœœ œœœœœœ œœ œœœ œœœœœœœœ œœ œœœœœœœœœœœœœœ œ œœ œœ œœ œœœ œœœ œœœœ œœœœœœ œœ œœœjœœ œœ œœ jœœ œœ œœ œœœœœœœœ œœ œœ œœ œœ
Harmony 2 &Bass œ œœ œœ# œœ œœ∑œœ œ œ œ œ∑ œ œ œœ œœ œœ∑œœ œœ œœœ œœ‰ œœœ œœ ‰œœ œœœœœœ œ œœœ œ‰ œ‰ Œœ™ ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
Harmony 2Harmony
œ? fp

#3 œ œ œ#6 œœ œœœœœ œœœœ œœœ œ œ œœœœ œ œœœœœœœœœ œ œ œ œ œœ œœ œœœ œœœœœœ œœ œœœjœœ‰ œœ‰ Œœœ™ œœ œœ œœ œœœœœœœœ œœ œœ œœ œœ
p

Harmony 3 & # œ¢& œ œ8 œœ œœœœœ œœœœ œœœ œ œœ œœœœ œ œœœœœœœœœ œ œ œœ œ œœ œœ œœœ œ œ œj œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ œ œœ œœ ‰ ‰ Œ ™
Harmony

Harmony 3 & œ œ œ
œ œ
œ œ
œ œ
œ œ
œ œ œ œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ
¢
œœœ œœœ œœ œ
fp

6
¢
? # 8œ ‰ Œ ∑ ∑ ∑ ∑ ∑
?# œ ‰ œ ‰ œ œ œ œ œ œ œjj ‰ ‰ Œ ™
™
∑f ∑ ∑
Bass

Bass
?# ∑ ∑ ∑ œ ‰ œ ‰ œ œ œ œ œ œ ‰ ‰ Œ™
Bass p œ
p
#
j œ œ œ œj œ œJ œ ™ œ œ. œ. œ ‰ Œ œj œ™ œ œ œ ‰ Œ œj
7

& œ J J
œ
Melody 56

writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-
2

# j
‰ œ œ™ Œ œ œ™ œJ ‰ œJ #œ ™ Œ j œ ™ œ
13
j
2

& # œ™ œJq.=132 œj œ ‰ œj ‰ œj
œ™ #6œ ‰ Jœ œ™ Œ œjj œ™ jœJ ‰ j œJ #œ ™ j Œ j œj™ œ ™ . œ
Melody 13
Melody &
8J del
-J∑ ssohn œ ™ œ a‰ œGerœ ™man
Œ ™ Œ Heœ was œ œ œ œ.on
- œ ‰ œ whowent œ‰ ‰ Oœ ‰ Eœj ‰ He
œ
j
Melodylix & Men -
œ œ an
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lix Men del
- ssohn
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So was
this is a the
Gerfa man
-- mous Fourthwhowent
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it was E He
° # j ‰ #‰6Œ ™
f
j œ ‰ ‰ œœœ œœœœ œœ œœ
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œœœ œœœœœœœœœœœœ œœœœ œœœœœœ œœœœj œœ‰ œœ‰œœŒœœ™ œœ œœœ œœœœ œœœœ œœœœ œœ œœœœ œœ œœœJ œœ œœ œœœœœœœœœœœ œœ œœœ œœœ œ œ
œœ œœœ
œœ œœ œœ œœ œœ œœ œœJ ‰ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Harmony 1Harmony 1
Harmony 1 & œœ ‰ ‰ Œ ™
fp œœ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™
# #6 œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœjœœ œœ œœ œ œ œ œ œ œ
&# œœ & ‰ ‰8Œœ™ œ œ œ œœœ œœœœœœ œœ œœœ œœœj œ‰ œ‰œŒœ™ œ œœ œœ œœ œœ œœ œœ œœj ‰ ‰ œœœœœœœœœ œ œœœ œœœ œœ œœ œœ œœ
œœœœœœ
Harmony 2
Jœœ ‰ ‰ Œfp™ œœ œœ œœ œœ œœ œœ œœ ‰ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Harmony 2
& œœ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™
J #6
Harmony 2
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
¢& 8 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
j
Harmony 3
# œœ ‰ ‰ Œfp™ j ‰ ‰ Œ™ œœj ‰ ‰ œœ œœ œœ œ œ œ œœ œœ œœ
¢&Bass
# Jœœ ? œ œ œ œ œ œ œ œ œœœœœ
#‰68Œ ™ ‰ Œ ™ ∑œ œ œj ‰ ‰∑ Œ ™ œœ∑ ‰ ‰ œœ œœ œœ ∑ œœ œœ œœ œœ œœ œœ
Harmony 3
& ‰ œ œ œ œ œ œ œ∑ œ œ œ œ
Harmony 3
¢ J f
œœœ
?# œ œ œ œ œ œ ∑ j œœœœ œœ
? # œ7 œ œ œ œ œ œ œœœœœ œj ‰ ‰ Œ ™ œ œ œ Œ™
œœœœ œœ
Bass
∑ œœœ œœ ‰ ‰‰Œ Œ ™ j œ™ œ œœ œœŒ œ ‰ Œ œj
# j œ œ œ œj œ œJœ œœ ™œ œ œ. œ.
Bass
™
Melody & œ
œ œ J J
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-

° # œ œ œ œ œœ œ œ œ œ œ œ j
& œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™
Harmony 1 œœ œœ œœ œœ œœ œœ

# 2 # œq.=132 œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œj ‰ ‰ Œ ™
19
œœ œ œ œ œ
& #œ œ œ œœ œœœœœ œ œ œœ œ œ œ œœ œœ œœ œœ œœ œœ ‰ Œ ™
Melody & œ œœœœ œ œ
# œ 6 ∑ #Œœ™ Œ œ œ ™ œ ‰ nœœ™ ™ œ ‰ j j j j j œ œ™œ œ . œ œ ‰ ‰
.
19
Harmony

& œ & œ8 œ œ œ œ #œ œ œœ œ œœ œœ nœ ™ œœ œ œ œ œ™ œœ œœ œ œœ œ ‰ Œ ™
™
Melody Melody
-
# œ œtoœIt œ-aœ-lyœwhere
tra velled
œ œ œ
he was
œ
So in
œ
œ spired
œ
- is to
œ œ œ œœtheœ write
fa - mousthe
œ
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j - ph-o- - nyph
FourthSym
œœ œœ-œœœ œœ- œitœœ was
o ny
œœ
œ œ œ œ œ œ ‰ ‰ Œ
this Sym
Harmony 3tra & - œœ toœIt œ-aœ-lyœwhere -œ œ œ œ œ œ œtheœ œFourthSym
œ œ
œ œ œ œf
œ œ toœ writeœ
™
° # 1 j& #68 œœ œœ œœœ œœ‰œœ‰œœ œœ jœœ œœ œœ œœ œœ œœœj œœ œœ œœ œœ œœ œœ œœ œœ œœ j œœ œœ œœ œœ œœ œœ œœ œœ jœœ œœ œœ œœ œœ œœ j
¢° velled he was in spired - ph -o -ny

Harmony 1 & œ ‰ ‰ ‰ ‰ ‰ œœ œœ œœ œœj ‰ ‰ œ œ œ œ ‰ ‰ œ œ œ œ ‰ ‰

° # œj? # fp œJœ∑ ‰ ‰ œœj ∑ œœj
Harmony
œ œ œ œ j œ œ œ œj
œ œœ œœ œœ‰ ‰œ ‰ ‰ œ œœœœ œœœ œœœœœœj œ‰ ‰‰‰ Œ ™œœ œœ œœ œœ ‰ ‰
œ
Harmony 1 &Bass œ œ ‰ ‰ œJ œœ ‰ ‰ œ ∑‰ œ
# 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œpœ œ œ œ œ œ œ œ œ œ
Harmony 2 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
# œj ‰ ‰ œj j j
œj ‰ ‰
j j
Harmony 2 & œj ‰‰ œœj ‰ ‰ œœ œœ œœ œœj ‰ ‰ œœ œœ œœ œœ ‰ ‰ œœ œœ œœ œœj ‰ ‰
# œ ‰ fp‰ œj œœ
‰‰ œ ‰ ‰ œœ œœ œœ œœ ‰ ‰ œœ œœ œœ Jœœ ‰ ‰ œœ œœ œœ œœ ‰ ‰
Harmony 2 & œ # 6
œ
Harmony 3 & 8 œ œ œ œ œ
œ œ œ œ œ œœ œœœœœ œœ œœ œœ œœ œœœ œœ œœ‰ œœ œœ‰œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœJ œœ œœ œœ œœ œœ œœ
# œj ‰ fp‰ j j j j j ‰ ‰ œ œ œ œj ‰ ‰
¢
Harmony 3 & œj œ‰‰ œj ‰ ‰ œj ‰ ‰ œ
œœ œ œ œj œ œ ‰ ‰ œ œ œ œ
œ œ œj ∑ œ œ œ œj
# œ ? #‰68 ‰ œ‰jŒ ™
‰‰ œœ ∑‰ ‰ œ ‰∑ ‰ œ œ ∑ ‰ ‰ œ
œ ∑
œœ œœ œœ œœ ‰ ‰ œœ œœ œœ œœ ‰ ‰
Harmony 3 & œ œœ œ œ œ
¢ Bass
œ
¢ f œ œ œ
? # œ7 ‰ ‰ Œ ™ ∑ œ ‰ ‰ Œ™ œ ‰ ‰ Œ™ j ‰ ‰ Œ™
Jœ J J œ
?# ‰ ‰ Œj ™œ œ œj œ ∑œJ œ ™ œ œ. œœ. ‰ œ‰ Œ‰™ Œ œj œ™ œ œ‰ ‰ œŒ ™ œ ‰ Œ jœ‰j ‰ Œ ™
#
Bass
Melody J & œ
Bass
œ œ J œ J J J
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-
57

° # j
 Italian Symphony
#
19 Italian Symphony

& œ œ œ œ œ œ #œ œ œ
Opening of First
Opening of First Movement
Movement

œ œ nœ ™ œ œ œ™ œ
G Major (not original key)

œ
Melody G Major (not original key)
q.=132 #6 j j j j
q.=132
j œ™ œ . œ œ. œ the
œ
#6 - ∑ jto ItŒ ™-a -ly
& 8velled j œ œj™ heœ ‰was
Œ where œ jœin™ spired
-œ j ‰ œœto™ œ
œ. .
‰ ‰ FourthSym
∑ Œ Œ œ ‰ œ ‰ ‰ ‰
œ œ
œ œ
tra write -
& 8 œ œ œ œ œ
Melody

œ œ
™ ™ ™
j
So this is the fa - mous Fourth Sym - ph-o - ny it was

° # j j j
f

œ
° #6
œ
& œœ ‰ ‰ œJ ‰ ‰ œœ ‰ ‰ œ
& 8 œœ œœ œœSoœœ œœ this
œœ œœ œœ œœisœœ œœ œœ the
œœ œœ œœfaœœ -œœmous
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‰ œœ œœ œœ œœ ‰
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# 6 œœœœœœ œœœœœœ œ œœœ œ œ œ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

# & 8 œ œ œjœ œ œ œ œ
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7

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# j œ œ œ œj œ œJ œ ™ œ œ. œ. œ ‰ Œ œj œ™ œ œ œ ‰ Œ œj
7
lix Men - del ssohn He was a Ger -man who went on an O E He
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Melody

? # œ ‰ ‰ Œ™
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-

# Harmony 1 & œ J
° # œ œ œ œœ œ œ œ œ œ œ j
œœ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™ ∑ œ ‰ ‰ Œœœ ™œœ œœ œœ œœ œœ œ‰‰Œ
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J ‰ Œ™ J
19
Bass œ œœœ œ œ
œ
& œ œ œ # œ #œ œ œœ
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œ œœœ œœœ œœ œœœœœ œœ
Harmony 2 & œ œ œ œ œ œ
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ
tra-velled to It - a - ly where he was in-spired to write the FourthSym - ph-o - ny

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
Harmony 3
¢ & œ œ œ œ œœ œ œ œ œ œ œ œ œœœ œ œ œ œœœœ œ œ

?# ∑ ∑ ∑ œ ‰ œ ‰ œ œ œ œ œ œ œj ‰ ‰ Œ ™
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58
Harmony 1
Italian Symphony
Italian Symphony
Opening of First Movement
Harmony 1
Italian
G MajorSymphony
Opening of First Movement
G Major (not
(notoriginal key)
original key)
Opening of First Movement
q.=132 q.=132

# 6 œ œMelody #6
Œ ™ Œ œj œ ™ œj ‰ œj œ ™ œj ‰ œj œ ™ œ œ. œ.
G Major (not original key)
∑ ‰‰
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœœœœœ œœ œœ œœ œœ
& 8
& 8 œq.=132
# 6fp œ œ œ œ œ œ œ œ œ œ œ œ œf œ œ œ œ œ œ œ œ œ œ œ So this is the fa - mous Fourth Sym - ph-o - ny it was

œ œ œ1œ°&œ #œ68 œœœœœ œœœœœœœœ œœœ œœœœœœœœ œœ œœœ œœœ œœœ œœœœœ œœœ œœœœœ œœœ œœœ œœœœœ œœœœœœœ œœœœœœ œœœœœœœœœœ œœœœ œœœœ œœœœœœ œœœœœœ œœœœ œœ œœ œœ œœ
& 8 Harmony
7
# œ œfpœ œ œ œ œfpœ œ œ œ œ j
œ
&7 œ œ œ œ œ œ #6œœœœ œœœ œœ œœ œœœ œ œœœ œœœœ œœœœœœ œœœœ œœœ œ œœœœœœ œœœœ œœœ œœœ œœ œ œœœj‰œ œ‰ œŒ ™ œœ œœ œœ œœ œœ œœ
# œHarmony œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ fpœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ
2 & 8 œœœœœœ œœœœœœ œ œœœ œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
# jHarmony # 6 œ œ œ œ œ œ œ œjœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
13

&13 œœ ‰ ‰ Œ ¢ œœ œœfpœ œœœ œœœœ œœœœ œœœ œœœœ œ‰œ œ‰ Œœ™œ œ œœœœ œœœ œœœ œœœœ œœœ œœœ œ œœJ ‰ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ
3 & 8 œ
™ œ œ œœœ œ œ œœœœ œ
# j ‰ ‰ Œ™ j
& œœ Bass ? #œœ68 œœœ œœ‰ Œœœ™ œœ œœ œœ∑ ‰ ‰ Œ ™ ∑ œœ œœ œœ œœ ∑œœ œœ œœJ ‰ ‰∑ œœ œœ œœ ∑œœ œœ œœ œœ œœ œœ
# œj ‰ ‰ œ ‰ ‰ j ‰ ‰ œj ‰ œ œ œ œj ‰ ‰ j ‰ ‰ œ œ œ œj ‰ ‰
19 f

&19 œ j œJ œœ œ j œ œ œ œj œ œ œ œ
# œ ‰ ‰ œ ‰ ‰ j ‰ ‰ œ ‰ œ œ œ œ ‰ ‰ œ œ œ œ j ‰ ‰ œ œ œ œj ‰ ‰
& œ MelodyœJ & # œjœœ œ œ œj œ œJœ œœ™ œœ œœ. œ. œ ‰œœŒ œœœj œœœ™œœ œ œ œœœ ‰œœŒ œœœjœœ
7

œ œ J œ J
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-

° # œ œ œ œ œ œ œ œItalian
Italian Symphony j
1 & œ œ œ œ œ œ œOpening œ œ œ œœ œœofœœ First œœ œœ œœ œœ œœ œœ œœ œœ
œ œœ œœ œœMovement œœ ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
Harmony Harmony
2 Symphony
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Harmony 2 # œ œ œ œ œ œ Opening
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G Major (not(notoriginal
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original key) key) j
Harmony 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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Movement œ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
q.=132
# 6 œ œMelody
q.=132
#6 G Major
j
(not original
j j
key)
j j œ ™ œ œ. œ.
& 8 œHarmonyœ œ œ &œ 8 œ œ ∑œ œ œŒ œ Œœ œœ œœœ œœœ‰ œ œ œœ œ œœ ‰œ œœ œœj œœ œœ œœ œœœœœœœ‰œ‰œœœœœœœ œ œ œ œ
œ œ œ3 œ&œ# œœœœœ œœœ œœœ œœœœœ œœœœ œ œœœSoœ œœthisœœœœœœisœœœœtheœœfaœœ- œœœmous œœœœœ œœFourth
œœœœœœ ™ -o - nyœ œ œ œœitœœ œœœœœ
™ ™ ™
q.=132 œœ ‰ ‰- Œph
# 6 œ œ œ œ œ œ œ œ œ œ œ œ œf œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Sym was

& 8fpHarmony
œ œ œ1œ°&œ #œ68 œœœœœ œœœœœœœœ œœœ œœœœœœœœ œœ œœœ œœœ œœœ œœœœœ œœœ œœœœœ œœœ œœœ œœœœœ œœœœœœœ
¢
œœ œœ œœ œœ œœ œœ œœ jœœ œœ œœ œœ œœ
œ ‰œ ‰ œ œjœ œ œ œ œ ‰ ‰ Œ ™
# fp Bass ? # fp ∑ œ œ œ œ œ œ ∑ ∑
7

&7 œœ œœ œœ œœ œœ œœ #6œœœœ œœœ œœ œœ œœœ œ œœœ œœœœ œœœœœœ œœœœ œœœ œ œœœœœœpœœœœ œœœ œœœ œœ œ œœœœj‰œ œ‰ œŒ ™ œœ œœ œœ œœ œœ œœ
# œHarmony
œ œ 2 & 8 œ
œ œ œ œœœœ œœœœœ œœ œœœ œœœœ œœœ œœœ œœœœ œœœ œœœœ œœ œœœ œœ œœ œœ œœ œœœ œ‰ œ‰œ Œœœ™ œœ œœ œœœœ œœœœœœœœ œœ œœ œœ
& œ œ œ œ œ œ fpœ œ œ œ œ œ œœœœœœ œ
# œ Harmony ™3 & #68 œœ œœ œœ œœ œœ œœ œœ œœ œœjœœ œœ œœ œœ™œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ jœœ œœ œœ œœœœœ œœœ œœœ œœ œœœœœ œœœ œœœ œ œ œ
13

&13 œJ ‰ ‰ Œ ¢ œœ œœfpœœ œœ œœ œœ œœ ‰ ‰ Œ œœ œœ œœ œœ œœ œœ œœ ‰ ‰ œ œ œ œ œ œ œ œ œ
# j j
& œœJ ‰ ‰BassŒ ™ ? #œœ68 œœœ œœ‰ Œœœ™ œœ œœ œœ∑ ‰ ‰ Œ ™ ∑ œœ œœ œœ œœ ∑œœ œœ œœ ‰ ‰∑ œœ œœ œœ ∑œœ œœ œœ œœ œœ œœ
# œj ‰ ‰ œj j ‰ ‰ œj ‰ ‰ œ œ œ œj ‰ ‰ œ œ œ œ ‰ ‰ œ œ œ œj ‰ ‰
19 f

&19 œ j œ j ‰ ‰ œœ œ œ œ œj œœœœ œ œ œ œj
#œ‰ ‰ œ j ‰ ‰ œœj ‰ ‰ J
& œ Melodyœ &‰ # ‰ œœj œ œ œ œj œ œJœœ œœœ™ œœœ œœœ. ‰œ. ‰œ ‰œœŒ œœœj œœœ™œœJ ‰œ ‰œ œœœ ‰œœŒ œœœjœœ ‰ ‰
7

œ œ J œ J
59
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-
Harmony 3
Italian
ItalianSymphony
Symphony
Opening of of
First Movement
Harmony 3
Italian
G MajorSymphony
Opening First Movement
(not original key)
G Major (not original key)
Opening of First Movement
q.=132
q.=132 #
# 6 œ œMelody 6 Œ ™ Œ œj œ ™ œj ‰ œj œ ™ œj ‰ œj œ ™ œ œ. œ.
G Major (not original key)
& 8 ∑ œ ‰‰œ œ
& 8 œq.=132 œ œ œ œ œ œ œ œ œ œ œ œ fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# 6fpœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
So this is the fa - mous Fourth Sym - ph-o - ny it was

& 8 Harmony
œ œ œ1œ°& œ #œ68 œœœœœ œœœœœœœœ œœœ œœœ œœœœœ œœ œœœ œœœ œœœ œœœœœ œœœ œœœœœ œœœ œœœ œœœœœ œœœœœœ œ œœ œœœ œœœœœœœœ œœœ œœœ œœœœœ œœœœœ œœœ œ œ œ œ
# œ œfpœ œ œ œ œfpœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
7

& #œœœHarmony
œ œ 2œ œ& #68œœœœœœ œœœœœ œœœ œœœœœœœœ œœ œœœœœœœœ œœœ œœœ œœœœœ œœœ œœ œœœ œœœ œœœœœ œœœ œœœ œ œœ œœœœœj œœ œœ œœ œ œ œ œ œ œ
œ œ œ œœœœœ œ œ œ œ
7

œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ fpœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ Œ ™ œœœœœœ
# œœ Harmony ™3 ¢& #68 œœ œœ œœ œœ œœ œœ œœ œœ œœjœœ œœ œœ œœ™œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œjœœ œœ œœ œœœœœ œœœ œœœœœ œœœœœ œœœœœœ œ œ œ
13

& ‰ ‰ Œ œ œfpœ œ œ œ œ ‰ ‰ Œ œ œ œ œ œ œ œ j‰ ‰ œ œ œ
13
#J œœ ‰ ‰ Œ ™ j ‰ ‰ Œ™ œœœœœœ
& J Bass ? #œ68 œœ œ‰ Œœ™ œ œ œ∑ ∑ œ œ œ œ ∑œ œ œ ‰ ‰∑ œ œ œ ∑œ œ œ œ œ
œœœœœœ
œœœœœ
# œj ‰ ‰ œj ‰ ‰ j ‰ ‰ j j j‰ ‰ j
19 f

& #œ j j œj œj ‰ ‰ œ œ
œ œ
œ œ
œ j‰ ‰ œœ œœ œœ œœ j œ
œ œ
œ œ
œ œ
œj ‰ ‰
œ
‰œœ &‰ # ‰ œœj œ‰ œ‰ œœ œ‰j ‰œ œJœ œœœ™ œœœ œœœ. ‰œ. ‰œ ‰œœŒ œœœj œœœ™œœ ‰œ ‰œ œœœ ‰œœŒ œœœj œœ ‰ ‰
19

& œœ ‰Melody
7

œ œ œœ J œœ œ J
writ - ten by a fa - mous Ro - man - tic com po - ser His name was Fe -lix Fe-

° # œ œ œ œ œœ œ œ œ œ œ œ j
Harmony 1 & œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
Bass Italian Symphony
Italian Symphony
# œ œ œ œ œ œOpening
œ œ œOpening
œ œofœ of j
Harmony 2 & œ œ œ œ œ œ œ œ œ G œMajor
œ
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œ œ
œ œ
œ
First œ œ œ œ
Movement
œ œ œ
Movement
œ œ œ œ œ œ
œ œ (not original key)œ œ œ œ œ œ œ ‰ ‰ Œ ™ œœ œœ œœ œœ œœ œœ
Bass Italian Symphony
G Major (not original key)
## 6œ œ œ œ œ œ 8Opening j
q.=132
œœœ™ ‰ ‰ œŒ ™œ. œ. œœ œœ‰œœ‰œœ œœ œœ
q.=132
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of First Movement
? #6 ‰ Œ ™ & œ œ œ ∑œ œ œ œ œ original jœ œ
‰ œ ‰ œ œ œ œ œ œ ‰ ‰ Œ™
¢& 8 œ œœ œ (not œ œœ œ œkey)œ
œG œ œMajor
œ œ
Harmony 3

8œ
Melody

8
So this is the fa - mous Fourth Sym - ph-o - ny it was
q.=132
? #
f
œ ‰ œ ‰ œ œ œ œ œ œ œj ‰ ‰ Œ ™
? # 6 Harmony‰ 1 Œ&™ 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ‰ œœœpœœ œœ‰ œœ œœœ œœœ œœœœœ œœœœœ œœœ œœœœœ œœ œœœœœj œœ‰ ‰ Œ ™
Bass ° # 6 ∑ ∑
œ ∑
f p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
13 8œ
? # œ fœ œ œ œ# œ ∑œ œ œ œ œœœ œœ œ œœpœ œœœ œœ œœœ œ œœjœ ‰ œ ‰œ œ œŒ ™œ œ œ œ œ Œ ™
fp

6 œ œ œ œ œ œ
Harmony 2 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
13
? # œ œ œ œ œfp œ ∑ j ‰ ‰ Œ™ œ œ œ Œ™
# 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœ œœœ œ œ œ
œ œ œ3 ¢œ& œ8 fpœ œœJœ œ‰œ œ‰ œŒœ™ œ œ œ œ ∑œ œ œ œ œœœ ‰ œ ‰œ œ Œœœ™ œœ œœ œœ ‰œ œ‰œ œŒœ™ œ œ œ jœ œ‰ œ‰ Œ ™
œ œ œœœ œ œ œœœœ œ
18
? # œ Harmony
J J œ
? # 6
œ œ œ8 œfœ œJ ‰ ‰ Œ ™
‰ Œ™ ∑ ∑ ∑ ∑ ∑
18
? # œ œ Bass ∑ œ‰ ‰ Œ œ‰ ‰ Œ j ‰ ‰ Œ™
J J œ
™ ™

#
j œ œ œ œj œ œJ œ ™ œ œ. œ. œ ‰ Œ œj œ™ œ œ œ ‰ Œ œj
7

&
60
Melody
œ œ J J
MOVEMENT ONE – First page of Score

61
MOVEMENT TWO – First page of Score

62
MOVEMENT THREE – First page of Score

63
MOVEMENT FOUR – First page of Score

64