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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[Beginner-Friendly] Easy-to-Play Mendelssohn Piano Pieces. Recommended Piano Pieces (1–10)
Fantasia in F-sharp minor, Op. 28 “Scottish Sonata”Felix Mendelssohn
Felix Mendelssohn, a great composer beloved for his fantastical musical style, is especially familiar to intermediate pianists and wrote many works suited to their level.
One such piece is his Fantasia in F-sharp minor, Op.
28, the “Scottish Sonata.” Its allure lies in Mendelssohn’s signature brilliance, and the third movement offers an exquisitely romantic melody.
A key challenge is the rapid sextuplets at the beginning of the third movement.
Since both hands must articulate these figures, diligent practice is essential; however, because the passage contains many repeats, this piece is an excellent fit for intermediate classical pianists who are progressing and enjoy this repertoire.
Rondo Capriccioso in E major, Op. 14, MWV U 67 No. 1 AndanteFelix Mendelssohn
Beginning with an elegant and lyrical Andante and unfolding into a light, delicate Presto, this work by Mendelssohn is a masterpiece whose original form was created when he was just fifteen.
In the Andante, a clear, beautiful melody is sung out, offering an approachable charm reminiscent of a Song Without Words.
The Presto brims with lively, airy passages, evoking an atmosphere as if spirits were dancing.
The piece is also accessible in terms of difficulty: its simple structure and beautiful melodies make it ideal for those new to classical music.
If you start practicing at a slow tempo, it becomes a wonderful work through which you can steadily feel your progress.
Six Pieces for Children (Christmas Album), Op. 72: No. 1 in G major, Allegro non troppo, MWV U 171Felix Mendelssohn
For Mendelssohn pieces suitable for children and easy for beginners, “Songs Without Words” and “Six Children’s Pieces” are the go-to collections.
As the title suggests, “Six Children’s Pieces” is a standard set for young learners; with a Sonatina-level difficulty, it’s approachable and also recommended for adults who are starting piano and want to try playing Romantic-era music.
This article features the first piece from “Six Children’s Pieces,” notable for its elegant waltz rhythm and frequent use of staccato.
It’s a short work of about one minute, with few accidentals, and as long as you have basic technique, it should be well within reach for early-level players.
Keep the staccato light and crisp, and be careful not to use too much force.
Songs Without Words, Book II, Op. 30, No. 3, ConsolationFelix Mendelssohn
Although Songs Without Words is relatively easy and often used as practice material for children, the level of difficulty does vary somewhat across its 48 pieces.
This Consolation from Book II, Op.
30 is likely among the easiest, making it an ideal choice for your first foray into the collection.
While the piece does not have a complex structure, be sure to pay close attention to slurs and dynamic markings as you play.
It tends to be a rather subdued work and can easily be rendered too plainly, but if you keep a calm, unhurried tempo—without letting it become too slow—and add clear, thoughtful expression in key spots, you’ll be able to bring out the music’s refined beauty.
Songs Without Words, Book I, Op. 19, No. 6: Venetian Boat Song No. 1Felix Mendelssohn
Did you know that it was Mendelssohn who is said to have been among the first in the classical field to incorporate the “barcarolle,” modeled after the songs gondoliers were said to hum on the waters of Venice? His Songs Without Words contains three Venetian Gondola Songs, with No.
3 being the most famous.
This time, however, following the theme of pieces that are relatively easy to play, I’ll introduce Venetian Gondola Song No.
1 from Book I of Songs Without Words.
In the characteristic 6/8 meter of a barcarolle, the left-hand accompaniment beautifully evokes the motion of a gondola rocking on the waves.
There are no complex techniques, and simply following the notes is not difficult, but getting comfortable with the 6/8 rhythm is crucial.
Try to feel it in two beats rather than six, and while the left-hand accompaniment is steady, avoid making it too mechanical—play while imagining the gondola’s movement, as mentioned earlier.
Songs Without Words, Book II, Op. 30, No. 1: MeditationFelix Mendelssohn
This work, notable for its slow and gentle melody in E-flat major, is one of the pieces from the Songs Without Words published in Bonn in May 1835.
Evoking the atmosphere of quiet meditation, it combines rich lyricism with relatively modest technical demands.
Cast in ternary form, it features a coherent structure and simple yet profound emotional expression, making it a valuable teaching piece for developing a pianist’s expressiveness.
It is an ideal choice for those looking to broaden their repertoire or seeking a calm, reflective piece.
Livia Rév’s 1986 recording received France’s Grand Prix du Disque and is highly acclaimed for its delicate interpretation.
Albumleaf, Op. 117Felix Mendelssohn
Characteristic for its somewhat melancholic yet passionate atmosphere, this “Album Leaf” is a solo piano piece composed in 1837.
The modulation in the middle section, where the melody transforms into something gentler, is beautiful, and overall it’s a romantic work in which you can feel the emotions the composer poured into the music.
In practice, it may be difficult for beginners who are just getting used to the piano; it might require at least an intermediate-level player to tackle it.
In the main theme, the left hand continuously plays sextuplet accompaniment, so if you’re not used to it, it’s best to practice each hand separately at first.
In the aforementioned middle section, by contrast, the left hand mainly plays chordal harmonies while the right hand focuses on triplets—be mindful of this shift—and make sure you have a solid grasp of the dynamic markings as you work to express the piece in your own way!