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Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the overture The Hebrides, his mature Violin Concerto, and his String Octet. His Songs Without Words are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. He is now among the most popular composers of the romantic era. The eight volumes of Songs Without Words, each consisting of six "songs" (Lieder), were written at various points throughout Mendelssohn's life, and were published separately. The piano became increasingly popular in Europe during the early nineteenth century, when it became a standard item in many middle-class households. The pieces are within the grasp of pianists of various abilities and this undoubtedly contributed to their popularity. This great popularity has caused many critics to under-rate their musical value. He composed Book 4 (Opus 53) between 1839–41 The first song is "On the Seashore" (Andante con moto). Suitably it opens with sempre tenuto e legato. Each of the melody notes should be given their full value. Mendelssohn is given the opportunity to show off his talent with being able to supply the perfect undertones with the main body of melody lines. "On the Seashore" provides a clear, tender, and concise style that is typical with Mendelssohn. "Clouds" (Allegro non troppo) is also known as "The Fleecy Clouds". Thought to have been written for his sister Fanny as Mendelssohn truly thought that his music would speak in larger volumes than his words. Compare this song with Book Three No. 3, and there appears to be some common resemblance. The piece is impulsive and is very much influenced by Schumann. "Agitation" (Presto Agitato). Not until the Ninth measure is the subject of this piece loudly apparent. There lies the effective monotony that is prevalent throughout this song. In measure 69, he inserts additional notes on the weaker beat with the left hand. "Sadness of Soul" (Adagio) is expressive, but perhaps overly sentimental. It is a prime example of a cantabile (singing) style of playing. The song is very similar to his composition of "On wings of Son" op.34 No. 2. The use of the sustain pedal adds an ingenious third hand. "Folk Dance" (Allegro con Fuoco) is certainly his best out of this book. As the term "Fuoco" is implied, it is to be played with fire and passion. Felix composes with this fury, and has an almost patriotic march. Basically, this song has been elaborated on from the forth song in book One. This has none of Mendelssohn's usual traits of politeness and gentle mannerisms, but is attacked with more aggression and roughness. "Flight" (Molto allegro vivace). Instead of using cadence forms as was used in No. 5, Mendelssohn's use of chromatic seconds give the listener a sense of being caught up in a hurricane. Later in the piece, it presents a pure display of raw technical power. The piece builds, until the last few measures dwindle down to a surprising diminuendo. The book on a whole is certainly worth mentioning. Mendelssohn shrugs off his polite way of being, and occasionally opts to be somewhat more aggressive. The piece contrasts in mood, showing that even this composer can be found in his own kind of personal tug of war, and leave the comfort that is his nature. Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Clouds" from "Lieder ohne Worte" (Op. 53 No. 2) for Flute & Classical Guitar. Sheet music made with MuseScore - https://musescore.com

Far from the troubled, coarse libertine that has become an archetype of the Romantic composer, Felix Mendelssohn was something of an anomaly among his contemporaries. His own situation -- one largely of domestic tranquility and unhindered career fulfillment -- stands in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the 19th century whose stature could rival that of Mozart. Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies. He and his sister Fanny were given piano lessons, and he also studied violin, and both joined the Berlin Singakademie. The eminent German musicologist and Lieder scholar Karl Schumann once famously described Mendelssohn's Lieder ohne Worte (Songs without words) as not simply "Pillars of the piano repertoire," but rather as "a household possession, as widespread in Germany as the Grimm brothers' fairy tales, Ludwig Richter's pictures, or Uhland's poetry ... and no less beloved in Victorian England." But these works were an absolutely typical Germanic reaction to the world of Romantic miniaturism, and especially, the growing interest among composers to encapsulate the mood of the moment in a keyboard gem. While it has become fashionable in critical circles to denigrate Mendelssohn's fragile sensibilities as little more than the manifestation of a kind of upper-class dilettantism, in his own way, he was actually far ahead of the field when it came to recognizing the future direction that music, especially the keyboard miniature, would take. In this regard, Mendelssohn anticipated the new expressive directions to be pursued by Schumann (whose wife, Clara, did much to popularize the Songs in the concert hall) and Liszt. Of the six Lieder ohne Worte of the fifth volume, Op. 62, no fewer than three pieces were given descriptive titles. Interestingly, Goethe (along with von Schiller the central figure of the German Romantic literary movement) had written "music begins where words end." No doubt, however, he would have been among the first to agree that the sombre mood of Op. 62 No. 3 in E minor "Trauermarsch" (Funeral March) needs no semantic prop to convey its sorrowful message. No. 5 in A minor is one of three Lieder to have the title "Venezianisches Gondollied" (Venetian Gondola Song). The concluding Lied ohne Worte of the Op. 62 group is one of the most famous of all piano miniatures. This is the A major "Frühlingslied" or "Spring Song." The remaining untitled pieces are Op. 62 No. 1 in G (Andante espressivo), No. 2 in B flat (Allegro con fuoco), and No. 4 in G (Allegro con anima). Finally, while these beguiling, some would say simplistic, pieces have sometimes been slighted as representative of the worst kind of Romantic kitsch, the critic Joan Chissell rightly reminds us that "without all these pieces, how much poorer our understanding would have been of the impressionable heart behind the master-craftsman's façade." Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Funeral March" from "Lieder ohne Worte" (Op. 62 No. 3) for Flute & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com

Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early romantic period. Mendelssohn wrote symphonies, concertos, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the overture The Hebrides, his mature Violin Concerto, and his String Octet. His Songs Without Words are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated. He is now among the most popular composers of the romantic era. The eight volumes of Songs Without Words, each consisting of six "songs" (Lieder), were written at various points throughout Mendelssohn's life, and were published separately. The piano became increasingly popular in Europe during the early nineteenth century, when it became a standard item in many middle-class households. The pieces are within the grasp of pianists of various abilities and this undoubtedly contributed to their popularity. This great popularity has caused many critics to under-rate their musical value. He composed Book 4 (Opus 53) between 1839–41 The first song is "On the Seashore" (Andante con moto). Suitably it opens with sempre tenuto e legato. Each of the melody notes should be given their full value. Mendelssohn is given the opportunity to show off his talent with being able to supply the perfect undertones with the main body of melody lines. "On the Seashore" provides a clear, tender, and concise style that is typical with Mendelssohn. "Clouds" (Allegro non troppo) is also known as "The Fleecy Clouds". Thought to have been written for his sister Fanny as Mendelssohn truly thought that his music would speak in larger volumes than his words. Compare this song with Book Three No. 3, and there appears to be some common resemblance. The piece is impulsive and is very much influenced by Schumann. "Agitation" (Presto Agitato). Not until the Ninth measure is the subject of this piece loudly apparent. There lies the effective monotony that is prevalent throughout this song. In measure 69, he inserts additional notes on the weaker beat with the left hand. "Sadness of Soul" (Adagio) is expressive, but perhaps overly sentimental. It is a prime example of a cantabile (singing) style of playing. The song is very similar to his composition of "On wings of Son" op.34 No. 2. The use of the sustain pedal adds an ingenious third hand. "Folk Dance" (Allegro con Fuoco) is certainly his best out of this book. As the term "Fuoco" is implied, it is to be played with fire and passion. Felix composes with this fury, and has an almost patriotic march. Basically, this song has been elaborated on from the forth song in book One. This has none of Mendelssohn's usual traits of politeness and gentle mannerisms, but is attacked with more aggression and roughness. "Flight" (Molto allegro vivace). Instead of using cadence forms as was used in No. 5, Mendelssohn's use of chromatic seconds give the listener a sense of being caught up in a hurricane. Later in the piece, it presents a pure display of raw technical power. The piece builds, until the last few measures dwindle down to a surprising diminuendo. The book on a whole is certainly worth mentioning. Mendelssohn shrugs off his polite way of being, and occasionally opts to be somewhat more aggressive. The piece contrasts in mood, showing that even this composer can be found in his own kind of personal tug of war, and leave the comfort that is his nature. Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Clouds" from "Lieder ohne Worte" (Op. 53 No. 2) for Flute & Classical Guitar. Sheet music made with MuseScore - https://musescore.com

Far from the troubled, coarse libertine that has become an archetype of the Romantic composer, Felix Mendelssohn was something of an anomaly among his contemporaries. His own situation -- one largely of domestic tranquility and unhindered career fulfillment -- stands in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the 19th century whose stature could rival that of Mozart. Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies. He and his sister Fanny were given piano lessons, and he also studied violin, and both joined the Berlin Singakademie. The eminent German musicologist and Lieder scholar Karl Schumann once famously described Mendelssohn's Lieder ohne Worte (Songs without words) as not simply "Pillars of the piano repertoire," but rather as "a household possession, as widespread in Germany as the Grimm brothers' fairy tales, Ludwig Richter's pictures, or Uhland's poetry ... and no less beloved in Victorian England." But these works were an absolutely typical Germanic reaction to the world of Romantic miniaturism, and especially, the growing interest among composers to encapsulate the mood of the moment in a keyboard gem. While it has become fashionable in critical circles to denigrate Mendelssohn's fragile sensibilities as little more than the manifestation of a kind of upper-class dilettantism, in his own way, he was actually far ahead of the field when it came to recognizing the future direction that music, especially the keyboard miniature, would take. In this regard, Mendelssohn anticipated the new expressive directions to be pursued by Schumann (whose wife, Clara, did much to popularize the Songs in the concert hall) and Liszt. Of the six Lieder ohne Worte of the fifth volume, Op. 62, no fewer than three pieces were given descriptive titles. Interestingly, Goethe (along with von Schiller the central figure of the German Romantic literary movement) had written "music begins where words end." No doubt, however, he would have been among the first to agree that the sombre mood of Op. 62 No. 3 in E minor "Trauermarsch" (Funeral March) needs no semantic prop to convey its sorrowful message. No. 5 in A minor is one of three Lieder to have the title "Venezianisches Gondollied" (Venetian Gondola Song). The concluding Lied ohne Worte of the Op. 62 group is one of the most famous of all piano miniatures. This is the A major "Frühlingslied" or "Spring Song." The remaining untitled pieces are Op. 62 No. 1 in G (Andante espressivo), No. 2 in B flat (Allegro con fuoco), and No. 4 in G (Allegro con anima). Finally, while these beguiling, some would say simplistic, pieces have sometimes been slighted as representative of the worst kind of Romantic kitsch, the critic Joan Chissell rightly reminds us that "without all these pieces, how much poorer our understanding would have been of the impressionable heart behind the master-craftsman's façade." Source: AllMusic (https://www.allmusic.com/composition/... ). Although originally composed for Piano, I created this Interpretation of the "Funeral March" from "Lieder ohne Worte" (Op. 62 No. 3) for Flute & Strings (2 Violins, Viola & Cello). Sheet music made with MuseScore - https://musescore.com