Dissertations / Theses on the topic 'Hensel, Fanny'
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Wolitz, Stefan. "Fanny Hensels Chorwerke." Tutzing : H. Schneider, 2007. http://catalogue.bnf.fr/ark:/12148/cb412153695.
Full textWolitz, Stefan. "Fanny Hensels Chorwerke." Tutzing Schneider, 2006. http://d-nb.info/987118021/04.
Full textBartsch, Cornelia. "Fanny Hensel, geb. Mendelssohn Bartholdy : Musik als Korrespondenz /." Kassel : Furore-Verl, 2007. http://deposit.ddb.de/cgi-bin/dokserv?id=2671581&prov=M&dokv̲ar=1&doke̲xt=htm.
Full textMalá, Michaela. "Významné ženy u klavíru - Klára Schumann, Fanny Mendelssohn Hensel." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79440.
Full textTillard, Françoise. "Le monde de Fanny Hensel, musicienne berlinoise au XIXème siècle." Paris 12, 1992. http://www.theses.fr/1992PA120054.
Full textLike her younger brother the composer felix mendelssohn bartholdy, fanny (18051847) was born in a bankers family in berlin. She was also the grand daughter of the german jewish philosopher moses mendelssohn. As gifted for music as her brother - so said goethe - she received the same education and became a remarquable pianist as well as an authentic composer. As soon as she emerged from childhood, she was told that the destiny of a woman was to look after her home. She married the court painter wilhelm hensel, an excellent portraitist, and had a son with him, sebastian. Inspite of the sadness brought on by her stifled talent, she continued composing - mostly lieder - and organising in her salon concerts which, although private, were considered important events in berlin. During a journey in italy, she was encouraged by the artists of the villa medici whom she met in rome. Gounod especially discovered through her bach, beethoven and mendelssohn's piano music ; his devotion to her made her aware of her own value. It was only a year before her death that fanny hensel decided to transgress her father's and brother's prohibition for her to publish her compositions. Good critics were appearing when she suddenly died in the middle of one of her concert rehearsals. Felix also died six months later from a cardio-vascular attack
Draper, Brian, and Brian Draper. "Text-Painting and Musical Style in the Lieder of Fanny Hensel." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12441.
Full textTarpenning, Emily. "Fanny Mendelssohn Hensel : A Bridge between Felix Mendelssohn and Johannes Brahms." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278182/.
Full textClavere, Lindsay Gray. "Fanny Hensel's Das Jahr: Emergent Meaning at the Intersection of Textual, Visual, and Aural Modalities." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/151.
Full textBach, Judit. "A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117648285.
Full textTitle from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center
Huang, Szu Ying. "Uncovering Fanny Hensel's "Das Jahr": Creating an Urtext Edition that Addresses Selected Technical and Interpretive Issues through Added Fingerings and Pedal Markings." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609086/.
Full textLucciola, Iolanda Maria. "The character pieces of Clara Wieck-Schumann and Fanny Mendelssohn-Hensel: A stylistic comparison of gender traits and idioms proper to the genre." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/9407.
Full textWilliams, Briony Kathleen. "'The power of the harmonies that lie in between' : critical responses to the Lieder of Bettina von Arnim, Fanny Hensel and Pauline von Decker." Thesis, Royal Academy of Music (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445859.
Full textHobe, Bernd, and Gesine Schröder. "Flüchtig und finster." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-103654.
Full textTsai, I.-Ying, and 蔡怡瑩. "Research and Analysis of Two GötheLieder of Fanny Mendelssohn Hensel." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/70036002287169515019.
Full text臺北市立教育大學
音樂學系碩士班
99
Fanny Mendelssohn Hensel, one of the most talented composers in Romanticism age, but she is not a well-known composer.According to reference books, she was remarked "the genius sister of Felix Mendelssohn". However, there are not many people talking about her compositions for a long time. Fanny showed prodigious musical ability when she was a child and began to write music, however, like many women at that time, Fanny did not benefit from the same musical education and upbringing as her brother, Felix, she learned mostly on her own and her talent was limited to be known. Some of her compositions were published in 1846, some of them were published by Felix after she died. But lots of them were out of print, only some manuscripts were kept by her family members. Besides lieder, she also composed around a hundred and twenty Piano, Chamber music, Cantata, Oratorio…etc. In 1965 the Mendelssohn Archive was founded at the National Library in Berlin,and belongs to Prussian culture property. Most of manuscripts of Fanny and Felix were available for study, but the complete list of Fanny's compositions didn't exist, so it's impossible to find a complete edition. So far, 192 pieces of her compositions are known, but nobody knows that how much people own the manuscripts in private. For further to understand her, this research will analyze two pieces of her lieder:“Mailied” and “Nähe des Geliebten”. Furthermore, the research also discuss about the music in her generation, her life, the poet Göthe and his life, analysis the poem and the music and the way to interpret.
Lee, Kyungju Park Louwenaar Karyl. "Fanny Hensel's piano works opp. 2, 4, 5, and 6 /." Diss., 2008. http://etd.lib.fsu.edu/theses/available/etd-04102008-175945/.
Full textAdvisor: Karyl Louwenaar, Florida State University College of Music. Title and description form dissertation home page (viewed 4-6-2009). Document formatted into pages; contains 80 pages.
Mace, Angela Regina. "Fanny Hensel, Felix Mendelssohn Bartholdy, and the Formation of the "Mendelssohnian" Style." Diss., 2013. http://hdl.handle.net/10161/7150.
Full textFanny Hensel wrote much of Felix Mendelssohn's music. Or so goes the popular misconception. It is true that Felix did publish six of his sister's Lieder under his own name, in his Op. 8 and Op. 9, but there is no evidence that anything else he published was actually by Fanny. The perpetuation of this idea is by no means new to our century; even during her lifetime, Fanny received letters alluding to the possibility that some of her music was masquerading as Felix's. But how could this supposition even be possible?
Complicating our reception of Hensel's works and our knowledge of her influence over him, and perpetuating our misconception (and perhaps hopes) that some of Felix's music was by Fanny was the unavailability of her music to the general public. For most of the twentieth century, she was known mostly by her eleven published opera (five of which were released posthumously). Before she was able to plan and accomplish any sort of systematic publication of her works, she died suddenly, at the age of 41, leaving behind upwards of 450 unrevised, unpublished works.
Clearly, we need to reconsider the term "Mendelssohnian," and bring Hensel to the foreground as an equal partner in forming the Mendelssohns' common style. I examine the roots of the "Mendelssohnian" style in their parallel musical educations, their shared enthusiasm for the music of Bach, and their simultaneous collision with Beethoven's music (and the diverse ways each responded to his influence). I explore in detail the relationship between Fanny, Felix, and her fiancé Wilhelm Hensel through the methodology of kinship studies, to contextualize what some have viewed as a quasi-incestuous sibling relationship within the norms for sibling communication in the nineteenth century. Finally, I discuss how deeply their separation after 1829 affected both Fanny and Felix, and how Fanny negotiated her changing life roles and ambitions as a composer and performer.
One work that Fanny never released, and, indeed, one work that has remained a mystery, is the Ostersonate (Easter Sonata). Believed lost since it was first mentioned in correspondence in 1829, the sonata resurfaced in the twentieth century, when it was recorded and attributed to Felix, and then disappeared again without a trace. In the absence of any identifiable manuscript, it had been impossible to definitively challenge this attribution. My research represents a major breakthrough: I traced the manuscript to a private owner and positively identified it as the work of Fanny Mendelssohn.
Lurking behind the popular misconception is a broader truth: Fanny Hensel can be heard in much of Felix Mendelssohn's music. In other words, what audiences have recognized as Felix Mendelssohn's music for nearly two hundred years would not have existed as such without the influence of Fanny Hensel. This idea in itself is hardly new, but by revising this line of reasoning, we see that it is equally possible that much of Fanny Hensel can be heard in Felix Mendelssohn's music. In the end, neither composer could have existed as we know them today without the other, and their shared musical style stands as a lasting testament to their shared identity as Mendelssohns.
Dissertation
Li, li-jiun, and 李麗君. "A Study of Gesamtkunstwerk : Fanny Hensel “Das Jahr” 12 Character Pieces for the Fortepiano." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/8v5j63.
Full text國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
101
Fanny Hensel (1805~1847), a female pianist during the period of romantic movement, created a set of works for piano, Das Jahr - 12 Charakterstucken fur das Forte-Piano. Since this work is co-created with her husband Wilhelm Hensel ( 1794~1861), who is a painter, the special aesthetics design made this work other then a normal form of sheet music, but a Gesamtkunstwerk. As a daughter of Mendelssohn family, Fanny Hensel received the musical education of Mendelssohn family. Because of her family background, Fanny Hensel faced circumstances that other composers does not face, such as the expectation from Mendelssohn family, the choice of her marriage, and the influence from her highly talented brother, Felix Mendelssohn. It is believed that the circumstances of her special background shaped the uniqueness of her works. This thesis aims to analyze Das Jahr - 12 Charakterstucken fur das Forte-Piano as a musical piece, as well as a Gesamtkunstwerk combining with poems, illustrations, and music.
Yang, Jo-Chi, and 楊若琪. "Analyses and Interpretation of Fanny Hensel’s 《Sechs Lieder》, Op. 7." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/26152809337054525709.
Full textChou, Ting-O., and 周廷娥. "An Analysis and Interpretation of Fanny Hensel’s Piano Work《Das Jahr》." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/y8hacm.
Full text國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
101
The 19th-century woman composer, Fanny Hensel, geb. Mendelssohn (1805-1847) was born in Hamburg, Germany. She was the elder sister of the famous composer, Felix Mendelssohn. Her output in music included many piano, vocal and chamber music, but these works were rarely being published during her life time. The main focus of this paper is to study Fanny Hensel’s piano cycle “Das Jahr” . The cycle comprised twelve pieces each named after a month of a year and in this cycle Fanny combined poetry and illustration perfectly into a music diary. There are four chapters in the thesis. Chapter One is a discussion of related reference and literature. Chapter Two portrays Fanny’s biographical information. Chapter three explores the historical background of the pieces and compositional techniques. Chapter Four contains the analysis and interpretation of the music. The last chapter is a brief conclusion of the thesis.