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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Fantasia on “The Last Rose of Summer,” Op. 15Felix Mendelssohn

Mendelssohn “The Last Rose of Summer” – Fantasia on ‘The Last Rose of Summer’; pf: Kuniko Hiraga

“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.

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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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