{"id":41988,"date":"2024-04-15T18:01:51","date_gmt":"2024-04-15T16:01:51","guid":{"rendered":"http:\/\/d47de86e-bd28-45d5-bb5a-84f6f1fdfbba"},"modified":"2024-04-15T18:40:04","modified_gmt":"2024-04-15T16:40:04","slug":"mendelssohns-piano-trio-no-1-in-d-minor-a-guide-to-a-great-chamber-work-and-its-best-recordings","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/mendelssohns-piano-trio-no-1-in-d-minor-a-guide-to-a-great-chamber-work-and-its-best-recordings\/","title":{"rendered":"Mendelssohn’s Piano Trio No. 1 in D minor: a guide to a great chamber work and its best recordings"},"content":{"rendered":"

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By <\/p>

Published: Monday, 15 April 2024 at 16:01 PM<\/p>

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It’s one of the 19th century’s best loved chamber music works. But what’s the story behind Mendelssohn<\/a><\/strong>‘s radiant Piano Trio No. 1, and which are the work’s best recordings? Read on for our guide to the Mendelssohn Piano Trio No. 1. <\/p>

What is chamber music?<\/a><\/strong><\/li>
These are the 2024 BBC Music Magazine Chamber Award nominees<\/a><\/strong> <\/li><\/ul>
When did Mendelssohn write his Piano Trio No. 1?<\/h2>
Mendelssohn\u2019s talents as both a performer and composer were prodigious and precocious \u2013 gifts that inspired spellbinding works such as the Octet, written, remarkably, at 16 years old. It\u2019s no coincidence then that when reviewing the D minor Piano Trio in the Neue Zeitschrift f\u00fcr Musik<\/em>, Robert Schumann claimed that Mendelssohn was the \u2018Mozart of the 19th century\u2019 and that in this work he achieved a \u2018sustained interweaving of themes and sure mastery of form\u2019, as well as a \u2018lively excitement and joyful brilliance\u2019.\u00a0<\/p>
Mendelssohn: five essential works<\/a><\/strong><\/li><\/ul>
The Trio was premiered at the Leipzig Gewandhaus on 1 February 1840, with the composer himself as pianist, playing alongside violinist Ferdinand David and cellist Carl Wittmann. In his Life of Mendelssohn<\/em>, WA Lampadius recalled the exhilaration of hearing this work for the first time: \u2018It is a true mirror of Mendelssohn in his most spiritual minded and deepest mood. The Trio was received with tumultuous applause.\u2019<\/p>
Why is Mendelssohn’s Piano Trio No. 1 so special?<\/h2>
So, just what is so special about the Mendelssohn Piano Trio No. 1? From its first airing, the work was a real crowd-pleaser, with dazzling virtuosity matched by compelling melodic charm. An unsettled turbulence infuses the music, which nevertheless saves a convincing optimism for the end of the Finale<\/em>. <\/p>
<\/div><\/figure>The piano part was obviously conceived for his own skills, which were legion. In a letter to his sister and fellow composer <a href=\"https:\/\/www.classical-music.com\/features\/composers\/fanny-mendelssohn-5\">Fanny Mendelssohn<\/a><\/strong>, the composer reveals that the piano part for the first London performance in 1844 had not materialised, necessitating him playing the music from memory at a time when this was rarely done. \u2018Never mind,\u2019 he said to the page turner. \u2018Just put a book on the piano and turn from time to time so I don\u2019t look as though I played by heart.\u2019 It was another example of his brilliance.<\/p><h3 class=\"wp-block-heading\">What other talents did Mendelssohn have?<\/h3>Accomplished as both a violinist and <a href=\"https:\/\/www.classical-music.com\/features\/instruments\/viola-how-to-play-tune-clean-beginners\">viola<\/a><\/strong> player, an international level pianist, chess player and painter, it seemed as if there was nothing at which Mendelssohn couldn\u2019t excel. But the completion of a trio took a long time to reach fruition. <\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/what-difference-between-violin-and-viola\">Viola vs violin: what’s the difference?<\/a><\/strong><\/li><\/ul>In 1832 he confided to Fanny that he was hoping in the near future to compose a couple of good trios\u2026 yet it was six years later, after he wrote to his friend Ferdinand Hiller, that he embarked on this very project. The first sketches were made in February 1839, but Mendelssohn really focussed on the work in the summer of the same year. For us lesser mortals, it is gratifying to know that he actually had to work quite hard at the Trio, refining and reworking passages to forge the masterpiece we know today.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/articles\/five-best-lesser-known-mendelssohn-works-discover\">Five best lesser-known Mendelssohn works to discover<\/a><\/strong><\/li><\/ul>One issue which caused him problems was the piano part. As Hiller recalled, \u2018Mendelssohn had just finished his great D minor Trio, and played it to me. I was tremendously impressed with the fire and spirit of the whole thing. But I had one small misgiving. Certain passages seemed somewhat old-fashioned.\u2019<\/p>He was referring here to the fact that Mendelssohn\u2019s writing seemed unadventurous in comparison with the new virtuoso piano styles of <a href=\"https:\/\/www.classical-music.com\/features\/composers\/franz-liszt\">Liszt<\/a><\/strong> and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/frederic-chopin\">Chopin<\/a><\/strong> that were then all the rage. Initially, Mendelssohn was resistant to changes, and sensitive to the criticism. \u2018Do you think that would make the Trio any better?\u2019 he asked. Hiller replied, \u2018You have often told me, and proved by your actions that the smallest touch of the brush must not be despised.\u2019<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/five-essential-works-chopin\">Chopin: five essential works<\/a><\/strong><\/li><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/five-essential-works-chopin\">Liszt: five essential works<\/a><\/strong><\/li><\/ul>Mendelssohn did indeed rewrite the Trio. Although the melodies remain intact, the piano part is more virtuosic, with harmonic changes and some significant rewriting of the middle section of the first movement. A second theme is also added to the second movement, and generally he makes the work more cohesive. The final version was published in April 1840.<\/p>Part of the perception of his music being perceived as \u2018old-fashioned\u2019 stems from Mendelssohn\u2019s veneration of earlier composers such as JS <a href=\"https:\/\/www.classical-music.com\/features\/composers\/johann-sebastian-bach\">Bach<\/a><\/strong> and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/ludwig-van-beethoven\">Beethoven<\/a><\/strong>. But he also forges ahead into new realms, extending the scope and expressive range of the string writing. Alongside his supreme control of structure, he is a melodist extraordinaire \u2013 it\u2019s one of the captivating qualities of his First Piano<br\/>Trio, where he masterfully combines a restless Romanticism with clarity of texture and form.<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/composers\/how-mendelssohn-helped-bring-bachs-st-matthew-passion-back-to-life\">How Mendelssohn helped bring Bach’s St Matthew Passion back to life<\/a><\/strong><\/li><li><a href=\"https:\/\/www.classical-music.com\/articles\/beethoven-revealed\">Five Beethoven works to discover<\/a><\/strong><\/li><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/beethoven-guide-his-symphonies\">Beethoven: a guide to his symphonies<\/a><\/strong><\/li><\/ul>The first movement is unsettled from the start, with the <a href=\"https:\/\/www.classical-music.com\/features\/instruments\/whats-a-cello\">cello<\/a><\/strong>\u2019s searching melody marked ed agitato<\/em>. A tangible restlessness defines the invention \u2013 a beautiful contrast to the \u2018Song without words\u2019 intimate style of the ensuing Andante con moto tranquillo<\/em>. Here, the captivating opening melody invites you to an inner world, with lovely dialogues between the violin and cello, although even here a spirit of yearning defines the middle section.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Martha Argerich, Arata Yumi, Dan Sloutskovski, Mendelssohn Piano Trion No.1 in D minor\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/YcY5qtYeWwE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure>We are then awakened by a mercurial <a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-scherzo\">Scherzo<\/a><\/strong><\/em> that dances across the pages with astonishing speed and fantasy, the piano part sprinkled with muted and capricious accents. By its definition, the rondo Finale<\/em> presents a main theme interspersed with contrasting ideas. The searching melodies of the opening movement seem to find resolution near the conclusion as the mood adeptly turns to a major key, sunlight and optimism characterising the closing bravura passages.\u00a0<\/p><h2 class=\"wp-block-heading\" id=\"h-the-best-recording-of-mendelssohn-piano-trio-no-1\">The best recording of Mendelssohn Piano Trio No. 1<\/h2><figure class=\"wp-block-image size-full\"\/><h3 class=\"wp-block-heading\">Vienna Piano Trio<\/h3>Stefan Mendel (piano), Wolfgang Redik (violin), Marcus Trefny (cello)\u00a0 <\/strong><br\/>Nimbus NI5553<\/em><\/strong><\/p>Fathoming a catalogue heaving with stellar recordings of this work is like being blinded by sparkling jewels in Aladdin\u2019s Cave. Given the wealth of recent artists that have recorded it, older releases with problematic sound don\u2019t really compete \u2013 despite this, some of the <a href=\"https:\/\/www.classical-music.com\/features\/artists\/20-greatest-violinists-ever\">greatest violinists<\/a><\/strong>, such as <a href=\"https:\/\/www.classical-music.com\/features\/artists\/jascha-heifetz-2\">Jascha Heifetz<\/a><\/strong> and David Oistrakh, for example, have much to offer in their respective recordings.<\/p>How though, might Mendelssohn have interpreted his Trio? Contemporary descriptions of his playing prove illuminating in furnishing some answers as to which recordings might best serve this music. <a href=\"https:\/\/www.classical-music.com\/features\/composers\/clara-schumann-6\">Clara Schumann<\/a><\/strong> described the composer\u2019s own performances as \u2018one of the most delightful artistic experiences in my life. He would sometimes take the tempos very quick, but never to the prejudice of the music.\u2019 Ferdinand Hiller states that \u2018he possessed great skill, certainty, power and rapidity of execution.\u2019\u00a0<\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/articles\/5-best-works-clara-schumann\">Clara Schumann: five of the best works<\/a><\/strong><\/li><li><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/five-best-clara-schumann-recordings\">Five of the best Clara Schumann recordings<\/a><\/strong><\/li><\/ul>A former pupil of Mendelssohn, Otto Goldschmidt refers to his \u2018subtle mechanism, developed with a lightness of the wrist; never from the arms\u2019. This highlights his remarkable facility, plus his preference for faster yet flexible tempos, the latter exemplified by his dislike of the metronome which he described \u2018as an utterly useless invention. A musician who can\u2019t work out the tempo of a piece just by looking at it is a blockhead.\u2019<\/p>These comments give clues as to the interpretations that probably come closest to fulfilling his ideals. In this respect, the beautifully recorded version by the Vienna Piano Trio from 20 years ago still leads the field for fervour and commitment. There\u2019s a real sense of forward momentum in the opening movement that generates a feeling of troubled <a href=\"https:\/\/www.classical-music.com\/features\/composers\/best-romantic-composers\">Romanticism<\/a><\/strong>, which this ensemble captures par excellence. <\/p>In addition to the urgency with which the musicians project Mendelssohn\u2019s ideas, we get a captivating blend of perfectly balanced and blended ensemble coexisting with a refined soloistic approach that infuses the intoxicating string melodies with burnished golden tones.<\/p>The fearsomely difficult technical hurdles of the Scherzo<\/em> pose no problems for the Vienna Piano Trio, who bring a feathery brilliance and a chameleon-like skill to their performance, being soloist or accompanist at the drop of a hat. And an intimate whispering melody graces their approach to the slow movement, in contrast to a triumphant and robust Finale<\/em> \u2013 simply a roller coaster \u2013 which reflects a compelling voyage from darkness to light.\u00a0<\/p><h2 class=\"wp-block-heading\">Other best recordings of Mendelssohn Piano Trio No. 1<\/h2><figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"546\" height=\"551\" src=\"https:\/\/c02.purpledshub.com\/uploads\/sites\/43\/2024\/04\/Screenshot-2024-04-15-at-16.52.43.png\" alt=\"Mendelssohn Piano Trio No. 1 best recordings - Argerich\" class=\"wp-image-203782\"\/><\/figure><h3 class=\"wp-block-heading\">Martha Argerich (piano), Renaud Capu\u00e7on (violin), Gautier Capu\u00e7on (cello<\/em>)<\/h3>This glittering line-up is exhilarating in a thrilling live recording from the Lugano Festival in 2002. It is vintage <a href=\"https:\/\/www.classical-music.com\/features\/artists\/who-is-martha-argerich-all-you-need-to-know-about-the-brilliant-pianist\">Argerich<\/a><\/strong>, with a whirlwind mercurial brilliance that defines the whole performance. Their Scherzo<\/em> scampers away at lightning speed with highly defined accenting; phrasing is masterfully shaped and expressive, with an exquisitely delineated <a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-andante\">Andante<\/a><\/strong><\/em>. The only slight caveat is a slightly leisurely opening that misses the unresolved searching. Elsewhere, you are on the edge of your seat. (Warner 557 5042)<\/em><\/p><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/artists\/the-best-recordings-of-pianist-martha-argerich\">Martha Argerich: the great pianist’s best recordings<\/a><\/strong><\/li><\/ul><h3 class=\"wp-block-heading\">Enrico Pace (piano), Leonidas Kavakos (violin), Patrick Demenga (cello)<\/em><\/h3><figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"740\" height=\"712\" src=\"https:\/\/c02.purpledshub.com\/uploads\/sites\/43\/2024\/04\/Screenshot-2024-04-15-at-16.54.29.png\" alt=\"Mendelssohn Piano Trio No. 1 best recordings - Kavakos\" class=\"wp-image-203783\" style=\"width:840px;height:auto\"\/><\/figure>A Classically infused reading, with lean yet beautifully shaped lines. The players are mesmerising in the Andante<\/em>, with an exquisitely connected right-hand piano melody and poetic intimacy from the strings, while the legion demands of the virtuosic Scherzo<\/em> are delivered with consummate ease and humour. A fervent interpretation of the Finale<\/em> caps it all off with a mesmerising bravura close. Recorded in 2009, this ensemble offers the polish of an established trio but the imaginative edge of top soloists. (Sony 88697433032)<\/em><\/p><h3 class=\"wp-block-heading\">Van Baerle Trio<\/em><\/h3>This performance from 2014 has a delightful lightness of texture helped by the use of a Fazioli piano. The playing is infused with energy and exuberance, and polished ensemble combines with individual and expressive shaping of the virtuosic invention. There\u2019s a real freshness to the beautifully projected Andante<\/em> which is followed by a breathlessly capricious Scherzo<\/em>. A welcome bonus is the world premiere recording of the first version of the Trio from the 1839 manuscript, which offers a fascinating insight into Mendelssohn\u2019s creative process. (Challenge Classics CC72662)<\/em><\/p><h2 class=\"wp-block-heading\">Other works like Mendelssohn’s Piano Trio No. 1<\/h2>If you find yourself beguiled by the mix of dazzling melodies and Romantic turbulence that characterise the Mendelssohn Piano Trio No. 1, here are five more works that inhabit a similar soundworld. If you enjoy Mendelssohn’s First Piano Trio, chances are you’ll like these too. <\/p><h3 class=\"wp-block-heading\">Felix Mendelssohn’s Piano Trio No. 2<\/h3>Five years after Felix Mendelssohn\u2019s First Piano Trio came No. 2. Again, the journey takes us from nervy minor to brightly confident major over four movements, in this instance famously rounded off by the exuberant quotation of the chorale melody \u2018Gelobet seist du, Jesu Christ\u2019. <\/p>Recommended recording: Trio Wanderer Harmonia Mundi HMC901961<\/em><\/p><h3 class=\"wp-block-heading\">Fanny Mendelssohn’s Piano Trio in D minor<\/h3><figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"733\" height=\"712\" src=\"https:\/\/c02.purpledshub.com\/uploads\/sites\/43\/2024\/04\/Screenshot-2024-04-15-at-16.55.51.png\" alt=\"Fanny Mendelssohn Piano Trio best recording - Kaleidoscope Collective\" class=\"wp-image-203784\"\/><\/figure>A tinge of regret accompanies listening to Fanny Mendelssohn\u2019s Piano Trio in D minor, in which two stormy, scurrying outer movements frame a more aquiescent Andante espressivo<\/em> and brief but lovely Lied<\/em>. At the time of its first performance in April 1847, the composer had just started to enjoy the sense of self-confidence and freedom of publishing her own works but, alas, had just one month left before succumbing to a stroke at 41.<\/p>Recommended recording: Kaleidoscope Chamber Collective Chandos CHAN 20256<\/em><\/p><h3 class=\"wp-block-heading\">Clara Schumann’s Piano Trio in G minor<\/h3>That death robbed Clara Schumann of the intended dedicatee of her elegant Piano Trio in G minor, premiered earlier that same year. Though preeminent as a pianist herself, Schumann here divides the workload equally between all three instruments, each of which enjoys its melodic moment in the sun. The work inspired and influenced her husband Robert, who then started work on the first of his own three piano trios. <\/p>Recommended recording: Boulanger Trio Ars Production ARS38048<\/em><\/p><h3 class=\"wp-block-heading\">Louis Spohr’s Piano Trio No. 1<\/h3>The mutual admiration between Felix Mendelssohn and violinist and composer Louis Spohr extended to dedicating works to each other. Spohr, the older by 25 years, was a slow starter when it came to piano trios, having turned 57 when he penned his First (Op. 119) in 1841. A largely amiable work, though technically demanding in its own twisting, turning way, it clearly gave the German the bug, as four further piano trios would soon follow.<\/p>Recommended recording: Hartley Piano Trio Naxos 8.553206<\/em><\/p><h3 class=\"wp-block-heading\">Ferdinand Hiller’s Piano Trio No. 6<\/h3>And what of Ferdinand Hiller, whose sage advice made such a mark on Felix M\u2019s First Piano Trio? Much of his own chamber music has fallen by the wayside, though his characterful Piano Trio No. 6 of 1879 is well worth a listen. Also known as his Serenade No. 2, the work\u2019s five movements include a delightfully sprightly opening Vorspiel<\/em> (Prelude) followed by quite the friskiest March<\/em> you\u2019re ever likely to encounter.<\/p>Recommended recording: Rautio Piano Trio Resonus Classics RES10203<\/em><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"By Published: Monday, 15 April 2024 at 16:01 PM It’s one of the 19th century’s best loved chamber music works. But what’s the story behind Mendelssohn‘s radiant Piano Trio No. 1, and which are the work’s best recordings? Read on for our guide to the Mendelssohn Piano Trio No. 1. What is chamber music? 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