Hello all,

We continue our series on the Top 25 Greatest Pieces of Classical Music with Felix Mendelssohn’s violin concerto in E Minor.

This was a difficult one to choose. There are so many fantastic and worthy Mendelssohn compositions to pick from – his light-hearted Overture to “A Midsummer Night’s Dream,” his delightful Songs Without Words, and his rollicking string octet. But his violin concerto is in a class of its own. I chose it because it is perhaps the closest thing to perfection in the entire violin repertoire. Everything in this concerto is perfectly balanced – texturally, harmonically, technically, emotionally – and I think the violinist Kirill Troussov does a marvelous job of bringing that across while also adding his own unique flavor.

The perfection of the Mendelssohn violin concerto is a result of the seven years Mendelssohn took to write it. He revised and edited relentlessly, striving for the perfectly-proportioned concerto. This approach may be explainable in light of who he wrote it for – his good friend, the violin virtuoso Ferdinand David. As a pianist who held David in very high esteem, Mendelssohn harbored a deep insecurity about his ability to write for the violin and was worried about letting his friend down.

David was known to have a light, airy, almost Mozartian sound that was best utilized in a chamber music setting (as opposed to a solo setting). You will hear the concerto’s chamber-music-like qualities throughout the second movement in particular, where the violinist and orchestra converse with frequent thematic trade-offs. You will also hear – particularly in the third movement – the kind of lightness and youth that is reported to have characterized David’s playing.

Mendelssohn’s violin concerto isn’t just about balance. It’s also about trailblazing, new ideas, and bravery. In fact, Mendelssohn took a lot of risks in the way he composed this concerto. For instance, he put the solo cadenza (a fancy word for “the time where the soloist gets to show off without the orchestra slowing him down”) in the middle rather than the end of the concerto. Another risk was the blending of the three movements together with no break in between them. The fact that Mendelssohn was able to incorporate these new ideas into his concerto while maintaining its elegance is yet another testimony to his genius.



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