First Movement

While this may be a subjective argument, I believe Mendelssohn's music, compared to that of other Romantic composers, is never overly serious; in the Classical era, it is akin to Mozart's music. A characteristic feature of Mendelssohn's music is what is called “spinning music,” meaning music that is constantly revolving. In the final movement of his Violin Concerto and piano pieces like the Rondo Capriccioso, one perceives a sense of lightness, speed, elegance, and constant rotation. The final movement of this sonata is no exception. While it may seem at first glance to have strong homophonic elements, there are many pieces, like the first movement of this sonata, that possess strong polyphonic elements. Yet, it also delves into the fantastical world characteristic of the Romantic era. Let us begin by examining the opening.

The tempo marking is Allegretto con espressione. From measures 1-2, the melody progresses towards E in the first beat of measure 2, and upon reaching it, it gradually decays until measure 4. In measure 5, with a sense of anticipation. In measure 6, this feeling intensifies, reaching its climax with the melody G# in measure 7.

In measure 9, the theme is the same as in measure 1, but the texture is different. This is a section that evokes joy. The end of this section is at the first beat of measure 18. Thus, up to this point, it can be divided into two precise sections of nine measures each.

From measure 18, one enters a fantastical world through Mendelssohn's unique use of non-harmonic tones. If you observe the left hand, you will notice A# mixed with the harmonic tones E, G#, and B. Normally, this note would create a dissonance, yet it is deliberately written this way. In this section, by sustaining the pedal and playing the left hand pp with a hazy sound, one enters another realm. This world cannot be evoked without this A#. Of course, as the chords change in measures 18-19, 20-21, and 22-23, pedal changes are necessary at those points. This section should by no means be played with strong expression; rather, both hands should play as pp as possible to enter this fantastical world.

From measure 27, one returns to the real world. Here, the melody line in the right hand becomes the singing part, so this line should be played clearly, while other voices are played p, reaching the first goal at measure 31. From here until measure 43, a seemingly trivial yet expressively strong narrative continues. Then, at measure 44, the dynamic level drops to pp once. However, from here, the sixteenth-note accompaniment becomes two-voiced. Then, it progresses towards the second goal at measure 52, reduces volume again at measure 56, and heads towards the final goal at measure 63. Setting this as the climax, the music gradually decays thereafter, entering the pp section at measure 76, returning to the fantastical world, and concluding the exposition.

I would like to ask learners to look at the score again on a larger scale: in this exposition, the sixteenth notes begin at measure 18. And the sixteenth notes end at measure 81. This means that from measure 18, the music has already begun to build towards measure 63, which should be the loudest point. Although the dynamics drop multiple times along the way, the psychological tension follows a considerably long path from measure 18 to measure 63, and during this time, the tension must not be allowed to drop. While the dynamics must be observed, the music must absolutely not stop. The never-ending, successive waves and the ever-growing music—this is Mendelssohn's “spinning” world.

From measure 83, the development section begins. It starts in a minor key and modulates to G major. However, something peculiar happens at measure 92. The theme suddenly breaks off mid-phrase, and eerie low notes are marked with staccato. Although the theme reappears several times, these two eighth-note staccato figures continue without pause. This pair of eighth notes disappears at measure 108, and from there, a sense of calm is finally restored at measure 110. So, what was that pair of eighth notes? I believe that, judging from the timing, that staccato pair represents a human “heartbeat.” It is a depiction of fear.

The respite at measure 110 is brief, as the sixteenth notes resume from measure 112. A difference between the recapitulation and the exposition is that the second peak in the exposition, measures 51-53, reappears in measures 132-134 with a slightly altered accompaniment figure. Furthermore, the recapitulation does not contain a section corresponding to measure 63, which was the absolute peak in the exposition. It can be said that the Coda begins from measure 145. From measures 146-149, the chords become slightly eerie, but from measure 150 onwards, tranquility returns.

Consider the mood of each section and view the music with a long-term perspective. And the key is to play in such a way that the music is never “stopped.”