Ørjan Matre has previously collaborated with SSO. In addition, Matre won TONO’s composer prize at the 2016 Spellemann awards for the recording of his work, PreSage & Violin Concerto, published by Peter Herresthal and the Stavanger Symphony Orchestra. In recent years, Matre has become one of Norway's most renowned young contemporary composers. His compositions are based on tradition, but at the same time they hold a contemporary expression, and are characterized by both skilled craftsmanship and spontaneity. Matre has mastered the great symphonic format, and his orchestral works in particular show his understanding of the orchestra's many possibilities for rich and beautiful sound.
Felix Mendelssohn-Bartholdy's Symphony No. 3 in A-Minor, the so-called Scottish Symphony, developed organically from musical sketches written in 1829 during the composer's journey to Scotland. Mendelssohn-Bartholdy spent only three weeks in Scotland that year, but the journey made a strong impression on him. The work paints the Scottish atmosphere using romantic tones. The work premiered in 1842 in Leipzig. However, after the symphony’s successful performance in England the following year, Mendelssohn-Bartholdy was permitted to dedicate it to Queen Victoria. Many critics, including Robert Schumann, saw many positive characteristics in the work – particularly in the lively second and fourth movements, which were great inspired by Scottish folk music.
Mendelssohn-Bartholdy specified in the first printed edition of the work that the four movements, which have a thematic relationship, must be played without a break. The tone in the first step is dark and gloomy, with some dramatic outbursts. The opening is some of the composer's most expressive and deep music. The following scherzo has typical Scottish rhythmic characters, while the adage that follows is melodious and lyrical, similar to his songs without words. The final is energetic and breathless, almost warlike, and ends majestically and victoriously.