Beginner-friendly: Easily playable Mendelssohn piano pieces. Recommended piano works.

Three Fantasies, or Caprice, Op. 16 No. 3Felix Mendelssohn

Three Fantasies, or Caprices, Op. 16 No. 3 in E major

Mendelssohn’s “Three Fantasies, or Caprices,” said to have been written during his first trip to England, does not consist entirely of fantasies as the title might suggest; generally, the first piece is considered a fantasy, the second a scherzo, and the third a caprice.

Overall, the set is intermediate in level, but the relatively easier No.

3 has a consistent development and is not structurally complex, making it a good choice for those tackling this work for the first time.

That said, the main melody is basically a continuous stream of sixteenth notes, with thirty-second notes appearing in the latter half, so precise and delicate fingering is essential.

Start by slowing the tempo and gradually getting your fingers accustomed to the movements so you can express the beautiful melody smoothly.

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Seven Character Pieces, Op. 7: No. 1 — Gently, with feelingFelix Mendelssohn

Seven Character Pieces, Op. 7: No. 1 in E minor

Composed between 1827 and 1829, the Seven Character Pieces are known as a collection of piano works that most clearly show Bach’s influence within Mendelssohn’s output.

Their style makes extensive use of counterpoint—the technique of sounding multiple distinct melodies simultaneously while maintaining harmonic coherence.

Players who have only performed pieces where the right hand plays the melody and the left hand provides chordal accompaniment may find this approach unfamiliar, but tackling these Seven Character Pieces as a beginner pianist will undoubtedly help you level up.

Here, we focus on No.

1, “Tenderly, with feeling,” which is considered one of the less difficult pieces in the set.

Its melody, imbued with Bach-like elegance and a touch of melancholy, is exceptionally beautiful, and playing it convincingly may give you a taste—however small—of Classical-era delights.

As noted, the right and left hands unfold with independent motion, so for beginners it’s important to practice hands separately.

Because the piece lacks overt showiness, be careful not to let it become too plain by playing it too evenly; shape the phrases and add dynamic nuance.

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Songs Without Words, Book 8, Op. 102, No. 4, Zephyr (Breeze)Felix Mendelssohn

Mendelssohn: Songs Without Words, Book 8 “Rustling Winds,” Op. 102-4, U162, 192, 195, 152, 194, 172 pf. Tomoya Umeda

Among Mendelssohn’s piano collections, the Songs Without Words are particularly famous and are considered relatively approachable; there are 48 pieces in total, so the level of difficulty varies somewhat from piece to piece.

This “Breeze” is included as No.

4 in Songs Without Words, Book 8, and falls at an intermediate level of difficulty.

Its neat, beautiful melody tinged with a certain pathos makes you want to try it on the piano.

The left hand generally provides an accompaniment of broken chords that ascend from the bottom upward, so special attention should be paid to the balance with the right hand, which carries the main melody.

In the right hand, arpeggios appear ornamentally alongside the melody; be careful not to apply too much force.

There are a fair number of accidentals, and rather than calling for advanced virtuosity, the piece demands fine attention to details such as smooth slurring and pedal usage.

Aim for a performance that is delicate yet has a strong presence!

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