At Canada’s National Arts Centre, we are delighted to showcase some of the most exceptional artists in the world today on our national stage. The Boston Globe has called pianist Benjamin Hochman “a rising star on the classical music scene.” Here are his thoughts on Mendelssohn’s Concerto for Violin, Piano and Orchestra, which he will perform May 14-15 with our own concertmaster Yosuke Kawasaki, and the NAC Orchestra.
Felix Mendelssohn's Concerto for Violin, Piano and Orchestra is one of the very few canonical works for this instrumentation. It is also a wonderful example of the precocious gifts of Felix Mendelssohn. Written at the age of 13, this concerto already reveals the unique combination of fiery virtuosity, soulful lyricism and refined elegance that characterize Mendelssohn's later masterpieces.
This concerto also shows the influence of three composers whom Mendelssohn revered: Johann Sebastian Bach, Ludwig Van Beethoven and Wolfgang Amadeus Mozart. Bach's influence is felt in the transparency and semi-fugal writing of many passages, including the opening of the first movement. Beethoven's influence is felt in the powerful, stormy atmosphere of many passages, including the opening of the third movement. And Mozart's influence can be noted in the beautiful simplicity of the opening of the second movement – though the extensive filigree that pervades the piano part in the middle of the second movement could hardly be written by anyone but Mendelssohn.
In fact, the mix of classicism and romanticism that is typical of Mendelssohn is already clear in this concerto – and though the skill and scope of his later works may be greater, the freshness, vitality and beauty of this early work is striking. Another interesting feature of this piece is the conversational quality not only between soloists and orchestra, but also between the two soloists themselves. While the approach to concertante style and form in this piece is mostly traditional (significant opening tutti in the first movement, virtuosic passagework in the solo instruments over thematic material in the orchestra, etc.) there are also extended passages where the two solo instruments play without orchestral accompaniment. Some of these passages could nearly pass for a duo sonata – for example the remarkable middle section of the second movement.
On a personal note, I happen to love this piece. I feel that Mendelssohn is still under-appreciated today, and that many lesser known works of his deserve to be heard, and on their own terms: for their own beauty rather than their historical or cultural context, and for their own merits rather than in comparison to the works of other great composers. Lastly, I am thrilled and delighted to play this piece with the fabulous violinist (and my good friend) Yosuke Kawasaki, the marvelous conductor John Storgårds and the incomparable National Arts Centre Orchestra.
