AWA: Academic Writing at Auckland

Felix Mendelssohn’s masterpiece, the Hebrides Overture, is a gem in the course of musical history and remains very popular today. The composer once said, “it is in pictures, ruins, and natural surroundings that I find the most music.” The Overture is very much an ode of admiration to nature in which Mendelssohn expresses his awe at the sight of the glorious Fingal’s Cave.

The overture was the fruit of Mendelssohn’s travel to the Island of Staffa in Scotland. Its famous Cave is over sixty metres deep and described as a natural ‘cathedral’ with towering pillars and great archways; many have also heard mysterious harmonies echoing from the water within the cave. Accompanied by his childhood friend, Mendelssohn visited the cave, where he was so moved by its grandeur and mystery that, in a letter to his sister, he described how ‘extraordinarily it affected’ him by writing down the melody that had occurred to him at the sight of it. This melody later became the central theme in the work.

Beethoven undoubtedly influenced Mendelssohn. Mendelssohn had employed the technique of presenting the theme using different instruments each time, which was common of Beethoven’s work. The theme was introduced by the bassoon and lower strings; before long, the violins present it, and then the flute, and so on. Moreover, the overture is in standard sonata form. The sonata form dominated the Romantic era and was prominently used by Beethoven. Mendelssohn had not deviated much from it.

Although this work cannot be described as truly ‘programmatic’, because it does not describe a sequence of unfolding events, it is highly evocative - it very successfully captures Mendelssohn’s impression of it and leaves it up to the audience's imagination.

The first bar of the exposition opens with the famous theme, which repeats, introducing more instruments as the work unfolds. This simple melody serves to illustrate the motion of the water as Mendelssohn approaches: the undulating effect imitates the swelling of the waves and the bobbing of the boat. At first, the theme is introduced by the lower register, creating a dramatic, mysterious atmosphere; this is accompanied by trembling violins holding a single note, illustrating Mendelssohn’s caution and tension. The theme is repeated higher and higher, like rising waves. In the exposition, dynamics alternate between piano and forte, mimicking both the water rolling and crashing onto the boat and shore, as well as the wind as it blows against the rocking boat. The second inversion triads in the first few bars serves to create a restless effect, and we imagine the boat cutting through rough waters. Entering the development section, the music is less vehement and slightly calmer. Some scholars suggest that perhaps it symbolises ‘hope’ after the rough waters and that Mendelssohn had reached the mouth of the cave, admiring its grandeur and depth. The back of the cave is known to be illuminated once a year due to sunlight reaching the cave at a certain angle. It is also rumoured that Mendelssohn visited the cave during that particular day. The more tranquil section is thought to symbolise the sunlight. To support this, the key has modulated to D-major by this time, and a major key is typically associated with hope and warmth. The second section opens to a soft iteration of the main theme, answered by the woodwinds which imitate the wind. The second theme emerges and is introduced again by lower instruments to maintain the mysterious atmosphere.

The oscillating semiquaver rhythms accompany the regular swell across the whole orchestra, suggesting the vast landscape and horizons. It has also been suggested that the screech of seagulls are implied by the higher register, according to scholars. Towards the end, the second subject is reinstated and it is suddenly calm. Mendelssohn wished to highlight the spontaneity of the Hebrides: harsh winds and waves are often interrupted by sudden tranquility. The overture ends in b minor, with wistful echoes in the last few bars. Mendelssohn leaves the cave, but his mind lingers.

Mendelssohn’s Hebrides Overture is a personal favourite because of the grandeur and vividness with which he portrays scenery. He is able to conjure the image and atmosphere in the mind of the audience without directly imitating. Through deft instrumentation, he is able to create a very visual effect and makes us experience the mood and atmosphere. The motif creates a strong sense of unity throughout the work despite being presented in different voices and timbres. This is yet another common feature in works of Beethoven. The work as an entity feels wholesome and ‘returns home’ from whence we begun, which is very satisfying to the ear.

References

Carpenter, S. 2015. Mendelssohn Overture: the Hebrides. Accessed 19 October 2016. Available from: http://www.mendelssohninscotland.com/hebrides-overture

Feenstra, et. al. March 2016. Music Grade 12. Pg. 43-45. Feenstra Publishers, South Africa.

Newman, L. 2013. Program Notes. Accessed 17 October 2016. Available from http://nmphil.org/music-in-new-mexico/program-notes-mendelssohn-hebrides-overtur e-beethoven-piano-concerto-no-1-shostakovich-symphony-no-1/.

Posner, H. Date Unknown. Hebrides Overture. Accessed 19 October 2016. Available from http://www.laphil.com/philpedia/music/hebrides-overture-felix- mendelssohn-0