Felix Mendelssohn Bartholdy (1809–1847) is one of the most remarkable prodigies in the history of music. At the age of nine he appeared in public as a pianist, and by eleven he had begun composing regularly. He was twelve when his first composition was published, and fifteen when his First Symphony appeared. At seventeen, however, he far outshone this impressive beginning: in 1826, with the String Octet in E-flat major, Op. 20, and the Overture to Shakespeare’s A Midsummer Night’s Dream, he produced two masterpieces of irresistible vitality and achieved a breakthrough to full creative individuality and unmistakable style. The young Mendelssohn also accomplished something extraordinary in another field: shortly after his twentieth birthday, on 11 March 1829, he conducted the first performance of Bach’s St Matthew Passion in almost a hundred years, giving decisive impetus to the rediscovery of Bach’s works.
Mendelssohn’s talent was able to flourish under exceptionally favourable circumstances. He came from a highly respected, wealthy Jewish family in Berlin. His grandfather was the famous philosopher Moses Mendelssohn. His father, a successful banker, converted to Protestantism, at which point the family name was changed to Mendelssohn Bartholdy. The parents ensured their children received a broad education, and Mendelssohn acquired an impressive level of learning alongside his extensive musical studies. As an adult he spoke several languages fluently and possessed considerable skill in drawing. His sister Fanny, one of the most important figures in his life, was also a highly gifted composer. Among the advantages of Mendelssohn’s upbringing was his family’s position in Berlin’s cultural life: the Mendelssohn household was frequented by scholars, musicians and writers, with whom the young Felix came into contact and often maintained lifelong ties.
Yet the image of an artist free from all material concerns, to whom everything came effortlessly, is misleading. Mendelssohn’s achievements were the fruit of hard work and tireless diligence. Moreover, he was an exceptionally self-critical composer who abandoned many plans and repeatedly revised or left works unfinished. A vivid example of Mendelssohn’s dissatisfaction with himself is the Symphony No. 4 in A major, Op. 90, the “Italian”, which he withdrew despite its successful premiere and continued to rework without ever reaching a definitive version. The piece, now an indispensable part of our concert life, was only published after Mendelssohn’s death in a form that did not satisfy its creator.
Between 1829 and 1832 Mendelssohn spent most of his time travelling extensively across Europe. His visits to Britain were particularly fruitful; he travelled there ten times in all during his life. In Britain he found an enthusiastic public, made valuable contacts, and drew artistic inspiration for works such as the overture The Hebrides and the Symphony No. 3 in A minor, Op. 56, the “Scottish”. After a brief tenure as music director in Düsseldorf from 1833 to 1835, Mendelssohn settled in Leipzig. There, alongside his compositional work, he played a leading role in musical life: he raised the Gewandhaus Orchestra, which he conducted, to unprecedented heights, appeared as a pianist, and vigorously promoted the founding of a conservatoire, which opened in 1843. In addition, he undertook several duties for the King of Prussia in Berlin and was frequently on concert tours. By the mid-1840s Mendelssohn felt increasingly burdened and fatigued by the sheer weight of artistic and administrative responsibilities he had imposed upon himself. A heavy blow came with the death of his sister Fanny in May 1847. Mendelssohn survived her by only a few months, dying on 4 November 1847. Both siblings are buried in Berlin at the Dreifaltigkeitsfriedhof near Hallesches Tor.
As of: October 2025