Octet (Mendelssohn)

The String Octet in E-flat major, Op. 20, was written by Felix Mendelssohn during the fall of 1825 and completed on October 15 at the age of 16. Written for four violins, two violas, and two cellos this work created a new genre in the world of chamber music. Because of this, the octet would be the piece that put Mendelssohn's name with other composers of his time and before him. (Christiansen) Conrad Wilson summarizes much of its reception ever since: "Its youthful verve, brilliance and perfection make it one of the miracles of nineteenth-century music." This was one of the first works of Mendelssohn that was received very well by the world.
Background.
Mendelssohn wrote his octet and gave a signed score to his friend and violin teacher as a birthday present. Rietz copied parts from the score to use for the premiere of the octet. The string octet was a fairly new genre of chamber music at the time, the most widely-known genre of chamber music still being the string quartet. The genre was rapidly gaining popularity among other composers.
When Mendelssohn composed his string octet, it was a rather new concept, and he possibly received inspiration from Louis Spohr's Double Quartet in D minor, Op. 65. However, Spohr's double quartet was written with the two separate string quartets playing apart from each other. Mendelssohn's octet has each performer playing more as an ensemble because it was written on a much bigger scales than anything written before it in the chamber music genre. In the score, Mendelssohn wrote that the piece should "be played by all the instruments in the style of a symphony."
Structure.
The work comprises four movements:
A typical performance of the work lasts around thirty minutes, with the first movement usually comprising roughly half of this.
The scherzo, later scored for orchestra as a replacement for the minuet in the composer's First Symphony at its premiere, is believed to have been inspired by a section of Goethe's "Faust" entitled "Walpurgis Night's Dream". Fragments of this movement recur in the finale, as a precursor to the "cyclic" technique employed by later 19th-century composers. The entire work is also notable for its extended use of counterpoint, with the finale, in particular, beginning with an eight-part fugato. In this section, Mendelssohn quotes the melody of "And he shall reign forever and ever" from the "Hallelujah Chorus" of Handel's "Messiah".
Instrumentation.
The original score is for a double string quartet with four violins and pairs of violas and cellos. Mendelssohn instructed in the public score, "This Octet must be played by all the instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized
than is usual in pieces of this character."
The piece is sometimes played by full string sections using more players for each part as well as an added double bass part which usually (but not always) doubles the second cello part an octave lower. For example, Arturo Toscanini created such a version for a performance with the NBC Symphony Orchestra in 1947. More recently in 2009, conductor Yoon Jae Lee made a transcription of the first, second, and last movements for full orchestra.
The composer also transcribed the piece as a piano duet with violin and cello "ad. lib." and orchestrated the third movement Scherzo (with compositional alterations) as an alternative third movement to his Symphony No. 1 in C minor.