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THE LIFE AND WORKS OF FANNY MENDELSS...

SIROTA, VICTORIA RESSMEYER.

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THE LIFE AND WORKS OF FANNY MENDELSSOHN HENSEL (GERMANY).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE LIFE AND WORKS OF FANNY MENDELSSOHN HENSEL (GERMANY)./
作者:	SIROTA, VICTORIA RESSMEYER.
面頁冊數:	354 p.
附註:	Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2358.
Contained By:	Dissertation Abstracts International42-06A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8126666

THE LIFE AND WORKS OF FANNY MENDELSSOHN HENSEL (GERMANY).
SIROTA, VICTORIA RESSMEYER.

THE LIFE AND WORKS OF FANNY MENDELSSOHN HENSEL (GERMANY). - 354 p.

Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2358.

Thesis (A.Mus.D.)--Boston University School for the Arts, 1981.

Fanny Mendelssohn Hensel (1805-1847) received the same musical training as her younger brother, Felix Mendelssohn Bartholdy, and composed close to five hundred compositions in her lifetime. Her most significant contributions are her lieder (which number around three hundred), and her Lieder ohne Worte for piano. She also composed vocal duets, trios, and part songs; organ music and piano duets; cantatas and an oratorio, an overture, and chamber music.Subjects--Topical Terms:

516178
Music.

THE LIFE AND WORKS OF FANNY MENDELSSOHN HENSEL (GERMANY).
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245 1 4 $a THE LIFE AND WORKS OF FANNY MENDELSSOHN HENSEL (GERMANY).
300 $a 354 p.
500 $a Source: Dissertation Abstracts International, Volume: 42-06, Section: A, page: 2358.
502 $a Thesis (A.Mus.D.)--Boston University School for the Arts, 1981.
520 $a Fanny Mendelssohn Hensel (1805-1847) received the same musical training as her younger brother, Felix Mendelssohn Bartholdy, and composed close to five hundred compositions in her lifetime. Her most significant contributions are her lieder (which number around three hundred), and her Lieder ohne Worte for piano. She also composed vocal duets, trios, and part songs; organ music and piano duets; cantatas and an oratorio, an overture, and chamber music.
520 $a This dissertation presents a biography of her life in the first two chapters, including new information previously unpublished from letters and manuscripts. Chapter Three discusses the sources for her music, and Chapters Four through Six provide an overview and analysis of her music by genre, with more detailed analysis of two of her finest pieces, her Op. 8, No. 1, Lied ohne Worte, and her Op. 7, No. 6, lied Dein ist mein Herz, both of which appear in the Appendix. The list of her works in the reference section at the end of this dissertation is based on original research in Berlin, Oxford, and Washington, D.C., and is the most comprehensive listing of works by title compiled to date.
520 $a In her mature period as a composer, Fanny Hensel focused on her specific talent as a song writer, and poured her compositional skill into expanding the Lied ohne Worte into something more sophisticated than a simple character piece, more similar to a Brahms intermezzo. 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. Her employment of harmonic progressions based on third motion, which result in structural cross relations, and emphasis on the subdominant are indicative of her progressive harmonic thinking which is derived from Beethoven. Her extension of Beethovenian harmonic language can only be compared to Schubert, a composer whose works she probably did not know.
520 $a Historically, Hensel has always been considered important for her extensive correspondence and diaries, which provide many interesting revelations about Felix Mendelssohn Bartholdy. She was also a central figure in the musical life in Berlin, and expanded the intimate Mendelssohn Sonntagsmusik (Sunday concerts) into something approaching a public event of great reputation, for which she chose the repertoire, accompanied, performed and conducted a choir. This dissertation reveals that her importance as a composer has been severely underestimated, and that many of her distinguished compositions deserve to be revived and performed.
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