Stakis Mendelssohn

The first two of the three string quartets of Mendelssohn's Op. 44 were recorded by the Cherubini Quartett in 1990. With its transparent textures, elegant phrasing, and refined execution, the ensemble is temperamentally suited to this music, which seems to require those qualities above others. While Mendelssohn acquired many advanced compositional techniques from studying Beethoven's quartets, he never presumed to plumb the master's spiritual depths, and preferred instead to emulate the Classical gentility and poise of Haydn and Mozart. The String Quartet No. 3 in D major, Op. 44/1, is predominantly exuberant and optimistic, and the Cherubini Quartett delivers it in a light, effervescent style, and only occasionally touches on the deeper passions that Mendelssohn prized in this work. More serious and fervid in expression, the String Quartet No. 4 in E minor, Op. 44/2, evokes the tense emotions of eighteenth century Sturm und Drang. The Cherubini Quartett renders the work with a darker coloration and richer tone, but these shadings neither interfere with the clarity of the parts nor weigh down Mendelssohn's fleet lines.

Hausmusik’s performance of the Mendelssohn Octet comes with the advantage of a sensibly steady tempo for the famous scherzo, allowing for maximum transparency and lightness; and a dazzling finale in which for once the cello’s first scurrying fugal entry sounds crystal clear. The First String Quintet, and the Op. 13 Quartet – Mendelssohn’s homage to the late quartets of the recently deceased Beethoven – are also miraculous products of the composer’s teenage years. The Quintet is quite beautifully done here, but the Quartet, like the late Quintet, Op. 87, is rather lacking in tension and urgency. Woldemar Bargiel was Schumann’s brother-in-law. For all its obvious weaknesses, his Octet contains some attractive ideas, and Divertimenti’s performance makes a strong case for it. Divertimenti is impressive in the Mendelssohn, too – though its finale is not quite as exhilarating as Hausmusik’s; and in the last resort neither group can quite match the élan of the ASMF Chamber Ensemble.

Sir John Eliot Gardiner and the London Symphony Orchestra join forces once again in the latest instalment of their exploration of Mendelssohn’s symphonies. Mendelssohn’s Symphony No 5, commonly known as the ‘Reformation’ Symphony, was written in 1830 to commemorate the 300th anniversary of the Augsberg confession – a seminal event in the Protestant Reformation. Allusions to the symphony’s title and inspiration can be heard throughout the music itself; the Dresden Amen is cited by the strings in the first movement whilst the finale is based on Martin Luther’s well-known chorale Ein feste Burg ist unser Gott (‘A Mighty Fortress is Our God’). Coupled with this are two of Mendelssohn’s overtures, Calm Sea and Prosperous Voyage and Ruy Blas, both of which were inspired by literary works. Calm Sea and Prosperous Voyage, based on two short poems by Goethe, depicts the journey of sailors at sea with a still adagio opening ultimately giving way to a triumphant homecoming. Completing the album, the overture Ruy Blas was commissioned by the Leipzig Theatre as an overture to Victor Hugo’s tragic drama of the same name.

In 1832 Felix Mendelssohn (1809-47) wrote to his sister Fanny that is what about time he wrote some ‘good trios’. He had already started but left unfinished a trio for piano, violin and viola, and started the D minor trio shortly after, completing it in 1839. Mendelssohn’s friend the composer-pianist Ferdinand Hiller advised him after the completion to make several revisions to make the work sound as up to date as possible – Hiller, was a pupil of Hummel was a keen supporter of Berlioz and Liszt. The result is a work of perfect proportions, with a brilliant piano part, skilful counterpoint and a wonderful blend of classical poise and romantic passion. Schumann reviewing the Leipzig premiere on 1840 commented that the trio was a masterpiece that would ‘bring joy to our children and grandchildren’. The 2nd trio is dedicated to the great German violinist and composer Louis Spohr.

George Szell's Philips Concertgebouw legacy includes some distinguished recordings, with the scintillating Midsummer Night's Dream suite taking pride of place. Few if any rivals can match the ''Scherzo'' (not even Szell's later Cleveland recording is as buoyant or precise), while the Overture is extraordinarily well drilled and the ''Nocturne'', although cool, has a genuine sense of repose. The Schubert Rosamunde excerpts display all the drive and textural clarity that Szell habitually brought to, say, the Great C major Symphony…