Beginning in September 1829 and continuing throughout his life, Mendelssohn composed eight sets of Lieder ohne Worte (Songs without words), a genre he originated, principally for piano, which blurred the boundary between song and character piece. The term first appeared in letters to his sister Fanny and in print in 1833. He composed eight sets of six pieces each: opp. 9b, 30, 38, 53, 62, and 67 were published during his lifetime, and opp. 85 and 102 appeared posthumously. Fortunately for cellists, he also wrote a Song Without Words for cello and piano, op. 109. Penned around October 1845, this gem was published posthumously in 1868.

Mostly lyrical, some virtuosic, these short pieces exemplify the Romantic thought that music could express something words could not. Though they are written in the manner derived from solo song, Mendelssohn left most of them untitled except for a handful—Venetian Gondola Song, Duetto, and Folk Song—leaving the listener free to imagine what poetry might have inspired them.

The Songs Without Words generally—as in this case—contain a lyrical melody over a figural accompaniment pattern. Though the figuration usually stays the same throughout the piece, the central section often modulates or contains a new melodic idea creating an A-B-A form. Here new piano figuration swirls tempestuously around a turbulent new cello melody. A pensive transition brings a return of the calm A section and an ethereal conclusion.

—©Jane Vial Jaffe