String Octet in Eb major, Op. 20
Composer: Felix Mendelssohn
Date of Publication: 1832
Felix Mendelssohn was born into a respected aristocratic family. His grandfather was a renowned philosopher; his father a wealthy banker; his aunt a successful pianist; his home a popular salon for philosophers, mathematicians, and artists. His family’s wealth afforded him the ability to comfortably explore many interests. Mendelssohn dabbled in chess, philosophy, history, billiards, painting, drafting, and sports. Eventually, he decided to dedicate himself to music. He became proficient in all string instruments and piano, conducting, and most notably, composing under the wing of Carl Friedrich Zelter. By his teenage years, he had already composed a dozen string symphonies and even managed to publish a piano quartet. He was already a prolific composer.
However, Mendelssohn’s string octet is his most prominent early work. In the autumn of 1825, a 16-year-old Mendelssohn began composing his octet. The piece was dedicated to his close friend and violin teacher, Eduard Ritz. Mendelssohn adored his mentor. Just two years earlier, he composed his Violin Sonata in F minor, Op. 4 to Ritz. When performing the string octet, Mendelssohn would urge Ritz to claim the first violin part and humbly accompany Ritz on another violin or viola part. After Ritz died, Mendelssohn was heartbroken. In a letter to his family, Mendelssohn wrote that upon learning about Ritz’s death, he was unable to do anything for the rest of the day. In 1839, Mendelssohn would dedicate the Andante movement of his String Quartet No. 4 “in memory of E. Ritz”.
Because of his affection for his teacher, Mendelssohn poured his heart into his string octet. On the first page, he even wrote a plea “L. e. g. G. (Lass es geling, Gott)”, which translates to "Let it succeed, God!”. He finished the piece on October 15, 1825, and presented the piece to Ritz 2 days later, as a birthday gift. Mendelssohn would then revise the piece numerous times with Ritz before the piece’s publication in 1832. Thanks to his passion, Mendelssohn’s octet became immediately acclaimed. Its public première in 1836 was a huge success. Mendelssohn was becoming famous as a prodigal composer. People even claimed that not even Mozart could compose as beautiful a piece!
The octet’s originality was also vital to its success. At the time, the string quartet, composed of 2 violins, a viola, and a cello, was extremely popular. The quartet became synonymous with the idea of chamber music. However, the repertoire was limited — grandeur was difficult to achieve without sacrificing ease and nobility. Mendelssohn’s octet was brilliant because there was not anything else quite like it yet. He doubled the standard string quartet, utilizing 4 violins, 2 violas, and 2 cellos. Only Louis Spohr’s Double Quartet in D minor, Op. 65 had the same instrumentation. Mendelssohn weaved together all 8 instruments in a cohesive concertante work, making it unique even compared with Spohr’s simultaneous conversation between two independent quartets.
Despite its innovativeness, the octet still adheres to the standards of late classical/early romantic music. All 4 movements follow the standard ABA sonata structure and juggle multiple themes. The first movement is extensively developed. The second is, as expected, more relaxed. The scherzo follows tradition and is placed in the third movement. The finale is a usual exciting rondo. Nonetheless, Mendelssohn’s accordance to convention doesn’t detract from the piece. On the contrary, his Bach-like counterpoint in the 4th movement, his Haydn-like development of second themes, and his Mozart-like lightness all help keep the piece captivating for its entire half hour duration.
Fun Fact:
At age 12, Mendelssohn met and befriended Johann Wolfgang von Goethe, whose poem Faust (see below) inspired the octet’s third movement scherzo.
Wisps of cloud and mist Are lit from above Breeze in the foliage and wind in the reeds And all is scattered.
Movements:
I. Allegro moderato ma con fuoco
II. Andante
III. Scherzo
IV. Presto
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