MENDELSSOHN - Bis

ion nor mere mimic of earlier models. Indeed, novel harmonic progressions and
modula tions, the inter polation of a written-out cadenza in the middle rather than
near the end of the third movement, the effective distribution, reworking, and
ornamenta tion of thematic mater ial, and an interest in unifying the entire work
through cyclicism provide clear evi dence of the young composer’s original ideas
and individuality.
The Concerto in D minor entered the repertory only in the early 1950s, after
Yehudi Menuhin ac quired an autograph of the work in May 1951 and presented
its public première in Carnegie Hall on 4th February 1952. Since then, this ‘little’
Men delssohn concerto has also been championed by other leading violinists. The
work sur vives in two slightly dif fer ent editions: Menuhin’s undated auto graph,
which was handed by Mendelssohn’s widow Cécile to Ferdi nand David, and later
passed from his son Peter to a private collec tion, and an auto graph dated 6th May
1823 (heard on this re cording) that was once in the possession of Clara Schu -
mann and is now in the Deut sche Staats biblio thek, Berlin.
Many listeners will be surprised to learn that the version of Mendelssohn’s
E minor Concerto usu ally performed today differs in numerous details from the
work originally not at ed by the composer in 1844 and premièred by Ferdinand
David (1810–73) on 13th March 1845, with Niels W. Gade con duct ing the Leip -
zig Ge wand haus Orch estra. Indeed, this ‘most perfect’ of violin concertos cost its
com pos er considerable effort and was re vised repeatedly over its seven-year ges -
ta tion (1838–45). In a letter (30th July 1838) to David, the leader of the Gewand -
haus Orch estra and a res pected friend, Mendelssohn first expressed his desire to
write a con certo for him ‘next winter’, noting that ‘one in E minor runs in my
head, the beginning of which gives me no peace.’ In subse quent years, this work
was again mentioned in the com p oser’s correspondence. The concerto’s grad ual
evolution is chron icled in various sketches; further more, Mendels sohn’s un fin -
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