*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
Lieder ohne Worte (Book 2), Op.30
1. Andante espressivo (E♭) (post)
2. Allegro di molto (b♭) (post)
3. Adagio non troppo (E) (post)
4. Agitato e con fuoco (b) (post)
6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#) (post)
Before beginning this series of posts, I did not originally find this Lied as appealing as the others. But, in listening to it repeatedly to understand the structure and harmony of the piece and write this post, I've grown to really enjoy it! Let's jump right in.
The piece is in song form, roughly A—A—B—A, with a coda. The A section is marked off with repeats, and contains two clearly identifiable phrases which appear in the A section reprise. Marked at Andante grazioso ("gracefully, at a walking pace"), one might initially expect to hear quite relaxing music. However, a constant "filigree" of thirty-second notes underlines the entire piece. These 'runs' often indicate where the harmonic direction lies.
Developmental material appears in the B section, which sees a transition from one tonic to another (as indicated by the harmonic analysis). Two short phrases, each appearing in repetition, occur in nearby keys. The first short phrase appears in e minor (centering on V7 = B7) and then f# minor (centering on V7 = C#7), while the second short phrase appears in b minor and then in f# minor (note the parallelisms in the harmonic analysis). These two phrases lead to a repeating figure (mm. [20]-23), ultimately reducing to the left-hand run.
I really enjoy the B section of this piece. The B section modulates several times, pushing the functional tonic further into "sharps" territory on the circle of fifths (b minor → f# minor) with plenty of V's, adding even more sharps (V42/V/III in f#, m. 19). The B section's much faster harmonic rhythm also brightens it. The second short phrase's interweaving counterpoint is very pleasing even as it rapidly shifts tonal centers (all nearby on the circle of fifths, but restless nonetheless) and the repeating figure (VI—iv64—i64, m. [20]-23) is really bold.
After the f# minor chord ending the B section fades, the A section reprise begins. The reprise modifies the melodies of the original A section, highlighted with the same color scheme as the original A section above. Mendelssohn's extension of the A section with a modified second segment of the melody allows for an alternate conclusion to the reprise (mm. 36-37, which I quite like for its warmth), leading to the coda, marked dolce (It. "sweet", "tender").
Unlike the B section, the coda takes harmony closer to the "flats" on the circle of fifths (D major → G major). The use of the root D as a dominant D7 (I—V7/IV) to resolve to G major with repeated plagal cadences (IV—I) establishes a warmer feeling to the coda than before, as C# is sometimes altered to C♮. In fact, only in the coda do we see any flats anywhere — Mendelssohn uses a ♭9 (A7♭9) to darken the harmony. I also enjoy the last repeated phrase (mm. [40]-44; the only harmonic deviation between the instances is in m. 43). The piece floats upwards and dissipates with a sparkly D major arpeggio.
Hope you enjoyed listening to and learning about this Lied! Check back for the last post on this cycle of Lieder ohne Worte soon. Share this post and comment below!
All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.
Before beginning this series of posts, I did not originally find this Lied as appealing as the others. But, in listening to it repeatedly to understand the structure and harmony of the piece and write this post, I've grown to really enjoy it! Let's jump right in.
Developmental material appears in the B section, which sees a transition from one tonic to another (as indicated by the harmonic analysis). Two short phrases, each appearing in repetition, occur in nearby keys. The first short phrase appears in e minor (centering on V7 = B7) and then f# minor (centering on V7 = C#7), while the second short phrase appears in b minor and then in f# minor (note the parallelisms in the harmonic analysis). These two phrases lead to a repeating figure (mm. [20]-23), ultimately reducing to the left-hand run.
I really enjoy the B section of this piece. The B section modulates several times, pushing the functional tonic further into "sharps" territory on the circle of fifths (b minor → f# minor) with plenty of V's, adding even more sharps (V42/V/III in f#, m. 19). The B section's much faster harmonic rhythm also brightens it. The second short phrase's interweaving counterpoint is very pleasing even as it rapidly shifts tonal centers (all nearby on the circle of fifths, but restless nonetheless) and the repeating figure (VI—iv64—i64, m. [20]-23) is really bold.
After the f# minor chord ending the B section fades, the A section reprise begins. The reprise modifies the melodies of the original A section, highlighted with the same color scheme as the original A section above. Mendelssohn's extension of the A section with a modified second segment of the melody allows for an alternate conclusion to the reprise (mm. 36-37, which I quite like for its warmth), leading to the coda, marked dolce (It. "sweet", "tender").
Unlike the B section, the coda takes harmony closer to the "flats" on the circle of fifths (D major → G major). The use of the root D as a dominant D7 (I—V7/IV) to resolve to G major with repeated plagal cadences (IV—I) establishes a warmer feeling to the coda than before, as C# is sometimes altered to C♮. In fact, only in the coda do we see any flats anywhere — Mendelssohn uses a ♭9 (A7♭9) to darken the harmony. I also enjoy the last repeated phrase (mm. [40]-44; the only harmonic deviation between the instances is in m. 43). The piece floats upwards and dissipates with a sparkly D major arpeggio.
Hope you enjoyed listening to and learning about this Lied! Check back for the last post on this cycle of Lieder ohne Worte soon. Share this post and comment below!
All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.
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