Violin Sonata in F major (1838)

Mendessohn wasn’t very happy with the Violin Sonata in F major he drafted for Ferdinand David in 1838. He was already haunted by the opening of the Concerto in E minor he was to write for the same violinist six years later and he seems to have been so distracted – not only by that but also by a Symphony in B flat he was sketching but was never to complete – that the sonata turned out to be a “wretched” work. Or so he said. He began to revise the first movement in 1839 but then, still unhappy, shelved it. The manuscript remained undiscovered until Yehudi Menuhin caught sight of it in 1953 and, after conflating the two versions of the first movement, published a very plausible performing edition.

The opening Allegro vivace, which springs into life in much the same way as that of the “Italian” Symphony is unmistakable, high-quality Mendelssohn. The momentum is sustained until the violin introduces a a more expressive but equally characteristic second subject. A similar burst of energy demands an exposition repeat and the development is so resourcefully accomplished that the full melodic potential of both themes is realised before an abbreviated recapitulation and a joyful ending. The Adagio is said by one authority to be in the style of as song without words. So it is but only until about half-way through where it loses its innocence in an unexpected fit of anger, which is renewed with no less passion shortly before the final recall of the peaceful main themes.

No one could mistake the authorship of the Assai vivace, which is a brilliant moto perpetuo rondo which allows neither instrument a moment’s repose, taking the breath away not only by the speed with which it is presented but also by the technical virtuosity employed in doing it.    It is a richly gifted composer who can afford to scorn a sonata like this.