This thesis focuses on the analysis and interpretation of Mendelssohn’s late style, using his Sonata for Cello and Piano, op. 58 as a primary case study. I start with Mendelssohn’s biography, which I use as a reference point to trace the source of inspiration for his music. I compare this work with a selection of cello sonatas from Baroque to Romantic era, showing how it was inspired by the writing of this genre in the past, yet included innovations to stand on its own as a unique work of art. This tension between convention and innovation also serves as a focal point in my discussion of performance-related issues for this work.

With conventions standing hand in hand with innovations, Mendelssohn’s sonata op. 58 also challenges the coordination between the cellist and pianist with its constantly changing dynamics markings. The rich harmony and the work’s length pose an equal challenge to the players’ endurance and concentration. Haydn and Beethoven’s influence can be found in its structure, as well as the interaction between the cello and the piano. However, in the second movement using pizzicato to present the theme presents a new performance practice. The third movement starts with upbeat yet concludes with the complete bar, a treatment of meter that was at odds with music of the Classical tradition. The form of finale, which could be read either as a sonata form or sonata-rondo, has caused some controversy in scholarship.

A prolific composer, Mendelssohn created works of diverse genres throughout as his compositional career. However, he wrote only three works for the cello. Compared to Beethoven’s or Brahms’s cello music, his cello works have attracted relatively little attention in scholarship. Despite visible influences from the past, with the juxtaposition of tradition and innovation, this sonata conveys a charm that stands out in Mendelssohn’s musical output.