Review: Mendelssohn's Songs Without Words — Chamayou Makes Each Piece Familiar Yet Fresh

Bertrand Chamayou (Warner Classics) brings the singing quality and seemingly effortless ease of the complete Songs Without Words to the piano. The small number of pianists who still regularly appear in recital programs are only the tip of the iceberg. The complete set has not been recorded as often as you might think, wh

The pianist brings a vocal and seemingly effortless quality to the complete set of wordless songs.

Thursday 15 October 2026 16:00 CEST Last change on Thursday 15 October 2026 16.13 CEST

M. Andelson wrote 48 wordless compositions for solo piano: eight sets of six, mostly under three minutes, that emerged over a 16-year period that spanned most of his brief adulthood. The handful that still regularly make it to recital programs are just the tip of the iceberg. The complete set hasn't been recorded as often as you'd think, which makes this new Bertrand Chameau release all the more welcome.

These pieces belong in the world of Schubert Lieder, and Chamayou brings a singing quality to them. The Duetto, which completes the Op 38 suite, is beautifully done, the melodic lines alternating as male and female voices, each lingering slightly as the other takes over. Compared to other commentators, Chamayou is often softer-edged, his playing a bit softer and smoother, although there are exceptions: Op 62 No. 6 - known as Spring Song, but originally titled Camberwell Green after it was written in the beautiful London countryside at the time - is given a charming, almost frothy touch under Spring's spring.

Chamayo doesn't present these miniatures as if he thinks they're deep, but they come across that way thanks to the effortless Obi look. For him, going through these pieces has been like "opening a trunk of family photos faded by time." It's also a good analogy for listening to them play: each new piece sounds somehow familiar yet demands your attention.