Mendelssohn - Lieder ohne Worte, Op.30, No.3 - Adagio non troppo

*This post is part of a series on a cycle of short piano works by Felix Mendelssohn. Feel free to read the other posts, linked below!*

Lieder ohne Worte (Book 2), Op.30

1. Andante espressivo (E♭) (post)

2. Allegro di molto (b♭) (post)

3. Adagio non troppo (E)

4. Agitato e con fuoco (b) (post)

5. Andante grazioso (D) (post)

6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#) (post)

This delicate intermezzo in E major provides major contrast to the swiftly galloping Lied in b♭ minor which precedes it. Though there are only two main themes, Mendelssohn uses large dynamic ranges and suspensions to motivate the melodies. A large responsibility is placed on the performer to sculpt the piece carefully, as there isn't a large volume of music to work with — and, unlike most of the other Lieder, much of the material in this piece is only heard once. Let's have a look.

The pieces opens with three presumably quiet E major arpeggios, "presumably" because Mendelssohn actually provides no dynamic marking at the opening.

Opening measures (mm. 1-[3])

What does recur is a four-bar melody (or three and two-halves bars, as the melody opens on a half-bar pickup) in two parts. The first part is sometimes replaced or altered (I love the sparkle of c# minor with the third in octaves), while the second fragment always appears as first written. Note the difference in dynamics between the two instances of the second fragment.

Corresponding four-bar melodies (mm. [3]-[11])

The middle of the Lied modulates to B major temporarily, resting on a pedal F# and reaching the height of its dynamic intensity with two sfz ("sforzando," suddenly with force) markings. Note the linear motion in the bass at the start of this segment, growing louder until the climax.

Climactic phrase in B major (mm. [11]-14);

new melody and modulation (mm. 15-[17])

I really like Mendelssohn's use of sequential motion with chords (rather than just one voice) to produce successive suspensions (especially mm. 13-14), something he does frequently in this book of Lieder ohne Worte (see post on No.2).

The closure of the climactic phrase ties leads to a repeated bar of heartwarming melody before modulating back to E major to repeat the corresponding four-bar melodies. Note the musical effect of specifically marking tranquillo (It. "tranquil," "peaceful") for the second instance second melodic fragment (m. 23), compared to just p the first time around in m. 9.

Corresponding four-bar melodies, second time (mm. [17]-[25])

Mendelssohn writes a repeated call in e minor and a repeat of the second fragment of the four-bar melody before wrapping up the Lied just as it started.

Closing measures (mm. 25-27)

Hope you enjoyed this short and sweet Lied, and check in soon to explore the other Lieder! Share this post and leave your comments below.

All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.