Pianist Howard Shelley continues his survey of the piano music of Felix Mendelssohn’(1809-1847), whose talent was likened to that of Mozart, but who wrote in small forms, especially his “Songs Without Words,” collections of colorful miniatures and character-pieces. Those who like his style applaud his charm, grace, and brilliant fluency of line, a clever dexterity that doesn’t seek profundity. Mendelssohn most often assembled his Songs Without Words in groups of six, and they engage the piano in the kind of “vocal” line that avoids harsh percussion. Some of Mendelssohn’s pieces receive the title Kinderstueck (Children’s Pieces), and fall into a category of didactic, teaching exercises also created by Robert Schumann.
Most pieces Shelley performs are youthful compositions, despite their high opus numbers. From 1828 onwards, Mendelssohn produced individual and set pieces for published albums. Many of this disc’s works were posthumously published in 1850 and 1868, respectively. They tend to be in 3-part song-form, except those meant as virtuoso show pieces or preludes and fugues, fashioned in the manner of J.S. Bach.

1. Albumblatt in E Minor, Op. 117 (1837) is an agitated study in arpeggios and runs in constant motion. The middle section in E Major is quite lyric and songful.
2. Lied in A Minor, Op. 19b/2 (1830) presents a delicate, stepwise melody over a simple bass line. Gradually, the melody becomes more imploring before a dancing phase gently takes us to the abrupt coda.
3. Capriccio in E Major, Op. 118 (1837) exploits the slow-fast structure that often characterizes M’s brilliant, virtuoso style.
4. Perpetuum mobile in C Major, Op. 119 (1826) imitates Carl Maria von Weber’s 1812 Sonata No. 1 and the attempt to create a quicksilver, perpetual-motion “machine” for the keyboard.
5-6. Prelude and Fugue in E Minor, WoO 13 (1827) exploits first the 3-hand effect popularized by contemporary virtuoso Sigismond Thalberg, then the polyphonic texture from J.S. Bach. At first a melody appears in the middle register, framed by arpeggios above and below. The fugue is built on a serpentine melody with a falling 7th interval.
7-8. Musical Sketches, WoO 19 (1827) offer two opposed moods: Andante in B-flat, lyrical and gently dramatic (2:23); then, Presto in G Minor, turbulent and virtuosic.
9. Reiterlied in D Minor (1846) ) is a gallop in canonic (imitation) style, an offshoot of Schumann’s “Knight of the Rocking-Horse” in Kinderszenen, Op. 15.
10-13. Piano Sonata in B-flat Major, Op. 106 (1827) takes its inspiration from Beethoven's "Hammerklavier" Sonata, Op. 106 (1817) in the same key.
10. Allegro vivace: The 1st movement is passionately boisterous, with a secondary theme in G major.
11. Scherzo - Allegro non troppo, in 2/4 time, energetically scampers like the music for "A Midsummer Night's Dream."
12. Andante quasi allegretto, in E Major and flows songfully and delicately in triplets. The coda sounds a fanfare leading to the last mvmt.
13. Allegro molto imitates Carl Maria von Weber, with scintillating virtuosity, especially in staccato playing.
14-19. Lieder ohne Worte: Book VII, Op. 85 (1850, posth.) 14. No. 1 in F Major offers a sweet melody line over gentle arpeggios. The ardent song, Andante espressivo, increases in intensity and concludes tenderly.
15. No. 2 in A Minor: Allegro agitato is nervous, impetuous - a brisk, terse etude. (1:05)
16. No. 3 in E-flat Major: Presto begins nervously, with lefthand pulsations supporting a staccato top line. The middle section becomes more complex texturally before returning to the opening, jittery impulses and a potent coda.
17. No. 4 in D Major: Andante sostenuto prefigures the nocturnal music of Gabriel Fauré. An extended aria, with intimate, reflective atmosphere.
18. No. 5 in A Major: Allegretto enjoys an aggressive, rustic tenor, a sound close to Schubert’s country pieces.
19. No. 6 in B-flat Major: Allegretto con moto concludes the set with an energetic, outdoor lyric that maintains a playful, staccato sonority.
20-25. Lieder ohne Worte, Book VIII Op. 102 (1841-1845, posth.)
20. No. 1 in E Minor: Andante un poco agitato utilizes M’s theme from his Piano Trio No. 2 in C Minor, Op. 66. A singing treble melody with accompaniment in arpeggiated figures divided between the hands.
21. No. 2 in D Major Adagio gives us a plaintive lyric, disarming in its simplicity. The treble melody in thirds sounds like a duet.
22. No. 3 in C Major: Presto is a light spinning etude, a miniature moto perpetuo, the dynamic rising while the bass part adds periodic color.
23. No. 4 in G Minor: Andante, un poco adagio offers the Set’s most romantic piece.
24. No. 5 in A Major: Allegro vivace is a second Children’s Piece, fluttering in playful metrics. Eminently joyful.
25. No. 6 in C Major: Andante concludes with a parlando tune verging on a chorale form. The secondary impulse is bouncier and more syncopated, dancing gently into a finale.