While this piece is counted as number 14 in the series of Mendelssohn's Songs Without Words, it is the second in the third book. There are eight volumes in all, each containing six items, and with a few scattered posthumous pieces, the total runs to over 50 works. As one might surmise, most compositions in the series have a lyrical, songful character, and this C minor effort is no exception. Marked Allegro non troppo, it has a passionate manner and bears the nickname (not given by Mendelssohn) "Lost Happiness." The work does have a wistful character, but like most of the composer's piano music, features a lightness of expression, a shallow emotional well, so that the sense of loss—assuming that is what Mendelssohn is actually conveying here—never turns lachrymose, never becomes heartrending. The main theme is lovely in its yearning, passionate character and in its forlorn arched phrases. The music brims with a sense of agitation throughout its two-minute length and often sounds on the verge of eruption, especially in the latter half. But it never resolves its tension, always maintaining an elegance and beauty—and an unhappy restraint.

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"The Evening Star" (Con Moto). The title was not given by Mendelssohn, but by Steven Heller. The song fails to inspire, and lacks character. It continues through in a sweet and always warm voice. It fails to climax at any given point, but continues to hold the same rhythm and stride throughout the entire song. It does carry the ability to relax, but never sways, and goes directly into the final diminuendo.

Lost Happiness" (Allegro non troppo). This is an attractive piece. There are three distinctive voices heard as melody, bass, and accompaniment. Each voice receiving a turn, as the others fade in the background as the quiet voices. It does have a theme of repetition and comes across as weak.

"The Poets Harp" (Presto e molto vivace). Technically, this piece requires practice with the sustain pedal. It's a bright and cheerful song that is a pleasure to play. Its quickness allows more of the melody to come through, and in its end, makes it equally enjoyable to listen to.

"Hope" (Andante) is more of a choral style, as it offers no assistance of an accompaniment. The Voices are all heard evenly, and sung in time to the chords. No. 4 in book 1, as well as no 3. In book 2 seem so familiar to this piece. It's a colorful song, but lacks luster.

"Passion"(Agitato). Extremely well represented. With each emotion that Mendelssohn dictates, the harmony of the key changes. Grief for example is met with the minor key. At certain points, the piece explodes and then is subdued. Technically, the high end of the right hand carries the melody. At the same time, the left hand is in constant use as Staccato notes dot the bass lines. The bass lines meld the song together to create this masterpiece.

"Duet" (Andante con moto). Two voices are continually heard speaking back and forth as though in a casual conversation. At times, the voices meld together as if in agreement. Although this is certainly one of Mendelssohn's greater compositions, it was later that he was able to improve this piece with Prelude in A Flat. Considered to be a love song as Felix composed this soon after meeting his soon to be wife, Cecile.

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This is the last piece in Book III of the eight-volume series Mendelssohn entitled Songs Without Words. The collection of miniatures contains some of the composer's most lyrical and songful piano pieces. The writing often strikes the listener as an arrangement of a song. This A flat major effort, subtitled "Duetto," in particular, takes on a vocal air in its imitation of a duet between a soprano and tenor. But this work and all the pieces in the Songs Without Words series are original efforts written specifically for the piano. As one would expect, there are two distinct lines at work in Duetto. The soprano part is heard first, its upper-register sonorities sweetly floating the lovely theme to running accompaniment in the tenor range. The tenor line then takes up the theme, while the running accompaniment moves to the upper register. Thereafter, the exchanges occur in a similar pattern, though the range widens on the keyboard when the theme drops to the lower range and accompaniment to the middle register. This lovely "Duetto" is a quite memorable masterwork having a duration of about three minutes.

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