The fourth book to the Songs Without Words series contains about as much variety as any of the other seven books contained. From the troubled emotions of No. 2 ("Widmung"), to this sad fourth work (No. 22 overall), to the folkish character of No. 5, and finally to the stormy fashion of the concluding piece, one is amazed at Mendelssohn's adroit sense for diversity and color. One of the reasons for this wide expressive range is that the six works date to varying times during the period 1835 - 1841. This F major effort bears the nickname "Sadness of the Soul," a tag, however, not affixed by Mendelssohn, but applied by a publisher. While that subtitle suggests a dark, deep expressive manner, the tenor of the music here is light and sweetly melodic. The piece opens with a lovely theme, memorable for its simple and charmingly sentimental character. Marked Adagio, it has a stately sort of melancholy, a sad sense whose deliberately superficial manner makes its sorrow not just bearable but quite charming. Lasting about two-and-a-half minutes, this lovely piece will appeal to a wide audience.

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The first song is "On the Seashore" (Andante con moto). Suitably it opens with sempre tenuto e legato. Each of the melody notes should be given their full value. Mendelssohn is given the opportunity to show off his talent with being able to supply the perfect undertones with the main body of melody lines. "On the Seashore" provides a clear, tender, and concise style that is typical with Mendelssohn.

"Clouds" (Allegro non troppo) is also known as "The Fleecy Clouds". Thought to have been written for his sister Fanny as Mendelssohn truly thought that his music would speak in larger volumes than his words. Compare this song with Book Three No. 3, and there appears to be some common resemblance. The piece is impulsive and is very much influenced by Schumann.

"Agitation" (Presto Agitato). Not until the Ninth measure is the subject of this piece loudly apparent. There lies the effective monotony that is prevalent throughout this song. In measure 69, he inserts additional notes on the weaker beat with the left hand.

"Sadness of Soul" (Adagio) is expressive, but perhaps overly sentimental. It is a prime example of a cantabile (singing) style of playing. The song is very similar to his composition of "On wings of Son" op.34 No. 2. The use of the sustain pedal adds an ingenious third hand.

"Folk Dance" (Allegro con Fuoco) is certainly his best out of this book. As the term "Fuoco" is implied, it is to be played with fire and passion. Felix composes with this fury, and has an almost patriotic march. Basically, this song has been elaborated on from the forth song in book One. This has none of Mendelssohn's usual traits of politeness and gentle mannerisms, but is attacked with more aggression and roughness.

"Flight" (Molto allegro vivace). Instead of using cadence forms as was used in No. 5, Mendelssohn's use of chromatic seconds give the listener a sense of being caught up in a hurricane. Later in the piece, it presents a pure display of raw technical power. The piece builds, until the last few measures dwindle down to a surprising diminuendo.

The book on a whole is certainly worth mentioning. Mendelssohn shrugs off his polite way of being, and occasionally opts to be somewhat more aggressive. The piece contrasts in mood, showing that even this composer can be found in his own kind of personal tug of war, and leave the comfort that is his nature.

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This is the second work in the fourth book of Mendelssohn's Songs Without Words series. Like many of the collection's pieces, it has attracted a nickname, actually two, neither given by the composer. Often published as Fleecy Clouds or, more commonly, as Widmung (Dedication), the piece clearly conveys a strong emotional sense, much as the famous Schumann love song Widmung. Mendelssohn's emotional demeanor was typically more restrained than Schumann's and this piece, for all its warmth and yearning, exhibits a light, less-passionate expressive manner. Not that its spirit is tepid or noncommittal; Mendelssohn simply tempers passion with buoyancy, desire with innocence, in the end producing a work whose emotions are reined in and whose fervor is charmingly diluted by naïveté. Marked Allegro non troppo, the work opens with a nervous, repeating chordal accompaniment, over which a lovely theme soars. It divulges an anxious sense, perhaps relating to romance or failed romance, and nearly turns fiery in its growing passion in the middle section, but does not quite emerge from its less febrile emotional world. The main theme returns to its opening guise and this lovely work quietly and tenderly closes. This piece typically has a duration of two-and-a-half minutes.

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