Felix Mendelssohn Popular Songs Ranking [2026]

Fantasia on “The Last Rose of Summer,” Op. 15Felix Mendelssohn29rank/position

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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“Six Duets,” Op. 63, No. 4: “Song of Autumn”Felix Mendelssohn30rank/position

F. Mendelssohn-Bartholdy – Herbstlied

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.

Hear My Prayer, O LordFelix Mendelssohn31rank/position

Mendelssohn – Hear my Prayer (Durham Cathedral Consort of Singers)

This work is a sacred piece composed in 1834, written for orchestra and mixed chorus.

It features a gentle, emotional ballad-like character and a melody that brings calm and comfort.

The lyrics are a prayer to God, pleading for help, and speak of threats from enemies, loneliness, and fear.

It is often performed during the Christmas season and at religious ceremonies, and it is popular in church and sacred music concerts.

Even if you don’t usually listen to religious music, why not give this beautiful piece a try?

The Lark, Op. 48 No. 4Felix Mendelssohn32rank/position

Mendelssohn “O Lark”

How gentle is the sound of your song, O lark, lifting me high into joy.

Let me sing with you, beat my wings beyond the clouds, and rise toward the sun; this is a translation of the original poem.

In Japanese: O lark, soaring high and light, what do you sing? You praise heaven’s grace and earth’s glory, you celebrate them in song.

The piece is being sung by the Itabashi Ward Mixed Chorus.

I’m not sure if they’re professional, but they are very skilled.

It’s a splendid canon (a musical round).

It is sung a cappella (without accompaniment).

If you like, try searching for “Lerchengesang Op.

48-4 Felix Mendelssohn” for videos.

There are several, each at a different tempo, and each with its own appeal.

Albumleaf, Op. 117Felix Mendelssohn33rank/position

Mendelssohn: Albumblatt in E Minor, Op. 117 (Daniel Barenboim)

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!

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Ave Maria, Motet for 8 voices, Op. 23 No. 2Felix Mendelssohn34rank/position

Mendelssohn – Ave maria (op. 23 no. 2)

There is an Ave Maria composed in 1820 and another Ave Maria for mixed chorus and organ from 1830.

This is the one composed in 1830, a beautiful piece for eight voices.

The tenor begins by singing “Ave Maria,” followed by ensemble entries.

The middle section is a plea and prayer to Mary.

“Ave Maria” means “Hello, Mary,” or “Hail, Mary.” The structure of the piece is: Ave Maria (Andante) – Sancta Maria (con moto) – Ave Maria (Andante).

The Royal Church Ensemble performs it a cappella in eight parts.

At times, organ accompaniment may be used, or instruments such as clarinet, bassoon, cello, and double bass may be added.

Elias (Elia)Felix Mendelssohn35rank/position

Mendelssohn Elias, oratorio – op 70 Orchestre National de France 240p

An oratorio depicting the life of Elijah, a prophet from the Old Testament, and one of the signature works of German composer Felix Mendelssohn.

Premiered in Birmingham, England, in August 1846, it captivated an audience of more than 2,000.

Centered on the themes of God’s power and human faith, it portrays Elijah’s suffering and hope with dramatic intensity.

Its rich harmonies for chorus, soloists, and orchestra leave a deep impression on listeners.

Seamlessly blending Romantic emotional expression with Baroque tradition, this masterpiece is recommended for those new to classical music and for anyone seeking music with a moving, narrative quality.