ARNOLD MENDELSSOHN – The Third Quartet

German Late Romantic composer Arnold Mendelssohn [1855–1933] was the son of Felix Mendelssohn’s cousin Wilhelm Mendelssohn. He wrote three string quartets.

While steeped in the Late Romantic tradition, there are moments of drama that I would not expect to find in this style. Possibly, having lived well into the twentieth century, he was aware of stylistic changes going on around him. The Third Quartet definitely shows a more modern approach than the Second.

The work opens with a dramatic flourish from the violins, before quickly settling into a gentle passage that features fine violin melodies. There are several very gentle passages scattered throughout this movement, which are often contrasted with hints of the opening drama. This is charming music that is not of its time. A sombre section quickly returns to the status quo and the movement maintains a moderate intensity. Now a cello melody becomes prominent, before the violins again assume control. Animated violin melodies lead to a final sustained chord.

The next, andante movement is introduced with a wonderfully harmonised melody that seems to take some time before it yields up all of its mysteries. Gradually the music becomes more expansive as the violins express richly toned long melodies with wonderful harmonised ensemble lines. A short rhythmic parry is heard twice, but the music returns to its former placid mood. Now a solo violin prevails for a short time before the ensemble returns to add further harmonised lines. Nearing the end, a brief period of dramatic thrusts leads to a modern sounding chord and the music ends abruptly. This has been a beautiful, stately movement.

The third movement features optimistic violin melodies that lead into a moderate tempo. The legerity of this section is most satisfying. Melodic lines overlap and lead into a gentle, alluring passage, and then a stronger section which is dominated by descending harmonies of classic Romanticism. The violins are energised in a measured manner leading to a passage of spirited, overlapping violin lines. The end is a strong flourish.

We now have the treat of a second slow movement, marked lentovivace. Some mesmeric violin lines lead to a lamenting sound. Again, this is music of great beauty with sparse, dual harmonised lines of a serious nature. The piece then takes flight and the violins express rhapsodic lines against a sympathetic accompaniment. The lento has now been left far behind and the violins spar in a most expressive section. A touch of the minor tonality unfolds, to great emotional effect. Now the ensemble regather with a more optimistic section. Nearing the end, the composer plays with us as music that features short, entirely contrasting sections, leading to an extended final flourish.

I am slowly being drawn into the world of Romantic quartets, and am finding them to be very expressive. The two works on this disc are both of that character.

The review CD, titled Arnold Mendelssohn: String Quartets Op. 67 & 83, performed by Reinhold Quartett on the CPO label also contains the Second Quartet. It is available on Amazon UK and as Used and New on Amazon US.

Interestingly, Kai Christiansen from earsense has revealed to me that a German Mendelssohn website lists these two Opus Nos. as being String Quartets 1 and 2, as opposed to Nos. 2 and 3 on the CPO CD. Make of that what you will.

This CD is on Spotify.

Listenability: Charming, mellifluous works that span two styles.

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