![]() ![]() ![]() The piece that was omitted was issued separately as the Reiterlied (Horseman’s Song).įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 7, Op. Mendelssohn had prepared a manuscript of Sechs Lieder ohne Worte for the artist Ida von Lüttichau of Dresden, and, in the end, Op. He died in 1847 and, although he had done preliminary work in getting these last collections together, it was his publisher, Simrock in Bonn, who determined the contents. 102, were issued after Mendelssohn’s death. 4, MWV U182, “Spinnerlied” (Roberto Prosseda, piano) Yet, this is one of the pieces that actually stands outside the Lieder ohne Worte world because it would be impossible to set any words to this incessant motion.įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 6, Op. It has a whirling motion that gave its name, the ‘Spinnerlied’ (Spinner song). As in the earlier volumes, solo songs (Nos 1, 5, and 6) and duet songs (Nos 2 and 5) contribute to the variety of the album. 67 collection is dedicated to Sophie Rosen, fiancée of his friend Karl Klingemann. 6, MWV U161, “Frühlingslied” (Spring Song) (Roberto Prosseda, piano)Ĭontinuing our survey of Mendelssohn’s Lieder ohne Worte, 1845 brings us the sixth book of the collection. 62 set, but the title crept out again and was again associated with the piece.įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 5, Op. The ‘Spring Song’ title was suppressed by Mendelssohn when he published the Op. It is the last song in the collection, originally entitled Frühlingslied (Spring Song), which is probably the most familiar. ![]() Solo songs (Nos 1 and 6) are joined by another Venetian Gondolier’s song (no. 5, MWV U153, “Volkslied” (Roberto Prosseda, piano)Ĭlara Schumann is the dedicatee of the 5th volume, which was published in 1844. 5 reflects his travels in Scotland, and he writes in a folk-song style, with some audible connections to his Scottish symphony.įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 4, Op. As he had in all the preceding volumes, each piece offered contrasting tempos, keys, and textures. This volume was dedicated to Sophie Horsley, daughter of the English composer William Horsley her younger brother was studying with Mendelssohn in Leipzig at this time. 5, MWV U137 (Roberto Prosseda, piano)Īfter a 5-year delay, the 4th volume of the Lieder ohne Worte came out. 5 uses a compound meter and is reminiscent of the agitation in Schubert’s Erlkönig, which had been performed by Mendelssohn in Leipzig in March 1837, a month before he started writing this piece.įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 3, Op. She made her brilliant Vienna debut in December 1837. 3, filled with arpeggios, was written for Clara Wieck (later Clara Schumann), then a mere 18 years old. 3, was published in 1837, and dedicated to Rosa von Woringen, the sister of Elisa von Woringen, dedicatee of vol. 6, MWV U110, “Venezianisches Gondellied” (Roberto Prosseda, piano) The last song in this set is another Venetian gondolier’s song.įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 2, Op. The volume was dedicated to Elisa von Woringen, one of Mendelssohn’s supporters and daughter of a Düsseldorf judge. The second book, Op, 30, was published in 1835 and includes music written between 18. ![]() 6, MWV U78, “Venezianisches Gondellied” (Roberto Prosseda, piano) Its writing, with ‘blurry pedal effects and gently undulating cross-rhythms’ evoke the waters of Venice.įelix Mendelssohn: Lieder ohne Worte (Songs without Words), Book 1, Op. Mendelssohn only titled the last piece, the Venetianisches Gondellied, written in memory of his trip to Venice in 1830. The remaining two pieces (Nos 3 and 5) are really miniature sonata forms. 6) where the melody is doubled in thirds or sixth. 19b: the solo song (Nos 1 and 2) where the treble song is supported by an accompaniment below, the part song (Nos 3 and 4) that has a more chordal style, and the duet (No. Mendelssohn uses three vocal types in the Op. They were intended for pianists of varying abilities so appealed to a wide range of players. It includes 6 major-key and 3 minor-key pieces. The first book, Op, 19b, was written between 18 and published in 1832. It is thought that the genre originated in a game Felix would play with his equally talented sister Fanny, where they would compose piano pieces and then add texts to them. Robert Schumann famously described these works as ‘an art song abstracted for the piano, with its text deleted’. His first book of these piano works was originally entitled Original Melodies for the Piano but the new name was too inviting and the whole series (originally 8 books of 6 melodies each), plus some extras, appeared as Songs Without Words. ![]()
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