Abstract
The songs belong to the few compositions by Mendelssohn that until now have received scant philological review. They languished long enough under the verdict of possessing less value and not being weighty enough, especially in German-speaking countries. Avoiding faulty comparisons to Schubert or Schumann song settings facilitates a clearer assessment of Mendelssohn’s compositional ingenuity and sublime melodiousness that serve to capture the tone of each poem. This is especially evident in the largest lied group-the Heine settings- through the subtle compositional means used to reflect Heine’s characteristic ironic shifts.
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