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Books on the topic 'Hensel, Fanny'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Buchter-Romer, Ute. Fanny Mendelssohn-Hensel. Reinbek bei Hamburg: Rowohlt-Taschenbuch-Verlag, 2001.

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2

Borchard, Beatrix, and Monika Schwarz-Danuser, eds. Fanny Hensel geb. Mendelssohn Bartholdy. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-04298-9.

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3

Fanny Hensel, the other Mendelssohn. New York: Oxford University Press, 2009.

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4

1809-1847, Mendelssohn-Bartholdy Felix, and Citron Marcia J, eds. The letters of Fanny Hensel to Felix Mendelssohn. [Stuyvesant, N.Y.]: Pendragon Press, 1987.

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5

Olivier, Antje. Mendelssohn[s] Schwester Fanny Hensel: Musikerin, Komponistin, Dirigentin. Düsseldorf: Droste, 1997.

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6

Fanny Hensel geb. Mendelssohn Bartholdy: Musik als Korrespondenz. Kassel: Furore, 2007.

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7

Eine Frau jenseits des Schweigens: Die Komponistin Fanny Mendelssohn-Hensel (1805-1847). Lich, Germany: Edition AV, 2006.

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8

Veronika, Leggewie, ed. Fanny Hensel, geb. Mendelssohn Bartholdy: Ein Frauenschicksal im 19. Jahrhundert : Vortragsreihe Frühjahr 2005. Bell [Germany]: Top Music, 2005.

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9

Liebste Fenchel!: Das Leben von Fanny Mendelssohn-Hensel erzählt in Etüden und Intermezzi. Köln: Kiepenheuer & Witsch, 2011.

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10

Fanny Hensels Chorwerke. Tutzing: Hans Schneider, 2007.

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11

Wolfgang, Dinglinger, ed. Hier fiel Mutter vom Esel: Reisen nach Italien mit den Eltern Wilhelm Hensel und Fanny, geb. Mendelssohn Bartholdy : das Tagebuch von 1839/40 und die Zeichnungen von 1845. Hannover: Wehrhahn, 2011.

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12

Maurer, Annette. Thematisches Verzeichnis der klavierbegleiteten Sololieder Fanny Hensels. Kassel: Furore-Verlag, 1997.

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13

Klein, Hans-Günter. " --mit obligater Nachtigallen- und Fliederblütenbegleitung": Fanny Hensels Sonntagsmusiken. Wiesbaden: Reichert, 2005.

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14

Klein, Hans-Günter. Die Kompositionen Fanny Hensels in Autographen und Abschriften aus dem Besitz der Staatsbibliothek zu Berlin, Preussischer Kulturbesitz: Katalog. Tutzing: H. Schneider, 1995.

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15

"O glückliche, reiche, einzige Tage": Fanny und Wilhelm Hensels italienische Reise ; mit einem Faksimile der 18 Bildseiten aus dem "Reise-Album 1839-1840". Wiesbaden: Reichert, 2006.

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16

Songs of Fanny Hensel. Oxford University Press, Incorporated, 2020.

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17

Todd, R. Larry. Fanny Hensel: The Other Mendelssohn. Oxford University Press, 2014.

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18

Hensel, Fanny Mendelssohn. Fanny Mendelssohn Hensel Piano Music. Dover Publications, 2004.

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19

Fanny Mendelssohn-Hensel (Rowohlts Monographien). Rowohlt Taschenbuch Verlag GmbH, 2001.

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20

Rodgers, Stephen, ed. The Songs of Fanny Hensel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.001.0001.

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Fanny Hensel is arguably the most gifted female composer of the nineteenth century—a composer of over 450 works, including 249 songs, who created some of the most pathbreaking music of her era. As much as Hensel has finally moved out from behind the shadow of her more famous brother, however, and as much as we now know about her life, there is one aspect of this astonishing composer that still remains understudied: her music. This book focuses on Hensel’s contributions to the genre of song, the art form that she said “suits her best,” where her gifts as a composer are especially evident. Its twelve chapters consider such topics as Hensel’s fascination with certain poets and poetic themes; her innovative harmonic, melodic, rhythmic, and textual strategies; her connection to larger literary and musical trends; her efforts to break free the constraints placed on her as a woman; and her place in the history of nineteenth-century Lieder. No matter their particular topics of inquiry, the authors are guided by the conviction that the best way to honor Hensel’s achievements as a composer and to appreciate her historical importance is to thoroughly examine what she wrote within its many diverse contexts, be they biographical, historical, cultural, or musical.

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21

Wer war Fanny Hensel: Auf den Spuren von Fanny Mendelssohn. München: Ellermann, 1997.

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22

Fanny Hensel: A Research and Information Guide. Taylor & Francis Group, 2019.

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23

Fanny Hensel, geb. Mendelssohn Bartholdy: Das Werk. München: edition text + kritik, 1997.

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24

Fröhlich, Roswitha. Wer war Fanny Hensel? ( Ab 12 J.). Auf den Spuren von Fanny Mendelssohn. Heinrich Ellermann Verlag, 1997.

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25

Fanny Hensel geb. Mendelssohn Bartholdy: Thematisches Verzeichnis der Kompositionen. Kunzelmann, 2000.

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26

1950-, Borchard Beatrix, and Schwarz-Danuser Monika, eds. Fanny Hensel, geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligkeitsideal und romantischer Musikästhetik. Stuttgart: Metzler, 1999.

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27

Härtling, Peter. Liebste Fenchel!: Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi. dtv Verlagsgesellschaft, 2013.

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28

Parsons, Laurel, and Brenda Ravenscroft. Fanny Hensel, “Von dir, mein Lieb, ich scheiden muss” (1841) and “Ich kann wohl manchmal singen” (1846). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0007.

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This chapter challenges the common view that Fanny Hensel’s songs are spontaneous, unpredictable, and guided by “fantasy.” An examination of her song beginnings—which tend to veer quickly from their home keys—reveals that Hensel relied on a handful of recurring patterns but presented them in such a way as to create the illusion of fantasy. The essay focuses on two contrapuntal “schemata” common in her songs—involving opening modulations to the submediant or supertonic—and presents analyses of two songs that use both schemata: “Von dir, mein Lieb, ich scheiden muss” (1841) and “Ich kann wohl manchmal singen” (1846). Taken together, these songs offer the clearest demonstration of Hensel’s uncanny ability to compose pieces that seem to wander freely, as if guided only by the needs of the present moment, even as they tread well-worn paths.

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29

Felix Mendelssohn Bartholdy: A Guide to Research with an Introduction to Research Concerning Fanny Hensel (Composer Resource Manuals). Routledge, 2001.

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30

Gordy, Laura. Women creating music 1750-1850: Marianne Martinez, Maria Theresia Von Paradis, Fanny Mendelssohn Hensel, and Clara Wieck Schumann. 1990.

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31

Hensel, Fanny. Songs for Pianoforte, 1836–1837. Edited by Camilla Cai. A-R Editions, 1994. http://dx.doi.org/10.31022/n022.

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The piano pieces Fanny Hensel composed in 1836 and 1837 represent a landmark in her development as a composer, because for the first and only time she sought to publish a major collection of music under her own name. These pieces are an important type of nineteenth-century music written not for the public concert hall but for private gatherings of connoisseurs. The expectations of this style are as particular and exacting as those of the concert hall. These fairly short pieces—with appealing melodies, but also with sections of sharp contrast and technical display—are intended not only to appeal to the emotions but to dazzle with their brilliance. This first edition of Hensel's piano music written in 1836–37 makes available a significant body of her work and thus broadens our knowledge of her style.

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32

1939-, Klein Hans-Günter, and Staatsbibliothek zu Berlin--Preussischer Kulturbesitz. Musikabteilung., eds. Das verborgene Band: Felix Mendelssohn Bartholdy und seine Schwester Fanny Hensel : Ausstellung der Musikabteilung der Staatsbibliothek zu Berlin--Preussischer Kulturbesitz zum 150. Todestag der beiden Geschwister, 15. Mai bis 12. Juli 1997. Wiesbaden: L. Reichert, 1997.

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33

Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.001.0001.

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This multi-author collection, the second to be published in an unprecedented four-volume series of analytical essays on music by women composers from the twelfth to the twenty-first centuries, presents detailed studies of compositions written up to 1900 by Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth-Claude Jacquet de La Guerre, Marianna Martines, Fanny Hensel, Josephine Lang, Clara Schumann, and Amy Beach. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of one representative composition or a small number of comparable compositions, linking analytical observations with broader considerations of music history, gender, culture, or hermeneutics. These essays, many by leading music theorists, are grouped thematically into three sections, the first focused on early music for voice, the second on seventeenth- and eighteenth-century keyboard music, and the third on lieder and piano music. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early music, theory, history, or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners—an endeavor of discovery for all those interested in music composed before 1900.

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34

Murfin, Audrey. Robert Louis Stevenson and the Art of Collaboration. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474451987.001.0001.

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Robert Louis Stevenson, Collaboration, and the Construction of the Late-Victorian Author argues that understanding literary collaboration is essential to understanding Stevenson’s writings. Stevenson often collaborated with family and friends, sometimes acknowledged, and sometimes not. Early collaborations include three plays with his friend W. E. Henley. Later, he and his wife Fanny co-authored a volume of linked stories, More New Arabian Nights, also titled The Dynamiter (1885). Fanny also contributed to other work that did not bear her name, significantly the Strange Case of Dr Jekyll and Mr Hyde (1886), and he drew on her diaries for his Pacific writings. He collaborated most extensively with his stepson, Lloyd Osbourne, with whom he wrote three novels: The Wrong Box (1889), The Wrecker (1892), and The Ebb-Tide (1894). Stevenson’s collaborations with Osbourne typify the critical problem my project addresses. Like Fanny Stevenson’s, Osbourne’s literary reputation has not been notable. Furthermore, there is evidence that Stevenson’s collaborations with Osbourne became frustrating. The core question this book addresses is this: why would this famous and successful author of Scottish literature practice a creative process that burdened him with inexpert collaborators? The answer to this question can be found in Stevenson’s novels, essays and plays, which dramatize the process of collaboration. Stevenson creates an alternate narrative of what it means to write—one that challenges commonly held assumptions about the celebrity cult of the author in Victorian literature, and notions of authorship more generally.

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35

Ferris, Ina. Historical Romance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0016.

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This chapter looks at historical romance. Late eighteenth-century historiography began to expand its purview to unofficial spheres of social, cultural, and private life typically cultivated by informal genres such as memoirs, biographies, and novels. The ‘matter’ of history was being increasingly redefined, and this had two key effects that bear on the question of historical romance. First, the ‘reframing’ of the historical field generated a marked reciprocity among the different historical genres in the literary field, as they borrowed material and tactics from one another; second, it led to a splintering albeit not displacement of ‘general’ history, as new branches of history writing took shape, notably that of literary history as a distinct form of history. Hence romance now denoted not only the realm of ‘fancy’ but a superseded literary form of renewed interest in the rethinking of the national past.

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