by Goethe and The Fair Melusine (Die schöne Melusine) (1830). A contemporary writer considered these works as "perhaps the most beautiful overtures that, so far, we Germans possess". Mendelssohn also wrote in 1839 an overture to Ruy Blas, commissioned for a charity performance of Victor Hugo's drama (which the composer hated). His incidental music to A Midsummer Night's Dream (Op. 61), including the well-known "Wedding March", was written in 1843, seventeen years after the Overture. Concertos The Violin Concerto in E minor, Op. 64 (1844), was written for Ferdinand David. David, who had worked closely with Mendelssohn during the piece's preparation, gave the premiere of the concerto on his Guarneri violin. Joseph Joachim called it one of the four great violin concertos along with those of Beethoven, Brahms, and Bruch. Mendelssohn also wrote a lesser-known, early concerto for violin and strings in D minor (1822); four piano concertos ("no. 0" in A minor, 1822; 1 in G minor, 1831; 2 in D minor, 1837; and 3 in E minor, a posthumously published fragment from 1844); two concertos for two pianos and orchestra (E major, which he wrote at 14 [1823], and A-flat major, at 15 [1824]); and another double concerto, for violin and piano (1823). In addition, there are several single-movement works for soloist and orchestra. Those for piano are the Rondo Brillante of 1834, the Capriccio Brillante of 1832, and the Serenade and Allegro Giocoso of 1838. He also wrote two concertinos (Konzertstücke), Op. 113 and 114, originally for clarinet, basset horn and piano; Op. 113 was orchestrated by the composer. Chamber music Mendelssohn's mature output contains numerous chamber works, many of which display an emotional intensity lacking in some of his larger works. In particular, his String Quartet No. 6, the last of his string quartets and his last major work – written following the death of his sister Fanny – is, in the opinion of the historian Peter Mercer-Taylor, exceptionally powerful and eloquent. Other mature works include two string quintets; sonatas for the clarinet, cello, viola and violin; and two piano trios. For the Piano Trio No. 1 in D minor, Mendelssohn uncharacteristically took the advice of his fellow composer, Ferdinand Hiller, and rewrote the piano part in a more Romantic, "Schumannesque" style, considerably heightening its effect. Piano music The musicologist Glenn Stanley observes that "[u]nlike Brahms, unlike his contemporaries Schumann, Chopin and Liszt, and unlike [his]