Beginner-friendly: Easily playable Mendelssohn piano pieces. Recommended piano works.
Felix Mendelssohn, a German Romantic composer who was also active as a conductor, pianist, and organist.
While creating numerous masterpieces such as his Violin Concerto and solo piano works, he also worked energetically to revive the music of Johann Sebastian Bach and to found the Leipzig Conservatory, making him a figure who had a profound impact on the musical world of the 19th century.
In this article, we will carefully select and introduce some of Mendelssohn’s piano works that are relatively easy in difficulty.
With steady practice, you’ll surely be able to play them—so read on to the end!
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[Lower difficulty] Easy-to-play Mendelssohn piano pieces. Recommended piano pieces (21–30)
Songs Without Words, Book 7, Op. 85, No. 4, ElegyFelix Mendelssohn
This Elegy is the fourth piece in Mendelssohn’s Songs Without Words, Book 7, Op.
85, which was published posthumously.
In terms of difficulty, it is about the same level as the famous Spring Song from the same collection.
While it may be challenging for complete beginners, anyone who has learned basic techniques should be able to handle it.
A key feature of this piece is the ornamental sixteenth notes: they should not be played as strongly as the main melody but rather quietly, as accompaniment, while still shaping them expressively.
Accidentals also appear fairly frequently, so be sure to read the score thoroughly and practice slowly and carefully.
Six Pieces for Children, Op. 72 No. 2Felix Mendelssohn
Alongside the Songs Without Words, Mendelssohn’s Six Pieces for Children are among his more approachable works and are perfect as practice material.
The piece introduced here is No.
2; though short, its refined and graceful melody is delightful to play.
The left hand is basically an arpeggiated accompaniment, so it’s important to make the right-hand main theme clear.
Since accidentals appear regularly, be sure to read the score carefully, and rather than playing mechanically, follow the indicated dynamics to shape an expressive performance.
Songs Without Words, Book V, Op. 62, No. 6, Spring SongFelix Mendelssohn
When it comes to Felix Mendelssohn’s piano works, Songs Without Words is the most famous.
Among its 48 pieces, the particularly well-known Spring Song features a beautiful melody that many people will recognize.
As the title suggests, the piece evokes a pleasant atmosphere, as if you can feel the gentle sunlight and hear birds chirping to announce the arrival of spring—making it a piece you’ll surely want to try on the piano.
In terms of difficulty, it’s around lower-intermediate, requiring a modest level of technique.
However, it isn’t very long, so start by practicing slowly, focusing on getting used to the delicate melodic lines and the hand-crossing between the right and left hands.
The characteristic arpeggiated ornaments can sound oddly overstated if you overemphasize them, so try to play them as naturally and gently as possible.
Songs Without Words, Book I, Op. 19, No. 1: Sweet RemembranceFelix Mendelssohn
The smoothly flowing sixteenth-note accompaniment and the graceful melody are truly lyrical and pleasant.
This piece, “Sweet Remembrance,” is one of the songs from Felix Mendelssohn’s famous piano collection Songs Without Words.
While it may be less well known compared to something like the famous “Spring Song,” it’s a work that highlights Mendelssohn’s superb melodic sensibility, and it’s definitely one you’ll want to try performing beautifully on the piano.
There are no complex developments, and the overall structure is simple, so a pianist around the intermediate level should be able to play it.
Start by practicing at a slower tempo and making sure you learn the indicated markings thoroughly; rather than playing mechanically, aim for an emotional performance that brings out the piece’s delicate themes.
Songs Without Words, Book II, Op. 30: No. 6, Venetian Boat Song No. 2Felix Mendelssohn
Mendelssohn’s Songs Without Words includes three pieces commonly referred to as “Barcarolles,” and the one discussed here is Venetian Boat Song No.
2 from Book II of the collection.
Within the Songs Without Words, its difficulty is relatively low, and as long as you can follow the notes, it’s a piece that even early-stage players who are getting accustomed to the piano can tackle.
True to the barcarolle style, it is written in 6/8 time; by feeling it in two large beats, you can effectively convey the motion of a gondola gliding over the waves.
As for the striking, extended trill that appears in the latter half, playing it with a uniform touch will make it sound bland, so be mindful to shape the dynamics—adding subtle crescendos and decrescendos—even within the rapid motion.
6 Pieces for Children, Op. 72 No. 3Felix Mendelssohn
Without needing to master difficult techniques, Mendelssohn’s piano miniatures “Six Children’s Pieces, Op.
72” let you savor the graceful beauty of Romantic music.
The third piece in the set, in addition to its beauty, conveys a charming, playful lightness that evokes children at play—a fresh and bright work.
Be sure to clearly differentiate the flowing, beautiful legato passages from the buoyant staccatos and repeated dotted rhythms, aiming for a performance with vivid contrast.
Fantasia on “The Last Rose of Summer,” Op. 15Felix Mendelssohn
“The Last Rose of Summer” is a poem written in 1805 by the Irish poet Thomas Moore, later published in 1813 set to a traditional Irish folk melody.
In Japan, it is widely known as the school song “Niwa no Chigusa” (“The Flowers in the Garden”), and it has also been frequently quoted in classical music.
Among the most famous is Mendelssohn’s Fantasia on “The Last Rose of Summer,” Op.
15.
While incorporating the original tune, Mendelssohn’s refined sensibility elevates it brilliantly into a piano piece.
The opening gently presents the main theme’s melody, but the middle section suddenly plunges into a dramatic, urgent development—beginning with a presto agitato that feels like a rush of stirred emotions.
The way the main theme occasionally resurfaces in song-like phrases, and the way the piece ends as if fading into silence, creates a wonderfully dreamlike atmosphere.
That said, performing it requires at least an intermediate level of technique, and it will be quite challenging for someone only just approaching that level.
In the presto agitato, where sixteenth notes are struck in alternation between the right and left hands, be careful not to merely run through the notes; stay keenly aware of the distinct roles of each hand.
Shaping contrasts in tempo and character throughout the entire piece, and keeping in mind the imagery conveyed by the original poem, will also deepen your expressiveness.