DMA Lecture Recital ''Mendelssohn's Songs Without Words''
Outline Notes
I. INTRO A. Welcome; Initial Thoughts on Mendelssohn's Song Without Words
1. Perform - ''Venetian Boat Song, Op. 67, No.4''
2. Welcome - The title of my lecture-recital is “Felix Mendelssohn’s Songs Without Words: Hidden Gems
for the Piano Student and Teacher.” The selection I performed for you today is without doubt
one of the most beloved and popular pieces from this composer’s important collection, and the
topic of which I am privileged to share with you this afternoon. This particular piece certainly
has earned its reputation with such a hauntingly beautiful melody and is quintessentially a
favorite in Romantic keyboard literature!
◦
As students, we were first assigned this piece as an intro to the Romantic style, a precursor to
the more familiar and challenging Romantic piano pieces such as Chopin’s Nocturnes or
Ballades, or any other well-known 19th c. keyboard composer who composed in this genre of
keyboard literature.
◦
With a show of hands, how many in the audience have actually learned this piece in your piano
studies?
3. As teachers, this piece is an excellent choice for our students as a way to prep them for larger romantic
works.
◦
Before our students can even master the challenges of musical interpretation and artistry
demanded in these larger Romantic works, it’s important to equip them with pieces
that introduce these important musical concepts:
▪
1) Tone production
▪
2) Voicing of melodic line
▪
3) Balance between melody and accompaniment
▪
4) Phrasing and dynamics
▪
5) Rubato and etc.
◦
As far as the piece itself, there are many musical elements that easily make it a favorite
standard of piano repertory:
▪
It’s simple harmonic progression (although in the key of F# minor) and tuneful RH
melody is approachable to any intermediate piano student.
▪
The rocking 6/8 meter, supported by the programmatic title given by Mendelssohn
himself, helps students utilize this imagery as they apply the necessary
elements of musical style that would effectively
B. Background + Overview: Hidden Gems for the Piano Student and Teacher
• Apart from the "Venetian Boat Song" and other well-known selections such as “Consolation” or
“Spring Song," Mendelssohn’s Songs without Words are often overlooked and passed off as
pieces only for the intermediate piano student not quite ready for Chopin, Schumann or
Liszt. Sadly, they’re often passed off as “easy teaching pieces”.
◦
These pieces can be used to build technique, musicianship, and artistry that once mastered,
students can apply easily to more difficult pieces (or similarly leveled) such as any of the
Etudes by Chopin, Schumann, or Liszt.
▪
As I was exploring the vast amount of pieces from this collection, I quickly discovered
that many of these pieces were challenging and not designed for the earlyintermediate piano student.
▪
▪
◦
▪
•
◦
◦
Although most of them did emphasize the importance of preserving a clear melodic
line above the supportive accompaniment figures—especially since these
pieces are closely linked to the title as “song-like”–many of these Songs were
quite technically difficult and could almost be passed off as ‘etudes’ (technical
studies) while still keeping focus of careful voicing and balance between
voices.
When compared with Schumann’s Album for the Young, which were clearly intended
as didactic or teaching pieces for the piano student, Mendelssohn’s Songs had
more challenging selections that required careful technical precision, skillful
execution and articulation in order to tackle these pieces.
Concept of “Songs without Words” opens up an array of possibilities that any student (or
teacher) can explore: musical interpretation, use of imagery and imagination, etc.
Refer to Mendelssohn’s quote on his Songs and his intention and meaning behind the
compositions.
In this lecture, we will look at these Songs with a more didactic approach, particularly as “etudes” or
technical/musical studies that teachers and students can utilize to master their pianistic skills.
Each selection analyzed or performed today will offer helpful strategies and technical
approaches to such important concepts as phrasing, voicing, execution, etc.
Many of these pieces on the program are not so well-known or often performed. The
purpose of this lecture is to help unearth these “musical gems” and will hopefully
intrigue the student and teacher to include some of them in their standard
repertory. Each selection was carefully chosen for a specific musical or technical
element, besides my sheer enjoyment and valuable insight gained from learning these
pieces. Hope you will enjoy!
II. Mendelssohn - Life and Compositional Style/Works
A. Background; Early Years
• Born 1809 in Hamburg; Died 1847 Leipzig at age 38.
• Grandson of famous philosopher; Son of a brilliant banker & musical mother
• Born in wealthy lifestyle and exposure to culture to nourish his unusual musical, personal, and
intellectual gifts.
• Educated at young age (3 yrs. old), and short life (38 yrs.) filled with prodigious activity and prolific
compositional works of various genres and instruments.
• Composer, concert pianist, organist, conductor, teacher, musical researcher; Also traveled widely;
painter and handled large volume of correspondence in four languages
• A workaholic in his creative, performing and executive endeavors, in addition to constantly striving to
advance and improve the state of the art of music.
• Quotes from artists: Clara Schumann; Wagner (through Hans von Bulow)
B.Compositional Style/Works: Include INFO here
• Born roughly within 18 months within Chopin, Schumann and Liszt: early 1st generation
◦
Of these, Mendelssohn is probably the most classically oriented due to his early training in
creative art [visual], musical
• One of those composers who wrote masterworks, such as Midsummer’s night and etc. while still in his
teens.
◦
A high energy person who arranged the performance of Bach’s St. Matthew’s Passion [hasn’t
been done for years]; Accredited for rediscovering Bach
◦
◦
◦
◦
◦
•
•
•
•
◦
◦
◦
◦
▪
▪
▪
Traveled to London, youngest person ever to be inducted in London Philharmonic Society [all
within the age of twenty—check resources]
Returns to Germany to establish a conservatory in Leipzig [check resource] where Schumann
was on the faculty
Acts as Kapellmeister of Berlin
As a conductor, he was given credit to raising the standards of orchestras
As a pianist, he burnt himself out and his musical style reflects much of this lifestyle of high
energy and moving at a rapid pace: thus famous for Scherzo-like movements.
Mendelssohn strove constantly to be profound philosophically in terms of music in the same way that
other composers in his time
Very famous in Europe so that his death was memorable and statues were erected.
This pattern of his life, the high energy, is reflected in other well-known works, as well as his
Songs that we will hear later.
Just like Songs,there are a lot of piano music by Mendelssohn that are not often played
three early Piano Sonatas—strongly influenced by Beethoven\
set of six Preludes and Fugues—except for first one, not often played
Op. 7 characteristic pieces—highly contrapuntal, not often played
Songs without Words–some selections only enjoy the reputation of being played
popularly but mostly associated or utilized in the teaching studio
Like Schumann’s Album for Young, some pieces have been extracted and utilized
mostly for teaching.
But there are many challenging, but useful Songs that are often overlooked.
As we proceed to look closely at these Songs, and since they are used so much for
teaching, I will make note of teaching values within the piece
themselves. Although this is NOT the only value they have, I will mention
in passing often times make note of WHAT the value of technique is per
piece [in terms of working with each student].
III. Songs without Words (1832-1868) - Detailed Info
A. Overview
• 8 Books, 6 Songs; Each dedicated to upper-class women
• Published at irregular intervals in 1832-33 (Op. 19), 1835 (Op. 30), 1837 (Op. 38), 1841 (Op. 53), 1844
(Op. 62), 1845 (Op. 67)
◦
Op. 85 (1851) and Op. 102 (1868) appeared only after Mendelssohn’s death
◦
All books published by German publisher Nikolaus Simrock
◦
1st book originally published in London as “Original Melodies for the Pianoforte”
(1832). Published in Germany as “Songs without Words” (1833).
▪
Successful 1st book
• Mendelssohn’s musical and personal activity during these periods
◦
Travels to Italy, Switzerland, Germany
◦
Other compositions during this time
B. Concept of Songs without Words
• Character Pieces concept: A term invented by music historians to describe the rise of short piano
pieces in 19th c.
◦
Some of have descriptive titles and some did not
◦
Some performed separately, and some as a collection—as in Schumann
◦
A wide variety of pieces but all under the generic title of character piece
◦
The Songs is one example of early character pieces of 19th c.
• Titles or Names
◦
Title seems to have been invented by Mendelssohn for kind of short piece, generally strophic
(verse) form, in which the melody, accompaniment and prevailing mood of the work
are expressed in terms of a piano solo. The title, by its nature, is very subjective.
◦
Correspondence (background info):
▪
The title “Songs without Words” first found in letter from Fanny to a family friend
(Karl Klingemann) in 1828:
▪
Add quote here
▪
Partly because Mendelssohn came from and moved within the upper-class family,
his Song dedications were all to upper-class women reveal Mendelssohn’s
pieces were intended mainly for “the ladies” as he made clear in an
unpublished letter to Fanny. I’ve been able to identify these following as such:
▪
▪
▪
▪
▪
◦
▪
▪
▪
Provide more info on these dedicatees by looking at the indexes of extended
biographies for interest sake, or Googling online.
Songs were of great pianistic importance
Quote from famous German piano teacher Rudolph M. Breithaupt
Quote from Hans von Bulow
Quote from Rubinstein
Only 5 Mendelssohn’s original title:
3 Venetian Boat Songs: Op. 0
Duetto
Folk Song
◦
4 songs were named by Mendelssohn’s circle of friends:
▪
Hunting Song
▪
Funeral March
▪
Spring Song
▪
Spinning Song
◦
◦
▪
▪
▪
•
◦
◦
All, except Mendelssohn’s original five, were taken from the 1915 G. Schirmer edition, edited
by Constantin von Sternberg.
Decision to keep the titles on my program, and although they are not authentically used by
Mendelssohn -except for the Venetian Boat song that I played earlier—it is not unusual
that we often times use titles that have been given as nicknames, and not necessarily
by the composer itself.
Ex: Beethoven’s Sonatas: “Moonlight", “Appassionata”, or “Pathetique"
Therefore when titles have stuck in the culture and as seems appropriate, just
like many of these Songs titles [mostly nicknamed by friends and publishers for
association] are and do, I have decided to include them.
These songs reflect the sunniest qualities of Mendelssohn’s melodiousness, spontaneity and
invention.
Mendelssohn made the piano sing in these pieces, and they offer a wide variety of moods and
emotions.
Their superb lyrical quality and opportunity they provide the pianist for expressiveness are
◦
•
◦
◦
•
◦
◦
◦
◦
•
◦
◦
◦
◦
two of their greatest values in teaching and playing.
Songs are a significant and valuable contribution to the piano rep.
Mendelssohn’s thoughts on verbal imagery and his feelings about these pieces:
Describe quote from Maurice Hinson under “Background” [taken Selden-Goth, 313f].
Include quote from Mendelssohn [from Henle]
Friends’ insight of the collection
Clara Schumann
Fannie Mendelssohn
Rubinstein
Robert Schumann
5 Classification Types (taken from Maurice Hinson’s Foreword from Alfred:
Evidence of lyric genres [categories], both vocal and instrumental, transferred to a collection
of piano pieces.
48 spontaneous tone pictures can be classified into four different types, with first 3 types
based on vocal music containing the simple, unadorned lyrical quality of the folk song
and art song:
Solo Song: Melody flows continuously above accompaniment in uniform figuration, w/ use of
arpeggios and simple chords being common.
Accompanied Duet: “Imaginary duet”, with accompaniments similar to those of the solo
song.
◦
Choral Song: Contains sections in 4 or 5 part harmony (chorale like, compact
melody, harmonized in chorale style) placed between an Intro and a Coda in
contrasting decorative style. Short prelude intros returns (ritornello-like) at the end.
◦
Instrumental Type: (Without imaginary voices or chorus) Melodies are not as vocal in
character and generally less interesting than the accompanying texture. Typically the
best-loved Songs w/out Words since they appear more original, deviating from the
norm.
◦
Hybrid/Combo: Combination of multiple features from one or more types.
◦
**Etude/Virtuosic: More technical and etude-like in character. Contains repetitive figuration,
typically as accompaniment figure, that features virtuosic, rapid and/or complex
technical facility. (Ex: Tarantella, Agitato)
• Form/Structure:
◦
Short piano piece in three-part—rarely expanded—song form [ABA1] whose theme is
songlike in character and has regular antecedent and consequent phrases of equal
length.
◦
Each piece concludes with coda.
◦
Corresponding to vocal song: it retains a unified mood throughout.
◦
Technically it is developed from one theme [in most cases] and retains the same
accompaniment figure and texture throughout.
◦
Beethoven’s Bagatelles were probably served as models for Mendelssohn [mainly a
Classicist].
C. Analysis - Didactic Approach to Selected Songs:
• Voicing ◦
Sweet Remembrance
◦
Contemplation
◦
Regrets
◦
Reverie
◦
Adieu
◦
Lost Illusions
• Etude /Technical Elements ◦
Hunting Song
◦
Restlessness
◦
Unrest
◦
Tarantella
◦
Spinning Song
III. Conclusion + Resources Used
A. Works Cited - Bibliography
• Editions:
◦
Maurice Hinson - Alfred
◦
Henle urtext
• Most of topics was drawn from Maurice Hinson’s Foreword in his edition of Songs, currently published
by Alfred. He provides a wealth of information pertaining to the background and overview of
these songs, of which I have mostly drawn my resources from.
◦
Helpful background and overview; Teaching order [recommendations] and practice
suggestions
◦
Classification of the Songs types/characteristics
B. Conclusion - I have made a selection of Songs and arranged them into a short program. I hope that
this will inspire you to explore ALL of them because, outside of the few that are famous, the
Songs represents a neglected body of piano literature. Just as I have enjoyed exploring and unearthing
these delightful treasures that illustrate Mendelssohn’s creative and artistic output, I invite YOU all to
discover the joy that can be found in these hidden gems for the pianist. Without further ado, I present to
you Mendelssohn’s Songs Without Words.
IV. Performance [30 MIN]
PROGRAM ORDER
Book 1: Opus 19
#1 – “Sweet Remembrance” E Major (Andante con moto) 3:09
#3 – “Hunting Song” A Major (Molto allegro e vivace) 2:10
#2 – “Regrets” A Minor (Andante espressivo) 2:20
#5 – “Restlessness” F# Minor (Poco agitato) 2:03
[4 total] 9:43
Book 2: Opus 30
#1 – “Contemplation” Eb Major (Andante espressivo) 4:24
#2 - “Unrest” Bb Minor (Allegro di molto) 1:56
[2 total] 6:20
Book 7: Opus 85
#2 – “Adieu” A Minor (Allegro agitato) 0:57
[1 total]
Book 6: Opus 67
#2 – “Lost Illusions” F# Minor (Allegro leggiero) 2:08
Book 8: Opus 102
#3 – “Tarantella” C Major (Presto) 1:17
Book 6: Opus 67
#4 – “Spinning Song” C Major (Presto) 2:24
10 SONGS TOTAL - TOTAL PLAYING TIME: 23 min + 4 (Venetian Boat)=27 MIN