This album brings to a close Audite’s complete recordings of Mendelssohn’s Chamber Music for Strings with the Mandelring Quartett. Sitting alongside the better-known, substantial body of eight works for string quartet and the Octet Op.20, Mendelssohn’s quintets for two violins, two violas and cello are often overlooked. This recording proves that this is mostly to do with the genre, and less todo with the works themselves, both of which are significant compositions.

The Quintet in A major Op.18 was written in 1826, during Mendelssohn’s period of apprenticeship in Berlin, which provided the atmosphere and venue not only for Lea Mendelssohn’s famous salon, but also for musical performances. Mendelssohn was mostly guided by Mozart for his first quintet - in the charm of his melodic ideas, in the transparent sonorities of an ensemble with double violas, and in the contrapuntally concentrated network of themes and motifs.

It would take nearly two decades for Mendelssohn to return to the string quintet genre. The Quintet in B flat major reflects his symphonic experience. The first violin opens the piece, soaring with orchestral might over the trembling lower voices into a jubilant first theme – this atmosphere is maintained in the outer movements and, in the inner movements, contrasted with more intimate colours.

The two single movements for string quartet from the posthumous collection of Four Pieces for String Quartet Op.81 – the Capriccio of 1843 and a youthful Fugue – complete this estimable recording series.

"Of particular delight is their Minuetto … Throughout, the playing is technically immaculate and the whole disc is recorded with absolute clarity. One looks forward to the promised continuation of this complete edition of Mendelssohn’s string chamber music." - The Strad Recommends (Vol.1), September 2012

"The outstanding German group the Mandelring Quartet have the attributes Mendelssohn demands: great virtuosity, evenness of tone, precision, expressive intensity, and force combined with the light touch needed to capture the composer’s effortless sense of movement...The Mandelring/Cremona performance of the Octet’s presto finale is dazzling." - David Carins, The Sunday Times (Vol.3),  October 2013