Felix Mendelssohn-Bartholdy (1809-1847)
String Quintet no. 1, in A major, op. 18 (1826, rev. 1832)
Mendelssohn’s extraordinary output included major works in virtually every genre. His two string quintets, both of which follow Mozart’s lead and call for two violas, are separated by twenty years, yet both are marked by freshness of affect and the spirit of youth. This is especially true of the first, written before Mendelssohn turned twenty and revised when he was at the ripe old age of twenty-four.
The first of its four movements begins with a sweet, lyrical violin theme that gradually gives way to a section of brilliant contrapuntal dialogue. This serves as a transition to the second theme, an energetic, staccato motive. A substantial development, largely based on the first theme, ensues and the recapitulation leads to a serene coda.
The second-movement Intermezzo is based on two ideas: a hymn-like theme and a wide-ranging melody accompanied by an intense, three-note (eventually triplet-rhythm) tattoo.
A brilliant scherzo, reminiscent of the elfin music from A Midsummer Night’s Dream, stands as the third movement, sparkling with the quicksilver writing that is a hallmark of Mendelssohn’s style in the genre.
Equally uplifting and exuberant music fills out the finale, whose swirling opening theme recalls the corresponding movement of Beethoven’s String Quartet no. 1. Never far from the proceedings, too, is the brio that informs the finale of Mendelssohn’s Octet, written just a couple of years before this Quintet.
© Jonathan Blumhofer
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