Mendelssohn at The Piano - 13 Well-Known Original Pieces (Henle)
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Suneo Gaming HonekawaMendelssohn at The Piano - 13 Well-Known Original Pieces (Henle)
Uploaded by
Suneo Gaming HonekawaContents
At the Piano .................................................................................................................................................. 4
Playing Mendelssohn ................................................................................................................................... 5
1 Kinderstck in G major op. 72 no. 1 t 3/4 ................................................................................................ 6
2 Kinderstck in G major op. 72 no. 3 t 4 ................................................................................................... 8
3 Kinderstck in g minor op. 72 no. 5 t 5 .................................................................................................... 1 0
4 Venetianisches Gondellied in g minor op. 1 9 no. 6 t 4 ............................................................................ 1 4
5 Venetianisches Gondellied in fk minor op. 30 no. 6 t 4/5 ........................................................................ 1 6
6 Frhlingslied in A major op. 62 no. 6 t 4/5 .............................................................................................. 1 8
7 Venetianisches Gondellied in a minor op. 62 no. 5 t 5 ............................................................................. 22
8 Charakterstck in e minor op. 7 no. 1 t 5 ................................................................................................. 26
9 Lied ohne Worte in E major op. 1 9 no. 1 t 4/5 .......................................................................................... 28
10 Duetto in Ab major op. 38 no. 6 t 5 ............................................................................................................ 32
11 Fantaisie ou Caprice in A major op. 1 6 no. 1 t 6 ...................................................................................... 38
12 Prelude in f minor op. 35 no. 5 t 6 ............................................................................................................ 44
13 Spinning Song in C major op. 67 no. 4 t 6/7 .......................................................................................... 48
The pieces are taken from the following Urtext editions by G. Henle Publishers:
Mendelssohn, Sechs Kinderstcke op. 72, HN 91 4 Nos. 1 3
Mendelssohn, Venetianische Gondellieder, HN 1 1 72 Nos. 4, 5, 7
Mendelssohn, Lieder ohne Worte, HN 327 Nos. 4 7, 9, 1 0, 1 3
Mendelssohn, Trois Fantaisies ou Caprices op. 1 6, HN 462 No. 1 1
Mendelssohn, Klavierwerke vol. I, HN 860 Nos. 8, 1 1
Mendelssohn, Klavierwerke vol. II, HN 861 Nos. 1 3, 1 2
A guide to the levels of difficulty (please also see www.henle.com):
t 1 3 (easy); t 4 6 (medium); t 7 9 (difficult)
At the Piano
The series At the Piano is intended for all those who aid of fingerings, we clearly differentiate between the
have some experience playing the piano and would now ones we have added (in normal writing) and those that
like to play easier original works by famous composers. are original (in italics). Composers in the Baroque, Clas-
Students, teachers and those returning to the piano will sical and even Early Romantic periods were extremely
encounter a wealth of well-known works. sparing with indications regarding articulation, phras-
ing, dynamics and tempo. This was because in those
days they could assume that experienced players already
Contents
knew how something was to be played. This might not
Each volume in the series is devoted exclusively to one
always be immediately clear to musicians today. Never-
composer. This is because each composer has his own
theless, in our Urtext editions we deliberately do without
style and thus places his own very personal demands
well-intentioned additions and questionable altera-
on his piano works not only from the point of view of
tions, as are often to be found in other editions. Those
technique but also as regards musical interpretation.
who use our editions are free of such patronisation; they
can be sure of the authenticity of the musical text and
Technique make the most of the ensuing flexibility for their own
All of the pieces have been arranged in progressive level stylistically confident interpretation.
of difficulty. They enable you to practise very different
pianistic skills, including runs, breaking chords, arpeg-
Guide
gios, parallel thirds, trills, playing chords and polyphon-
This cannot, of course, be done without any help at all.
ic playing. Thus most of the pieces also prepare you for
The series At the Piano provides an introduction to
more demanding pieces by the composer in question. We
dealing with Urtext editions as well as a first pedagogi-
have endeavoured to keep variety in mind when com-
cal guide on how to get to grips with original works of an
piling the pieces: slower ones follow faster ones, dances
easy and medium level of difficulty from a technical and
come after studies, variations after sonata movements,
musical point of view. To this end, each piece is preced-
etc.
ed by some information on practising it, on its history
and on understanding the musical text. In so doing we
Urtext would like to provide players with a foundation upon
All of the pieces have been edited according to the which they can develop their own approach to the work,
strictest Urtext principles, as have all Urtext editions by their own personal interpretation and above all, enjoy
G. Henle Publishers. In short, this means that the mu- making music. Pianists who are enthusiastic and pre-
sical text is unaltered and presents the composers in- pared to put in a little effort no matter whether young
tentions. Additions that are essential even great com- or old, starting to play or returning to the instrument
posers occasionally make mistakes have been given in will then be able to play their Bach, Beethoven, Chopin,
parentheses. And as we do not wish to dispense with the Brahms or even Liszt with conviction.
Playing Mendelssohn
Felix Mendelssohn Bartholdy (1 80947) was a child tunity to do so. For this reason around one hundred
prodigy. Although he only started professional piano piano pieces were published posthumously, includ-
and violin lessons at a relatively late date when he ing the Sechs Kinderstcke op. 72, which Mendels-
was seven years old he progressed so fast that he sohn had, however, prepared for publication in 1 847,
made his first public appearance as a pianist when shortly before his death. He had composed them five
he was nine, creating quite a sensation in the musical years earlier and as far as their character is concerned
world. His teacher Carl Friedrich Zelter introduced they are also essentially Lieder ohne Worte, although
the twelve-year-old Mendelssohn to Goethe, who was Mendelssohn apparently considered them to be some-
very enthusiastic about the young prodigy. Mendels- what easier.
sohn undertook his first attempts at composition in
1 820 when he was j ust eleven years old: a little Sing-
spiel, a violin sonata, a piano trio and in particular Aside from the term Lied ohne Worte Men-
piano pieces. They show that the young musician al- delssohn also enj oyed giving his pieces titles
ready had a remarkable technique at his disposal. such as Fantaisie , C aprice , Variations , and on
occasion he also turned to Baroque models such as
Prelude and Fugue . His intense preoccupation
Compositions for or with piano comprise the with Bach, something he had throughout his life, can
largest group in Mendelssohns oeuvre by far. be clearly seen in many works, in particular those
Alongside 1 99 pieces for piano solo, they also include of opus 35. In these Mendelssohn reworked Bachs
six works for piano four hands or for two pianos, model, creating character pieces piano miniatures
34 chamber music works with piano, as well as eleven that were very popular in the 1 9 th century and that
piano concertos. These works do not possess the ex- expressed a particular mood. Mendelssohn only de-
treme virtuosity of Chopins or even Liszts works, but voted himself to the large-scale format of the piano
rather are aimed at the experienced amateur. Never- sonata in his early youth, writing eight piano sona-
theless, a certain brilliance was typical of Mendels- tas between 1 820 and 1 827. It might have been in-
sohns piano music for this group at the time. Even sightful restraint that caused the mature composer
the Lieder ohne Worte (Songs without Words) , the to no longer turn to this genre in his piano works. He
ones budding pianists are usually introduced to first, seems to have felt more at home with smaller-scale
are not always easy from a technical point of view. forms. He often wrote fast, scherzo-like pieces, of-
The individual pieces in the eight volumes of the ten with tempo markings such as Allegro and Presto.
Lieder ohne Worte were by no means composed at the Only seldom are slower tempi such as Andante to be
same time; rather Mendelssohn settled on six pieces found.
for each volume, taken from a larger selection. Thus Piano compositions and all of Mendelssohns compo-
the opus numbers he gave them often do not reflect sitions in general are distinguished by a feeling for an
the chronological order of the works. Numerous oth- even, elegant form, a fine balance of sound and song-
er pieces remained unpublished partly because he like melody. The player is required to bring this to
did not think they were worthy of publication, partly life and to master the technical demands to a certain
because his early death meant that he had no oppor- extent as a matter of course.
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? # # # # ..
. .
32
4 2 3 2
16 ####
cresc.
. 4. 5
4
cresc.
4.
3. 5
& n n n
n n n n
n
? #### n n 2 nn n b
1 2 1 2 1
3
f
3 n 3 n 4
18
3 n 5 5
#### n
4 2 5 1
n 3 n
& n n
n n
n n
n
1
? # # # # n 3 n 2 n n
n
1 21 1 5 1
30
20 1 3. .
#### n n 4 4 4 5 3 4 D
n n n 3
&
n n n n
p
1 n n
dim.
? #### n
n
n
1 4
23 #
4. 4 5 4 5 dim. 4
## # n
1 2 5
n n n
5
& n n w
n n n
? #### n w nn
n
n
n
2 4 2 21 4
*
26 #### 5 5 f5
.
1 2 24 n
cresc.
&
? #### n n .
w w
1 21 3 2 2
29 #### 2 f3 5 3 5 4 &
&
%
? ####
2 4
32 #### r j
dim.
3 4 p5 4 5 5 cresc.
&
% &
? ####
.
5
2
31
35 ####
5 3 4 5 4 5 5 cresc.
.
4 3 4 3
&
? #### n
n
3 2 4 21
f3 5 4
38 #### 3 5 3 t 41 2 t 4
& n ?
n
#
? ## #
4 4
4 4 4 m
j 4 M
1 2 3 .
5 4 5
41 n
? ####
3
? ####
dim.
2
4 3 2
4
2
4
5 5 4 5
44 3 n 3n 4
? #### 2
&
dim.
? ####
3 n 4
21 1 1 1 2
47 #### 4 5 U
&
w
w
? ####
u
w
w
33
5
bb b 2 4 2 1 2 1
& b . nb b
F J
S
? bb cantabile
bb .
J
2
2
7 3 52 1 3 5
b bb 1 4 245
& b
b b n
J J
S
> > >
? bb
bb . 1 3
4
9
b b b 2 2 1 pj j
& b n b
? bb
bb . . .
2 U 21 .
11 j
b bb
& b b n
b
? bb j
b b . j
. n
13 2
bb 5 134 5 4 2 245 52
& b . n
b
b n
F 2 1 cresc.S j
? bb
bb .
E
J n
J
34
1 43 4214 135
15 b bn
bb b 3 4 2 3 5 2 4 2 4 5 2 4 ?
& b
n
> > >
S1
1 42
1j 1 n
? bb
bb J
n . 1
4
1
3
4
3 5
4 2 3 5 4 5 2 3 5 5 4 5
17 n
? b b 2 n 1 j
3 2 2 2 4 3
5j 3
bb & b n
p
? bb
bb
. . .
2 1 3 2
5
19
bb 3 5 2 351 124 5 5 4 3 4
1 5
&b b n
nn b b
F S J
4 2
p
1
j
cresc.
? b b E j
bb
2 3 2 1 3
5
21
bb b b 2 5 4 3 2 4 2 5 2 1 1
& b n n
n n n
f J
S
1 S
? b b .
bb j j
.
1
1
2 2
35
25 3 4 25 4 23 5 135
23 1 b n
n b
bb b 1 2 3 5 2 1 2 5 1
245
b 1 5 2 ?
&
n
b n
> > > >
J J
S
S
? bb j
bb n b
n n
1 3
2 1 4
2
42 2 3 2
5 3
25 b 5 1 2 2
? b b n j 14 5
bb
& b
b
F
? bb
bb j n . .
. n . .
2 1 1
4
27 4 3 5 3 2 S5 2 4 2 1 5. 4 2 5 3 4 D.
bb 2 1 b
32
&b b b n
n
? b b n .
cresc.
bb .
n
29 >5j >K 5
bb 5 4 2 31 4 1 3 b b 3 3j
& b b b n b
n
f
b >
molto cresc.
> >
b
? b b . J J
bb
2 1 2 2 3 1
36
31 >5 3 D 3 25 K
bb 2 4 5 2 Dj 43 2
b b
& b b n . n
% &
S S
. j
? bb J
bb .
E
F
2 3 2
5
5
33 1 1 j 4 2 >5 2 4 > 3 4 >5
bb b 2
D 4 2 b
D 3 24 j j
& b n b b
n b
J J J
j
? bb
bb .
.
5 4
5
2
35
bb 3 2 2 3 5 41 5 1 3 4 1 2 D 42 Dj 3 4 2 1 5 3 2 3 2 1
b
& b b n n b
H J
G HG HG
1 2 1 2 S S
? bb n n b b
bb J
2 4 U 1
4 3
3 4
>5 5j2 4 5 2 3 5 2 4 5 2 4 3 2 4 2 4 2 3 2
37
bb 3 2 > 1 b
> 32 5 2 4
.
& b b n b
n b . n
S
.
dim.
? bb j
bb
.
4 5
4
4 5 4 4 5
5
39 1 1 45 1 1
bb 5 5 1 1 3 4
& b b . b n b n
b
. n b n
p j
cresc.
? bb
bb .
J
37
41 1 1 3 4 3
b b b 1 3
n b
&b b
n
p
f
? b b
bb
J J
5
43 13 41 3 5
bb 1
1 2 3 2 5 1 2 3 D
&b b b
J
S J S J
? bb
bb .
. 3. .
2 . .
. 2 .
p 4 5
45 L 41 3 2 4 2 2 I 2 3 4
1 jj 1 2 4 D32
bb C j j j
b
& b b n b n b b
. 4 4 .
? bb
dim.
.
bb . .
.
3 . 1 . . .
5 5
47
bb b 5 2 3 4 4 D 32 5
j
& b . b
.
1 3
4 2
? bb n
b b . .
. .
41 1 1 2 4 5j
41 1 (5)3
49 4 1 1 3 n n . U
bb ..
&b b .
n
2 > J J u
4 31()
.
? bb J j U
bb
5 3 2 U 4 J
39
1 41 4 1 4 53 3 1 K 4 3 5 3 1
15 1 1 n . 1 2 4n / 3 2 4
4 1
&
1 1 4 1
12 3
?
w
*
* *
18 K n . 3 Kj j
j 5 j Mj ### 6
& G 8
. . . J p
j
dim.
M
j
? J J ### 6
8
J
* 1 2 J
21 ### 6 1 2. 3. . ... 4 4. C 5
. . 4 ..
Allegro vivace
& 8 . . .. .. .
J J
J
J
F . . .. f ... ... p
? ### 6 .. . .
J
8
4
3 5 2 5
26# # # 5 1 j K 5 Fj 5 1 4 j 3 2j
j 5 .. 4 3 .
& J J . J
1
S
p
? # # #
3 2
4 5 2
5 5
5 4 2 5
31 ### 1 j n Z 4 C 3 G 4 4 5 2 n
& J J J n
J J J
f n S S n S p
? # # # n
cresc.
3 4 5
. . . . . . 4. 1. 5. 2.
36 ### 5 1 2 1 3 2 1 1. 2. 3. J JJJ
&
p
? # # # n nn . . . . . .
cresc. dim.
4
40
. 24.
3. 1 5 . 3 Kj 1
poco riten.
42 # # 3 K j 4 B
J j G . n
& # j j
H J J n
. . . . 5 4 1
.
? # # # 1 . . .
J J J
49 1 2 4 . 5 3 2. 1 4 > 2 3 3 >
.. .
a tempo
### n .
&
n
/ .
. . . . .
. J
p p S
. ..
.. .
cresc.
? ### n . . .. .
.
5
55 L i D.
### 3 3 n n .. 1 .. D
> M > >
. >D >
& J
J J
p
? # # # n n ....
cresc.
n n
4
4 5 5
61 K A B >C . 1 . .
3 > .
### 4 3
2 . .
& .. . . J .. .
p S
2 ...
? # # # ... .... ...
cresc. cresc. sempre cresc.
. .
5
67 # # # ... 3 V C V M B
M >5 > 1 2 j 3 1 n>5 3 n 1 2
& . J J J J
J J J J
J
p f n
.. ... n
espress. cresc.
? # # # ..
b
. n n
5 5 3 3 4 5 5
2
41
73 5
# # # 3 1 J 5. . . 4/ 3. 4.
. 1. . n 1.
& J J J
J J
J J
J
2 con fuoco p 1
n
cresc. con fuoco
? # # # . . . .
4 3 4 4
5 4 3 5
5 4 5 4 n 5 4 5 4 5 5
# # # 4/ . . . . .
79
. . n 4
2
& . .
n
1
5 con fuoco
n
cresc.
? # # #
4 5 3
> . 5 . 4 . . . .
### . .
84
. . . . . . . .
&
f S cresc. S dim.
? # # # .
n
.n n
2 1
. 5 3 2 .
3 .
c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c cd
## . . . .
89 #
.
8
1 1 2
&
p
n 2
? ###
3
5 2 1
5 3 2 1
2 1 2 * *
>5 . . . . . . 4.
>5 . > . > . .
4
. .
95 ## #
& . . . . .
p
n 1
n
? # # #
3
42
5.
# # # n . . . 3. . 1. . . . . 4. n 3. . . 2 4. . 1. 3. . . m
100 3 3 m3
& .
. . . . . .
p
.
dim.
? ### n . . .. 13 n ..
. . . .
j .
105### 2 .
2 3 5j C V
j
&
J
.
? # # # & . .
. .
.
3
109 . .
###
&
p
# # # . j j
sempre dim.
.. ..
&
poco ritard. sino al
113 ### nnn c
&
### nnn
.. .. . . . . c
& . . . .
Tempo dell Andante
117
& c
. .
3
dim.
3
&c . . ?
.. . .
3 3
4
43
121 2. . . 3. . 5 4
.. E .. 5. 3. 4. 5
& gg
gg . . . J
F S
3
3
cresc.
? ggg
gg
4
3 *
126 E M D M B L M 5 4 LM E D K C K C
& J J . . . .
.
n
p
3 3
dim.
f
S
cresc.
?
.
w w
5 4 2
1
5
5 4 5 3 1
131 4 1 V L 2 15 M B 4/ 3 2 5 C j 4
4 1
&
n .
J
4 1
f 1
?
J
1w
*
K
134 n
. 1 2 n4/ 3 2 5 1 . 1 3
&
. . .
?
14
* * *
137 2 5 j j 5j C a 21
dim.
n
HG L M
b ww
& n
2
w
J J J J J
5
p
?
J
4
w
w
45
42 G 4 2
13
bb pF 3 5 4 S H
& b b b b b n
n
d c
? b b b b b b b n n b
n
bb
1
4 4
17 E b 4 5 I F Sn 4 3 K dim. b4
bb n
b b b b
& b b n n
f
b b b
? bb b b
bb
21 5 4 > 4 3
M 5 4 5 G
dim.
bb
& b b b
b .
n b n
bp b
b
? b b b n
bb
4
25 f 4 3
K . C dim.
bb Z B
cresc.
& b b .
b
O n a1
? b b cantabile 1 b 2 n
bb n
5
29 M 4O 5 I F bL V n K 4 f
. C n K B C a F
cresc.
bb D M n
& b b b n n n .
Hn G
p
? b b n b n n n n
%
&
bb n
5
4
33 Z C G C 4
bb n n n
& b b n b n bb b
b n b
b p
b
cresc.
? b b
bb
5
46
2 1 5 4
37 G >D >F >I A >H B
bb n
& b b n n b n b n n n 2 n 2
n n
? bb n b n n
bb
2 3 2 1 2 1 2
5 I d H S
40 3 S
b b n nn n n
n b . A F
b
& b 1 b n n
f
n b n
? b b n n n
bb
12
44 4 . . 4 2. . G 4
bb S n
& b b n b nb b
%
&
p
? bb . n
bb b n
1 5 45 5 S4 5
cantabile
48 M V K K 4 4
p L 4 3 2 1
crescendo
I
bb b 3
& b n n n n n n n b
n
H G H G
? b b . n n n n n b n
bb
1 J 4
3 4 5 4
52 S F 5 4 3 K M Kj B 2 S G Kj 2 Mj
b b b b. b .
& b n n
bd c d b
1
c
? b b n . n
bb
J
47
56 p5 4 K 4 3
bb n
&b b n n n .
b b
n
cresc.
? bb n
bb
59 Z F Z I F 5
bb n C b G B G 4
&b b b n n
p
? b b
bb
63 5 A 4 3 5 4 3
bb 4 1 M 4
cresc.
b
& b b
n b n n n .
HG n
b
? b b b n n nb n bE b n b b
bb
32 4 4 2 3
67 (5
bb b 5 dim. C u 5
& b
b 2 1 n 2
1 1
? bb
cantabile
b n
bb H E
70 M B SF B
bb b L U
& b .
n n
U
? b b n
bb
49
7 .j .j .j .j .j .j 4
& . . . . . . . . .
. . . . . n
?
J J J J J
>. . 5 .
3 1 2 3 j 1 . . . . . .
10 2 1 1
j
&
S. . p . .
.
. . . .
? J
2
J
1 2 1
>.
21
>. . . . .
. 2. 5.
13 . . . . . . 4 b
j
1
2
b
&
S. . p . S
. . . . .
cresc.
? .
. b
&
1 . . . .
. 2 3 1
. . . . . . . 2 2 .
. .
16 j
.
1 3n /j
& b b . .
/
p
j
& . . . . b j
. .
4
4
19 3j 2 . 4j 3 2. 3 1 3j
& n/ . .
/ . .
f
p .
. . . n .
& j j J J
cresc.
?
b
2
1 2
5
22 3j > 3j S >
j
&
. . p . . . . . . .
? . j J
J / J J
2
50
25
& b
f b b
? /J
J J J b
J J J & J
/
28 . j .j .
n j . j . j
& b b n n n
. . . . .
b ?
& J J J J
J J J J J J
31 .j .j j 2. j 2 3 4.j
& . . . . n
. . . . . . . .
/
. n
cresc.
? J
J 2
34 3. S .3
B C A 2 2 4 j B. . A
.
& n
. . . . . .
? b b
& j
cresc.
J
cresc.
J
312
4. . . . . . 3. . . . 3. .
37 A. S j
. . b 2 b 2
&
f
& j
cresc.
b
2
40 2 4. . 3 2. 5.
b n 1
1 . .
& J
J
p S. .
n . . .
( )
j .
& ? J
1
1
51
>. . .
43 . . . 1 3 . . . . . . 1 4
& j n j
p S. . p
. . . . . . . .
? . .
&
>.
. 5. .
n . . . . . . . . .
46 4 3j 2
& b b . n / b . .
S p
& b j
cresc.
. . .
. 1 . . . . . . . .
1 4
49 3j 2 . 4j . .
j
& n/ . . / . .
/ . .
cresc.
f
& j j j ?
52 3 1 3. j . . . . . . > 3j S 3j . . .
&
p . . . p .
? V . . n . . . . .
J J j J
3 2 J / J
55 . . . > 2j
&
f
. n
? . .
J J J J
/ J J
J
/ 3
58 13 1 21
& n b
j j j j j j f b b
? n ? J
J &
52
61 3 1 1 4 3
& b b n b
b b p
? J J J b
J J
& J
63 .j .j .j .j .j
n
& b b n n n
. . . . .
b
dim.
& n J
?
J J J J
J J J J J
66 .j .j j 2. j 2 3 . j
& . . . . . n
. . . . . . .
/
. n
? J
J
. .
S j . . .
69
& n
. . . . . .
? b b
cresc. cresc.
J j
J
&
S . . . . . . . . . . . .
j
. . .
72
b b
&
f
& j
cresc.
b
75 . . . . . .
b n b
&
J J
f cresc.
p n b
j ?
n
& J
53
. . . . . . 5. j
78 b
b n
.j 1 . j 2 .j
&
p
b b n . .
? b . . .
.
J J
. .j .
j . j j . j j
81
& .
. . .
. . . . .
. . . . . .
cresc.
? . . .
2 1 3 32
.j 2 .j 5. j 2 . .j .j .j
.
84
j j j
& n n .
.
J . .
f p . . . . . . . .
cresc.
?
.
. . .
87
&
. . . . .
. f
? j
J J J J J J J
90 2 1 1 2
& b b n n n
p dim.
? J
& J J J J J J
c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c c cc c cd
93 > 1 1
8
> J j U
.
&
S J
j
j j j U
& j ? .
J
J
A
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