The Kapralova Society Journal

Volume 5, Issue 2

Fall 2007

A Journal of Women in Music

Fanny Mendelssohn Hensel: A Life of Music within Domestic Limits

By Eugene Gates

Fanny Mendelssohn Hensel, the Mendelssohn (1777-1842), was a tal-

elder sister of Felix Mendelssohn, was ented pianist and a good singer; she
deemed by her contemporaries to be as spoke French and English fluently,
musically gifted as Felix. She was not could read Homer in the original
only a superb pianist, but also an ex- Greek,2 and was, by all accounts, a
ceptionally fine composer. Fanny's charming and witty hostess. In an-
compositional style is very similar to nouncing Fanny's birth to his
that of her more famous brother. Her mother-in-law, Abraham wrote: "Lea
more than 400 works include lieder, pi- says that the child has Bach-fugue fin-
ano and organ pieces, chamber music, gers"3--a statement which proved to
Special points of interest: cantatas, dramatic scenes, an oratorio be prophetic.
and an orchestral overture. Despite her Before leaving Hamburg,
Fanny Mendelssohns prolific creative output, however, few Abraham and Lea had two more chil-
story
of her compositions were published,1 dren. Felix, their first son, was born
and, until very recently, historians have on February 3, 1809, and another
limited her importance to the fact that daughter, Rebecca, was born on April
her diaries and letters provide valuable 11, 1811. The Mendelssohn family
Inside this issue: source material for biographical studies moved to Berlin the following year,
of Felix Mendelssohn. This article dis- where Paul, their youngest child, was
Fanny Mendelssohn Hensel: 1 cusses the life and creative achieve- born on October 30, 1813.4 All four
A Life of Music within Do- ments of Fanny Mendelssohn Hensel, Mendelssohn children were musical,
mestic Limits and the forces that impeded her prog- but Fanny and Felix were extraordi-
New publications 5, 11 ress as a composer: her relationship narily gifted. They were both child
with her father and brother, her respon- prodigies.
sibilities as wife and mother, her often Hoping to shield their young
debilitating sense of isolation, and her family from religious discrimination
ambivalence about her creative talent. in a less than tolerant society, Abra-
Born in Hamburg on November ham and Lea had the children bap-
14, 1805, Fanny Mendelssohn was the tized at Berlin's New Church in
eldest of four children. Her father, 1816. While on a trip to Frankfurt six
Abraham Mendelssohn (1776-1835), years later, the parents themselves
son of Jewish philosopher Moses Men- quietly underwent conversion to Prot-
delssohn, was a cultured and wealthy estantism. To ensure that his progeny
banker who was passionately interested would not be confused with their Jew-
in music. Her mother, Lea Salomon ish relatives, Abraham changed the
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Fanny Mendelssohn Hensel

family name from Mendelssohn to Mendelssohn Bar- only thirteen, she played by memory twenty-four
tholdy, but he was never entirely successful at mak- preludes from Bach's Well-Tempered Clavier as a
ing the new name stick.5 surprise for her father.14
Abraham Mendelssohn has been aptly de- Both for the enrichment of their children's
scribed as the very model of the German paterfamil- education as well as for their own pleasure, Abraham
ias, his home an absolute monarchy."6 He valued and Lea Mendelssohn set out to make their home the
education above all else, and demanded almost unat- intellectual centre of Berlin. Their visitor's book read
tainable standards of excellence from his children--a- like a "Who's Who" of early nineteenth-century cul-
cademically, musically and morally, Like most fa- tural and intellectual leaders: Leopold Ranke, the his-
thers and husbands of his time, Abraham believed un- torian; Jacob Grimm, collector of fairy tales; writer,
conditionally that the only vocation for a respectable composer and critic E. T. A. Hoffmann; the poets
young woman was that of a housewife. However, he Ludwig Tieck, Rahel Varnhagen and Heinrich Heine;
did not see this as a reason to neglect the education of the philosopher Hegel--and so the list continues.
his daughters; in his opinion, women should be Musician friends of the family included such lumi-
taught to combine knowledge with charm.7 It was es- naries as violinist Eduard Rietz, and composers Fer-
pecially important to both Abraham and Lea that dinand Hiller, Carl Maria von Weber, Ludwig Spohr,
Fanny's great musical talent be thoroughly devel- Gasparo Spontini and Zelter.15
oped.8 Sometime around 1822, Abraham and Lea be-
Fanny and Felix received their first piano in- gan to hold bi-weekly Sunday concerts in their home,
struction from their mother, who had studied music the purpose being to provide their children with an
with Johann Philipp Kirnberger, a pupil of appreciative audience for their musical endeav-
J. S. Bach.9 Lea taught them together in several ours. All four children participated in these musi-
five-minute sessions per day, gradually extending the cales: Fanny and Felix played the piano; Rebecca
length of the lessons as her students' ability to con- sang and Paul played the cello. For each recital Lea
centrate increased. For several years she supervised issued personal invitations to local musicians and
every moment of their piano practice. When the other prominent people.16 Since, for the first few
Mendelssohns lived for a short time in Paris, Fanny years, space was limited in the Mendelssohn resi-
and Felix, then eleven and seven respectively, contin- dence, the audiences were small. However, in 1825,
ued their piano lessons with Madame Marie Bigot, an Abraham purchased an enormous estate at Leipziger
acquaintance of Haydn and Beethoven.10 Strasse 3, on the outskirts of Berlin. This property,
Upon returning to Berlin, Abraham engaged which in later years became the Upper Chamber of
the finest available tutors to guide the education of the Prussian Parliament, included the family man-
his children. Thus, Fanny and Felix studied piano sion, a smaller garden-house, and about seven acres
with Ludwig Berger, a pupil of Muzio Clementi and of beautifully landscaped parks and gardens.17 This
John Field. For theory and composition they worked became the new locale of the Sunday musicales,
with Carl Friedrich Zelter, a respected friend of which, under Fannys direction in the 1830s and
Goethe, and director of the Berlin Singakademie.11 1840s, were destined to assume a major role in the
Their rigorous academic education was supervised by musical life of Berlin.
philologist Ludwig Heyse, father of the poet Paul Even before the move to Leipziger Strasse 3,
Heyse.12 Schooling was taken very seriously in the invitations to the Sunday musicales were much
Mendelssohn household. The children's lessons be- sought after by visiting musicians. It was at one of
gan at 5 AM; only on Sundays were they permitted to these concerts in 1824 that Fanny and Felix met pian-
sleep late, that is, until 6 AM.13 Fanny was blessed ist Ignaz Moscheles (1794-1870), the most important
with a phenomenal musical memory. In 1818, when touring virtuoso of the time. On first hearing them
Volume 5, Issue 2 Page 3

A Life of Music within Domestic Limits

play, Moscheles recorded the following in his diary: set it.26 She did, however, continue to set other po-
ems of Goethe to music; in fact, she set more of his
This is a family, the like of which I have texts than those of any other poet.27
never known. . . . Felix Mendelssohn is Fanny herself met Goethe in the autumn of
already a mature artist, and he is still only 1822, when she and her parents accompanied Felix
fifteen! . . . His elder sister Fanny, also on his second visit to the poet. Recounting the
immensely talented, played some of events of this visit, Lea wrote: [Goethe]
Bachs fugues and passacaglias by heart was . . . very friendly and condescending to Fanny;
and with admirable precision. I believe she had to play a good deal of Bach to him, and he
she can justifiably be called a good mu- was extremely pleased with those of his songs which
sician.18 she had composed.28 Thereafter, Goethe maintained
a keen interest in both Felix and Fanny, and was kept
Zelter, who began to teach Fanny and Felix in informed of their musical progress through Zel-
1819, exerted a profound influence on their musical ter. In one of his letters to Felix, Goethe referred to
development. Following his method, they worked Fanny as "your equally gifted sister,"29 high praise
first from models, later progressing to exercises in indeed from a man who once said that "the very best
counterpoint and figured bass.19 From Zelter, Fanny thing that a woman ever did can only be compared to
received a thorough grounding in harmony, counter- the second-rate performance of a man."30
point, and composition;20 in short, she was given Because of their common musical pursuits,
much the same musical education as her brother. On Fanny and Felix became very close as children, and
October 1, 1820, both Fanny and Felix joined the Ber- remained so throughout their entire lives. From the
lin Singakademie, where they sang alto in the cho- moment they began to compose, each sought and
rus.21 valued the other's criticisms; their letters bear wit-
Fanny's first known composition was a song, ness to the fact that this practice continued into their
written as a birthday gift for her father on December adulthood. When they were children, their mother
11, 1819.22 Many other songs followed in rapid suc- was once heard to say: "They are really vain and
cession. Although primarily a lieder composer (she proud of one another."31
wrote nearly 300 songs in the course of her lifetime),23 Fanny seems to have enjoyed the role of mu-
Fanny did not, even in her early years, confine her sical consultant to her younger brother. In 1822,
creative efforts entirely to the realm of vocal mu- when she was seventeen and Felix thirteen, she
sic. By 1824 she had also written thirty-two fugues,24 wrote: I have watched the progress of his talent step
a piano sonata, numerous character pieces for piano, a by step, and may say that I have contributed to his
cadenza to Beethoven's Piano Concerto in C major, pi- development. I have always been his only musical
ano duets, chorales and choruses for mixed voices and adviser, and he never writes down a thought before
soloists, a piano quartet and an Adagio for violin and submitting it to my judgement.32 But she also read-
piano. ily acknowledged her own dependence on Felix, her
Goethe was an early admirer of Fanny's mu- most astute and reliable critic. In what is probably
sic. Felix, who had been taken by Zelter to Goethe's the first letter she ever wrote to him, Fanny declar-
home in Weimar in 1821, introduced the poet to one ed: "You're my right hand and my eyesight, and
of Fanny's songs--a setting of his "Ach wer bringt die without you, therefore, I can't proceed with my mu-
schnen Tage."25 Goethe liked the song so much that sic."33
he wrote a poem entitled "An die Entfernte" especially Felix admired his sister's compositions
for Fanny. Although the manuscript became one of greatly, and used affectionately to call her "the Can-
her most prized possessions, she never attempted to tor"34--a reference to J. S. Bach, their musical
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Fanny Mendelssohn Hensel

idol. Felix's letters abound in tributes to her creative for your real calling, the only calling
ability. The following brief excerpt from a letter of of a young woman--I mean that of a
June 11, 1830, is typical: "I tell you, Fanny, that I have housewife. Women have a difficult
only to think of some of your pieces to become quite task; the unremitting attention to
tender and sincere. You really know what God was every detail, the appreciation of every
thinking when he invented music."35 moment for some benefit or other--all
As previously mentioned, Abraham had definite these and more are the weighty duties
ideas about the proper role of women in society, and be- of a woman.37
ing a published composer did not fit his definition of
that role. While he was carefully grooming Felix for a That Abraham spared no expense in devel-
musical career, he made it plain that because of her sex, oping his daughter's talent, that he encouraged her
it would be inappropriate for Fanny to aspire to a simi- musical pursuits, only to forbid her the fulfilment
lar goal. She was indoctrinated by her father to believe of a professional career, seems unreasonable and
that for a woman, music could be no more than a seri- cruel. However, in light of the deep-seated preju-
ous hobby. dice against women composers at the time, his atti-
It is evident from his letters that Abraham seized tude, while no less reprehensible, is hardly surpri-
every opportunity to remind Fanny of the attitudes and sing.
activities that he deemed suitable for women. On July Even without her father's preachings, it is
16, 1820, while on a business trip to Paris, he wrote: clear that Fanny was well aware of society's nega-
tive view of female creativity, for she wrote the
What you write to me about your musical following to her future husband, shortly before
occupations with reference to and in com- their marriage in October, 1829:
parison with Felix was rightly thought and
expressed. Music will perhaps become his I am composing no more songs, at
profession, whilst for you it can and must least not by modern poets I know per-
only be an ornament, never the root of your sonally. . . . I now comprehend what
being and doing. We may therefore par- I've always heard and what the
don him some ambition and desire to be truth-speaking Jean Paul has also
acknowledged in a pursuit which appears said: Art is not for women, only for
very important to him, because he feels a girls; on the threshold of my new life I
vocation for it, whilst it does you credit take leave of this plaything.38
that you have always shown yourself good
and sensible in these matters; and your Fortunately--for her and for us--she found it impos-
very joy at the praise he earns proves that sible to carry out this resolution.
you might, in his place, have merited Felix shared his father's belief that Fanny
equal approval. Remain true to these sen- should not publish her music. For a "lady" of her
timents and to this line of conduct; they are family background and social position, it would
feminine, and only what is truly feminine not have been considered respectable. He did,
is an ornament to your sex.36 however, publish six of her songs under his own
name: "Heimweh," "Italien," and the duet "Suleika
And on her twenty-third birthday, her father penned und Hatem" in his Op. 8 (1827); and "Sehnsucht,"
these stern words: "Verlust," and "Die Nonne" in Op. 9 (1830).39 This
gesture appears to have been Felix's way of encour-
You must become more steady and col- aging Fanny without going against Abraham's
lected, and prepare earnestly and eagerly wishes. In any case, he was always ready to admit
Volume 5, Issue 2 Page 5

A Life of Music within Domestic Limits

to anyone who complimented him on these songs that
they had come from the pen of his sister.
The songs were greeted with critical acclaim,
one of Fanny's contributions to Op. 8 being singled
out by a critic for the Allgemeine musikalische Zei-
tung as among the finest of her brother's works:

The last Duet ["Suleika und Ha-

tem"] . . . appears to us to be the most
beautiful of the collection. Moreover, we
know the composer of these songs from
his larger compositions as a man, who
we believe shows great promise, whose
fulfilment is not far off.40

The ensuing confusion over the authorship of

"Italien," another of Fanny's songs included in Felix's
Op. 8, led to two amusing incidents, the details of
which are recounted in his letters to his family. The
first occurred at Munich in 1830. Felix wrote:

Yesterday, a noble countess graciously

praised my songs, and remarked, interro-
gatively, wasn't the one by Grillparzer
[author of the text of "Italien"] al-
together delightful. Yes, I said, and she
thought I was conceited until I gave a
full explanation by telling her that you
were the composer.41 www.compositrices19.net
The second of these incidents took place dur-
ing Felix's visit to Queen Victoria and Prince Albert Ce livre est le premier offrir un panorama
at Buckingham Palace in 1842. Knowing that the de la cration musicale fminine en France de la
Queen was an accomplished singer, Felix asked her Rvolution la Premire Guerre mondiale. Il
to perform one of his songs for him. Here is his ac- sappuie sur quelques travaux pionniers, mais ex-
count of the event: ploite surtout un grand nombre de sources qui
navaient pas t jusqu prsent explores sous
cet angle.
She very kindly consented; and what did
Il se penche en dtail sur les productions
she choose? "Schner und musicales fminines, examine galement les con-
schner" ["Italien"]; sang it beautifully ditions daccession des femmes un enseigne-
in tune, in strict time, and with very nice ment musical de qualit, malgr les rsistances de
expression. . . . Then I was obliged to la socit dalors, et explore ce que pouvait
confess that Fanny had written the song reprsenter au XIXe sicle un statut de composi-
(which I found very hard, but pride must trice professionnelle.
have a fall), and to beg her to sing one of
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Fanny Mendelssohn Hensel

my own as well.42 plishments. I cannot refrain from men-
tioning Miss Mendelssohn's name in
On January 1, 1829, Fanny began a diary, connexion with these songs, more par-
which she kept until her death. Her first entry ticularly when I see so many ladies with-
reads: "This year will form an important segment in out one atom of genius, coming forward
our family life. Felix, our soul, is going away, the be- to the public with their musical crudi-
ginning of the second half of my life stands before ties, and, because these are printed,
me."43 Indeed, 1829 was a milestone year in the his- holding up their heads as if they were
tory of the Mendelssohn family: on January 22, finished musicians. . . . [Miss Men-
Fanny became engaged to Wilhelm Hensel, a gifted delssohn] is no superficial musician; she
court painter from Berlin; and on April 10, Felix, has studied the science deeply, and
with Abraham's blessing, left for England to establish writes with the freedom of a mas-
his reputation there as a performer, conductor and ter. Her songs are distinguished by ten-
composer. derness, warmth, and originality: some
Felix's first trip to England, which lasted six which I heard were exquisite.47
months, was a sort of dress rehearsal for the "great
journey" that would occupy him from 1830-32. This On October 3, 1829, Fanny and Wilhelm
grand tour, consisting of a visit to Italy, Switzerland, Hensel were married in Berlin. Fanny's joy on this
France, and a second trip to England, was carefully important occasion was somewhat diminished by the
planned by Abraham to launch his son on an interna- absence of Felix, who, after returning to London from
tional career.44 Fanny was not given a similar oppor- his holiday in Scotland and Wales, had injured his
tunity. knee in a carriage accident. Confined to bed for the
Following a strenuous round of performances greater part of two months, he was unable to travel
and social commitments in London, Felix went to home for the wedding.48 Fanny's letter to Felix on the
Scotland and Wales for a brief vacation. While in day of her wedding attests to the unusual closeness of
Edinburgh, he met John Thomson, a composer and their relationship:
critic for the Harmonicon. When Thomson men-
tioned his forthcoming trip to Berlin, Felix insisted Your picture is next to me, but as I write
that he visit the Mendelssohn family.45 According to your name again and again and almost
Fanny's diary, Thomson visited Berlin in August of see you in person before my very eyes, I
1829.46 cry, as you do deep inside, but I cry.
On learning that Fanny was the real composer Actually, I've always known that I could
of three of Felix's Op. 8 lieder, Thomson wrote a never experience anything that would re-
glowing appreciation of her work. His critique, move you from my memory for even
probably the first published acknowledgement of her one-tenth of a moment. . . . [I] will be
creative achievements, appeared in the March 1830 able to repeat the same thing to you to-
issue of the Harmonicon. Thomson wrote: morrow and in every moment of my
life. And I don't believe that I am doing
I possess twelve published songs under Hensel an injustice through it. Your
Mr. Mendelssohn's name, which he love has provided me with a great inner
wrote when a boy of fifteen. . . . But the worth, and I will never stop holding my-
whole of the twelve are not by him; self in high esteem as long as you love
three of the best are by his sister, a me.49
young lady of great talents and accom-
Volume 5, Issue 2 Page 7

A Life of Music within Domestic Limits

It has long been known that Fanny composed couragement to her in her creative endeavours. She
the organ processional for her wedding,50 but her spoke often, both in her letters and in her diary, of the
letters reveal that she composed her own organ re- happiness her marriage and child had brought her.
cessional as well. A few months prior to his sister's However, her time and energy for composing were se-
wedding, Felix had agreed to write an organ work verely limited by housewifely duties. As the eldest
for the occasion.51 He began to compose it during daughter of the family, much of the responsibility of
his holiday in Wales, and continued to work on it af- caring for her aging parents also fell on her shoulders.
ter he returned to London, but because of his acci- Not long after her marriage, she wrote: "My husband
dent he was unable to finish it in time. This work has given me the duty of going to the piano every
was intended to be the recessional, for in a letter of morning immediately after breakfast, because inter-
September 29, Fanny scolds Felix for not having ruption upon interruption occurs later on."55 And a
sent her an organ piece to accompany the bridal passage from one of her letters a few years later reads:
party out of the church: My organ piece is fin- "I haven't composed anything in a long time.
ished . . . . If I only had yours! . . . Your letter just Drained!"56
arrived and is nice, but the absence of an organ In a letter to Madame Kien, the mother of
piece is not nice. For who is supposed to accom- Marie Bigot, Felix expressed regret over the fact that
pany me out of the church? The old Bach or I my- Fanny had become less prolific as a composer since
self? Where shall I find the time to write one?52 her marriage, but added that it was both appropriate
By the eve of her wedding day Fanny had and good that she now devoted most of her time to do-
still not found a suitable work. Although their mestic matters. He wrote:
pre-nuptial party was already in progress, Wilhelm
suggested that she write her own recessional mu- It makes me sad, that since her marriage
sic. Thus, in the midst of the assembled well-wish- she can no longer compose as diligently
ers, Fanny began to compose her second and only as earlier, for she has composed several
other known organ piece. Here is her account of the things, especially German lieder, which
incident, and a brief description of this work: belong to the very best which we pos-
sess . . . ; still it is good on the other
Father had suggested the Pastorelle for hand, that she finds much joy in domestic
the recessional, but I couldn't find concerns, for a woman who neglects
it . . . . Then, around 9 o'clock, Hensel them, be it for oil colors, or for rhyme, or
suggested that I compose a piece, and I for double counterpoint always calls to
had the audacity to start to compose in mind instinctively . . . the femmes savan-
the presence of all the guests. I fin- tes,57 and I am afraid of that. That is
ished at 12:30 and don't think it's then, thank God, . . . not the case with my
bad. . . . It's in G major; I already knew sister58
the [key] because I had already devised
one before you promised to send me To create a musical outlet for herself, some-
one. But the style is conservative.53 thing that would not conflict with her role as wife and
mother, Fanny reinstated the Sunday musicales around
The Hensels made their home in the gar- the beginning of 1831.59 She arranged the pro-
den-house at Leipziger Strasse 3. Their only child, grammes, composed much of the repertoire, played
Sebastian, was born in the summer of 1830.54 the piano, and organized a small choir which she re-
Fanny could not have wished for a finer husband hearsed on Friday afternoons.60 Some of her most am-
than Wilhelm, for he was a constant source of en- bitious works were composed for these occa-
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Fanny Mendelssohn Hensel

sions. Among them were the cantatas Lobgesang one of these programmes, Abraham declared that
(1831) and Hiob (1831), for soloists, chorus and or- Fanny had guided the musicales to such a degree of
chestra; an oratorio based on passages from the Bible, perfection that they could hardly go on.66 He died un-
for soloists, eight-part choir and orchestra (1831); expectedly only a few days later, peacefully, in his
Hero und Leander, a dramatic scene for soprano and sleep. The musicales were discontinued for the pe-
orchestra (1832); and a string quartet (1834). But de- riod of mourning, and it would appear from Fanny's
spite the favourable reception accorded these letters that they were not resumed for some time.
works,61 Fanny had little confidence in her ability to The next few years were very difficult for
compose in the larger forms. She wrote: Fanny. Felix, to whom she had always looked for en-
couragement and musical advice, was now well es-
My lengthy things die in their youth of tablished in a brilliant career as conductor and com-
decrepitude; I lack the ability to sustain poser in Leipzig, and was so busy that he seldom had
ideas properly and give them the needed time to visit her. With the exception of her husband,
consistency. Therefore lieder suit me no one in Berlin seemed to show any interest in her
best, in which, if need be, merely a music,67 and she began to lose confidence in her crea-
pretty idea without much potential for tive ability.
development can suffice.62 Fanny's letters from this period betray her de-
pendence on Felix's active interest in her work, and
Her low sense of self-confidence was further her growing sense of isolation. Among the most
eroded by Felix's criticism of her cantatas. He ex- poignant is a letter to her friend Karl Klingemann, a
pressed strong reservations about the orchestration of young German diplomat attached to the Hanovarian
certain passages, as well as about the choice of legation in London:
texts.63 He also told her that her creative talent did
not lie in the direction of sacred music.64 In view of Once a year, perhaps, some one will
his contempt for learned women, Felix may have copy a piece of mine, or ask me to play
considered it inappropriate for women to compose something special--certainly no oftener;
large-scale works. and now that Rebecca has left off sing-
While Fanny's Sunday musicales were con- ing, my songs lie unheeded and un-
ceived as entertainments for gatherings of family and known. If nobody ever offers an opin-
friends, her account of two especially successful pro- ion, or takes the slightest interest in
grammes given in 1834 shows that they were any- one's productions, one loses in time not
thing but modest affairs: only all pleasure in them, but all power
of judging their value. Felix, who is
Last month (June) I gave a delightful alone sufficient public for me, is so sel-
fte: [Gluck's] 'Iphegenia in Taurus', dom here that he cannot help me much,
sung by Mme. Decker, Mme. Bader, and and thus I am thrown back entirely on
Mandius: anything so perfect will not myself. But my own delight in music
soon be heard again. . . . [It was] even and Hensel's sympathy keep me awake
more beautiful than 'Orpheus' last still, and I cannot help considering it a
year. On the Sunday following I had a sign of talent that I do not give it up,
full orchestra from the Knigstadt thea- though I can get nobody to take an inter-
tre, and had my overture performed, est in my efforts.68
which sounded very well.65
She later wrote to Felix in a similar vein: I scarcely
In November of 1835, at the conclusion of remember what it feels like to be writing a
Volume 5, Issue 2 Page 9

A Life of Music within Domestic Limits

song. Will it ever come back? . . . But what does it Do you know, Fance, that your song in A major in
signify? I am not a hen to cackle over my own eggs, Schlesinger's album is a grand success here? The
and not a soul dances to my piping.69 new Musical Gazett (I mean the editor, who dines at
In the summer and fall of 1836, after several the same hotel with me) is quite enthusiastic about
months of musical inactivity, Fanny composed some you. They all say it is the best thing in the album.74
piano pieces, and sent them to Felix for his critical The music journal mentioned in this letter was the
appraisal. In that it demonstrates the importance she Neue Zeitschrift fr Musik; its editor, Robert Schu-
attached to her brother's approval, Fanny's response to mann.75
his encouraging remarks about these pieces is of con- Six weeks later, Felix included Fanny's song
siderable interest. She wrote: "You can . . . imagine in one of his Leipzig concerts, accompanying the
how happy I am that you're pleased with my piano singer himself. The following day he wrote: I must
pieces, for it leads me to believe that I haven't gone write you about your song yesterday. How beautiful
totally downhill in music."70 it was! . . . I thank you in the name of the public in
In Wilhelm's opinion, the solution to Fanny's Leipzig and elsewhere for publishing it against my
problem was simple: if she could find no audience for wish.76
her compositions locally, she must publish them for Elated at Fanny's success, Wilhelm and Lea
the general public, something he had always wanted urged her to publish more of her works. In a letter
her to do.71 Hoping that Felix might have altered his dated June 7, 1837, Lea pleaded with Felix to encour-
stand, Fanny first broached the subject to him in a let- age and assist his sister in such a venture:
ter of October 28, 1836: "I've frequently been asked,
once again, about publishing something; should I do Permit me a question and a re-
it?"72 But Felix held fast to his former opinion; like quest. Shouldn't she publish a selection
their late father, he did not think it proper for a of lieder and piano pieces? . . . That you
woman to allow her music to appear in print. haven't requested and encouraged her to
Fanny wrote to him again a month later: do it--this alone holds her back. Would-
n't it therefore be appropriate for you to
With regard to my publishing I stand encourage her and help her find a pub-
like a donkey between two bales of lisher?77
hay. I have to admit honestly that I'm
rather neutral about it, and Hensel, on But Felix stubbornly resisted. His reply ech-
the one hand, is for it, and you on the oes the views expressed by Abraham in his letter to
other, are against it. I would of course Fanny on her twenty-third birthday:
comply totally with the wishes of my
husband in any other matter, yet on this From my knowledge of Fanny I should
issue alone it's crucial to have your con- say that she has neither inclination nor
sent, for without it I might not undertake vocation for authorship. She is too
anything of the kind.73 much all that a woman ought to be for
this. She regulates her house, and nei-
Although Felix stood his ground, Fanny did ther thinks of the public nor of the musi-
submit a song entitled "Die Schiffende" to the music cal world, nor even of music at all until
publisher Schlesinger. It was accepted, and appeared her first duties are fulfilled. Publishing
in a lieder anthology early the next year. Felix was at would only disturb her in these, and I
first annoyed that his sister had acted against his cannot say that I approve of it. . . . If
wish, but when the song met with critical approval, she resolves to publish, either from her
he thanked her for not listening to him. He wrote: own impulse or to please Hensel, I
Page 10 The Kapralova Society Journal

Fanny Mendelssohn Hensel

am . . . quite ready to assist her so far Novello and Belgian violinist Henri Vieuxtemps, she
as I can; but to encourage her in what I presented regular programmes of works both old and
do not consider right, is what I cannot new which were then little known.81 It is no exaggera-
do.78 tion to say that she introduced her audiences to many
works now in the standard repertoire.82
Felix's resistance to overcoming his prejudice A high point in Fanny's life was the winter of
about women's place must have been devastating to 1840, which the Hensels spent in Rome. There she
Fanny, all the more so because of her own reluctance made friends with Charles Gounod, a recent winner of
to invest him with any blame for standing in her way. the Prix de Rome. Gounod had not previously been
With the exception of "Schloss Liebeneck," another exposed to German music, and Fanny introduced him
lied which appeared in an anthology in 1837, she to many works of Bach, Beethoven, her brother, and
published no further works until 1846. Instead, she some of her own as well.83 In his memoirs, Gounod
once again made the Sunday musicales her chief fo- wrote the following tribute to Fanny: Madame Hen-
cus of attention. These concerts, which had begun a zel [sic] was a musician beyond comparison, a re-
few years earlier as musical entertainments for gath- markable pianist, ans a woman of superior mind . . . .
erings of friends and relatives, changed dramatically She was gifted with rare ability as a composer.84
at this time. According to Sebastian Hensel, Fanny respected Gounod both as a friend and
as a musician, and his interest and encouragement
[they] assumed larger and larger propor- meant a great deal to her. She wrote:
tions, both as regards the performers,
the audience, and the character of the I compose a good deal now, for nothing
music. . . . Many of the visitors were to- inspires me like praise, whilst censure
tal strangers brought by persons them- discourages and depresses me. Gounod
selves only recently introduced, and the is such an enthusiast in music as I have
singers could scarcely find standing seldom seen. He likes my little Venetian
room, to say nothing of seats, so over- piece very much, as well as one in B mi-
crowded did the rooms become.79 nor that I have composed here; also
Felix's duet and Capriccio in A minor,
The Sunday musicales, which Fanny contin- but above all Bach's concerto, which I
ued to hold until her death, became very prestigious have had to play for him at least ten
events, and it was not uncommon for royalty or visit- times.85
ing musical celebrities to be seen in the audi-
ence. For example, Franz Liszt and eight princesses In 1846, the friendship of another fine musi-
attended one of these concerts in 1844.80 But more cian, Robert von Keudell, provided Fanny with the
importantly, the musicales were also a valuable addi- same encouragement and support as had her earlier re-
tion to the cultural life of the city. Berlin had not yet lationship with Gounod. Of von Keudell, she
become the important musical centre it is today; its wrote:[He] keeps my music alive and in constant ac-
only concert organization was the Singakademie, tivity, as Gounod once did. He takes an intense inter-
whose repertoire consisted almost entirely of ac- est in everything that I write, and calls my attention to
knowledged masterpieces from the past. Fanny's re- any shortcomings; being generally in the right too.86
citals at Leipziger Strasse 3 did much to redress this Sebastian Hensel speculates that it may have
imbalance. Assisted by some of Berlin's finest in- been partially due to von Keudell's persuasion that his
strumentalists and singers, and occasionally by visit- mother decided to publish around this time. She had
ing foreign artists, such as English soprano Clara been approached by two rival Berlin publishers with a
Volume 5, Issue 2 Page 11

A Life of Music within Domestic Limits

view to bringing out more of her works, and Fanny ac-
cepted their offers.87 In July of 1846, she recorded in her [I] send you my professional blessing
diary: on becoming a member of the
craft. This I do now in full, Fance,
Bote & Bock have made offers to me the and may you have much happiness in
likes of which have perhaps never before giving pleasure to others; may you
been given to a dilettante composer of my taste only the sweets and none of the
sex, whereupon Schlesinger even outdid bitterness of authorship; may the pub-
them. I do not in the least imagine that this lic pelt you with roses, and never with
will continue, but am pleased at the mo- sand; and may the printer's ink never
ment, having decided to embark on this draw black lines on your soul--all of
course, to see my best works appear in which I devoutly believe will be the
print.88 case. 91

Reluctantly, she informed Felix of her decision: On the day she received Felix's letter,
Fanny confided the following to her diary: At last
I'm afraid of my brothers at age forty, as I Felix has written, and given me his professional
was of Father at age fourteen--or, more blessing in the kindest manner. I know that he is
aptly expressed, desirous of pleasing you not quite satisfied in his heart of hearts, but I am
and everyone I've loved throughout my glad he has said a kind word to me about it. 92
life. And when I know in advance that it With the exception of the previously men-
won't be the case, I thus feel rather uncom- tioned six early songs published in Felix's Opp. 8
fortable. In a word, I'm beginning to pub- and 9, Fanny's compositions were brought out un-
lish. . . . I hope I won't disgrace all of you der her married name. Her Op. 1 lieder and Op. 2
through my publishing, as I'm no femme character pieces for piano were issued in 1846; the
libre . . . I trust you will in no way be both- Gartenlieder (six part songs for a-cappella choir),
ered by it, since, as you can see, I've pro- Op. 3, and three further volumes of character
ceeded completely on my own in order to pieces for piano, Opp. 4-6, were issued in 1847.
spare you any possible unpleasant moment, All of these works were reviewed in the musical
and I hope you won't think badly of me. If press. Overall, the response of critics was favour-
it succeeds--that is, if the pieces are well able. The Op. 1 lieder were praised for their clean
liked and I receive additional offers--I harmony, the elegance of the accompanying fig-
know it will be a great stimulus to me, ures, and "the whole outer appearance," but the re-
something I've always needed in order to viewer found them lacking in "inner emotion" 93
create. If not, I'll be as indifferent as I've Another critique, an assessment of the Op. 2 piano
always been and not be upset, and then if I pieces, mentions that they were written by a
work less or stop completely, nothing will woman, "whose outward composition betrays no
have been lost by that either.89 trace of a female hand, but allows rather the suppo-
sition of a masculine, serious study of the art" 94
Felix, whose views on professional women com- The most laudatory of these reviews is an unusual-
posers had not changed, was displeased that his sister ly long and detailed critique of all four piano col-
had relinquished her amateur status without his con- lections, which concludes as follows: "We express
sent.90 A full month passed before he finally extended our sincere thanks to the artist for the publication
his congratulations to her. He wrote: of these works. They will be welcomed by every-
Page 12 The Kapralova Society Journal

Fanny Mendelssohn Hensel

one who cherishes beauty within art." 95 ter his sister, he also died of a series of strokes.103 One
Fanny was greatly encouraged by the suc- of his final acts was to arrange with Breitkopf &
cess of her publishing venture. Her diary entry of Hrtel, Leipzig's most prestigious music publishing
February 1847 reads: "It is enticing to have this house, to bring out more of Fanny's works.104
manner of success at an age when such pleasures, The fact that Schumann and Gounod held
for women who experience them at all, are usually Fanny Hensel in high esteem as a composer speaks
at an end."96 Inspired by these pleasures, she began volumes about the calibre of her music. From the lim-
to compose a piece of larger scale--the Trio in D ited number of her compositions available in print and
minor for piano, violin and cello. It was first per- on recordings, it is readily apparent that she was one of
formed at a musical evening in Rebecca's home on the supreme melodists of her age. Many of her lieder
April 11, 1847, where it "received a generally warm bear comparison to the finest of those of Schubert,
reception."97 Schumann and Brahms. Equally impressive are the
One month later, on Friday afternoon, May Gartenlieder, Op. 3, composed in 1846 for her own
14, while conducting a rehearsal by her choir of choir.105 Schumann was much taken with these part
Felix's Walpurgisnacht for the following Sunday songs. Shortly after their publication, he performed
musicale, Fanny suffered a stroke. She died at 11 them with his choir in Dresden.106 Hensel's numerous
o'clock the same night at the age of forty-one.98 Still character pieces for piano are similar in style and qual-
on her desk was her last song, "Bergeslust," which ity to Mendelssohn's Lieder ohne Worte. An interest-
she had completed the previous day. A setting of a ing work from the perspective of innovation is Das
poem by Eichendorff, its final line reads, "Thoughts Jahr, a cycle of twelve piano pieces representing the
and songs ascend to the kingdom of heaven." This months of the year, composed in 1841. The concept
was engraved on her tombstone. 99 for this work was unique in the history of piano litera-
Two men were totally devastated by Fanny's ture, predating Tchaikovsky's The Seasons by thirty-
death: her husband and Felix. Wilhelm, who sur- four years.
vived his wife by some fifteen years, went com- Since all of Hensels works were created for
pletely to pieces when she died. He lost all interest presentation at her Sunday musicales, it is important to
in his painting and soon gave it up. Fanny had remember that her choice of genres was largely dic-
managed the house, looked after the property, and tated by the performing forces at her disposal. It was
supervised the education of their son; Wilhelm also probably determined to some extent by the fact
found himself incapable of dealing with any of that her brother discouraged her from writing large-
these responsibilities. Rebecca and her husband scale works. However, on the evidence of such beauti-
took over the care of Sebastian, then a young man fully crafted, extended compositions as the Op. 11 Pi-
of sixteen, and Wilhelm wandered aimlessly during ano Trio, the E flat major String Quartet, and the G
his remaining years, dabbling in politics.100 minor Piano Sonata, one is led to speculate that, given
Already exhausted from overwork, and the same encouragement and professional opportun-
showing signs of failing health, Felix suffered a ities as her brother, she might well have become his ri-
death-blow at the news of his sister's demise. He val as a symphonist.
became seriously depressed, and could not even Fanny Mendelssohn Hensel was both a victim
bring himself to attend the funeral.101 He wrote and a survivor. In light of her upbringing, it must have
about Fanny on May 24: With her kindness and taken enormous courage for her to defy convention by
love she was part of myself every moment of my making the leap from the private sphere of the salon
life. . . . I make myself believe that the tragic news her allotted place as a female creatorto the public
will suddenly prove false; yet I know very well that sphere of the published composer. To borrow the
it is all true. I will never, never be able to get used words of a recent critic, "Although no one may have
to it.102 On November 4, less than six months af- danced to her 'piping' during her lifetime, to ignore her
Page 13 The Kapralova Society Journal

A Life of Music within Domestic Limits

now would be a very large loss indeed."107 20.Some of Fanny's composition exercises and contrapuntal stud-
ies dating from the years 1820-21, with corrections in Zelter's
NOTES hand, are known to exist in a private collection in Germany. Si-
1. For a list of Fanny Hensel's published works, see Franoise rota, p. 8.
Tillard, Fanny Mendelssohn, trans. Camille Naish (Portland, 21.Georg Schnemann, "Die Bachpflege der Berliner Singa-
Oregon: Amadeus Press, 1996), pp. 384-87. The largest col- kademie," Bach-Jahrbuch 25 (1928):151.
lection of Hensel's autograph scores is housed in the Staats- 22.Rudolf Elvers, Fanny Hensel: Dokumente ihres Lebens
bibliothek Preussischer Kulturbesitz, Mendelssohn-Archiv, (Berlin: Staatsbibliothek Preussischer Kulturbesitz, 1972), n.
Berlin. Other autographs are held by the Bodleian Library in p. [p. 7].
Oxford, Goethe-Museum and Heinrich Heine-Institut in 23.Sirota, p. 186.
Dsseldorf, Sammlung Rudolf Nydahl in Stockholm, Musik- 24.See Zelter to Goethe, 10 December 1824, quoted in Marek,
abteilung of the Deutsche Staatsbibliothek in Berlin, Library p. 124.
of Congress in Washington, D.C., and by private collectors in 25.Karl Mendelssohn-Bartholdy, Goethe and Mendelssohn, 2nd
Germany and England. For catalogues of these manuscripts, ed., trans. M. E. von Glehn (London: Macmillan, 1874), p. 24
see the following: Rudolf Elvers, "Verzeichnis der Musik- (hereafter cited by its title).
-Autographen von Fanny Hensel im Mendelssohn-Archiv zu 26.Ibid., pp. 24-25.
Berlin," Mendelssohn Studien 1 (1972):169-74; idem, 27.Fanny's Goethe songs are discussed in Marcia J. Citron, "The
"Weitere Quellen zu den Werken von Fanny Hensel," Men- Lieder of Fanny Mendelssohn Hensel," Musical Quarterly 49
delssohn Studien 2 (1975):215-20; pp. 300-29.; Victoria Ress- (1983): 577-78.
meyer Sirota, "The Life and Works of Fanny Mendelssohn 28.Quoted in Goethe and Mendelssohn, p. 35.
Hensel," Mus.A.D. dissertation, Boston University School for 29.Quoted in ibid., p. 50.
the Arts, 1981, pp. 300-29. 30.Goethe's assessment of woman's creative ability is quoted by
2.Herbert Kupferberg, The Mendelssohns: Three Generations Ferdinand Praeger, in response to the reading of Stephen
of Genius (New York: Charles Scribner's Sons, 1972), p. 94. S. Stratton's paper "Woman in Relation to Musical Art," Proceed-
3.Quoted in Sebastian Hensel, The Mendelssohn Family ings of the Musical Association (7 May 1883), p. 134.
(1729-1847), from Letters and Journals, 2nd ed., trans. Carl 31.Quoted in Hensel, 1:117.
Klingemann and an American collaborator, 2 vols. (New 32.Quoted in ibid.
York: Harper & Bros., 1881), 1:73. 33.Fanny to Felix, 28 October 1821, The Letters of Fanny Hensel
4.Kupferberg, p. 95. to Felix Mendelssohn, ed. and trans., with introductory essays and
5.Ibid., pp. 99-101. notes by Marcia J. Citron (New York: Pendragon Press, 1987),
6.George R. Marek, Gentle Genius: The Story of Felix Men- p.2,
delssohn (New York: Funk & Wagnalls, 1972), p. 88. 34.Kupferberg, p. 157
7.Ibid., pp. 82-83. 35.Felix Mendelssohn: Letters, ed. G. Selden-Goth (New
8.Hensel, 1:88 York: Pantheon Books, 1945), p. 76.
9.Sirota, p. 3. 36.Quoted in Hensel, 1:82.
10.Grove's Dictionary of Music and Musicians, 1910 ed., s. 37.Quoted in ibid., 1:84.
v. "Mendelssohn, Felix," by Sir George Grove. 38.Quoted in Citron, "The Lieder of Fanny Mendelssohn Hensel,"
11.Founded in 1791 by Carl Friedrich Christian Fasch, the p. 571 . Jean Paul Richter (1763-1825) was one of Fanny's fa-
Singakademie was Berlin's leading organization for the study vourite writers.
and performance of choral music, and one of the most impor- 39.Hensel, 2:30-31. Although past and present writers have
tant art institutions in Germany. speculated that her share in Felix's publications may have been
12.Marek, pp. 107-08. more extensive, composer/conductor Julius Rietz, an intimate
13.Ibid., p. 82. friend of Fanny and Felix, stated emphatically in 1864 that these
14.Hensel, 1:88. six songs are the sum total of Fanny's works published under her
15.Marek, pp. 80-81. brother's name. See Julius Rietz, Preface to his "Catalogue of All
16.Kupferberg, pp. 113-14. the Musical Compositions of Felix Mendelssohn Bartholdy," in
17.Hensel, 1:121. Letters of Felix Mendelssohn-Bartholdy, from 1833 to 1847,
18.Quoted in Emil F. Smidak, Isaak-Ignaz Moscheles : The ed. Paul Mendelssohn Bartholdy and Carl Mendelssohn Barthol-
Life of the Composer and his Encounters with Beethoven, dy, trans. Lady Wallace (Freeport, N.Y.: Books for Libraries
Liszt, Chopin and Mendelssohn (Aldershot, England: Scolar Press, 1970; a reprint of the 1864 ed.), p. 399. See also Hensel,
Press, 1989), p. 34. 2:31.
19.Susanna Grossmann-Vendrey, Felix Mendelssohn Barthol- 40.Kurze Anzeigen: Zwlf Gesnge mit Begleitung des Pianoforte,
dy und die Musik der Vergangenheit (Regensburg: Bosse Ver- componiert von Felix Mendelssohn-Bartholdy," Allgemeine musi-
lag, 1969), p. 15. kalische Zeitung 29 (28 November 1827), col. 813-15, quoted in
Page 14 The Kapralova Society Journal

Notes
Sirota, p. 27. 65.Quoted in Hensel, 1:252. The overture mentioned in this pas-
41.Felix to Fanny, 11 June 1830, Felix Mendelssohn: Letters, sage is probably Fanny's unpublished Overture in C major. The
p. 77. undated autograph of this work is in the Mendelssohn Archive.
42.Felix to Lea, 19 July 1842, ibid., pp. 307-08. For Queen 66.Hensel, 1:335.
Victoria's account of this event, see her diary entry of 9 July 67.Ibid., 2:31.
1842, quoted in Marek, p. 293. 68.Fanny to Klingemann, 15 July 1835, quoted in ibid., 2:31.
43.Quoted in Sirota, p. 33. 69.Quoted in ibid., 2:38.
44.See Felix to Abraham, Felix Mendelssohn: Letters, p. 193. 70.Fanny to Felix, 16 November 1836, The Letters of Fanny
45.Hensel, 1:197. Hensel to Felix Mendelssohn, p. 217.
46.See Fanny's diary entry of 31 August 1829, quoted in The 71.Hensel, 2:33.
Letters of Fanny Hensel to Felix Mendelssohn, p. 82. See also 72.The Letters of Fanny Hensel to Felix Mendelssohn, p. 214.
Fanny to Felix, 2 September 1829, ibid., pp. 80-81. 73.Fanny to Felix, 22 November 1836, ibid., p. 222.
47.John Thomson [J. T.], "Notes of a Musical Tourist," Har- 74.Felix to Fanny, 24 January 1837, quoted in Hensel, 2:31.
monicon 8 (1830): 99; reprint ed. (London: Gregg Interna- 75.See Leon B. Plantinga, Schumann as Critic (London and New
tional, 1971). Haven: Yale University Press, 1967; reprint ed., New York: Da
48.Hensel, 1:229. Capo, 1976), p. x.
49.Fanny to Felix, 3 October 1829, The Letters of Fanny 76.Felix to Fanny, 7 March 1837, quoted in Hensel, 2:30.
Hensel to Felix Mendelssohn, p. 90. 77.Quoted in Marcia J. Citron, "Felix Mendelssohn's Influence on
50.See Hensel, 1:241. The autograph of this work, a Prae- Fanny Mendelssohn Hensel as Professional Composer," Current
ludium in F major, dated September 28, 1829, and inscribed in Musicology 37/38 (1983):15.
German with the words for the third of October 1829, is 78.Felix to Lea, 24 June 1837, Letters of Felix Mendelssohn-
housed in the Library of Congress, Washington, D.C. Bartholdy, from 1833-1847, pp. 113-14. The published version
51.See Felix to his family, 11 August 1829, quoted in The Let- of this letter is incorrectly dated 2 June 1837. The date on the
ters of Fanny Hensel to Felix Mendelssohn, p. 78. For Fanny's New York Public Library autograph is 24 June 1837.
reply, see her letter of 25 August 1829, ibid., p. 77. 79.Hensel, 2:36.
52.Ibid., pp. 88-89. 80.See Fanny to Rebecca, 18 March 1844, quoted in ibid., 2:260.
53.Ibid., p. 91. The undated autograph of a Prludium in G ma- 81.Ibid., 2:36.
jor for organ by Fanny is in a private collection. I have been un- 82.Ibid., 1:252.
able to find a contemporary source stating whether this piece 83.Charles Gounod, Memoirs of an Artist: An Autobiography,
was actually performed at the wedding ceremony. trans. E. Crocker (Chicago and New York: Rand, McNally & Co.,
54.Hensel, 1:248. 1895), pp. 125-26. See also Hensel, 2:106.
55.Fanny to Felix, n.d. [c. early November 1829], The Letters 84.Gounod, p.125.
of Fanny Hensel to Felix Mendelssohn, p. 96. 85.Fanny's diary, 23 April 1840, quoted in Hensel, 2:101.
56.Fanny to Felix, 27 April 1834, ibid., p. 138. 86.Quoted in ibid., 2:325.
57.A reference to Molire's play Les Femmes savantes, in 87.Ibid.
which he pokes fun at "bluestockings." 88.Quoted in Rudolf Elvers, Preface to the score, Fanny Hensel,
58.Felix to Madame Kien, 1 June 1835, Library of Congress, Ausgewhlte Klavierwerke (Munich: Henle, 1986), p. vii.
Washington, D.C., quoted in Sirota, p. 85. 89.Fanny to Felix, 9 July 1846, The Letters of Fanny Hensel to
59.Based on Felix's letter of 22 February 1831, in which he Felix Mendelssohn, pp. 349-51.
congratulates Fanny for having revived this family tradition, the 90.Hensel, 2:325.
musicales were probably reinstated in January of 1831. See 91.Felix to Fanny, 12 August 1846, quoted in ibid., 2:326.
Letters of Felix Mendelssohn Bartholdy from Italy and Switzer- 92.Fanny's diary, 14 August 1846, quoted in ibid.
land, trans. Lady Wallace (Boston: Ditson, 1861), pp. 10-11. 93."Liederschau: Fanny Hensel, Op.1," Neue Zeitschrift fr Mu-
60.Hensel, 1:251-52. sik 26 (1 February 1847):38, as described in Sirota, p. 124. Also
61.See, for example, Fanny's diary entry of 19 July 1831, as de- quoted in Tillard, p. 330.
scribed in Sirota., p. 66. 94."Liederschau: Fanny Hensel, Op.1," Neue Zeitschrift fr Mu-
62.Fanny to Felix, 17 February 1835, The Letters of Fanny sik 26 (1 February 1847):38, as described in Sirota, p. 124. Also
Hensel to Felix Mendelssohn, p. 174. quoted in Tillard, p. 330.
63.See Felix to Fanny, 28 December 1831, Letters of Felix 95."ber die Clavier-Kompositionen von Fanny Hensel," Allge-
Mendelssohn Bartholdy from Italy and Switzerland, pp. 317- meine musikalische Zeitung 49 (1847):381-83, as described and
18. quoted in Citron, "Felix Mendelssohn's Influence on Fanny Men-
64.See Fanny to Felix, 4 February 1836, The Letters of Fanny delssohn Hensel as a Professional Composer," pp. 16-17.
Hensel to Felix Mendelssohn, p. 201. 96.Quoted in Elvers, Preface to Fanny Hensel, Ausgewhlte Kla-
Page 15 The Kapralova Society Journal

vierwerke, p. vii. Partita for piano and strings, op. 20

97.Fanny's diary entry of April 1847, quoted in ibid. The piano Czech Radio Publishing House | Prague 2006
trio was published posthumously as Op. 11.
98.Kupferberg, p. 225.
99.Sirota, p. 126. "Bergeslust" was later published as op. 10, The neo-classical Partita for piano and string orchestra, op.
no. 5. 20, the main achievement of Kaprlov's Paris studies
100.Kupferberg, p. 225. with Bohuslav Martin, occupies a rather unique
101.Ibid., p. 226. place in the context of the composer's creative out-
102.Felix to General von Webern, 24 May 1847, quoted in put. Kaprlov worked on this remarkable composi-
Marek, p. 312.
103.Kupferberg, p. 230.
tion for more than a year: she began sketching it in
104.See Felix to Paul Mendelssohn, 24 August 1847, Felix March 1938 and finished it in June 1939. The work
Mendelssohn: A Life in Letters, ed. Rudolf Elvers, trans. Craig was premiered by Jan Erml with the Czech Radio
Tomlinson (New York: Fromm International, 1986), p. 282. Orchestra, under the baton of Betislav Bakala, on 20
Four volumes of Fanny's works (Opp. 8-11) were eventually is- November 1941 in Brno. The composition was also
sued by Breitkopf & Hrtel in 1850. Her family also supervised much admired by the legendary Czech conductor
the publication of several isolated piano pieces and the op. 7 lie-
der, issued by Bote & Bock in 1848. Elvers, Preface to Fanny Rafael Kubelk who performed it on several occa-
Hensel, Ausgewhlte Klavierwerke, p. vii. sions with the Czech Philharmonic. It was first pub-
105.Fanny herself was especially fond of the Gartenlieder. She lished by Svoboda, a publishing house based in Pra-
wrote, "I spent some very pleasant time on these pieces and gue, under the title Partita per pianoforte ed orchestra d'ar-
therefore they mean more to me than other of my goodies." chi, op. 20. This is its 2nd edition.
Fanny to Felix, 1 February 1847, The Letters of Fanny Hensel
To order, write to nakladatelstvi@rozhlas.cz
to Felix Mendelssohn, p. 363.
106.Elke Mascha Blankenburg, CD booklet notes for Fanny
Mendelssohn-Hensel, Gartenlieder, trans. G. Thalmann, Leo-
narda Ensemble Kln/Blankenburg (Classic Produktion Os-
nabrck Digital Stereo 999 012-2, 1988), n.p. [p. 4.].
107.James Parsons, Emerging from the Shadows: Fanny Men-
delssohn and Clara Schumann, Opus 2 (February 1986): 31.

About the author:

Eugene Gates holds a B.A. in music (Acadia Univer-

sity), an M.A. in music criticism (McMaster Univer-
sity), and an Ed.D. in aesthetics of music (University
of Toronto). He teaches piano, organ, music history
and music appreciation at the Royal Conservatory of
Music, Toronto. He is also organist and choirmaster
of St. Barnabas Anglican Church, Toronto. His re-
search interests include women in music, historical
performance practice, and history of opera. His doc-
toral dissertation was on nineteenth-century women
composers. His articles on women composers and
other musical subjects have appeared in the Journal
of Aesthetic Education, Canadian Music Educator,
Journal of the American Liszt Society, Music Educa-
tors Journal, Tempo, VivaVoce, Czech Music, and
this journal.
 First, critical edition.
This project was initiated and financially supported by the Kapralova Society.

The Kapralova Society Journal

Editors: Karla Hartl, Editor-in-Chief, and Eugene Gates
Mailing address: www.kapralova.org/JOURNAL.htm
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