Mendelssohn’s combined mastery of melody, form, counterpoint, and the chamber idiom was admired and imitated by composers for generations to come. In a program bookended by two works of Mendelssohn from 1845, one brief, the other epic, we hear Mendelssohn’s close friend Robert Schumann’s response to Mendelssohn’s piano trios; how, near the end of his life, Brahms recalled Mendelssohn’s lyricism through the viola’s dark voice; and finally how Mendelssohn’s great admirer Tchaikovsky combined the German’s signature scherzo idiom with Russian melancholy and splendor in three selections from

Program
Mendelssohn Lied ohne Worte in D major for Cello and Piano, Op. 109 (1845)
Schumann Märchenerzählungen (Fairy Tales) for Clarinet, Viola, and Piano, Op. 132 (1853)
Brahms Sonata in E-flat major for Viola and Piano, Op. 120, No. 2 (1894)
Tchaikovsky Selections from Les saisons for Piano, Op. 37b (1875-76)
Mendelssohn Trio No. 2 in C minor for Piano, Violin, and Cello, Op. 66 (1845)

Performers
Inon Barnatan, Piano
Cho-Liang Lin, Violin
Paul Neubauer, Viola
Jakob Koranyi, Cello
Romie de Guise-Langlois, Clarinet