Mendelssohn - Complete Songs Vol.3: Fanny Hensel, ‘The Other Mendelssohn’ | Champs Hill Records CHRCD124

Mendelssohn - Complete Songs Vol.3: Fanny Hensel, ‘The Other Mendelssohn’

£10.76

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Label: Champs Hill Records

Cat No: CHRCD124

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 27th October 2017

Contents

Artists

Susana Gaspar (soprano)
Gary Griffiths (baritone)
Manuel Walser (baritone)
Kitty Whately (mezzo-soprano)
Malcolm Martineau (piano)

Works

Mendelssohn, Fanny

Ach die Augen sind es wieder
Dammrung senkte sich von oben
Das Meer erglanzte weit hinaus
Der Eichwald brauset
Die Schiffende
Fichtenbaum und Palme
Gegenwart
Harfners Lied
Ich kann wohl manchmal singen
Im Herbst
Kein Blick der Hoffnung
Lieder (5), op.10
» no.1 Nach Suden
» no.2 Vorwurf
» no.5 Bergeslust
Lieder (6), op.1
» no.2 Wanderlied
» no.3 Warum sind denn die Rosen so blass
» no.5 Morgenstandchen
Lieder (6), op.9
» no.4 Die fruhen Graber
» no.6 Die Mainacht
Suleika
Traurige Wege
Uber allen Gipfeln ist Ruh
Wanderers Nachtlied I

Artists

Susana Gaspar (soprano)
Gary Griffiths (baritone)
Manuel Walser (baritone)
Kitty Whately (mezzo-soprano)
Malcolm Martineau (piano)

About

For this third volume in a complete survey of Mendelssohn songs, Malcolm Martineau shines the spotlight on ‘the other Mendelssohn’, with a complete volume of songs by his sister Fanny Hensel. Her professional attitude to domestic music-making is decribed by Martineau as ‘revolutionary’ and her early death, within five months of her celebrated brother, was a great loss to the musical world.

Despite his enthusiasm and support for her work, Felix Mendelssohn did not approve of her publishing her work – but thankfully for us she defied it, daring to publish her Opus 1 songs under her own name a year before her death in 1847.

For many years her music was appraised in the context of her brother’s work, considered as lesser clones of his output. Now that more of her work is known, that opinion has changed thanks to work by scholars including Steven Rogers pointing to Fanny’s Bachian voice-leading in numerous passages, her complex interweaving of voice and piano parts, and more intense chromaticism than her brother achieves.

The settings are of spring songs, of poetry by Eichendorff, Lenau, Schiller, Goethe and even Heine, who she knew personally but did not like, but admitted to be a great poet.

Malcolm Martineau has assembled, as always, a cast of wonderful young singers for this refreshing and important repertoire.

Both volumes one and two have been highly critically acclaimed for both performance and sound quality.

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