Perhaps the most neglected of the quartet literature in the nineteenth century are the quartets of Mendelssohn. Of his 6 quartets, the three that make up Op. 44 are perhaps the best known.

It is often said that Mendelssohn possessed a greater talent than Mozart, having composed works of greater maturity when he was very young. Of course, this is all debatable but there is some truth in the rumors.

Quoting from the excellent article in the New Grove Dictionary of Music and Musicians, "Mendelssohn is one of the most naturally gifted musicians of the 19th century, developing his talents to a high degree while still a boy. Although he grew up surrounded by romantic influences, his inspiration was essentially classical and his musical ideals were embodied in the works of Bach, Handel and Mozart rather than those of his contemporaries. He was Romantic chiefly in his skilful use of literary and other extra musical stimuli, and his Classical inclinations led him to embody these in music of traditional form and elegance, expressed with an individual melodic grace and brilliance."

It is often overlooked that nearly half of Mendelssohn's life occurred during the last 18 years of Beethoven's life and that Beethoven's influence was beginning to be felt. The struggle between the ideals of Classicism and Romanticism was vivid in the minds of nearly every composer, artist and literary figure. It was Mendelssohn who perhaps felt this struggle more keenly than any other composer as the all embracing tenets of Romanticism seemed to sweep Classicism away.

In 1821 Mendelssohn met Goethe for the first time. It would be their growing and deepening relationship that kept Mendelssohn struggling with his interest in the Classical past and his ever deepening pull toward the philosophies of Goethe and Romanticism.

The Quartet in D major, written in early 1838 and published in 1839, reflects that struggle. But Mendelssohn's sense of Classicism always wins out as he follows the typical classical pattern of the four movement structure. Here Mendelssohn looks back to Haydn and Mozart and not to Beethoven for his models. The first movement, Adagio; allegro vivace, is buoyant, exuberant, infections and singable. The second movement, Menuetto; un poco allegro, evolves slowly and pensively. Here there are touches of sadness and yearning. The third movement, Andante espressivo ma con moto, develops a combination of scherzo like qualities with those of a more searching andante. The final movement, Presto con brio, ends quietly rather than with a flourish. The quartet is a wonderful work of joyous simplicity. It does not search for a place among the great quartets of Beethoven but rather is content with its beauty in clarity of line and generous harmonic spirit.