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)
“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.
Mendelssohn’s Masterpieces | Popular Classical Music (31–40)
Songs Without Words, Book II, Op. 30: No. 6, Venetian Boat Song No. 2Felix Mendelssohn
This piece is filled with the charm of Felix Mendelssohn, the great master of the early German Romantic era.
Born in February 1809, Mendelssohn displayed his talent from a young age.
This work is one of his hallmark Songs Without Words, depicting scenes of Venice through music.
Within its gentle 6/8 meter, it skillfully conveys the quiet sway of a gondola and the occasional surges of emotion.
The calm accompaniment in the left hand and the memorable melodic line in the right leave a deep resonance in the listener’s heart.
Though tranquil, the piece carries a touch of poignancy, making it a soul-stirring work you’ll want to listen to alone on a quiet night.
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 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.
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.