Mendelssohn’s combined mastery of melody, form, counterpoint, and the chamber idiom was admired and imitated by composers for generations to come. In a program bookended by two works of Mendelssohn from 1845, one brief, the other epic, we hear Mendelssohn’s close friend Robert Schumann’s response to Mendelssohn’s piano trios; how, near the end of his life, Brahms recalled Mendelssohn’s lyricism through the viola’s dark voice; and finally how Mendelssohn’s great admirer Tchaikovsky combined the German’s signature scherzo idiom with Russian melancholy and splendor in three selections from The Seasons for solo piano.
MendelssohnLied ohne Worte in D major for Cello and Piano, Op. 109 (1845)
SchumannMärchenerzählungen (Fairy Tales) for Clarinet, Viola, and Piano, Op. 132 (1853)
Brahms Sonata in E-flat major for Viola and Piano, Op. 120, No. 2 (1894)
Tchaikovsky Selections from Les saisons for Piano, Op. 37b (1875-76)
Mendelssohn Trio No. 2 in C minor for Piano, Violin, and Cello, Op. 66 (1845)