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By his mid-teens he had written 13 string [[Symphony|symphonies]] and an [[opera]], and at seventeen wrote two of the pieces for which he is famous today – the [[overture]] to [[“A Midsummer Night’s Dream”]] and the equally charming [[Octet]]. From the age of twenty he travelled extensively for the next 16 years (he was particularly welcome in [[England]] where he was a favourite of the royal family) before settling in Leipzig to found the [[conservatorium]] there and conduct the famous Gewandhaus [[orchestra]].

By his mid-teens he had written 13 string [[Symphony|symphonies]] and an [[opera]], and at seventeen wrote two of the pieces for which he is famous today – the [[overture]] to [[“A Midsummer Night’s Dream”]] and the equally charming [[Octet]]. From the age of twenty he travelled extensively for the next 16 years (he was particularly welcome in [[England]] where he was a favourite of the royal family) before settling in Leipzig to found the [[conservatorium]] there and conduct the famous Gewandhaus [[orchestra]].

He is counted with [[Robert Schumann]] and [[Frederic Chopin]] – who were both a year younger – as the leaders of a more lyrical, less dramatic, romanticism. His music is exceptionally tuneful, always approachable, but sometimes seems facile, even banal. He wrote in all forms, although his operatic works were either withdrawn or unfinished. Many are descriptive works; even his symphonies, two of which reflect his travels (the “[[Scottish]]” and the “[[Italian]]”) and others, such as the “[[Reformation]]” with definite programmes. He was one of the first to use the stand-alone - or concert - overture as a musical form. (The overture to “A Midsummer Night’s Dream” is one, written many years before he was commissioned to write the incidental music for an actual performance of the play; and the “Hebrides” overture (“Fingal’s Cave”) is a concert favorite and one of the great musical seascapes.) He wrote one of the great 19th century violin concertos, and his [[oratorio]] “[[Elijah]]”, written late in life, is a masterpiece.

He is counted with [[Robert Schumann]] and [[Frederic Chopin]] – who were both a year younger – as the leaders of a more lyrical, less dramatic, romanticism. His music is exceptionally tuneful, always approachable, but sometimes seems facile, even banal. He wrote in all forms, although his operatic works were either withdrawn or unfinished. Many are descriptive works; even his symphonies, two of which reflect his travels (the “[[Scottish]]” and the “[[Italian]]”) and others, such as the “[[Reformation]]” with definite programmes. He was one of the first to use the stand-alone - or concert - overture as a musical form. (The overture to “A Midsummer Night’s Dream” is one, written many years before he was commissioned to write the incidental music for an actual performance of the play; and the “Hebrides” overture (“Fingal’s Cave”) is a concert favourite and one of the great musical seascapes.) He wrote one of the great 19th century violin concertos, and his [[oratorio]] “[[Elijah]]”, written late in life, is a masterpiece.

 

His works include:

His works include:

*Five Symphonies, only the first of which is “un-named”; (No.2: “Hymn of Praise”; No.3: “Scottish”; No.4: “Italian”; No.5: “Reformation”.)

*Five Symphonies, only the first of which is “un-named”; (No.2: “Hymn of Praise”; No.3: “Scottish”; No.4: “Italian”; No.5: “Reformation”.)

* He wrote over 70 songs, 12 duets and some concert arias.

* He wrote over 70 songs, 12 duets and some concert arias.

* His [[chamber music]] includes a number of string quartets, piano quartets, 2 delightful piano trios, sonatas for clarinet, cello, viola and violin, and other works.

* His [[chamber music]] includes a number of string quartets, piano quartets, 2 delightful piano trios, sonatas for clarinet, cello, viola and violin, and other works.

* He wrote for the organ and the piano - his “Songs without Words” are particular favorites.

* He wrote for the organ and the piano - his “Songs without Words” are particular favourites.

[[Image:Mendelssohn album.jpg|thumb|Mendelssohn's album]]

[[Image:Mendelssohn album.jpg|thumb|Mendelssohn's album]]

Mendelssohn has a prominent place in the history of conducting. He was one of the first to use the modern baton; and pioneered the use of a single conductor in choral woks. (Previously the conductor directed the choir, leaving the orchestra to the first violin.) He can also be given credit for his part in the resurrection of the music of [[J.S. Bach]], which had been neglected for generations.

Mendelssohn has a prominent place in the history of conducting. He was one of the first to use the modern baton; and pioneered the use of a single conductor in choral woks. (Previously the conductor directed the choir, leaving the orchestra to the first violin.) He can also be given credit for his part in the resurrection of the music of [[J.S. Bach]], which had been neglected for generations.