Fanny Hensel's Lied Aesthetic

Rodgers, Stephen

doi:10.1080/01411896.2011.588641

Journal of Musicological Research

2011

DOI: 10.1080/01411896.2011.588641

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Fanny Hensel's Lied Aesthetic

Stephen Rodgers¹

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“…A willingness to rethink analytical paradigms similarly underpins Stephen Rodgers's chapter on Fanny Hensel's Lieder, where he probes the relationship between fantasy and formalism (see also Rodgers 2011). These concepts, Rodgers suggests, ‘need not be seen as contradictory’ (as tends to be the case); rather, Hensel's ‘fantasy‐like passages result less from experimentation outside structural archetypes than from experimentation with structural archetypes’ (p. 152; italics in the original).…”

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confidence: 99%

LaurelParsons and BrendaRavenscroft (eds), Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900 (Oxford and New York: Oxford University Press, 2018). xi + 273 pp. £41.99 (hb). ISBN: 9780190237028.

Davies¹

2022

Music Analysis

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confidence: 99%

LaurelParsons and BrendaRavenscroft (eds), Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900 (Oxford and New York: Oxford University Press, 2018). xi + 273 pp. £41.99 (hb). ISBN: 9780190237028.

Davies¹

2022

Music Analysis

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Formal Excess in the Opening Movement of Fanny Hensel’s String Quartet in E♭ Major (1834)

Kim¹

2023

Music Theory Spectrum

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This article analyzes the Adagio opening movement of Fanny Hensel’s sole string quartet by reading the ways in which it dialogues with several genres: the increasingly independent early nineteenth-century slow introduction; the slow first movement; eighteenth- and early nineteenth-century sonata form; and the fantasia. I build this generic context by considering the historical development of the slow introduction and drawing attention to such overlapping identities in two cello sonata movements by Ludwig van Beethoven and in Hensel’s Sonata o Fantasia in G minor for Piano and Cello (1829).

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Prolongational Closure in the Lieder of Fanny Hensel

Rodgers

Osborne

2020

MTO

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In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from a study of Hensel’s works—".fn_scaledegree(5)."–".fn_scaledegree(1)." fill, dominant substitution, and early pedal—and suggest that Hensel’s fascination with non-cadential endings offers yet more evidence that she was one of the most inventive composers in the first half of the nineteenth century.

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Fanny Hensel's Lied Aesthetic

Cited by 3 publications

References 0 publications

LaurelParsons and BrendaRavenscroft (eds), Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900 (Oxford and New York: Oxford University Press, 2018). xi + 273 pp. £41.99 (hb). ISBN: 9780190237028.

LaurelParsons and BrendaRavenscroft (eds), Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900 (Oxford and New York: Oxford University Press, 2018). xi + 273 pp. £41.99 (hb). ISBN: 9780190237028.

Formal Excess in the Opening Movement of Fanny Hensel’s String Quartet in E♭ Major (1834)

Prolongational Closure in the Lieder of Fanny Hensel

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