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Fanny Mendelssohn-Hensel: Piano Music

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Customer Reviews

Cheers for Fanny Hensel in a treasure by Rauchs

Melodie (op.4 No.2) Alegretto Fanny Mendelssohn Hensel Grouped in a partnership of talent with her younger brother Felix, she received the very best musical education within the reach of her well-situated Berlin family. Carl Freidrich Zelter, Marie Bigot de Morogues, and Ludwig Berger, all presented her with the knowledge for composition that gave her the desire to try so hard to pervade the musical world, which was admiring the piano for the first and and so far, only time more than any other instrument. Beyond the Mendelssohn’s inner circle of parlor friends was the opportunity to shower audiences with public concerts and original publications, both of which her brother had been enjoying. The public of early nineteenth century Europe (and her brother with them) simply frowned upon any woman trying her skills beyond the “domestic sphere.” On one occasion, Queen Victoria lauded Felix for a composition actually by Fanny. He admitted to the mistake, which itself was understandable since the Italien from his Opus 8 collection was published under his name, and truly fought for her to be noticed after her death at only forty-two years of age. She did manage acclaim in her pioneering efforts of the “Sonntagsmusiken,” concerts devoted to meticulous interpretation of piano classics and her own compositions. This one work, featured in a collection of six melodies features both hands paralleling the melody line. Quiet eighth notes then carry the hands to move inward in the harmony. Resounding with a unremitting longing tone, Hensel leaves the audience wanting so much to hear more.

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