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It has become commonplace to regard Mendelssohn’s instrumental forms as orientated retrospectively between classical and romantic mindsets. At least since the critiques initiated by Richard Wagner and Franz Brendel, the prevailing view, fuelled by biographical constructions of excessive musical facility and material privilege, has often styled Mendelssohn as at best reactionary, concerned more with consolidation than progress, at worst superficial and rooted excessively in the past.1 When Gerald Abraham, writing in 1938, described Mendelssohn’s music as a ‘shady half-brotherhood of romanticism and neo-classicism’, he encapsulated a sentiment that endured, in various forms, for more than a century.2
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