29 / 56
COMPLETE STRING QUARTETS 29
Though in many ways different, Op. 12 and Op. 13,
have several features in common. They contain many
references to (and even quotations from) Beethoven.
There is a general respect for sonata form, but with
amendments – remarkably, elements of cyclic form.
We find a use of contrapuntal forms of composition,
borrowed from Bach and filtered by Haydn, Mozart,
and above all Beethoven. The melodic and harmonic
discourse is very expressive (particularly through the
frequent use of appoggiatura). Finally,with a beautifully
graceful and light Canzonetta (Op. 12) and Intermezzo
(Op. 13), Mendelssohn found a new alternative to the
scherzo of Beethoven’s quartets.
Mendelssohn transformed the energeia of Beethoven
into poetry (magnified by extraordinary orchestral
colours in the Overture to
AMidsummer Night’s Dream
).
This is undoubtedly Mendelssohn most essential
contribution to music – not only to the music of his day,
but also tomusic of today. It is timewe finally discovered
the subtle refinements of Mendelssohn’s music and
recognised his full importance at last.