Felix Mendelssohn - Sonata for Violin and Piano in F major, Op. Posth. (MWV Q 7) - ( 1820 )

Felix Mendelssohn’s Sonata for Violin and Piano in F major (MWV Q 7) is an early chamber work composed in 1820, when he was just 11 years old, making it one of his earliest surviving efforts in the genre. Written for violin and piano, this sonata remained unpublished during his lifetime and was only brought to light posthumously, reflecting its status as juvenilia rather than a polished masterpiece. Though it lacks an official opus number in Mendelssohn’s lifetime catalog, it has been assigned “Op. Posth.” by later editors and is distinct from his three mature violin sonatas: the F minor, Op. 4 (1823), F major (1838, MWV Q 26), and D major (1840s, unfinished). Lasting approximately 15–18 minutes, this youthful piece showcases Mendelssohn’s prodigious talent, Classical influences, and budding creativity during his formative years in Berlin.
Context: Composed in 1820, likely in the summer or fall, the sonata emerged from Mendelssohn’s early training under Carl Friedrich Zelter in Berlin. At 11 (born February 3, 1809), he was already a musical prodigy, excelling at piano, violin, and composition, nurtured by his affluent, cultured family. The Mendelssohn household hosted regular “Sunday musicales,” where Felix’s works were tested, and this sonata was likely performed there—possibly with Felix on piano and a family member or friend like Eduard Rietz on violin. Zelter’s emphasis on Mozart, Bach, and Classical forms heavily influenced the piece, as did Mendelssohn’s exposure to his sister Fanny’s musical talents and the family’s collection of Bach manuscripts. Written before his more ambitious juvenilia like the string symphonies (1821–1823) and concertos (1822–1823), it reflects his initial steps in chamber music.
Structure: The sonata follows a three-movement Classical form—fast, slow, fast—typical of the era:
Allegro moderato (F major): A sonata-form movement opens with a cheerful, flowing theme introduced by the piano, soon joined by the violin in a bright, conversational exchange. A second theme in C major adds a lyrical contrast. The development explores these ideas with modest modulations and interplay, leading to a recapitulation and a straightforward coda. It’s lively and optimistic, with a Mozartian clarity suited to Mendelssohn’s young hand.

Andante (D minor): A simple, expressive slow movement shifts to the relative minor, offering a somber contrast. The piano sets a gentle, song-like melody, which the violin echoes and embellishes. There’s minimal development—more a reflective pause—before returning to the opening mood. It’s tender and unadorned, hinting at Mendelssohn’s later lyrical depth.

Presto (F major): A brisk, rondo-like finale bursts with energy. The piano leads with a playful, rhythmic theme, answered by the violin in spirited dialogue. Short contrasting episodes (e.g., in C major or B-flat major) add variety, with both instruments trading light, virtuosic phrases. It ends with a jubilant F major flourish, embodying youthful exuberance.
Musical Traits: The F major key lends a warm, sunny tone, with D minor providing a brief shadow in the Andante. The violin and piano share equal roles, often in duet-like passages, reflecting Mendelssohn’s balanced approach even at 11. The style is firmly Classical—structured, diatonic, and melodic—with echoes of Mozart’s violin sonatas (e.g., K. 304) and early Beethoven, though it lacks the harmonic or structural complexity of his later works. The texture is clear and light, suited to a domestic setting.
Technical Demands: The violin part requires basic agility—scales, arpeggios, and legato phrasing—manageable for a skilled amateur or young player like Mendelssohn or Rietz. The piano part, likely written for himself, demands nimble fingerwork and expressive touch but avoids extreme virtuosity, aligning with his early pianistic skill.
Manuscript: The autograph, dated 1820, is preserved in the Mendelssohn-Archiv at the Staatsbibliothek zu Berlin. Written in Mendelssohn’s neat, childish hand, it remained a private manuscript, unpublished and unperformed publicly in his lifetime. Posthumous publication came in the 20th century—often dated to 1953 or later—as part of efforts to catalog his juvenilia, with editions by publishers like Bärenreiter or Henle assigning it “Op. Posth.”
Significance: At 11, Mendelssohn demonstrates remarkable command of sonata form and chamber music interplay, crafting a piece that’s coherent and charming, if not profound. It lacks the sophistication of his F minor Sonata, Op. 4 (1823) or the emotional depth of the 1838 F major Sonata (MWV Q 26), but it reveals his early fluency in Classical idioms. The sonata bridges his childhood exercises (e.g., piano pieces from 1819) and later juvenilia, showing a prodigy honing his craft under Zelter’s guidance.
Reception: Likely premiered at a family concert in 1820, it earned no broader notice then, as Mendelssohn didn’t pursue its dissemination.