Chapter · January 1, 2021
The subject of this chapter, Fanny Hensel’s Lied in D major for piano solo, Op. 8, No. 3, might seem an anomalous choice for a volume devoted to the composer’s texted Lieder. But one could readily advance the argument that, like Schubert, Hensel was at her ...
Full textCite
Chapter · January 1, 2021
‘Every room in which Bach is performed is transformed into a church.’ We do not know the context for this remark attributed to Mendelssohn (sometime before March 1835), but it reflects one significant thread in the nineteenth-century ‘emancipation of music ...
Full textCite
Journal ArticleNineteenth-Century Music Review · December 1, 2018
History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually co ...
Full textCite
Book · January 1, 2013
When R. Larry Todd’s biography, Mendelssohn: A Life in Music, appeared in 2003, it won acclaim from several critics as a definitive biography. In researching Mendelssohn’s life over the last two and a half decades, Todd uncovered much new information about ...
Full textCite
Book · January 16, 2012
During the 1830s and 1840s the remarkably versatile composer-pianist-organist-conductor Felix Mendelssohn-Bartholdy stood at the forefront of German and English musical life. Bringing together previously unpublished essays by historians and musicologists, ...
Cite
Book · October 3, 2011
Granddaughter of the philosopher Moses Mendelssohn and sister of the composer Felix Mendelssohn Bartholdy, Fanny Hensel (1805-47) was an extraordinary musician who left well over four hundred compositions, most of which fell into oblivion until their redis ...
Full textCite
Chapter · January 1, 2021
The subject of this chapter, Fanny Hensel’s Lied in D major for piano solo, Op. 8, No. 3, might seem an anomalous choice for a volume devoted to the composer’s texted Lieder. But one could readily advance the argument that, like Schubert, Hensel was at her ...
Full textCite
Chapter · January 1, 2021
‘Every room in which Bach is performed is transformed into a church.’ We do not know the context for this remark attributed to Mendelssohn (sometime before March 1835), but it reflects one significant thread in the nineteenth-century ‘emancipation of music ...
Full textCite
Journal ArticleNineteenth-Century Music Review · December 1, 2018
History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually co ...
Full textCite
Book · January 1, 2013
When R. Larry Todd’s biography, Mendelssohn: A Life in Music, appeared in 2003, it won acclaim from several critics as a definitive biography. In researching Mendelssohn’s life over the last two and a half decades, Todd uncovered much new information about ...
Full textCite
Book · January 16, 2012
During the 1830s and 1840s the remarkably versatile composer-pianist-organist-conductor Felix Mendelssohn-Bartholdy stood at the forefront of German and English musical life. Bringing together previously unpublished essays by historians and musicologists, ...
Cite
Book · October 3, 2011
Granddaughter of the philosopher Moses Mendelssohn and sister of the composer Felix Mendelssohn Bartholdy, Fanny Hensel (1805-47) was an extraordinary musician who left well over four hundred compositions, most of which fell into oblivion until their redis ...
Full textCite
