There is an exceptional new album of Felix Mendelssohn’s two piano trios (1809-1847) that highly recommend you don’t miss. Mendelssohn: Piano Trios features a star-studded trio of international soloists: Joshua Bell (violin), Steven Isserlis (cello), and Jeremy Denk (piano), performing live recordings from their tour together last year.
Piano trios—the combination of piano, cello, and violin—are a chamber music format that is particularly rewarding to discover, especially if you’re unfamiliar with them. For me, it’s the ultimate chamber form because it reveals the raw, intimate dialogue between the instruments. Neither the composer nor the performers can hide; everything they have to offer is laid bare, without artifice. Through this form, we hear the musicians’ unique sound worlds and musical ideas unfold in real time. Similarly, there’s no orchestral distance to shield the players in a piano trio. It’s about direct interaction, with each musician listening closely to the others. This three-way reciprocity brings out the best in the performers, encouraging a sense of camaraderie that minimizes ego and fosters a deeper connection with the music. For the audience, it’s an invitation to witness music-making at its most intimate and compelling—a conversation of sound that resonates deeply within.
Mendelssohn composed two of the finest examples of this genre. The first, in D minor, was completed in 1839 when Mendelssohn was 30; the second, in C minor, came in 1845 when he was 36, just two years before his death. Born in Hamburg and based in Germany for most of his life, Mendelssohn was also a frequent visitor to the UK, where he was widely admired. In fact, he may be best remembered in Britain for his Hebrides Overture, the Scottish Symphony, or his incidental music to Shakespeare’s A Midsummer Night’s Dream. Yet, while these two piano trios are less known to the general public, they are cherished by musicians, chamber music enthusiasts, and Mendelssohn lovers alike. Once you hear them, they tend to grab hold of you—much like a fever that lingers for weeks. Both trios are in four movements and feature intricate rhythms, soaring melodies, moments of stunning beauty, and a rich range of emotions. They are fiendishly difficult to play—especially for the pianist—but they are filled with wit, subtlety, and an extraordinary interplay between the instruments. They seamlessly blend complexity and accessibility, weaving together playful passages, profound moments, and the occasional Bach-like grandeur.
What makes this particular recording so special? Simply put, the musicians involved are some of the finest and most intelligent artists working today. Jeremy Denk, in particular, takes on the most challenging role with the piano. Consider the description of some of the C minor movement’s instructions—Allegro energico e con fuoco (fast, energetic, and fiery); Molto allegro quasi presto (very fast, almost speeding up); Allegro appassionato (lively, passionate, and intense). As Isserlis remarks, “The absolute virtuosity lies in the piano part.” Yet Denk, despite the complexity, makes his playing sound effortless. His sound is never at the expense of clarity or character, but it flows with such ease that it’s easy to miss how much skill is involved—like admiring a perfect painting without needing to say anything further. What makes Denk’s performance particularly exceptional, though, is his generosity—both towards his fellow musicians and the audience. When you hear him live, you’re struck by how much he communicates through his music. His playing makes you feel as though you understand exactly what’s happening in the score.
This, of course, does not diminish the incredible musical contributions of Isserlis and Bell. Isserlis, widely regarded as one of the finest cellists in the world, brings a soulful, sonorous richness to the music, as well as a remarkable range of emotions—warmth, wit, brooding intensity, and agility. Bell, for his part, is widely considered one of the greatest all-around violinists, and his playing here is nothing short of magical. The elegance of his sound seems almost inexplicable—it is rich with exuberance, sadness, gentleness, defiance, and charm, all blending together in a way that is nothing short of mesmerising.
If you’re looking for a place to start, listen to the second movement of the D minor trio (it’s especially worth it if you have limited time). The piano, introduced by Denk with impeccable precision, presents the main theme alone, allowing the strings to enter later, almost as though they’ve been hiding in the wings. When the cello and violin do join in, the effect is all the more exquisite. Or listen to the unique string slide at around eight minutes into the first movement of the C minor—during one of the most haunting passages in the piece. Amid all the frantic allegro sections, this moment stands out for its beauty, ensuring this recording will quickly become the go-to version, surpassing even the iconic Beaux Arts Trio and recordings by Itzhak Perlman, Yo-Yo Ma, and Daniel Barenboim.
The two scherzos are considered particularly difficult for the cello, and Isserlis admits that getting the right cantabile—expressive, smooth phrasing—can be a challenge. These scherzos are a whirlwind for all three musicians, a true test of skill and musicality. However, it’s in the finales, the fourth movements, where Mendelssohn truly brings everything together. In the D minor, for example, he delivers an exhilarating mix of rhythmic exuberance, lyrical beauty, soaring violin lines, resonant cello, and a lively piano. Then, almost out of nowhere, he introduces a chorale, tenderly intoned by the piano and beautifully taken up by Bell’s violin. This moment adds a touch of Bach-like solemnity. But Mendelssohn is, above all, a Romantic, and by the end of the movement, the chorale reappears transformed, merging the sacred traditions of the Baroque with a new vision of the sanctity of individual human experience.
It’s in these finales where the brilliance of this recording truly shines. It’s not just about technical mastery—though there’s plenty of that—but also about the layers of intelligence, sensitivity, interpretation, and timing that go into making great music. And this recording has all of that in abundance.
What makes this performance even rarer is its sense of freshness. It feels as though the musicians are hearing these pieces anew, and that sense of discovery is passed on to the listener. There’s a sense of freedom and joy in the performance that is utterly infectious. As Isserlis puts it, “Mendelssohn is a very joyful composer,” and both trios end gloriously in the major key, filled with uplifting beauty. In short, this recording is a celebration of everything Mendelssohn encapsulates—beauty, freedom, and joy. These are two masterpieces you should seek out.
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