Carnegie Hall

A musical prodigy who enjoyed success from a young age, Felix Mendelssohn accomplished quite a lot in his 38 years of life. The German composer, conductor, pianist, and organist was well-known for his traditionalist style and for revitalizing interest in the works of J. S. Bach. And though Mendelssohn’s popularity waned after his death in 1847, he’s rightfully celebrated today for his importance in the early Romantic era. If you’ve been to a wedding, you’ve probably heard his famous “Wedding March.”

While Mendelssohn’s seven completed string quartets may not be as ubiquitous, they’re well-loved for their nuanced portrayals of his musical voice. Written between the ages of 14 and 38, these pieces pay tribute to Mendelssohn’s compositional heroes while highlighting his own creativity and emotional depth.

String Quartet in E-flat Major (1823)

One word that often comes up to describe young Mendelssohn is precocious. The budding painter, poet, pianist, and composer wrote his first string quartet at age 14, though this work wouldn’t be published until after his death (and so remains officially unnumbered).

This lesser-known piece sticks to some tried-and-true classical forms, leading some to dismiss it as simply a student exercise. The first and third movements particularly avoid compositional risk, sticking firmly to sonata and minuet forms, respectively. Still, sections like the graceful second movement carry a delightful charm.

String Quartet No. 1 in E-flat Major, Op. 12 (1829)

Although he was based in Berlin, Mendelssohn loved to travel, visiting more than a half dozen countries during his lifetime. He put the finishing touches on his Quartet No. 1 during a visit to London in his early 20s—his first visit of many.

This piece’s key and form are patterned after the “Harp” Quartet, Op. 74, by Ludwig van Beethoven—a composer whom Mendelssohn greatly admired. The brisk finale brings the piece full circle, ending with the first movement’s main melody. And the playful, humorous second movement—often played as a separate piece—is a real delight.

String Quartet No. 2 in A Minor, Op. 13 (1827)

There’s no doubt Mendelssohn was quite a traditionalist, often inspired by predecessors like Joseph Haydn and Ludwig van Beethoven. Friend and fellow composer Robert Schumann once dubbed Mendelssohn as the “Mozart of the 19th Century.” The form of his lyrical, dramatic Quartet No. 2 (actually composed prior to No. 1) pays direct homage to Beethoven, who had passed away earlier that year.

String Quartet No. 3 in D Major, Op. 44, No. 1 (1838)

The name Felix means “happy” in Latin, and Mendelssohn’s letters from 1838 revealed just how delighted he was with his latest work. “May it only please you as well,” he wrote to violinist Ferdinand David about Quartet No. 3. “But I almost believe it will, for it is more impassioned than the others and more rewarding for the musicians.”

This endearing piece features many solo passages for the first violin, particularly in the second-movement Menuetto. And the exuberant finale brings the piece to a thrilling finish.

String Quartet No. 4 in E Minor, Op. 44, No. 2 (1837)

Public opinion of Mendelssohn has waxed and waned, but some works have remained consistent staples. His Violin Concerto in E minor, for example, is one of the most popular works for the instrument.

In his String Quartet No. 4—written in the same key a few years earlier—one might hear the soaring line in the opening movement as foreshadowing that famous piece. And the bubbly second-movement Scherzo recalls another Mendelssohn classic: the incidental music from A Midsummer Night’s Dream.

String Quartet No. 5 in E-flat Major, Op. 44, No. 3 (1838)

Mendelssohn formed a friendship with Crown Prince Oscar of Sweden—to which all three pieces of Op. 44 are dedicated—but he was never able to visit the Nordic country before he died. If he had, he might have painted a watercolor, which he often did on his travels.

Perhaps the musical colors of Quartet No. 5 give us a peek at what that art may have looked like, with a joyful first movement and a contemplative third. The latter is the emotional heart of the work—a common musical order for Mendelssohn, who preferred his slow movements to come third.

String Quartet No. 6 in F Minor, Op. 80 (1847)

Mendelssohn’s older sister Fanny, one of his closest confidants, helped guide him both personally and musically. So when she suddenly died from a stroke in 1847, he was absolutely crushed, composing his Sixth String Quartet in her honor.

This raw gut-punch of a piece is an easy counterargument to those who see Mendelssohn’s music as too emotionally repressed. A turbulent first half precipitates the heartfelt third-movement elegy, subtitled “Requiem for Fanny.” Still deep in grief, the composer died two months later. He and his beloved sister are buried side by side.