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FANNY MENDELSSOHN HENSEL: A BRIDGE BETWEEN

FELIX MENDELSSOHN AND JOHANNES BRAHMS

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Emily Tarpenning, B.A.

Denton, Texas

December, 1997

Tarpenning, Emily. Fanny Mendelssohn Hensel: A Bridge between Felix

Mendelssohn and Johannes Brahms. Master of Music (Theory), December, 1997,

137 pp., 25 illustrations, references, 33 titles.

This thesis is a study of four compositions written by Fanny Mendelssohn Hensel,

older sister of Felix Mendelssohn. Her music is compared with four pieces composed by

Felix. This study shows that Fanny was a gifted and creative composer, even surpassing

Felix and predating Brahms with her compositional ideas and progressive uses of

harmony. Despite her excellent education and recognition among those who knew her

well, she did not publicize her talent in any way because of pressure from her father,

Abraham, and Felix to stay within the prescribed societal confines of wife and mother.

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FANNY MENDELSSOHN HENSEL: A BRIDGE BETWEEN

FELIX MENDELSSOHN AND JOHANNES BRAHMS

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Emily Tarpenning, B.A.

Denton, Texas

December, 1997

TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS v

Chapter

I. INTRODUCTION 1

E. MENDELSSOHN FAMILY BACKGROUND 12

Education in Piano and Theory Education in Composition Praise for Fanny Fanny's Marriage Lack of Encouragement from Felix Wilhelm's Support Fanny's Niche—The Sunday Musicals Peers' Views of Fanny's Compositions Woman's Status in the Nineteenth Century Impact on Fanny of Abraham's and Felix's

Philosophy Concerning Women

m. THE MUSIC OF FANNY MENDELSSOHN HENSEL . 41

IV. SUMMARY AND CONCLUSIONS 71

APPENDICES

A: Scores of works with Form Diagrams and Reductive Analyses 75

By Fanny Mendelssohn Hensel AbschiedvonRom 76 Melodie, Op. 4, No. 2 84 Melodie, Op. 5, No. 4 88 Notturno 92

By Felix Mendelssohn By the Sea, Op. 53, No. 1 102 Contemplation, Op. 30, No. 1 109 Hunting Song, Op. 19, No. 3 114 Duet, Op. 38, No. 6 123

B: Selected List of Works by Fanny Mendelssohn Hensel 132

BIBLIOGRAPHY 135

LIST OF ILLUSTRATIONS

Figure Page

1. Abschied von Rom, measures 3-7 and 32-36 44

2. Melodie, Op. 5, No. 4, measures 1-4 46

3. Notturno, measures 1-4 46

4. Abschied von Rom, measures 27-31 47

5. By the Sea, Op. 53, No. 1, measures 1-4 48


7. Chart comparing chord types used by Fanny Mendelssohn Hensel

and Felix Mendelssohn 51




11. MModie, Op. 5, No. 4, measures 18-20 54

12. Notturno, measures 1-4 and 44-49 54 13. Abschied von Rom, measures 50-53; Melodie, Op. 5, No. 4, measures 1-3;.

Hunting Song, Op. 19, No. 3, measures 25-29 55

14. Melodie, Op. 4, No. 2, measures 1-4; Contemplation, Op. 30, No. 1, measures 1-3; By the Sea, Op. 53, No. 1, measures 1-4 57


16. Melodie, Op. 5, No. 4, measures 5-6 60

17. Melodie, Op. 5, No. 4, opening motive; Abschied von Rom, opening motive 61

18. Melodie, Op. 5, No. 4, measures 16-19, reductive analysis 62



21. Notturno, measures 23-25 and 71-73 64



24. Melodie, Op. 4, No. 2, measures 1-4, reductive analysis 66

25. By the Sea, Op. 53, No. 1, opening motive 67

CHAPTER I

INTRODUCTION

The last decade has seen a significant increase in scholarly research into the

contributions of women to Western cultural history. Few works by women composers

are yet part of the musical canon used in the education of professional musicians. Focus,

however, has been primarily on the limited amount of music actually published. Women

have always written music but their accomplishments have gone unrecognized because of

the bias of society. Although women have taught piano, voice, and music education

during the past fifty years, in colleges and universities they have made significant inroads

in composition, music history, and music theory only during the last two decades.

The aftermath of the French Revolution created many opportunities for women in

music, but it also presented them with additional problems. The political, social, and

economic events of this era allowed the prosperous middle class to increase in size and,

because of this growth, more women were able to take part in amateur musical activities.

Families discovered that piano or voice lessons for their daughters could be an

asset in their climb up the social ladder. New technology provided more leisure time.

Their expertise in music not only improved their chances for marriage but provided

.entertainment as well. Even though many amateur musicians emerged, some very

talented, women were discouraged from taking music too seriously. Their fathers and

husbands forbade them from performing in public, from publishing music under their

own names, or from accepting money for teaching. Men feared that these activities

would reflect poorly on the social status of the family. Men still held all important posts

in teaching and publishing; they alone comprised the committees that made decisions

concerning concert organizations and festivals; they held all positions of influence in the

musical world.

Women were raised to accept their designated role, although one thinks now that

certainly it was not what they always desired. Primarily in solitude, they did their

performing and composing. "The piano, seen and heard in concert hall, palace, and

parlor, was considered a particularly appropriate instrument for women to play because of

its association with domestic music making.'" In the Romantic period, instrumental

music was thought to be superior to vocal music. The piano was the instrument that

seemed to exemplify the Romantic ideals best. By 1830, it was greatly improved over

earlier keyboard instruments and provided greater range, bigger sound, and more strength

than the more primitive models. The new instrument was just as suitable for the virtuoso

as it was for the amateur.

As the century progressed, more and more women developed their musical talents

and tried their hand at composition. Their worth was seldom acknowledged; men simply

humored or discouraged them.

'Nancy B. Reich, "European Composers and Musicians, ca. 1800-1890," in Women and Music, ed. Karin Pendle (Bloomington: Indiana University Press, 1991), 109.

Virginia Woolf, pondering the fate of an imaginary sister of Shakespeare in A

Room of One's Own, wonders, considering the difficulties that might have beset her, if

she might have killed herself, living in the shadow of such a famous brother. Woolf goes

on to question female creativity, something many earlier male writers had done. But

thanks to Fanny Mendelssohn Hensel, such conjecture is unnecessary. Older sister to

Felix Mendelssohn, Fanny did not commit suicide but led a relatively content life and

was a prolific composer. "When circumstances pressed her to keep quiet and no one took

her compositions seriously—Felix least of all—Fanny continued to write music."2

It is unusual in itself that one family produced two such gifted musicians: Felix

Mendelssohn (1809-1847) and his sister, Fanny Cacilie Mendelssohn Hensel (1805-

1847). Fanny Mendelssohn was ahead of her time. She was extremely talented and

progressive, but because of societal mores of that period, Fanny was forbidden to perform

for money or to have her music published, even though her musical education and talent

were equal to that acquired by Felix.

Fanny Mendelssohn came from a family with a strong musical tradition. Her

maternal great-aunt, Sara Levy, was a highly gifted harpsichordist and student of

Wilhelm Friedemann Bach, Johann Sebastian Bach's oldest son. Sara later became a

devoted admirer and patron of Carl Philip Emanuel Bach. Her musical soirees were

famous. Fanny's mother, Lea Salomon, had received an extraordinary education and was

2Fran9oise Tillard, Fanny Mendelssohn (Portland, OR: Amadeus Press, 1996), 14.

fluent in French, familiar with English literature, and could read Homer in the original

Greek. She played the piano, studying with Johann Philipp Kirnberger, a student of

Johann Sebastian Bach, for approximately nine years. Lea insisted that Fanny's great

talents be developed while Fanny's father, Abraham, would constantly remind Fanny that

her most important vocation should be that of a housewife.

Fanny's mother and husband eventually became her strongest allies and they

convinced her to publish some of her compositions. But despite enormous talent and

support from mother and husband, Fanny's letters3 to her brother Felix often indicate

discouragement and even speak of her "lack of talent."

Fanny drew around her the best teachers of the time and they were the same

instructors who taught Felix. Nancy Reich states:

Hensel's music was influenced by her study of Bach and her close relationship with her brother, but she developed her own distinctive style, particularly in her songs and piano miniatures. Her songs (about 300) have a confidence and melodic ease lacking in Felix Mendelssohn's works in that genre, gifts that her brother acknowledged when he wrote: "She has composed several things, especially German lieder which belong to the very best we have."4

Fanny Mendelssohn Hensel was a rose in the musical garden of Berlin. With her

husband's blessing, she presided over successful weekly musical salons, which were a

continuation of the Sunday afternoon recitals that had begun when she was a child in her

3Marcia J. Citron, The Letters of Fanny Hensel to Felix Mendelssohn (Pendragon Press, 1987), xxxix.

4Reich, 104.

parents' home. These recitals were attended by musicians, poets, writers, and her friends,

who were the aristocracy of Berlin. She played a constantly changing role of pianist,

accompanist, singer, and choir director. The success of these weekly salons was well

known in Berlin.

Because women of the time were expected to be the primary caretakers of home

and children, it was not until after her marriage to the painter Wilhelm Hensel and with

considerable encouragement from him that she attempted to have her music published

and as a result her talent became somewhat known outside her family and circle of

friends. But most of her music was neither discovered, attributed to her, nor published

until after her death at age forty-one. Much of it is still in private collections, passed

down as part of the Mendelssohn estate. Most likely, there are compositions in the

possession of descendants that scholars have not studied; however, some of her

unpublished works are in the collections of the New York Public Library, the Bodleian

Library in Oxford, the Library of Congress in Washington, D.C., and the Mendelssohn-

Archiv in Berlin5 as well as the Goethe-Museum and the Heinrich Heine Institut in

Dusseldorf.6

5Karl-Heinz Kohler, "Fanny Cacilie Mendelssohn-Bartholdy Hensel," in New Grove's Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London, Macmillan, 1980), XI, 134.

6Lorraine Gorrell, "Fanny Mendelssohn and Her Songs," in NATS Journal, XLII, 10.

The name Felix Mendelssohn is immediately recognized by pianists and music

lovers today. Most have played or listened to his Songs Without Words and know his G

Minor Piano Concerto. But little has been written about the valuable collection of

approximately 130 piano works that were composed by his talented sister Fanny. They

remain virtually unknown and, for the most part, are unavailable to students and scholars

today. The New Grove Dictionary of Music and Musicians devotes twenty-four pages to

Felix but perpetuates and even reinforces the neglect of Fanny by allotting her only a half

page. Her 500 compositions and her reputation as the best pianist in Berlin are barely

mentioned.

Until recently, historians have considered Fanny as merely a diarist. Although her

extensive collection of letters that flowed among her family and circle of friends certainly

provides a window to the past and significant insight into the Mendelssohn clan, Fanny

was much more than a recorder of history. She organized concerts, and excelled at

composing, performing and conducting.7 The prevailing attitudes of the nineteenth

century explain the neglect that still persists today.

As early as 1892 a feminist book was written by Florence Fenwick Miller that

discusses six women. Chapter IV is entitled, "A genius wasted—Fanny Mendelssohn."

The author writes:

'Camilla Cai, "Fanny Mendelssohn Hensel as Composer and Pianist," in Piano Quarterly, XXXV, 46.

. . .But that a girl would be discouraged, and neglected, and postponed to her brother's interests, brought up with her powers undeveloped, and sent to the grave with them atrophied by disuse, having all her life long had her original gifts distorted to serve the purposes of another — oh, that is an intolerable injustice and cruelty!8

According to Franfoise Tillard, at every juncture of their lives, Fanny is compared

rather unfavorably to Felix.9 Felix is good-looking, Fanny is not; Felix travels all over

Europe while Fanny stays home; Felix cultivates an international reputation, but Fanny is

allowed only a private persona.

Even though Felix acknowledged Fanny's superior accomplishments, he had a

difficult time giving Fanny the recognition she deserved. A brief incident at Buckingham

Palace in 1842 captures the essence of their very special musical relationship. Felix had

been invited for an audience with Queen Victoria and Prince Albert. During his visit the

Queen was urged to sing one of Felix's lieder from his Op. 8. Italien was performed quite

well according to Felix. But he later wrote to his mother that he then had to admit that

Italien was actually written by his sister and not himself, which he confessed was very

hard for him to concede. He then asked the Queen to sing one of his own songs as well.

Felix had less difficulty in praising Fanny's performances at the piano. At a later

time, he wrote to Madame Kiene, the mother of Fanny's former piano teacher, Madame

8Victoria Ressmeyer Sirota, The Life and Works of Fanny Mendelssohn Hensel (University Microfilms International, 1981), 19.

9Tillard, 16.

8

B i g o t , . .her musical talent is so magnificent, that if you want to hear music at all now,

you will certainly let her play for you often and with pleasure."10

Correspondence between Fanny and Felix reveals their mutual respect for each

other and even the dependency each had on the other. When they were adolescents Felix

relied heavily on Fanny's opinions. But as they grew older, their positions reversed as

Felix became more firmly fixed in the strong family tradition of women devoting

themselves to home and family.

It is worth noting the unique qualities of this relationship. There were certainly

other cases in the nineteenth century of intense musical friendships, (e.g., Clara and

Robert Schumann and subsequently Johannes Brahms, as well as Brahms and

violinist/composer Joseph Joachim), but nothing compares to the musical "twinship" of

the Mendelssohn prodigies. Not surprisingly, one of the last things that Felix did after

Fanny died was to arrange for more of her music to be published. "Hensel's

experimentation in these works has been described as 'an original attempt at elevating the

genre to one of greater musical significance.'"11 Her contemporaries, such as Robert and

Clara Schumann, Franz Liszt, Karl Zelter, Niccolo Paganini, and R. V. Keudell,

considered her the musical peer of Felix.

10Sirota, 85.

"Reich, 112.

Only recently, however, are her compositional talents being readily acknowledged

by scholars.

. . .a growing awareness of her music among scholars bodes well for her future reputation. Already she has been called the most important woman composer of the nineteenth century, and some music historians are suggesting that she, rather than her brother Felix, first conceived the well-known piano genre "Songs without words."12

Fanny was clearly immersed in the piano repertoire of the Romantic era and was

certainly influenced by her brother Felix, as well as Schumann; Beethoven, Liszt and

Thalberg. But Sarah Rothenberg asks a very important question: "Yet is it even correct

to refer to Felix as an 'influence' when what we identify as 'Mendelssohnian' may belong

equally to Fanny?'"3

Victoria Sirota, a Hensel scholar, says, "She was facile, had a gift for melody, and

was able to convey a certain genuineness in her songs that make them unaffected and

sincere."14 She goes on to say that Fanny's piano trio, Op. 11 (published posthumously),

demonstrates her "formidable compositional skill and inventiveness."15

In 1986 Fanny's great-granddaughter selected eleven of her previously unknown

piano pieces to be published by G. Henle in Munich. Laura Gordy states that, ".. .these

12Gorrell, 10.

13Sarah Rothenburg, "Fanny Mendelssohn's Musical Diary," in Key Classics, XI, 7.

'"Sirota, 86.

15Sirota, 246.

10

works attest to her remarkably precocious talent in composition."16 Lorraine Gorrell

writes that "Fanny Mendelssohn Hensel has written songs of "surprising richness and

beauty."17

In this thesis I will compare four of Fanny Mendelssohn Hensel's pieces with four

compositions by her brother Felix Mendelssohn. The pieces by Fanny are:

Abschied von Rom - 1840 (A minor)

Melodie, Op. 4, No. 2 - ca. 1835 (C# minor)

Melodie, Op. 5, No. 4 - ca. 1835 (B major)

Notturno - 1838 (G minor)

and those by Felix are:

By the Sea, Op. 53, No. 1 - 1836 (Ab major)

Contemplation, Op. 30, No. 1 - 1835 (Eb major)

Duet, Op. 38, No. 6 - 1836 (Ab major)

Hunting Song, Op. 19, No. 3 - 1830 (A major)

This comparison will show that Fanny was fully conversant with the style of the

period; however, it will also show that she developed her own inimitable style and served

as a bridge between the musics of Felix Mendelssohn and Johannes Brahms.

16Laura Ann Gordy, Women Creating Music, 1750-1850 (University of Alabama, 1987), 39.

l7Gorrell, 11.

11

I will examine the musical form and elements of style by comparing tonalities,

harmonic progressions, modulations, and handling of dissonance. Motives and figures

will be examined and compared, as well as symmetry of phrasing and complexity of

themes. Reductive analyses will show that Fanny closely followed the guiding

contrapuntal principles common among outstanding composers. A closer examination of

these pieces will also show that she was not afraid to use creative new ideas in her

compositions, many of which were not attributed to her, but were later recognized as

devices used by Brahms.

CHAPTER II

MENDELSSOHN FAMILY BACKGROUND

Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn, was the daughter

of a prominent and wealthy Berlin family and was heir to a distinguished musical

tradition, particularly on the maternal side of her family. Her mother, grandmother,

aunts, and great-aunts were all accomplished musicians. The Mendelssohn family held

enormous cultural influence in Berlin during the first half of the nineteenth century.

Fanny and Felix were grandchildren of the Jewish philosopher Moses Mendelssohn, a

man deeply devoted to his family. His views for the world were extremely forward-

looking. "He had hoped for, struggled for and written about equality for Jews in a

conservative, reactionary, divided Germany."18 Although he desired to include Jews as

citizens with equal rights, he did not, however, consider extending these rights to women.

Abraham and Joseph Mendelssohn, sons of Moses, began a banking business

together in Hamburg in 1804. That same year Abraham married Lea Salomon. Lea was

well educated and a talented musician. Abraham also was a patr on of the arts and

attended concerts and theater productions. He belonged to several musical societies, and

often attended the opera in Paris.

l8CamilIa Cai, "Fanny Mendelssohn Hensel as Composer and Pianist," in Piano Quarterly, XXXV, 46.

13

Abraham and Lea (parents of Felix and Fanny) did indeed get to live the life of

equality that Moses Mendelssohn wished for his family. Abraham's banking business

was quite successful and the Salomon family was the first Jewish family permitted to

own property in Germany. Abraham and Lea believed in the spirit of the times that

promised freedom for everyone. They even embraced the doctrines of Christianity and

had their four children baptized into the Protestant faith.

Abraham and Lea worked very hard and were, therefore, quite well off. They

were able to provide a stable, secure, and privileged life for their children. They

entertained often and extravagantly; music, literature and drama were especially

important aspects of their family life. Lea often invited guests to her home for theatrical

performances, literary readings and Sunday concerts. The four children were also

welcome at these gatherings and often performed at the Sunday musicals. These socials

became an important place for the literary, scientific and artistic minds of Berlin to

gather.

Fanny Zippora Mendelssohn was born on November 14, 1805, in Hamburg. In

1818, when the Mendelssohn children were baptized, she took the name Fanny Cacilie.

The Mendelssohn family, close-knit and congenial, provided a stimulating yet

sympathetic atmosphere for the children. Fanny and Felix began their musical careers at

14

the same time. A third child, Rebecca, was born in 1811. "The young Mendelssohns

lived at an intellectual pace which would have been intolerable for less gifted children."19

A fourth child, Paul, was born in 1813 in Berlin. The children were educated at

home. Although the boys were educated in a different manner than were the girls, the

same degree of excellence was expected of them all. At the time, Fanny and Rebecca did

not realize that their personal development would halt in adolescence, and they would

later remain confined to their homes. The appearance of equal treatment was imparted.

The children studied Latin, Greek, history, mathematics, geography, aesthetics, and

political philosophy. The general subjects were taught by philologist Ludwig Heyse

(father of poet Paul Heyse). Professor Rosel taught them landscape drawing.

Fanny and Felix studied musical composition with the distinguished

composer/conductor Carl Friedrich Zelter. This excellent education was not wasted on

the children. Fanny and Felix developed particularly remarkable intellectual and musical

gifts.

Fanny's wide realm of interests outside of music was fostered by her parents. At

the University of Berlin she attended lectures on physical geography and another course

of lectures about experimental physics. The texts of Fanny's early lieder indicate that she

also learned French, Italian, and English.

''Franfoise Tillard, Fanny Mendelssohn (Portland, OR: Amadeus Press, 1996), 55.

15

All of the children played together, inventing games, and performing plays for

fun. A favorite was A Midsummer Night's Dream with each of them trying out all of the

roles. They also published their own newspaper.

Fanny Mendelssohn, intellectually and culturally gifted, was influenced by the

constant stream of notables that attended the Berlin salon hosted by her mother. Literary

readings (in addition to scientific discussions, and both sacred and secular concerts)

regularly featured such renowned poets as Goethe, Heinrich Heine, and Joseph von

Eichendorff. Other guests included the scientist Alexander von Humbolt, the philosopher

Georg Wilhelm Friedrich Hegel, the singer Eduard Devrient, and the writer Jean Paul.

The children also met orientalist Friedrich Rosen, music scholar Adolf Marx, diplomat

Karl Klingemann, pianist Franz Liszt, theologian Julius Schubring, writers Jacob Grimm,

Betina Brentano, and E. T. A. Hoffman, violinist Eduard Rietz, and composers Ferdinand

Hiller, Carl Maria von Weber, Ludwig Spohr, and Gaspare Spontini.

The Mendelssohn home served as a nucleus for the expanding intellectual and

artistic population of Berlin because Lea and Abraham graciously provided their large

house for that purpose. The Mendelssohn children were also delighted to perform for

their guests. "Fanny played the piano, Rebecca sang and Paul played the cello while

Felix was the star attraction and picked out the music to be performed, rehearsed the

musicians, played the piano and also conducted."20 An orchestra was often employed for

20Nancy Walker, A Stylistic Analysis of Selected Lieder of Fanny Mendelssohn Hensel and Clara Wieck Schumann (Bloomington: Indiana University, 1988), 13.

16

these very popular and elegant events. These affairs (known as Sonntagsmusik) were

continued when the Mendelssohns bought an even larger home at 3 Leipziger Strasse in

1825. The hall of the summerhouse there could accommodate an audience of several

hundred guests.

The Mendelssohn children had little time for frivolous activities. Although the

Mendelssohns retained many of their Jewish views, as well as firmly believing "a

woman's place is in the home," their religion emphasized reason and knowledge and

intellect had no gender in their family. Lea and Abraham therefore offered their children

as many opportunities as they could to augment their learning experiences. They were

also intent upon developing each child's full potential. Zelter (the one most responsible

for molding Berlin's musical life during the 1810s and 1820s), Heyse and Berger

comprised a marvelous trio. In today's terms, it would be like employing "Noam

Chomsky, Aaron Copland, and Leonard Bernstein"21 to educate their children.

Education in Piano and Theory

Lea Mendelssohn was Fanny's and Felix's first piano teacher. She began with

lessons of five minutes and gradually increased the time until they covered a regular

course of instruction. Both Fanny and Felix were intellectually and artistically

precocious and in their early years had identical training, taught by the best teachers.

While the family was living in Paris in 1816 Marie Bigot (1786-1820) was their teacher.

21Tillard, 54.

17

Because it was necessary that Madam Bigot support her family financially, she was an

exception to the rule of a womata ra#^,a.p|aee for herself in the music profession. She

was a virtuostic pianist who lived fwmmyrymxs in Vienna. She later devoted herself to

teaching because her husband, a SFren&suWect* was driven from his job after the

Napoleonic invasion and French, supcts weae no longer welcome. She was reportedly

told by Joseph Haydn that she plaiyeSfemusic as if she herself had composed it. And

apparently Beethoven was so impsre$jdsi&®ita playing of the Appassionato sonata that

he later gave her the manuscript. Maime Bigot was the only female teacher that Fanny

and Felix ever had.22

Later, when the family was'lU^B* Berlin, they studied composition with

Ludwig Berger, a pupil of ClementisaafcCfaEser, and one of Goethe's favorite musicians.

Both children became students at th&-Jisviy-f©«Hded Berlin Singakadamie.

Fanny's musical memory was;steaistfiing. At age thirteen she surprised her father

by playing the twenty-four preludessfB® Badfe: Well-Tempered Clavier from memory.

Abraham's sister, Henriette, expressexEflaazesnent at this accomplishment and praised her

sister-in-law for her perseverance inJmfffig' Faimy study them. However, she also

communicated the idea that perhaj^Mshaasand Lea expected too much from their

children. Despite her gifts as a tea«te | i i s cfeaibtful that Lea could have brought about

this outstanding achievement hassE exceptionally talented and willing to

22TilIard, 50.

18

put forth the effort. Both parents were demanding because Fanny was living up to their

expectations. Marcia Citron points to some significant differences in their education,

even though Fanny and Felix were equally talented.

. . .three events demonstrate sufficiently how both his [Felix's] family and Zelter were carefully grooming him and encouraging him to pursue music professionally: his introduction to Goethe at Weimar in 1821, his introduction to Cherubini in Paris in 1825, and his introduction to English musical society in 1829. In all of these challenges he triumphed and laid the foundation for a highly successful career as a composer.

Fanny, on the other hand, despite, her extensive musical training and acknowledged talent in both piano and composition, was not given such opportunities.23

Fanny, age seventeen, did accompany Felix when he visited Goethe the second

time. Felix wrote, "She had to play a good deal of Bach to him, and he was extremely

pleased with those of his poems which she had set to music... ."24

Education in Composition

Zelter trained Fanny and Felix in the tradition of Bach, Kirnberger, and Fasch. It

was a very strict regimen consisting of multiple exercises in counterpoint and figured

bass studied by the greatest European composers. Fanny, being almost four years older,

certainly progressed at a faster pace.

23Marcia J. Citron, "Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer," in Current Musicology, XXXVII-XXXVIII, 9.

24Lorraine Gorrell, "Fanny Mendelssohn and Her Songs," in NATS Journal, XLII, 8.

19

The siblings learned a musical style by copying formal structures and musical

devices from an existing piece that served as a model for their own new compositions.

"This time-honored procedure accounts well for the stylistic similarities in Hensel's and

Mendelssohn's pieces."25 They were trained in all aspects of music by the best teachers,

the same teachers.

The differences in their personalities and temperaments are seen in the kinds of

compositions they each attempted. Felix began writing cantatas, operas, string quartets,

and piano sonatas. On the other hand, Fanny preferred lieder and small piano pieces.

Fanny, being older, enjoyed being in the influential position of guiding her

younger brother's talent. In 1822 she wrote that up to that time she had maintained his

confidence and, with contributions from her, she had watched his talent mature. She

claimed already to know his compositions by heart before he had committed even one

note to paper.

Praise for Fanny

Competition between Fanny and Felix was inevitable. Even in 1838 he wrote to

Alfred Novello apologizing for not sending the requested compositions, remembering

that "when a boy, in competition with my sister and fellow-scholars, my works were

"Camilla Cai, "Fanny Hensel's Songs for Pianoforte of 1836-37: Stylistic Interaction With Felix Mendelssohn," in J. of Musicological Research, XIV, 71.

20

always wonders of stupidity... ."26 Felix readily conceded that Fanny was the better

pianist. "He also deferred to her superior knowledge on musical composition when they

were teenagers."27

Ferdinand Hiller remembered an early meeting with the pair in Frankfurt in 1822.

He was much more impressed with Fanny's virtuostic performance of Hummel's Rondau

brilliant in A than he was with Felix's performance of one of his string quartets.

In young adulthood, Felix continued to praise Fanny's accomplishments as a

composer. He exclaimed, "[They]... are more beautiful than any one can say. Indeed I

speak as a cool critic, and declare them very pretty.. .the quintessence, the soul, of music

. . .1 know no better!"28

Fanny and Felix met the "prince of pianists" Ignaz Moscheles (1794-1870) in

1824 and began lessons with him. He stated,

I know of no other family like them:.. .This Felix Mendelssohn is already a mature artist, and he is only fifteen! His elder sister, Fanny, who is also infinitely talented, plays fugues and passacaglias by Bach from memory and with admirable precision; I think she may justifiably be termed "a good musician."29


27Cai, "Fanny Mendelssohn Hensel as Composer and Pianist," 46.

28GorreIl, 6.

29Tillard, 118.

21

Under the tutelage of their teachers, Ludwig Berger, Marie Bigot, and Ignaz

Moscheles, Fanny and Felix became formidable pianists. Zelter wrote to his friend

Goethe in 1831 that Fanny "plays as well as any man."30

A reviewer in The Harmonicon, John Thomson, also extolled Fanny's

compositional prowess. He said,

I possess twelve published songs under Mr. Mendelssohn's which he wrote when a boy of fifteen... .But the whole of the twelve are not by him: three of the best are by his sister, a young lady of great ability and accomplishments... .Miss M. is a first-rate piano-forte player, of which you may form some idea when I mention that she can express the varied beauties of Beethoven's extraordinary trio in Bb. . . .She has not the wild energy of her brother; but possesses sufficient power and nerve for the accurate performance of Beethoven's music. She is no superficial musician; she has studied the science deeply, and writes with the freedom of a master. Her songs are distinguished by tenderness, warmth, and originality: some which I heard were exquisite. Miss M. writes, too, for a full orchestra by way of practice. When I was at Berlin she had, for this purpose, begun to score, for a modern orchestra one of Handel's oratorios, and showed me how far she had advanced!31

These twelve lieder, published as Felix's Op. 8 in 1827 did contain three pieces

(Nos. 2, 3, and 12) actually composed by Fanny. Felix freely admitted this. It seems

doubtful that Felix wished to take credit for Fanny's pieces. More likely this was Felix's

way of encouraging Fanny as a composer since their father, Abraham, would not have

allowed Fanny to publish under her own name because of the societal mores of the time.

30Laura Ann Gordy, Women Creating Music, 1750-1850 (University of Alabama, 1987), 37.

3'Walker, 12.

22

Fanny's Marriage

In spite of the two children being intellectual equals and receiving virtually the

same musical education, there was a remarkable difference in the way they were prepared

for their acceptance into adult society.

It was to Fanny their father said, "You must become more steady and collected, and prepare more earnestly and eagerly for your real calling, the only calling of a young woman--I mean the state of a housewife." Fanny was deeply devoted to her serious, caring father, and she heeded him well.32

When Fanny was seventeen (in 1821) she met the painter Wilhelm Hensel, eleven

years her senior. Although he showed romantic interest in her, Fanny's mother did not

permit him to propose or even to write letters to Fanny. Lea explained to Mr. Hensel that

there were several reasons that she could not allow Fanny to become involved with him,

at least at that time. She went on to tell him that Fanny was being groomed to become

the wife of a prosperous man and he had certainly not yet successfully established

himself. She was also concerned with the difference in their ages.

Five years later Hensel returned, a completely trained and successful painter. He

asked again for Fanny's hand in marriage, and this time he was accepted. They were

married in 1829.


23

Fanny knew that marriage, and marriage only, was what her father wanted for her.

He was certain that marriage and the responsibility of her household would provide her

the greatest fulfillment.

Her father reiterated his hopes for her on her twenty-third birthday: "So I want to say to you today, dear Fanny, that in all essential matters I am so satisfied with you that nothing remains for me to wish for. You are good in mind and soul. The word [gut] is condemned to be small, but its meaning is considerable, and I do not say it of everyone."33

Fanny composed the music for their wedding. Fanny and Wilhelm Hensel chose

to live within the Mendelssohn compound in Berlin. It was at this same time that Fanny

began writing her famous diary that has given scholars tremendous insight into the

Mendelssohn family.

Felix embarked on a professional tour in 1829 and, in fact, was not present at

Fanny's wedding. From the moment of his departure, Fanny's and Felix's paths diverged.

Felix tried his abilities in conducting, composing and performing (skills which they both

had mastered equally) in numerous European cities. He met the intellectually gifted

people of Europe; he accumulated important contacts and successfully conducted

orchestras in every city he visited. The sophistication he had learned at home served him

well.

According to Victoria Sirota, Felix's "absence from the household had definitely resulted in Fanny's artistic growth... .The fact was that she was

33Sirota, 31-32.

24

taking over his place in the family when he was away, composing, conducting, and organizing special concerts."34

Felix continued throughout the rest of their lives to consult Fanny on musical

matters. But a professional musical career for Fanny was certainly out of the question.

Even though her father and brothers thought most highly of Fanny's intellectual and

artistic abilities, they did not consider music to be anymore than a "hobby" for her

because of their views of the role of women in society.

Sebastian, Fanny's and Wilhelm's only child, was born a year after their marriage.

Even though Fanny was a very prolific composer and an active organizer, conductor, and

performer in concerts for her community, "all of these activities were essentially private

affairs, and her central life was that of devoted wife, mother, hostess and doer of good

works."35

Lack of Encouragement from Felix

It appears that Felix was a great stimulus to his sister's creative instincts. He

made constructive comments on her pieces, encouraged her to send him new ones,

performed her music at informal gatherings outside of Berlin, and frequently declared in

his letters how proud he was to be the brother of such a talented composer. However,

even though Fanny had a comfortable life in the elegant Mendelssohn mansion with her

34Walker, 14.

•"Joseph Bloch, "Fanny Mendelssohn Hensel," in Keyboard Classics, XI, 29.

25

husband and her newborn son, her "letters show a restlessness and an uncertainty of how

to consolidate her role as mother with her role as composer."36 She knew that her primary

responsibility is that of home and motherhood but she relayed to Felix that she could not

reconcile the fact that she had no energy left for composing. She needed his

encouragement. But instead, he answered her somewhat sharply. Always a gracious man

in public, Felix did not spare Fanny's feelings. He simply echoed his father's opinion that

Fanny should not overly concern herself with music when she had a husband and child

who were her only important responsibilities.

Felix not only failed to encourage her to compose, he also ignored the fact that she

had been quite diligent in that respect. She had produced several large choral and

instrumental works. He had not been pleased with these, however, and seemed to feel

that because she was inexperienced in these areas the compositions were flawed. He was

impatient with mistakes she made in orchestration and did not appear to want to help her

or let her learn from experience. He wanted her to continue to write art songs and be

satisfied with that. He had consciously decided not to compose many Iieder. Fanny

composed many and had already eclipsed Felix in this genre. It seems he did not want

her to infringe on his area of competence.

After the death of their father in 1835, Felix assumed the role of managing the

large, extended Mendelssohn family. More and more, he saw himself as Fanny's mentor.


26

In January of 1836 his tone is almost fatherly: "I.. .lecture you severely for saying in your first letter that it was long since you had been able to please me by your music." Several letters do in fact indicate that Fanny had reason to feel rejected. He goes on to say, "I . . . assure you that all you compose pleases me. If two or three things in succession did not satisfy me as entirely as others of yours, I think the ground lay no deeper than this, that you have written less than in former days... .You must often now have other things to occupy your thoughts besides composing pretty songs, and that is a great blessing."37

Fanny's depression after the birth of their son was even more acute because of her

previous level of achievement. The fear of not being able to compose was overwhelming.

Felix's unrealistic exaggeration of the responsibilities of motherhood and, consequently, understatement of those of fatherhood would be typical for a bachelor younger brother to espouse, especially for one who had always felt he was in competition with his older sister. It seemed only fair to him that Fanny should now stop composing. It is to the credit of Fanny's husband that he obviously did not share this attitude.38

Fanny's dependency on Felix's good opinions of her and his continuing

encouragement in compositional matters throughout her life is apparent when one reads

her letters to him. Because of her position as a woman in society, she was constantly

trying to fit into the mold that was created for her. On her wedding day, Fanny wrote

Felix that his love provided her with great inner worth. She said she would always

believe in herself as long as he loved her. A decade later she wrote to him, "At age forty


38Sirota, 60.

27

I'm afraid of my brother, as I was at fourteen of father—but afraid is really not the right

word, but instead desirous of always pleasing you and everyone I know."39

When Felix was present in Berlin, he was the "hub" around which everyone else

revolved. This is represented most literally in Wilhelm Hensel's drawing The Wheel.

Felix is pictured in the center with other members of the group forming the spokes.

When he was not in Berlin, Fanny resumed the role of leader. When her emotional

strength returned, she continued the Sonntagsmusik on her own. Wilhelm cherished

Fanny and knew that music was an extremely important part of her life. "It was the

essence of who she was; it was not just on the surface."40

Wilhelm's Support

Even though Fanny and Felix loved each other dearly, as siblings they would

always be in competition with one another. Felix spoke of his desire to protect Fanny

from the cruel professional world, but it seems more likely that he completely agreed

with the views of his father and grandfather before him concerning a woman's place in

the family and society. This resulted in a stifling artistic environment for Fanny.

Wilhelm found this to be unfair to his wife. Throughout their married life, he tried to

convince her to publish some of her compositions. With his mother-in-law Lea's help, he

finally did, but it was less than a year before her death.

39Citron, 11.

40Sirota, 117-118.

28

Lea knew that Fanny had ambivalent feelings about publishing her music. On the

one hand, Fanny wanted to be her own person and stand on her own musically; on the

other, she desperately needed Felix's approval of such a move. Lea felt that Felix's

disapproval of women in the music profession, inherited from his father and grandfather,

was keeping Fanny depressed and wrote to Felix regarding his negative attitude. Felix

simply restated his position on the subject and said he could not, in good conscience,

persuade Fanny to publish when he really felt strongly that she should not. He did state,

however, that her compositions were certainly praiseworthy and that, should she decide to

go ahead on her own, he would help her in any way he could.

Fanny had received outstanding offers from two well-known publishing houses

(Schlesinger and Bote & Bock). She decided to choose a few of her compositions for

publication even though she knew this was against Felix's will. The opinions of her

friends, Gounod and Keudell, which were important to her, finally superseded those of

Felix. Prior to her marriage, her composing was closely intertwined with her relationship

with her brother. "Now, at age forty, she felt artistically mature enough to stand on her

own, a change which surprised Felix."41 She confided to her diary that even though she

knew that Felix was not happy about her decision to publish, she was pleased that at least

"he did finally say a kind word about it."42 Fanny had often expressed to friends and

41Sirota, 121.

42Sirota, 122.

29

family members that the greatest obstacle she faced was a lack of sufficient

encouragement.

When Abraham Mendelssohn died in 1835 the family worried considerably about

how Felix would react. Fanny, perhaps unconsciously, became more independent. By

1837, she published under her own name and performed for the first time in a public

concert for charity. She played Felix's Piano Concerto No. 1, Op. 25.

Fanny's Niche—The Sunday Musicals

Historically, Fanny Mendelssohn Hensel has always been considered important

only for her diaries and correspondence, but as I have shown she was also an important

figure in the musical life of Berlin. After the birth of her son Sebastian, she revived the

Sonntagsmusik which had apparently fallen by the wayside with Felix in London. As the

musicales became more elaborate, she organized her own choir, which she rehearsed each

Friday evening. She often accompanied singers such as Frau Decker, Pasta, and

Schroder-Devrient. Other well known aristocrats also attended: Eichendorff, Karl Zelter,

Paganini, Hensel, Gounod, and Clara Schumann were all visitors to the Hensels' home.

"In 1844 Franz Liszt and eight princesses were among those present. Wilhelm often

sketched those who came to the house and his sketches help document the impressive list

of visitors. He drew over a thousand portraits throughout his life."43

43Walker, 18.

30

Through Fanny's efforts, many works of Bach, Handel, and Gluck were heard in

Berlin for the first time in the nineteenth century. Fanny was as gracious a hostess as she

was intelligent and musically gifted. Her Sunday concerts were considered the best that

Berlin had to offer. She gained a reputation as the best pianist in the city. This status was

attained solely on the basis of her performances at her home because she was not

permitted to play elsewhere. "First her father, and later Felix, insisted that the home was

stage enough for a woman."44 Fanny was very modest concerning her talents and

genuinely accepted her role as wife and mother, despite her desire to pursue a musical

career. However, her position in the family made her often feel inferior to others in

music. Once when she had lamented to Felix about her lack of talent at the piano, he

expressed annoyance. He responded that "she could cut down all those pretty fellows

with ease... ,"45 and that her music had soul-she had no reason to fear any of the

virtuostic attempts of the newer pianists on the musical scene.

Peers' Views of Fanny's Compositions

Throughout her adult life others thought very highly of Fanny and her

accomplishments. First Felix, on his tour of England, wrote his father that Fanny should

choose which pieces of his or hers (for publication under Felix's name) should be sent to

the publisher Schlesinger in 1829. He was so pleased with her choices that he wrote,



31

. .they are more beautiful than words can describe... .1 know no better music than

this."46 Again in 1836 Felix was so pleased with her work that he wrote, . .There are

some excellent ones among them and I thank you very much for the great joy I've derived

from them. It's seldom that a piece of new music is so thoroughly pleasing."47 Of course,

Fanny was delighted with his response.

Heniy Chorley, a music critic of The Athenaeum wrote, "Had Madame Hensel

been a poor man's daughter, she must have become known to the world by the side of

Madame Schumann and Madame Pleyel, as a female pianist of the very highest class.

Like her brother.. .she was as generally accomplished as she was specially gifted."48

Fanny's earliest published pieces (Felix's Op. 8) were reviewed by John Thomson

in The Harmonicon: "Three of the best.. .are by his sister, a young lady of great talents

and accomplishments... .her songs are distinguished by tenderness, warmth, and

originality."49 Gounod described Fanny in his Memoirs as "a first-rate musician—a very

46Fanny Mendelssohn-Bartholdy Hensel, Ausgewahlte Klavierwerke (Munich: G. Henle, 1986), VI.

47Citron, 12.

48Sirota, 91-92.

49Gorrell, 7.

32

clever pianist... .She had rare powers of composition... she would sit at the piano with

the readiness and simplicity of one who played because she loved it."50

In 1837, when Felix saw a copy of Die Schiffende, which Fanny had recently

published, he wrote his sister, "Do you know then, Fenchel, that your A major song.. .is

making a furor here [in Leipzig]? . . .Are you now a genuine composer, and does that also

give you pleasure?"51 Even though his note is complimentary, it does seem to have a

bitter edge to it. A similar tone is prevalent in other letters he wrote, even one he wrote

after he had performed Die Schiffende. He acknowledged the fact that he had not been

sure it would sound as beautiful to him in a crowded hall after listening to blaring

orchestral music as it did in the parlor of the Mendelssohn family home. He had to admit

though that he

. . . felt so strange when I began your soft, pretty symphony imitating the waves, with all the people listening in perfect silence; but never did the song please me better. The people understood it too. . . .and much applause [came] when it was over 1 thank you in the name of the public of Leipzig and elsewhere for publishing it against my wish.52

Fanny's reputation as an outstanding musician was so distinguished in Berlin that

by 1846, when she finally made the decision to publish (only a year before she died) she

could have published as much material as she wanted. Even though she had magnificent

50GorreIl, 8.

5ICai, "Fanny Mendelssohn Hensel as Composer and Pianist," 48.

52Cai, 'Fanny Mendelssohn Hensel as Composer and Pianist," 48.

33

offers from two publishers, the opposition she had abided from father and brother was

still so deeply instilled in her that she published only a few of what she considered to be

her best works.

Each of Fanny's collections from 1846 and 1847 was reviewed in at least one

journal and the tone of each was favorable. In fact, one of the reviews of her collection of

four piano pieces in Allgemeine musikalische Zeitung praises her talents lavishly. The

article is lengthy, mentioning not only the various stylistic features that contribute to the

music's success, but also gives considerable credit for her mastery of composition to her

comprehensive study of Bach in her early years. In conclusion, the reviewer expresses

thanks to Fanny for publishing her works and states that the compositions will be

welcomed by all.

Woman's Status in the Nineteenth Century

Because women of the nineteenth century, and certainly before that too, were

expected to be the primary caretakers of home and children, it was not until after Fanny's

marriage to the painter Wilhelm Hensel that she attempted to have her music published.

This overwhelming attitude of male superiority has been advanced through the

centuries by the writings of several well-known male authors. Even as late as 1885, Guy

de Maupassant proclaimed, "The experience of centuries has proved that woman is,

without exception, incapable of any true artistic or scientific work... .The attempt is

34

useless 1,53 He goes on to say that not a single female artist or musician has been

produced. His words are a painful reminder of viewpoints that we wish were behind us.

Even now, although circumstances have certainly improved, women are still fighting

discrimination. In some form, it will probably always be inherent to the human race.

And yet, in the nineteenth century, Maupassant's words reflected an opinion shared by

many. Creativity in art or music was clearly a man's world. Hans von Bulow, a

respected pianist and conductor, said, "There will never be a woman composer, at best a

misprinting copyist... .1 do not believe in the feminine form of the word creator."54

. . .The writings of social and educational philosopher Jean-Jacques Rousseau (1712-78) influenced developments in all the arts in the nineteenth century and shaped attitudes toward women and their place in society. Such pronouncements as, "There are no good morals for women outside of a withdrawn and domestic life;" "The peaceful care of the family and home are their log;" "The dignity of their sex consists in modesty;" "Shame and chasteness are inseparable from decency;" and "The whole education of women ought to be relative to men," affected the roles and education of women in every sphere, but were particularly damaging to the development of women composers and performers."55

Rousseau also stated that women had no artistic sensibilities. They could gather

knowledge through hard work, but they possessed no inspiration or soul. He viewed the

articulate and more independent women that were increasingly more influential in literary

"James Parsons, "Emerging from the Shadows: Fanny Mendelssohn and Clara Schumann," in Opus, February 1986,27.

54Parsons, 27.

55Nancy B. Reich, "European Composers and Musicians, ca. 1800-1890," in Women and Music, ed. Karin Pendle(BIoomington: Indiana University Press, 1991), 98.

35

and artistic circles as a potential threat to civilization itself. Because of the views of

Rousseau and others, talented female musicians were discouraged from traveling widely

to promote their music or to make important contacts. " . . . they were also excluded from

professional posts in the church, at court, and with commercial opera companies."56

Up until the last half of the nineteenth century, when public music schools arose

in Germany and began to admit women students to at least a few classes, it was difficult

for a young woman to acquire an adequate musical education. One of three factors were

necessary: ".. .early entrance into monastic life, birth into a family of professional

musicians active in the apprenticeship system, or birth into a noble family which made

good private instruction available."57

It was not acceptable in the early nineteenth century for women from affluent

families to take part in public performances and composing. Clara Wieck Schumann was

an exception. She served as an advertisement for her piano teacher/father who was

somewhat lower on the social and economic ladder.

Prior to the nineteenth century, men even considered it dangerous for women to

acquire knowledge. They feared knowledge would cause women to deviate from their

true intended vocation of wife and mother. "Even Moses Mendelssohn, one of the most

enlightened men of his era, could write to his fiancee shortly before their marriage in

56Gordy, 4.

"Gordy, 7.

36

1762 that 'moderate learning becomes a lady, but not scholarship. A girl who has read

her eyes red deserves to be laughed at.'"58

Still, in the nineteenth century, even though singing was included in public and

private schools, relatively few female singers received professional training. There were

similar prohibitions against professional female pianists. According to some

contemporary articles on the subject, it was feared that professional appearances by

women would somehow endanger a lady's morals or character. Such views deterred

Fanny Hensel from performing on a public concert until 1838, three years after her father

died.

Fanny Hensel and other outstanding female musicians were quite aware of the

sharp discrepancy between their high level of training and the negative attitudes that

society had towards them as composers, particularly published ones. "The conditions

preventing women from becoming singers and pianists in the public world played a major

role in focusing women's performing and creative abilities on music intended for a private

gathering in the home or salon."59

"By the second quarter of the nineteenth century women had begun to break loose

from society's narrowly circumscribed dicta regarding appropriate musical media for

58Marcia J. Citron, "Women and the Lied," in Women Making Music, eds. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 226.

59Citron, "Women and the Lied," 228.

37

female expression... ."60 as evidenced by Hensel's and Clara Schumann's large-scale

orchestral compositions. Fanny Hensel and Clara Schumann each came from a musical

family. In each case, though, had musical opportunities not been available to them in the

home, "they would not have been able to seek them on their own as did Haydn, Robert

Schumann, Beethoven, and other male composers not highly-born."61

Impact on Fanny of Abraham's and Feli x's

Philosophy Concerning Women

Fanny's upbringing imprisoned her. The encouragement she received from her

husband did not give her enough confidence to stand on her own until late in her life. She

depended on Felix for support and motivation, but more often than not he discouraged

her. "Considering the scope of her talent, it is possible that Fanny Mendelssohn might

have carved out a performing career as important and far-reaching as Clara Schumann's,

had she been driven more by economic necessity and less by familial duty."62

Her son Sebastian Hensel stated in a commentary of the family letters that

. .She never in her thoughts loses sight of that letter of her father's in which he calls the

60Citron, "Women and the Lied," 233.

6IGordy, 7.

62Gordy, 38.

38

vocation of a housewife the only true aim and study of a young woman, and in thinking

of the man of her choice she earnestly devotes herself to this aim."63

Though she accepted her plight as a woman, she nevertheless conveyed her

disappointment and discouragement through the years to friends. At one point she sent

two pieces to Klingemann in London and the accompanying note said,

. . .It is a pleasure for me to find a public for my little pieces in London, for here I have none at all. Once a year, perhaps, someone will copy a piece of mine, or ask me to play something special—certainly no oftener.. . .

If nobody ever offers an opinion, or takes the slightest interest in one's productions, one loses in time not only all pleasure in them, but all power of judging their value My own delight in music and Hensel's sympathy keep me awake still, and I cannot help considering it a sign of talent that I do not give it up, though I can get nobody to take an interest in my efforts. But enough of this uninteresting topic.64

Fanny did not receive any outside encouragement and had little contact with other

composers during her adult life. "Felix had been her most important colleague at the

beginning of her career as a composer, and she developed a stifling dependence on his

opinions and his support."65 His opinions were central to her self-esteem. Unfortunately,

he always stopped short of giving her his approval to publish her pieces. Even in 1837,

when mother Lea Mendelssohn specifically told Felix that he alone was holding Fanny

back and requested that he encourage her and help her find a publisher, he refused to

63GorrelI, 7.

64Cai, "Fanny Mendelssohn Hensel as Composer and Pianist," 48-49.

"Gorrell, 9.

39

comply. If Felix had given his support, probably a much greater percentage of her

compositions would have been published. That would have made a bold statement and

given her the desired status of a professional composer. As it is, most of her works are

still in private holdings.

Her lack of confidence even prevented her from trading on her own reputation as

a pianist or on her brother's reputation as a composer and conductor. When Fanny wrote

to Felix in 1846 that she had decided to proceed on her own despite his objections, she

admits that publishing her pieces will be a great stimulus to her, but she wants to spare

him any unpleasant moments and hopes that he will not think badly of her. She insists

that she will not be upset if the pieces are not well accepted. One cannot help but detect

some bitterness in her assurances that she wants to spare him any bother in this venture.

As had happened ten years earlier, Felix soon relented and sent congratulations to Fanny.

She confided to her diary that even though she knew that in his heart of hearts he was still

not satisfied, she was glad he finally had something good to say.

Fanny understood that even though he had finally congratulated her for her

efforts he still withheld total approval. He may have perceived it his duty as head of the

family. Perhaps it was sibling rivalry or misplaced professional jealousy that made it

impossible for him to wholeheartedly give her his blessing.

In spite of Felix's withheld endorsement and in spite of her own numerous duties in

her household, Fanny managed to write an enormous amount of music, about 500 works

40

in all. Large works—cantatas, oratorios and dramatic scenes—are included as well as

songs, chamber works and approximately 130 piano pieces.

CHAPTER III

THE MUSIC OF FANNY MENDELSSOHN HENSEL

Fanny Mendelssohn Hensel's musical education brought her in contact with only

the best composers. The name she chose for her son, Felix Ludwig Sebastian Hensel,

best reflects the composers who had the strongest influences on her. Her progressive

harmonic language appears to be her own extension of that used by Beethoven. She

emphasizes the subdominant as well as vocabulary based on tertiary relationships and

common tone modulations.

She was well acquainted with the keyboard music of Bach, as well as his cantatas

and St. Matthew Passion. These compositions provided her with an extensive knowledge

of counterpoint, motivic inversion and interest in the inner voices. "Fanny's contrapuntal

works, while never becoming the focal point of her creative energies, are important in

that they show her solid schooling and self-discipline."66

Fanny praised the works of Bach and Beethoven throughout her life, but, as of

yet, there is no evidence that she was familiar with the compositions of Franz Schubert.

Both Fanny and Schubert, however, use harmonic progressions based on thirds and place

emphasis on the subdominant and submediant. The fact that Fanny and Felix were both


42

strongly influenced by Beethoven accounts somewhat for the similarity in their harmonic

thinking.

Fanny wrote her first composition (that we are aware of) in 1819 in honor of her

father's birthday. It is a pleasant song by a talented student (age fourteen) who has paid

careful attention to her teachers' lessons. The melody and accompaniment (a light Alberti

bass) emphasize the text and stay close to it, with just enough chromaticism and

modulations to related keys to maintain the musical interest. The spontaneity and

melodic inspiration that would always be characteristic of Fanny's style are already

apparent.

Although Fanny's music was influenced by her study of Bach and Beethoven, as

well as her close relationship with her brother, she developed her own distinctive style,

particularly in her songs and piano miniatures. Her "songs without words" show more

confidence and melodic ease than those by Felix in that same genre.

A "song without words" is described as a character piece which features a clear,

homophonic texture and a melody that predominates the piece. The melody, usually in

the soprano, is often written within the range of the human voice. To maintain and

project the lyrical expressiveness, the tempo indication is neither too fast nor too slow.

They are often in simple ternary form with contrasting material in the middle section.

They may also be through-composed with the middle stanzas in a key other than the

tonic. Notturno and Melodie, Op. 5, No. 4, are through-composed.

43

It is quite possible that Fanny originated the song without words and not Felix.

Although one generally associates these pieces with the work of Felix Mendelssohn,

"pianist Ignaz Moscheles suggests that it was in fact Fanny who first developed this

genre."67

Fanny conceived the song without words as an expansive piece and does not

include short works in a capella choral style or in the Venetian Boat Song style with clear

6/8 rhythm and doubled-third melodies. She seldom copies Felix's duet style as found in

Duet, Op. 38, No. 6, with its clear alteration of two vocal lines in different ranges.

As Fanny grew older, she increased her notational instructions to the performer,

giving more specific tempo, dynamic, phrasing, and pedal instructions. She was

increasingly concerned with the seeming virtuosity of other performers which was

becoming more prevalent. Her response was to experiment with hand-crossing, thicker

textures, and use of a wider range, resulting in greater pianistic difficulty. Notturno and

Melodie, Op. 5, No. 4, are excellent examples of this. (Please refer to the scores in

Appendix A.)

The accompaniments that Fanny chose for her songs without words are often

arpeggiated or chordal. Chromaticism is used to embellish the melodic line and as a

function of the harmonic scheme. Her pleasing vocal lines may alternate from outlining

the harmonic scheme of the song to simple linear movement. Unfortunately, there is not

"Camilla Cai, "Fanny Mendelssohn Hensel as Composer and Pianist," in Piano Quarterly, XXXV, 49-50.

44

a great deal of rhythmic variety in either the vocal lines or the accompaniments of these

songs, but that is characteristic of much music in the Romantic era. An exception within

the four pieces I have chosen is Abschied von Rom (see Appendix A). It does offer a

rhythmically contrasting middle section. The contrasting rhythms are shown in Figure 1.

Beethoven's influence on Fanny appears to increase in her later years. Although

both her father and Zelter, her first composition teacher, were critical of Beethoven,

Fanny and Felix were in agreement concerning his genius. They were supported in this

opinion by their piano teacher and life-time friend, Ignaz Moscheles, who was close to

Beethoven in his last years.

Figure la. Abschied von Rom, measures 3-7.

U I T J I U I l u L W ccr m m r j i

L u t u « i _ u L ± J r r f r m . m . m

45

Figure lb. Abschied von Rom, measures 32-36.

Q U

i n i ' i 1

-0—0-5 i 11' j "

-If 0 0 0 r

P P P P P V 7

:.A t u 6 1 1 2 4

m i

h_h _n P * * <P ' m • o

3£ 5-

J" ' J ) ,

Jk: V7 II

IV

v _ i i

l i

Fanny commonly uses five measure phrases, a device usually attributed to

Brahms. Ivor Key noticed that Brahms had "a penchant for unusual phrase lengths—of

three, five, or seven bars rather than four or eight."68

Another common denominator between Fanny Mendelssohn Hensel and Johannes

Brahms is apparent when one considers the statement by Bernard Jacobson. His

description adds further proof to the hypothesis that Fanny predated Brahms. Jacobson

states that what makes Brahms sound like Brahms are "the various musical

68Ivor Keys, Johannes Brahms (Portland, OR, Amadeus Press, 1989), 298.

46

manifestations of the number three." Jacobson also states that the flowing triplet and

parallel thirds and sixths are fundamental aspects in Brahms' music. Why not

acknowledge these are attributes of Fanny Mendelssohn and that Brahms also used them?

Melodie, Op. 5, No. 2, shown in Figure 2, demonstrates her frequent use of triplets.

Figure 2. Melodie, Op. 5, No. 4, measures 1-4.

Lento appassionato (J- * c. 46)

' >•-! M . J - J U p m v f r r r r rrfr=F=f

& k

F i—jnr

Figure 3 showing measures 1-4 of Notturno is an example of her use of parallel

thirds, which are employed throughout the entire composition.

Figure 3. Notturno, measures 1-4.

Andautino

47

Sirota states that Fanny expanded "the Song Without Words into something more

sophisticated than a simple character piece."69 She implies that Brahms simply took this

one step further to develop his intermezzi.

Fanny Hensel's musical style is conservative, more classical in structure. One

might expect her music to resemble her brother's; however, in many ways, she is more

daring harmonically and more robust pianistically.

A look at music of the Mendelssohn siblings indicates that both Felix and Fanny

favored lyrical melodies with arpeggiated or filled-in harmonies that are idiomatic to the

piano. For example, the transition in Abschied von Rom, shown in Figure 4, contains a

sequence of diminished chords that are arpeggiated and easily fit the pianist's hand.

Measures 33,35, and 36 (as well as others) also contain arpeggiations that are easily

fingered and played by the performer. Refer to Figure 1.

Figure 4. Abschied von Rom, measures 27-31

rourcTf J i S U Z i s f i M aim

69Sirota, 248.

48

The smooth expressiveness Fanny indicates with Andante con expressione, in

Abschied von Rom is easily achieved by the performer because of Fanny's superior

writing. Her melodies often have more complex accompaniment and harmony than those

written by Felix. For example, in the ninety measures of Notturno (refer to score in

Appendix A), the left hand must continually perform arpeggiations sometimes extending

to three octaves.

The accompaniments chosen by Felix are pale by comparison. The arpeggiations

that Felix does employ are of shorter duration and interspersed with long notes; they

cover a smaller range of notes and are played at a slower tempo. By the Sea, Op. 53, No.

1, is a good example of a common accompaniment used by Felix. A portion of this

accompaniment is shown in Figure 5.

Figure 5. By the Sea, Op. 53, No. 1, measures 1-4.

C D Andante con moto

* J- \ *<#• \ | 'ijJ \ —V p xrmprr t^nnto e legato i \ ' C / \ 7U \

Typical of Fanny's style is the careful evolution and extension of melodic ideas,

phrase elision and alteration of phrase lengths, particularly in Abschied von Rom and

49

Notturno. One compositional device that she frequently uses is to unseat a stable area

harmonically.

Her harmonic language trades heavily in devices which were to become typical of the expansion of the tonal spectrum of the middle romantic period: modal interchange, the augmented sixth chord, diminished seventh chord, and Neapolitan (the latter used as both chord and key area). These harmonic innovations are expanded upon and incorporated into the structure of her best pieces in a manner which is progressive for a composer of her time.70

Each of the pieces considered for this study use many diminished and half-

diminished chords, but they are particularly prevalent in Abschied von Rom. Typically, a

diminished chord is used to express longing. Measures 45-49, shown in Figure 6, are

particularly effective. Fanny was very happy while in Rome and perhaps this was her

way of expressing her wish to return there.

Figure 6. Abschied von Rom," measures 45-49.

lJ | ,J. i I ^ , 'J' I jf|_

V H 7 V 7 EXIT Hill

1 II vii07 vli*? f?' vii0? c* iv ~n 5 J ' AA am: V vii°7

Camilla Cai states that her songs from this period "with their expansive lengths,

multiple themes, developmental techniques and difficult pianistic figures, contrast with

70Sirota, 251-252.

50

Mendelssohn's more compact, mostly monothematic, less technically demanding 'Songs

without Words' from the same period,"71 even though there are many similarities in their

styles. Compare Fanny's accompaniment figure in Notturno, shown in Figure 3, with that

of Felix's accompaniment figure that is shown in Figure 5.

Although on occasion Fanny's melodies reveal traits similar to those of her

brother, her harmonic and structural sense was entirely personal and she was certainly the

more adventurous of the two. The simple chart in Figure 7 comparing their progressive

use of harmonies communicates that fact.

In Abschied von Rom, Fanny uses several harmonic progressions that are unusual

for the period. In the introduction, measures 1-3 shown in Figure 8, the chordal

movement is: i - Fr+6 - VI - i6/4 - V. It is full of anticipation.

7lCai, "Fanny Hensel's 'Songs for Pianoforte' of 1836-37: Stylistic Interaction with Felix Mendelssohn," 55.

51

Figure 7. Comparison of chord types used by Fanny and Felix Mendelssohn.

Half Dim Sec. V Dim. 7th 7th Aug. 6th Neap. Flat III Flat VI Chords Chords Chords Chords Chords Chords Chords

Modula-tions

Fanny Mendelssohn Hensel

Abschied von Rom (77 measures) 29 30 1

Melodie, Op. 4, No. 2 (38 measures) 8 2 0

Melodie, Op. 5, No. 4 (31 measures) 12 5 6 1 1

Notturno (90 measures) 19 5

Totals 68 42 13 16 29

Felix Mendelssohn

By the Sea, Op. 53, No. 1 (67 measures)

15 8 2 0

Contemplation, Op. 30, No. 1 (41 measures)

7 3 0 0

Duet, Op. 38, No. 6 (51 measures) 25 7 1 0

Hunting Song, Op. 19, No. 3 (100 measures) 4 1 0 0

Totals 51 19 11

52

Figure 8. Abschied von Rom, measures 1-3.

Andante con espressione J . m

am: i Fr + 6

Fanny sometimes uses unexpected harmonic progressions as well. Notice the

deceptive resolution in the key of the subdominant in measures 16-17 of Abschied von

Rom shown in Figure 9.


m • —.(

uuiw Izffer ±3C

-5^- 1 xn C: V7 VI

VI

In contrast, the B section of Abschied von Rom has very simple harmony (mostly

Tonic, Subdominant and Dominant chords) and might be considered plain if compared to

the rest of the piece. This uncomplicated harmony is displayed in Figure 10.

53


rm

dnanrftf

16 V7

The VM7/bIII in measure 45 of the same piece is unusual and, combined with the

suspension, offers a very contemporary sound. It does not resolve to bill, but to a I which

quickly becomes a V7/IV. This transition is completed with extensive use of diminished

seventh chords. This was shown in Figure 6.

Melodie, Op. 5, No. 4, is full of unusual harmonies that are normally used with

less frequency. In measure 18, the V6/5/bVI is used in a manner similar to measure 45 of

Abschied von Rom, shown in Figure 6. Measures 18-20 of Melodie, Op. 5, No. 4,

shown in Figure 11.

are

54


COD X

- . r r a g

She and Felix use similar piano textures in their compositions, however. They are

usually described as three-part, and consist of a solo song accompanied by continuous

broken chords. Fanny may also employ a steady slow-moving bass line.

Fanny and Felix share the predilection for ternary form, but Fanny Hensel's pieces

may have two completely separate themes. A good example of this is found in Notturno.

The contrasting themes are shown in Figure 12. Such contrasts seldom occur in Felix's

character pieces examined in this study.

Figure 12a. Notturno, measures 1-4.

m And&ntino

55

Figure 12b. Notturno, measures 44-49.

nn, 1

V ^

It- i E D n • > > .

. . . ' r r a n

. ^

\i n & —-

n . j M j ' i l ~ u - * 7 i

P 5

JL*

«/ t 1 i

.. Jt

; y ) i i * * ' * j j * ' !—1— f - j . i = i = = = £ =

JL

f£T+r r y | j j i t H M i l 'i 1 1 1 ::

T1 ' 1 y 11 M j

A look at the accompanying figures in Abschied von Rom and Melodie, Op. 5, No.

4, will divulge the use of repeated chords as will a look at Hunting Song, Op. 19, No. 3,

by Felix. Figure 13 presents examples from these three pieces.

Figure 13 a. Abschied von Rom, measures 50-53.

r r f f i i i n r

56

Figure 13b. Melodie, Op. 5, No. 4, measures 1-3.

m

£

Figure 13c. Hunting Song, Op. 19, No. 3, measures 25-29.

E D ,v ;

In Melodie, Op. 4, No. 2, Fanny uses an arpeggiated chorda! accompaniment that

is divided between the hands. This is similar to what Felix uses in Contemplation, Op.

30, No. 1, and in By the Sea, Op. 53, No.l. These accompaniments are shown in Figure

14.

Figure 14a. Melodie, Op. 4, No. 2, measures 1-4.

M

Figure 14b. Contemplation, Op. 30, No. 1, measures 1-3.

CL

i Andante espressivo

± Ai «•

" " 4, u" W tf " 1V"M W 11

" 7 p i T ^ 7 t f i Z *

£ ! 0 I » =35

57

L 5 J

r% c J

iii &

Figure 14c. By the Sea, Op. 53, No. 1, measures 1-4.

L - U Andante con moto

& • U V U \ | ' . U ' P I p srmprr^ t^nttfo e Irg^to » Lf \ ' ' L f ' \

m jv—m—m

Hensel's textural choices also contain two important differences. Her exceptional

skill as a pianist was evident in her use of difficult octave doublings, which her brother

58

Felix rarely uses. Another very important difference is that Felix usually retains one

pianistic texture throughout each piece; Fanny does not always stay with one textural

type. As a result, the change of texture itself becomes structurally significant.

The character of her middle sections most clearly distinguishes her works from

his. She has more possibilities for expansion because of her more extensive development

of the motive, a technique that Felix seldom employs. Normally for Felix, the B section

simply uses altered material from the A section.

I will now review some of the features found in Fanny Mendelssohn's character

pieces. Please refer to the scores and the reductive analyses in Appendix A.

A glimpse at the score and reductive analysis of Abschied von Rom reveals a

baseline that moves by steps. There are many parallel linear progressions, particularly

sixths and tenths. Inner voices contain many consonant intervals, such as thirds and

sixths. Arpeggiations are used sparingly, but consonant skips are important motivically,

as are neighbor and passing tones.

The key scheme in Abschied von Rom is more complex. In measure 15, shown in

Figure 15, following a half cadence in the tonic key, there is a very brief venture (one

phrase only) into the expected tonality of C major (third-related and also the relative

major of A minor). But then, in measure 19, there is another modulation to the key of E

major (the dominant of A minor and third-related to C major). After the perfect authentic

cadence in E major in measure 27, the transition moves the piece chromatically upward

59

by sixths and sequencing of diminished chords, to finally reach the intended destination

of the key of C major for the B section.

Figure 15. Abschied von Rom, measures 15-27. nn

J J H i " *

d- , i & % mmm

E: v i i ° 7

Melodie, Op. 4, No. 2, consistently uses consonant intervals of sixths and tenths

as indicated on the reductive analysis. The movement of the baseline is simple, moving

by steps and consonant skips. In addition to the third relationship between C# minor and

A major in Melodie, Op. 4, No. 2, the tonalities of B major and D major (into which there

was one short excursion each), are also related by thirds. The charm of this composition

60

is the manner in which Fanny has developed the opening motive. With slight changes, it

provides material for an interesting middle section.

In Melodie, Op. 5, No. 4, we again find many traits that are usually attributed to

Brahms. The use of rhythmic dislocations in measures 5 and 6, shown in Figure 16, is

one.


m

to * J I J r * r"" i ~\f ft-

i V A ±

3 P T i ' '

h n J, ,ii r r / u J 0 0 0

• r i- v i- p i- "P b

According to Ivor Key "Rhythmic dislocations [used by Brahms] are frequently

caused by anticipating the main beats by tying in shorter notes in advance of them."72

The phrases are consistently completed in one measure. Even though dotted notes are not

used, Melodie, Op. 5, No. 4, gives the impression of a dotted rhythm.

The key scheme of the piece is a bit unusual. There are eleven modulations in its

thirty-one measures. It consistently travels back and forth between B major and C#

minor with one exception. In measure 12, a common chord is used to modulate to the

key of E major which is third-related to C# minor and also the related major key of C#

72Key, 297.

61

minor. By measure 14, the piece is back in B major and the alternation to C# minor and

back continues to the end of the piece.

Looking at Melodie, Op. 5, No. 4, one sees the opening motive is very similar to

the one used in Abschied von Rom. Figure 17 allows one to compare them.

Figure 17a. Melodie, Op. 5, No. 4, opening motive.

' V V a — f n * 1*

) " * f 1

f 1

Figure 17b. Abschied von Rom, opening motive.

-7 a r I f— 'f ^ ^ ^ ~ f I M. J** * KJ

> } 1 ~ J— I' 1 | [ =

Measures 16-19 of the reductive analysis of Melodie, Op. 5, No. 4, show an

example of a linear progression of sixths, which is consistent with accepted standards of

good writing in the nineteenth century. This is shown in Figure 18.

The continual modulation from the key of B major to C# minor and back again

increases the tension of the motive as does Hensel's placement of the motive one-half step

higher in measure 11.

62

A good example of Fanny's progressive writing style can be found in measure 3 of

Notturno. To retain the character of the motive and maintain the dominant harmony,

Fanny has pitted F natural in the melody against F sharp in the accompaniment. Figure 3

contains the twice-used motive which completes the first phrase and resolves the

dissonance.

Figure 18. Melodie, Op. 5, No. 4, reductive analysis of measures 16-19.

vii ,/IV

— _a ^

Vf H i * M ft.J HT AA

6 - f & ' (-6) b6r 10

It is Fanny's style to vary the notes and quality of the intervals in her motives.

She seldom repeats them exactly, although the note values usually remain consistent.

One exception in Notturno is found beginning in measure 4. See Figure 19.

63


(XI

f f r n i f T r ^ n I b U I I W l u w j i r r j i i

One recognizes the opening motive even though it is altered slightly. The melody

in measures 4-6 is repeated in measures 6-8, but the harmony is different. In measures 8-

9, shown in Figure 20, Fanny's unique application of the tritone is exposed.


eon moLto dt

Notturno uses dotted rhythms extensively, another device that most consider to be

Brahmsian. Jacobson states . .there is something quintessential^ Brahmsian in the

sound of such long chains of dotted figures."73 The use of sequences is something

"Jacobson, 147.

64

commented on by Ivor Key. He states that Brahms uses . .sequences by precise

transposition of all the intervals... ."74 One can see by comparing measures 23-25 and

measures 71-73 of Notturno that Fanny also uses that device. These measures are shown

in Figure 21.

Figure 21a. Notturno, measures 23-25.

nn

Figure 21b. Notturno, measures 71-73.

an

There are a number of modulations in Notturno. The piece begins in G minor. In

measure 10, modulation to D minor occurs with the use of a common chord. This is

demonstrated in Figure 22. A change from G minor to Eb minor (which is third-related

74Key, 290.

65

to C minor and G minor) occurs in measure 28. This is shown in Figure 23. Most

commonly, modulation would be to the related key of Bb major.

Looking at the reduction of Notturno in Appendix A, one sees that the baseline is

again kept very simple, consistently moving stepwise. The doubling of the bass notes

(left-hand octaves) is a dramatic addition. The continual use of parallel thirds has already

been mentioned. The consistent use of these two principles of composition make this an

outstanding, virtuostic piece appropriate for performance in the concert hall. The wide

ranging left-hand arpeggiations add to the difficulty in performance.


u

dolcissimo

8 m : i dm: iv


m

-4

gm: iv4 N 7 vli"/VII |

ebm: vii°7/V

66

In every piece of Fanny's considered here, harmonic thirds or sixths in parallel

motion are in abundance. Figure 24, showing the reductive analysis of the first four

measures of Melodie, Op. 4, No. 2, is an example of this. Voice leading is almost always

by step. Basic rules for resolution of dissonance are correctly followed.

Figure 24. Melodie, Op. 4, No. 2, reductive analysis of measures 1-4.

Allegretto ( J-" c. 52)

i 0 10

i s

With the exception of Abschied von Rom, in which the B section is entirely

different from the A section, each of these pieces of Fanny Hensel's uses one basic

motive; however, in the B section of the other three pieces, the primary motive is further

developed and expanded with changes in key and texture. The return to the original

67

material is seldom exact and usually involves even more transformation, sometimes

giving the impression of being through-composed.

On the other hand, a look at Felix's compositions will show that he is much less

adventurous. He modulates fewer times: in Contemplation there is only one key change.

Felix uses few diminished chords and does not use any augmented sixth or Neapolitan

chords at all in the compositions presented here. These differences in compositional

bravery are shown in the chart given in Figure 9. As stated earlier, his pieces seldom

offer much contrast in the middle sections. He usually employs the same motivic

material from the beginning section of the piece.

A look at four of Felix's character pieces reveals what scholars have already

agreed upon: they are well conceived and well written. They also demonstrate that he

was much less likely to incorporate creative new ideas into his compositions than was his

sister Fanny.

By the Sea, Op. 53, No. 1, for example, has only one motive. It is shown in

Figure 25. The only changes that Felix makes to this motive are the notes on which it

begins (either Ab, Bb, C, or Db), and the occasional change of the quality of an interval.

The baseline moves mostly by step and the accompaniment figure never changes.

Figure 25. By the Sea, Op. 53, No. 1, opening motive.

gU1"-" '?• F F f i r J

68

The never-changing accompaniment figure in Contemplation, Op. 30, No. 1,

maintains the delicate simplicity of this composition. The architecture of the motive,

consisting of steps and consonant skips, is also simple. This piece is much less complex

than those composed by Fanny Hensel that are presented here.

Duet, Op. 38, No. 6, is a lovely conversation between two voices in different

ranges. This is a style seldom used by Fanny. In the opening motive, Felix uses nearly

all tones of the Ab major scale (moving from Eb3 to Eb4). The accompaniment figure is

arpeggiated and provides a pleasing accompaniment. (Please refer to the score and

reductive analysis in Appendix A.)

Hunting Song is an appropriate name for Felix's Op. 19, No. 3. The use of many

open fifths is offset by his use of many linear progressions of tenths as well as thirds.

Arpeggiations of short and long duration are also prevalent throughout the piece. The

opening motive, beginning in measure 5, covers the A major scale, moving from A5 to

A6. In that way this motive is similar to the opening motive in Duet.

This comparison of their pieces

. . .illustrates that her structure and scope for this kind of piano piece were considerably broader than his, and this difference holds true for the whole collection of their.. ."Songs without Words"... .She gives more emphasis to developmental techniques, builds more extended melodic lines, and employs a higher level of technical difficulty.75

75Cai, "Fanny Hensel's 'Songs for Pianoforte' of 1836-37: Stylistic Interaction with Felix Mendelssohn," 73.

69

Expressed figuratively though, their songs appear as "two different facets of the same

polished gem."76

The consensus of scholars is that Felix Mendelssohn was an educated and talented

musician. This study of Fanny Mendelssohn Hensel's compositions shows that she, too,

was an outstanding composer. The reductive analyses in Appendix A demonstrate that

she consistently used techniques in accordance with the standards of excellence

established by the great composers of the nineteenth century.

Publications and recordings of her music have been appearing in recent years.

Her first songs were published under Felix Mendelssohn's name as his Opp. 8 and 9. It

was a full decade before the next publication~an art song—appeared in a Schlesinger

anthology. With the exception of one other piece, no other works were published until

shortly before her death. In 1846 seven collections were issued in quick succession.

Four other collections, and a few individual pieces, were published posthumously. It is of

interest to note that none of Fanny's pieces were published with her own name until after

the death of her father in 1835.

76, Cai, 73.

70

Appendix B77 offers a list of Fanny Hensel's published compositions. "The

published works of Fanny Hensel represent approximately eleven percent of her total

output, and include some of her best compositions."78

Marcia J. Citron, The Letters of Fanny Hensel to Felix Mendelssohn (Pendraeon Press, 1987), 14.

78Sirota, 278.

CHAPTER IV

SUMMARY AND CONCLUSIONS

Fanny Mendelssohn is finally receiving the attention she deserves among music

scholars and performers. Her music appears regularly on concert programs of pianists,

singers and chamber musicians and recordings of her works are filling the catalogues.

Fanny wrote several hundred pieces of music. Alfred Einstein said

. . .The rule that one should judge a master by his highest accomplishments is not quite right. We must judge him by all his accomplishments. It sometimes happens that a work is "accomplished," or even perfect, without its creator being great In music, however, such a stroke of good fortune requires technical mastery.79

Fanny Mendelssohn Hensel was, I believe, such a technical master.

Given the close nature of the relationship between Fanny and Felix, and especially

her desire to maintain his good opinion of her, it is very likely that Felix's reluctance to

validate her publicly as a musician exerted a profound and lasting influence on her

attitude towards herself as a potential professional composer.

Felix related compliments from others to Fanny concerning her playing as if they

were so obvious as to be unnecessary. He apparently did not feel it was necessary to

compliment her on her musical compositions. Both her father and her brother held that

79Alfred Einstein, Greatness in Music (New York: Oxford University Press 1941), 138.

72

professional work had no place in the life of a woman of their class and status and

believed that Fanny's responsibilities were to home and child rather than to art.

Nevertheless, she continued composing, and her works were performed at the Sunday

musicals.

Fanny was obviously consumed by music even while she performed her duties as

a housewife. Her letters are the letters of a musician, always directed toward

performances she is sponsoring in her home, musicians that she has met, or music which

she has heard.

Her death at a relatively young age was unfortunate. Einstein remarked that

One hall-mark of greatness is the perfection of a master's life work, the rounding-off of his "oeuvre," which in some mysterious way is related to the creator's predestined age.. . .the concept of early fruition, in connection with the early death of a genius, would not have taken root. There is a word for it in German—Fruhvollendung—which combines the meanings of "early perfection" and "early completion"....

It is as though a creative artist had clairvoyant knowledge of the running-down of the spiritual clockwork within him; he regulates it himself, although it was created by a Higher Clockmaker. A great man who dies young has a premonition of the life-span before him. Mozart and Schubert are the two clearest examples of an overflowing productivity... .Both seemed to know that they could not afford to take their time.80

Despite the painstaking care exerted by the Mendelssohn family to preserve

music, letters, diaries, and other memorabilia, it is likely that some pieces were lost, given

away, or even intentionally destroyed and it is probable that private collectors or friends

80Einstein, 154-156.

73

of the many descendants of the Mendelssohn's may have in their possession compositions

of the family that are unknown to scholars.

Much of Fanny's music does remain in private hands, passed down as part of the

Mendelssohn estate. This includes most of the music she composed during her mature

period. Opp. 1-11, her only published compositions, are some of her best works, and

show her to be a superb composer. "Among Fanny Hensel's lieder and piano pieces are

many superb compositions, carefully crafted, and with a beautiful foreground that is both

musically and dramatically

satisfying."81

Although harmonic thirds, falling melodic thirds, triplet figures (sometimes

combined with duplets), and even third-related key schemes were occasionally used by

earlier composers, Fanny made extensive use of these techniques as shown in the analysis

of the character pieces included in this study. Her thorough study and mastery of the

compositional techniques of Bach and especially Beethoven made it possible for her to

reach new heights in the writing of music. She followed the compositional rules that

were the style of her time but incorporated creative new ideas in her pieces; she antedated

Brahms in harmonic ingenuity.

From my study of these four piano compositions and a brief look at Fanny

Mendelssohn Hensel's other available works, I have concluded that her music is

8lSirota, 251.

74

exceptional and is worthy of the attention it is now beginning to receive. During her

lifetime she received little consideration or recognition as a composer, but our continuing

study and performance of her musical legacy will enhance our knowledge of musical

form and style in the Romantic Period and establish her rightful place in music history.

A great number of Fanny's works are still in existence. Many of them can be

found in private collections, in the Goethe-Museum, and the Heinrich Heine Institut in

Dusseldorf. Some of her unpublished works are in the collections of the New York

Public Library, the Bodleian Library in Oxford, the Library of Congress in Washington

and the Mendelssohn Archiv in Berlin.

The work she left behind is both powerful and unique. Camilla Cai believes that

Fanny's music might have been different had she been tested in the world market as her brother was, but we must rejoice that her Sunday matinees provided a sufficient outlet to inspire her continuing compositional efforts. These fine examples of piano music were written to be effective and meaningful in the elegant living room of the Mendelssohn mansion, and most of this music last rang out there over 150 years ago. Now that Felix no longer stands between these works and the general public, it is time to bring Fanny Mendelssohn Hensel's gracious piano works to the world stage.82

My analyses of selected keyboard works leads me to agree with Victoria Sirota that

".. .Hensel's piano works should be included in any pianist's study of romantic character

pieces."83

82Camilla Cai, "Fanny Mendelssohn Hensel as Composer and Pianist," in Piano Quarterly, XXXV, 50.

83Sirota, 252.

APPENDIX A: SCORES WITH FORM DIAGRAMS

AND REDUCTIVE ANALYSES

ABSCHIED VON ROM

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CONTEMPLATION

FELIX MENDEISSOHN Opus 30, No. 1

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APPENDIX B:

SELECTED LIST OF WORKS BY FANNY MENDELSSOHN HENSEL

Choral Works

4 Cantatas (1829-31)

Oratorium nach Bildern auf der Bibel, for soprano, alto, tenor, bass, chorus, and orchestra (1831)

Gartenlieder: 6 songs for soprano, alto, tenor, and bass, Op. 3 (Bote and Bock, 1847)

Einleitung zu lebenden Bilder for narrator, chorus, and piano (1841)

Naehtreigen: Es rauschen die Baume, for 8-voice a capella (1929) Archive

Zum Fest der heiligen Caecilia, for 4-voice mixed chorus and piano (1833)

Smaller Vocal Works

6 vocal trios (1835)

6 vocal trios (1825-41)

Songs

12 songs with piano accompaniment by Felix Mendelssohn, Op. 8, No. 7,10, and 12 by Fanny Mendelssohn (Berlin: Schlesinger, 1830)

1 song in Album for voice and piano (Berlin: Schlesinger, 1837)

1 song in Rhein-Sagen undLieder (Koln und Bonn: J. M. Bunst, 1839)

133

6 songs for 1 voice and piano accompaniment, Vol. 1, Op. 1 (Berlin: Bote and Bock, 1846)

6 songs for voice and piano accompaniment, Vol. 2, Op. 7 (Berlin: Bote and Bock, 1848)

6 songs with piano accompaniment, Op. 9 (Leipzig: Breitkopf and Hartel, 1850)

5 songs with piano accompaniment, Op. 10 (Leipzig: Breitkopf and Hartel, 1850)

1 aria for soprano and piano (Mendelssohn Archive, 1831)

Orchestral Works

Overture in C Major, for orchestra (Mendelssohn, 1830)

Chamber Music

Trio, for piano, violin, and cello, Op. 2 (Breitkopf and Hartel, 1850)

Trio, for piano, violin, and cello, Op. 11 (Breitkopf and Hartel, 1850)

Adagio, for violin and piano (Archive, 1823)

Capriccio, for cello and piano in A major (1829)

Sonata, for cello and piano

Piano Quartet in A Major (Archive, 1823)

String Quartet in C Minor (Archive, 1834)

Organ Music

Prelude in F Major, for organ (1829)

Prelude in G Major, for organ

134

Piano Music

4 songs without words, Vol. 1, Op. 2 (Berlin: Bote and Bock, 1846)

6 melodies for piano, Vol. 1, Op. 4, Nos. 1-3

6 melodies for piano, Vol. 1, Op. 5, Nos. 4-6 (Berlin: Schlesinger, 1847)

4 songs without words, for piano, Vol. 2, Op. 6 (Berlin: Bote and Bock, 1847)

Pastorella for piano (Berlin: Bote and Bock, 1848)

2 bagatelles for students (Berlin: Trautwein, 1848)

4 songs without words, for piano, Op. 8 (Leipzig: Breitkopf and Hartel, 1850)

12 character pieces for piano (Archive, 1841)

Prelude and ftigue, largo, praeludium, toccata

Piano Sonata in C Minor (Archive, 1824)

Piano Sonata in C Major (Archive, 1843)

135

BIBLIOGRAPHY

BOOKS

Citron, Marcia J. The Letters of Fanny Hensel to Felix Mendelssohn. Pendragon Press, (no location given), 1987.

. "Women and the Lied," in Women Making Music, eds. Jane Bowers and Judith Tick. University of Illinois Press, Urbana, 111., 1986.

Einstein, Alfred. Greatness in Music. Oxford University Press, New York, 1941.

Gordy, Laura Ann. Women Creating Music, 1750-1850. DMA dissertation, University of Alabama, 1987.

Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. W. W. Norton & Co., New York, 1988.

Hanslick, Eduard. On the Musically Beautiful. Hackett Publishing Co., Indianapolis, Ind., 1986.

Hiller, Dr. Ferdinand. Mendelssohn, Letters and Recollections (1873), translated by M. E. Von Glehn. Vienna House, New York, 1972.

Jacobson, Bernard. Brahms. The Tantivy Press, London, 1977.

Jezik, Diane Peacock. Women Composers. Feminist Press, New York, 1988.

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Miller, Florence Fenwick. In Ladies' Company: Six Interesting Women. Ward & Downey, London, 1892.

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Sirota, Victoria Ressmeyer. The Life and Works of Fanny Mendelssohn Hensel. DMA dissertation, Boston University, University Microfilms International, 1981.

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ARTICLES

Block, Joseph. "Fanny Mendelssohn Hensel," in Keyboard Classics, XI, 29.

Cai, Camilla. "Fanny Hensel's 'Songs for Pianoforte' of 1836-37: Stylistic Interaction with Felix Mendelssohn," J. of Musicological Research, XIV, 55-76.

. "Fanny Mendelssohn Hensel as Composer and Pianist," in Piano Quarterly, XXXV, 46-51.

Citron, Marcia J. "Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer," in Current Musicology, XXXVII-XXXVIII, 9-18.

• "The Lieder of Fanny Mendelssohn Hensel," in Music Quarterly, LXIX, 570-594.

Gorrell, Lorraine. "Fanny Mendelssohn and Her Songs," in NATS Journal, XLII, 6-11.

Parsons, James. "Emerging from the Shadows: Fanny Mendelssohn and Clara Schumann," in Opus, February 1986,27-30.

137

Rothenburg, Sarah. "Fanny Mendelssohn's Musical Diary," in Key Classics, XI, 6-7.

Saffle, Michael. "Critiques," in Council for Research in Music Education, LXXX, 70-75.

SCORES

Hensel, Fanny Mendelssohn-Bartholdy. Ausgewahlte Klavierwerke. G. Henle Verlag, Munich, Germany, 1986.

. Vier lieder dhne worter, Op. 8. Germany, Kassel, 1989.

Hinson, Maurice, Ed. At the Piano With Women Composers. Alfred Publishing (location not given), 1990.

Shealy, Alexander. Felix Mendelssohn: His Greatest Piano Solos. Copa Publishing Co., (no location given), 1973.

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