Mendelssohn Songs Without Words #35

I chose this piece because it has many style changes throughout. The technique is simple; however, the creative musical possibilities are endless. I also enjoy the fact that this piece has not descriptive title to ruin the imaginative imagery of the student. If I was to instruct a student on this piece I would focus on phrasing and on the different ways of expanding color (pianistic sound variety).

This little piece features three sections/ styles structured in a reflective form.
A (mm. 1-5) B (mm. 6-13) C (mm. 14-22) B (mm. 23-33) A (mm. 34-38)
The A idea is basically one phrase which swells toward the third measure. To balance this crescendo with the rest of the piece, I suggest the peak of the phrase should not be above a mp. Despite the misleading double-bar line in m5, the student should not accent the notes that immediately follow this but lead into the 6Th measure. Section B serves as a transition between A and C. Keeping this in mind, the student should resist the urge to crescendo too much into the peak of the first phrase of B. Mendelssohn clearly shows this peak is at m.8 because of the ascending line to F#. Section C is logically the loudest part of the piece,although the intensity of the following B section is subjective. Since the C section is based on the simple antecedent consequent phrase (like the previous section), the performer should realize the need to differentiate the two. The standard procedure is to make the second phrase louder (obviously because it is marked), but also utilize agogic possibilities (perhaps slightly delay to time between the 2ND and third beat of m. 18). M. 19 is another important spot because of the revealing major/ minor switch. One could argue that diminuendo marking and the mode change, suggest a crucial point where the music begins to transition back into B. I recommend students try to emphasize this important harmonic change, agogically or dynamically to draw attention to this foreshadowing. Because of the ritardando in m. 32, slowing down at the end seems to redundant. For the most part, this piece is rather fluid: the use of pedal point (either sustained or articulated) and the use of moderately repetitive motives creates a sense of constant movement.

The style of this piece is closely attached to imagery. To the student, I would suggest the A section has this mysterious quality to it. Perhaps someone is lost and alone in the woods or the dessert.The p marking and the half-step bass movement supports this hazy, confused character. I think the student should be free to use an ample amount of pedal in this section.I would suggest experimenting with quarter-note pedals.
The B section features a duo at the interval of a tenth between the voices. I think the student should try and hear both parts while maintaining a passionate yet reserved style. Rubato is important (perhaps a slight rit. into m. 10). Playing hands separate is an important way in established voice independence.
The C section features the most dramatic style change in the piece. It reminds me of a polonaise-grand, heroic, dotted-rhythms, dance-like. The use of the relative major is also an important contrast. For experimentation, I would ask the student to change the pedal more frequently. The rapid chord changes demand this. Again m. 19 can be an important point to start changing styles. Although the tempo does not slow until the end of the first page, I think the student can create a sense of lingering (perhaps tenuto the staccato notes or add a deeper pedal.
In order to create musical interest in the return of the B section, I think the student should explore the possibility of disrupting the balance between the two parallel voices. Due to the slight harmonic changes(mm. 25,29), the second B section becomes more poignant then the first. Because of this, and increased left-hands chords and dynamics, Mendelssohn shows that he wants the returning B to be more emotional. Without creating a loud sound, the performer can create a heavier style by emphasising the bottom voice. In order to perform this as a cohesive piece, the student should think of the piece as an overall three part form. They might imagine some sort of epic journey through a dark forest. First confronted by loneliness, than enchanted by observing melancholic lovers, then part of some dance at a bizarre spot in a foreign land. Perhaps the student could imagine the enjoyment turned sour at the sight of the stranger. Perhaps the soul eventually finds themselves lost, as if in a dream. Lost as they were in the beginning of the journey.