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Mendelssohn's beloved Songs without Words are the first pieces that come to mind when considering his piano works. However, this volume also contains other captivating compositions, including several of his charming children's pieces that can be favorably compared to Robert Schumann's Kinderszenen. Furthermore, in works like the Prelude in F minor, we can detect Mendelssohn's deep admiration as a German Romantic composer for the polyphonic style of J.S. Bach.
In 1842, during a visit to London, Mendelssohn and his wife stayed with a family and wrote a series of short, tuneful piano pieces as Christmas gifts for the family's young members. These well-contrasted compositions serve as an excellent introduction to Mendelssohn's piano music.
Mendelssohn's contributions to chamber music are widely regarded as exceptional, showcasing his profound command of the genre. His unwavering passion for pure music imbues his quartets, in particular, with a remarkable integrity of thought and expression. These esteemed works remain favorites among both performers and audiences alike. Each piece has been recorded extensively and is frequently featured in chamber music concerts. The collection is derived from the renowned and scholarly Breitkopf & Härtel series, which is noted for its clarity and accessibility, encompassing all of Mendelssohn's chamber compositions for strings, with the exception of those involving piano.
The genesis of Mendelssohn's Konzertstücke can be traced to a curious exchange between the composer and the Baermann family. In 1832, the clarinettist Heinrich Joseph Baermann and his son Carl, a basset horn player, visited Mendelssohn. The two musicians struck a unique bargain - they promised Mendelssohn, who was particularly fond of "Dampfnudeln" (steamed dumplings) and "Rahmstrudel" (sweet-cheese strudel), that they would provide him with generous portions of these delicacies if he would compose a piece they could feature on their concert tours. This arrangement resulted in Mendelssohn's Konzertstück in F minor, which was soon followed by a second Konzertstück in D minor. Both works brilliantly showcase the distinctive tonal qualities and performance techniques of the clarinet and basset horn.
