Mendelssohn Songs without Words Sheet Music, Program Notes and Recordings

The Piano Finds Its Voice

When a friend once asked Felix Mendelssohn what he meant by one of his Songs Without Words, the composer gave a now-famous reply. "People often complain that music is too ambiguous," he wrote. "For me, it is quite the reverse... the thoughts which are expressed to me by music that I love are not too indefinite to be put into words, but on the contrary, too definite." This statement is the philosophical key to the entire collection. The Lieder ohne Worte are not vague musical sketches; they are precise and deeply felt emotional expressions for which, in the composer's mind, mere words are inadequate. By calling them "songs," Mendelssohn invites us to listen for the singer's voice, the melodic line that carries the emotional weight, while leaving the story to our own imagination.

A New Genre for a New Era

The immense popularity of the Songs Without Words cannot be separated from the social history of the 19th century. With the rise of the middle class, the piano became a standard fixture in every respectable home. This created a huge market for accessible, high-quality "domestic music" (Hausmusik) that could be played by talented amateurs. Mendelssohn’s pieces perfectly filled this niche. They were musically sophisticated and emotionally rewarding, yet (for the most part) technically within the grasp of non-professional pianists. They became a publishing sensation, cementing Mendelssohn’s reputation not only as a master of the grand symphony and oratorio but also as a poet of the intimate and the personal.

The Essential Texture: Singer and Accompanist

The vast majority of the pieces in the collection share a characteristic texture that is the key to their song-like nature. Typically, a clear, singing melodic line is presented in one part of the keyboard (often the right hand's upper register), while the other hand provides a rich, flowing accompaniment of broken chords or arpeggios. The effect is a perfect imitation of a vocalist accompanied by a pianist or guitarist. This simple but incredibly effective formula allows the melody to shine through with clarity and emotional directness, making the piano truly "sing."

A Word on Nicknames

Many of the most famous Songs Without Words are known by evocative nicknames, such as "Spring Song," "Spinning Song," "Consolation," or "The Bee's Wedding." It is important to note, however, that the vast majority of these titles were not given by Mendelssohn himself. They were added later by publishers in England and elsewhere who correctly guessed that a piece called "Spring Song" would sell more copies than one simply titled "Allegretto grazioso in A major." While some of the names are fitting, they represent a publisher's marketing, not the composer’s original intent.

The Venetian Gondola Songs: Music on the Water

Among the few titles Mendelssohn did endorse was the "Venetian Gondola Song." There are three such pieces in the collection, and they perfectly capture the mood of a barcarolle. Each is set in a gentle, rocking 6/8 meter that beautifully evokes the lapping of waves against the side of a gondola as it glides through the canals of Venice. The melodies are tinged with a sweet melancholy, creating an atmosphere of romantic nostalgia that is both beautiful and deeply poignant.

Perennial Favorites: "Spring Song" and "Spinning Song"

Arguably the single most famous piece in the entire collection is the "Spring Song" (Op. 62, No. 6). Its cheerful, staccato melody seems to bounce and ripple over a flowing accompaniment, perfectly capturing a mood of joyful, sun-drenched optimism. Another perennial favorite is the "Spinning Song" (Op. 67, No. 4), sometimes called "The Bee's Wedding." This is a brilliant moto perpetuo, a miniature virtuosic étude where a whirlwind of rapid, buzzing notes in the right hand creates a shimmering, energetic texture over a simple melody in the left.

A Spectrum of Moods: From Marches to Duets

The collection is far from being uniformly gentle and lyrical. Mendelssohn explores a vast emotional range. There are pieces of great power and drama, like the solemn and heroic "Funeral March" (Op. 62, No. 3), which builds to a powerful climax. There are also pieces of incredible tenderness, like the one in F-sharp minor (Op. 30, No. 6), which Mendelssohn subtitled "Venetian Gondola Song" and described as a piece whose "softness and loveliness are beyond all expression." Some pieces are even structured as duets, like Op. 38, No. 6, where two distinct melodic lines—a soprano and a baritone—engage in an expressive conversation.

A Personal Sketchbook

Because the 48 pieces were composed over a sixteen-year span, the Songs Without Words can be seen as a kind of musical diary. They are intimate reflections and personal sketches, often given as gifts to close friends or to his beloved sister Fanny (who herself composed many beautiful pieces in the same style). They are not grand public statements but quiet, personal expressions, offering perhaps the clearest window we have into the composer's own sensitive and poetic soul. They created the template for the Romantic character piece, influencing generations of composers from Robert Schumann to Gabriel Fauré, and they forever enriched the world of piano music.