Even though both produce sound by vibrating metal strings, a violin and a piano are greatly different and, in a sense, incompatible solo instruments. Capable of thundering power over a range of eight octaves and of playing complex chords and counterpoint by itself, the piano is a giant among instruments. It can accept fierce pounding and fill concert halls and hold its own against a full size symphony orchestra. The violin, on the other hand, is a frail thing. Crafted of slender materials, it is tiny. It most often sings but a single note at a time and as an orchestral instrument, dozens are required to balance small brass and woodwind choirs. As a solo instrument, each is marvelous in its own way but the scoring and dynamic constraints are incredibly different. Combining these two in a single concerto is something even Mozart never attempted. The eternally outrageous Beethoven actually crafted a triple concerto, for the two instruments plus cello, but it is in some respects less a blending than a battle between them. Alone among Romantic composers, Mendelssohn has joined the giant and the sylph as a wondrous duet in the concerto format. And he did not do it by bending each to accept the limitations of the other; he did it by allowing each to shine in its own way. The piano thunders and the violin sings and they make marvelous music together. There are even incredible passages in which it is the giant who whispers and the sylph who sings out with all her might. As unbelievable as all this is, it is the product of a 14 year old. Along with his Concerto for Two Pianos and Orchestra in E of about the same period, the Concerto for Violin, Piano, and String Orchestra is one of Mendelssohn's most brilliant adolescent works. In three movements, the concerto is large, playing out over 36 minutes. As in the two piano concertos, it begins with the orchestra setting a broad stage and stating the first theme. But unlike the piano work, it is immediately Romantic and is nothing Mozart would have written. Both soloists caress the theme and after an animated orchestral transition, a most amazing passage ensues in which violin and piano mimic and repeat each other in an incredibly balanced duo. The recapitulation features a restatement of the opening sequence and a cadenza for both soloists before the movement rushes to a close. The adagio opens with a lengthy orchestral introduction before the piano takes up the theme and holds the spotlight until its companion soloist joins with the same theme. The two conduct an extended dialogue while the orchestra rests in preparation for the energetic finale. This begins with the piano setting forth a bold, three-note descending motif which gives way to a bold, upsweeping figure. This passes to the violin and the two once again engage in a spirited exchange and development. A lyrical second subject gives a moment's respite but all forces gather strength for a stunning coda and electrifying climax. The work is an utterly successful combination of unlikely forces by a precocious genius.

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