Fanny Hensel's Lied Aesthetic

@article{Rodgers2011FannyHL,
  title={Fanny Hensel's Lied Aesthetic},
  author={S. Rodgers},
  journal={Journal of Musicological Research},
  year={2011},
  volume={30},
  pages={175 - 201}
}
  • S. Rodgers
  • Published 2011
  • Art
  • Journal of Musicological Research
The bulk of research on Fanny Mendelssohn Hensel to date has focused primarily on either the historical or editorial; analysis of her music, however, is rare. Turning the lens on Hensel's songs for solo voice is a step toward rectifying this situation. What defines the Henselian Lied? What makes her songs distinctive and unmistakably her own? What, in short, was her Lied aesthetic? An examination of two of her songs from the late 1820s, “Verlust” (1827) and “Die frühen Gräber” (1828), uncovers… Expand

References

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Thrasybulos Georgiades also writes eloquently of the song's "animated gestures of intensified expression
  • Lyric as Musical Structure: Schubert's Wandrers Nachtlied
  • 1986
45, and Wulf Segebrecht
  • Johann Wolfgang Goethes Gedicht 'Über allen Gipfeln ist Ruh' und seine Folgen. Zum Gebrauchswert klassischer Lyrik: Text, Materialien, Kommentar
  • 1978
Thrasybulos Georgiades also writes eloquently of the song's " animated gestures of intensified expression " in " Lyric as Musical Structure: Schubert's Wandrers Nachtlied
  • Schubert: Critical and Analytical Approaches