Mendelssohn’s Masterpieces | Popular Classical Music
Mendelssohn, a composer who represents German Romanticism.
He was active not only as a composer but also as a pianist and conductor, and from a young age he possessed such musical talent that he was called a child prodigy.
In this article, we introduce some of the masterpieces Mendelssohn left behind.
Whether you’re a fan of Mendelssohn or not very familiar with him, please take a look.
We hope you’ll notice the characteristics and charm of his style and discover some new favorite pieces.
If you play an instrument or sing, do try performing them yourself!
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Mendelssohn’s Masterpieces | Popular Classical Music (21–30)
Oratorio ‘Elijah’ Op. 70Felix Mendelssohn
It is a work performed through solo and choral singing that depicts the life of the prophet Elijah from the Old Testament Book of Kings.
The Book of Kings recounts the reigns of the successive rulers of the Kingdom of Israel, beginning with Solomon, the successor of David, and tells the story of the kingdom’s decline.
This piece is a highly popular oratorio known for fusing Baroque music with opera, inheriting Handel’s established style and sonorous choral writing.
Moving from lamentation and suffering to hope and overflowing joy, it resonates with Beethoven’s idea of “through suffering to joy.” Mendelssohn held Beethoven in great esteem.
Parts I and II together run 2 hours and 10 minutes.
As it is long, we recommend listening in sections.
Barcarolle of Venice, Op. 57 No. 5Felix Mendelssohn
This is a work from 1842.
It is a wistful yet passionate song in which a man, disguised as a Venetian gondolier, longs for his beloved and sings as he waits.
The poem is by Thomas Moore.
Thomas Moore was a poet born in Ireland in 1805, known for writing “The Last Rose of Summer” (known in Japanese as “Niwa no Chigusa”).
The Venetian barcarolle, Venetianisches Gondellied, was translated into German; the poem begins, “When the evening breeze blows across the square, Ninetta, you know who is waiting here.” Performed by tenor Peter Schreier with Walter Olbertz at the piano.
Peter Schreier, born in 1935, was a German tenor who in recent years also conducted.
He was active across a wide range of repertoire—opera (Mozart, Wagner, Strauss, etc.), oratorio, the St.
Matthew Passion, and German Lieder.
The accompanist, Walter Olbertz, is a pianist specializing in the Classical period (especially Haydn).
Saint Paul, Op. 36Felix Mendelssohn
A monumental oratorio by Felix Mendelssohn in which grand chorus and orchestra unite to paint the Bible’s dramatic narratives in sound.
Mendelssohn is renowned for reviving Bach’s music, and you can feel his profound reverence for that tradition in this work as well.
The piece traces the spiritual journey of Saul, once a persecutor, as he converts and becomes the Apostle Paul.
The overwhelming power of the chorus is no mere backdrop; at times it embodies the crowd, at others the community of believers, propelling the story with compelling force.
Premiered in May 1836, the work was celebrated as one of the composer’s signature pieces during his lifetime.
It is a masterpiece—ideal for immersing yourself in majestic, narrative-rich music that offers a different flavor from opera.
Piano Sonata No. 3 in B-flat major, Op. 106Felix Mendelssohn
This is a work Mendelssohn composed at the age of 18.
Among his sonatas, it is often performed and well loved.
Mendelssohn deeply admired Beethoven.
This piece was composed in 1827, the year Beethoven passed away, and it shares many similarities with Beethoven’s Hammerklavier Sonata.
It has four movements, each of them superb, with an average performance time of about 20 minutes.
The first movement begins powerfully and brilliantly; the scherzo is played with lightness; the third movement sings with graceful melody.
It proceeds attacca from the third to the fourth movement, where the gentle tune is sweet and beguiling, and the work closes as if fading away with arpeggios.
In general, even Mendelssohn’s minor-key works lack a sense of tragedy or gloom; they are beautiful, fresh, and richly poetic.
Even among piano works, the difference in character stands out when compared to those of his contemporary, Chopin.
Please enjoy about 18 minutes with Ilse von Alpenheim at the piano.
“Six Duets,” Op. 63, No. 4: “Song of Autumn”Felix Mendelssohn
The Six Duets comprise six pieces—1.
Pour Out My Love; 2.
The Parting of the Migratory Birds; 3.
Greeting; 4.
Autumn Song; 5.
Folk Song; 6.
Lilies of the Valley and Flowers—forming a set of duets that amply demonstrates Mendelssohn’s talent as a vocal composer.
Autumn Song is a work in which Mendelssohn set a poem by Nikolaus Lenau to a beautiful melody, a masterpiece that evokes the quiet sentiment of autumn.
Ah, how swiftly the dancing circle ends, and spring turns to winter.
Ah, how quickly all joys are transformed into the silence of sorrow.
Soon the last reverberation fades, soon the last singer is gone, and dreams and love, sweet as spring, quickly vanish.
Only one thing does not disappear: longing—something that never fades.
This is the general sense of the lyrics.
Soprano: Barbara Bonney; Mezzo-soprano: Angelika Kirchschlager.
Greeting from Six Songs, Op. 19-aFelix Mendelssohn
A pleasant resonance that has slipped from my heart spreads quietly.
O resonance, go far, far away—resound all the way to the house where she blooms like a flower.
And if you should meet a single rose, tell it this: it is a greeting from me.
This is a poem with such words.
It is a simple and elegant piece set to a short, romantic poem by Heinrich Heine.
Mezzo-soprano: Elisabeth Kulman; pianist: Walter Moore.
Elisabeth Kulman is an Austrian singer.
She excels in Wagner and Liszt, and also performs Beethoven’s Ninth and the Missa solemnis.
Walter Moore is a pianist who moved from the United States to Austria.
Songs Without Words, Book I, Op. 19 No. 6 “Venetian Boat Song No. 1”Felix Mendelssohn
A scene of Venice painted by a master of German Romanticism.
The lilting 6/8 rhythm, reminiscent of gently rippling waves, is soothing and conjures the image of a gondola gliding quietly across the water.
Composed in October 1830, this gem is a miniature that Mendelssohn himself titled “Venetian Boat Song.” The soft accompaniment in the left hand and the singing melody in the right hand create a superb balance, drawing the listener into a dreamlike world.
While not especially demanding technically, it requires delicate touch and expressive nuance.
A masterpiece that piano enthusiasts are warmly encouraged to try.
Songs Without Words, Book II, Op. 30: No. 3 “Consolation”Felix Mendelssohn
Felix Mendelssohn, the German composer, created Songs Without Words, a sparkling collection of piano miniatures that express emotion without text.
Among the 48 pieces across eight volumes, this work from the second volume is especially notable for its beautiful melody that gently sings of comfort amid sorrow.
Composed in the 1830s, it showcases Mendelssohn’s delicate sensibility to the fullest.
Its world of sound—woven from soft arpeggios and rich harmonies—embraces the listener’s heart and brings a deep sense of peace.
It’s a recommended piece for those looking to get acquainted with classical music or seeking music that soothes the soul.
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 V, Op. 62 No. 5, No. 3: “Venetian Boat Song”Felix Mendelssohn
This is a piece from Felix Mendelssohn’s celebrated collection of piano miniatures, the masterpiece “Lieder ohne Worte” Op.
62.
The 6/8 accompaniment in the left hand deftly depicts a gondola gliding along the canals of Venice, while the right hand sings a melody like a plaintive song echoing over the water.
Its appeal lies in the way it conveys a poised dignity and elegance within sorrow, rather than being merely dark.
Published in 1844, this set is dedicated to Clara Schumann.
It is recommended for those times when you don’t want to force yourself to feel cheerful, but instead wish to surrender to this beautiful melody and savor the sensation of quietly sinking into the depths of your heart.