The year that this was piece composed is unknown. However, according to some sources, the work was composed in 1824, when Mendelssohn was 19 year old, and it was later revised in 1828. This piece may have been a gift for Munich pianist Delphine von Schauroth, as seen in the autograph version. He met Moscheles, with whom he studied piano, in 1824. Prior to this year, he studied piano with Ludwig Berger, a student of Clementi, and he studied composition with Zelter. In addition, he met Weber in 1820. Several thirds and octaves are found in this piece, which may be because this compositional technique is one of Weber’s favorites. Another theory I would like to add is that he may also have been influenced by his teacher, Ludwig Berger, who is a student of Clementi. Dr. Williams mentioned that Clementi’s technical ability to play passages in thirds is well-known and was recognized by Mozart when the Emperor Joseph of Austria arranged a competition between the two.
This piece has the following two parts: an Andante in 4/4/ meter and E major and a Presto in 6/8 meter and E minor. The Andante has a cantabile melody along with repeated left-hand chords. What interests me is that the melody starts on the third beat, not on the first beat. This section soon develops into an embellished, dream-like figure and has a somewhat whimsy character. As the piece passes quickly, not only does the texture thicken, but the speed increases as well. To wrap up the piece, Mendelssohn brings octaves into play using the dynamic marking, fortissimo.
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