Mendelssohn: Songs without Words
12 of the 48 songs, free to read, hear and print, in the composer's own order.
Open the sheet music libraryMendelssohn published forty-eight Lieder ohne Worte in eight books of six between 1832 and his death in 1847, and they made his name in every middle-class drawing room in Europe. Each is a song for the piano alone: a melody that could be sung, an accompaniment that could be a harp or a guitar, and no words, which Mendelssohn said was the point, since music says things too precise for words.
They are in order by book here, with each piece's number in the full set of forty-eight. Most are of moderate difficulty, and the three Venetian Gondola Songs are a good place to start.
About the pieces
Song Without Words in F sharp minor, Op. 19 No. 5
This is the fifth piece in Mendelssohn's first book of Songs Without Words, sometimes nicknamed Restlessness. The melody sits on top of an agitated, constantly moving inner accompaniment over a deep bass, and the piece finally resolves in F sharp major.
Song Without Words, Op. 19 No. 6 (Venetian Gondola Song)
The last of Mendelssohn's first book of Songs Without Words, and the first of three pieces he himself called Venetian Gondola Songs. A rocking 6/8 left hand suggests the gondola's motion, while the right hand sings a gentle, melancholy tune above.
Songs without Words No. 7 Op. 30 No. 1
A Song Without Words is exactly that: a song where the pianist has to play the singer's line as well as the accompaniment. Mendelssohn called his piano miniatures Songs Without Words, and meant it: they are songs with the singer's line given to the pianist.
Song Without Words, Op. 30 No. 6 (Venetian Gondola Song)
The second of Mendelssohn's three Venetian Gondola Songs, from the second book of Songs without Words, published in 1835. The left hand rocks in 6/8 like a boat on the water while the right hand sings a sad, simple tune above it.
Song Without Words, Op. 53 No. 5 'Volkslied'
From the fourth book of Mendelssohn's Songs Without Words, published in 1841. Mendelssohn himself called this one Volkslied, or folk song: a firm A minor tune carried in the top notes of the right-hand figures, over off-beat chords in the left hand.
Song without Words in G major, Op. 62 No. 1
The first song of Mendelssohn's Op. 62 is a tender, singing Andante espressivo in G major, with a melody over a gently murmuring inner voice.
Song without Words in B-flat major, Op. 62 No. 2
Op. 62 No.
Song without Words in E minor, Op. 62 No. 3
Op. 62 No.
Song without Words in G major, Op. 62 No. 4
Op. 62 No.
Song without Words in A minor, Op. 62 No. 5 (Venetian Gondola Song)
The second of Mendelssohn's three Venetian Gondola Songs: a gently rocking barcarolle in A minor, the boatman's song drifting over the water, with a soft, mournful ending.
Song without Words in A major, Op. 62 No. 6 (Spring Song)
Spring Song is the most famous of Mendelssohn's Songs without Words: a cheerful melody floating over light, rippling chords, with quick little arpeggios before each beat like birdsong. Mendelssohn wrote it in 1842.
Song Without Words, Op. 85 No. 1
The first piece in the seventh book of Mendelssohn's Songs Without Words, published after his death. A calm F major melody sings above rippling semiquaver broken chords that the two hands share.
Songs Without Words (No. 1)
A Song Without Words is exactly that: a song where the pianist has to play the singer's line as well as the accompaniment. Mendelssohn called his piano miniatures Songs Without Words, and meant it: they are songs with the singer's line given to the pianist.
Songs Without Words (No. 3)
A Song Without Words is exactly that: a song where the pianist has to play the singer's line as well as the accompaniment. Mendelssohn called his piano miniatures Songs Without Words, and meant it: they are songs with the singer's line given to the pianist.