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Complete Songs Vol. 3
Fanny Mendelssohn-Hensel

Malcolm Martineau

Complete Songs Vol. 3

Price: € 19.95
Format: CD
Label: Champs Hill
UPC: 5060212591319
Catnr: CHRCD 124
Release date: 03 November 2017
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Label
Champs Hill
UPC
5060212591319
Catalogue number
CHRCD 124
Release date
03 November 2017

"Malcolm Martineau weaves the piano accompaniment beautifully by the vocal parts and clearly shines the intense chromaticism of Fanny Hensel. The CD booklet contains an excellent essay by Susan Youens about Fanny Hensel and the repertoire on the CD and all song lyrics with English translation."

Opera Nederland, 20-11-2017
Album
Artist(s)
Composer(s)
Press
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About the album

For this third volume in a complete survey of Mendelssohn songs, Malcolm Martineau shines the spotlight on ‘the other Mendelssohn’, with a complete volume of songs by his sister Fanny Hensel. Her professional attitude to domestic music-making is decribed by Martineau as ‘revolutionary’ and her early death, within five months of her celebrated brother, was a great loss to the musical world.

Artist(s)

Malcolm Martineau (piano)

Malcolm Martineau was born in Edinburgh, read Music at St Catharine’s College, Cambridge and studied at the Royal College of Music.  Recognised as one of the leading accompanists of his generation, he has worked with many of the world’s greatest singers including Sir Thomas Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, Susan Graham, Thomas Hampson, Della Jones, Simon Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Solveig Kringelborn, Jonathan Lemalu, Dame Felicity Lott, Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade, Sarah Walker and Bryn Terfel. He has presented his own series at the Wigmore Hall (a Britten and a Poulenc series and Decade by...
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Malcolm Martineau was born in Edinburgh, read Music at St Catharine’s College, Cambridge and studied at the Royal College of Music.

Recognised as one of the leading accompanists of his generation, he has worked with many of the world’s greatest singers including Sir Thomas Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Gheorghiu, Susan Graham, Thomas Hampson, Della Jones, Simon Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Solveig Kringelborn, Jonathan Lemalu, Dame Felicity Lott, Christopher Maltman, Karita Mattila, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Michael Schade, Frederica von Stade, Sarah Walker and Bryn Terfel.

He has presented his own series at the Wigmore Hall (a Britten and a Poulenc series and Decade by Decade – 100 years of German Song broadcast by the BBC) and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughout Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera House; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie and Konzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein), North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia (including the Sydney Opera House) and at the Aix en Provence, Vienna, Edinburgh, Schubertiade, Munich and Salzburg Festivals.

Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel (for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI); recital recordings with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena (for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (for NMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and Tom Krause; the complete Britten Folk Songs for Hyperion; the complete Beethoven Folk Songs for Deutsche Grammophon; the complete Poulenc songs for Signum; and Britten Song Cycles as well as Schubert’s Winterreise with Florian Boesch for Onyx.

This season’s engagements include appearances with Simon Keenlyside, Magdalena Kozena, Dorothea Röschmann, Susan Graham, Christopher Maltman, Thomas Oliemanns, Kate Royal, Christiane Karg, Iestyn Davies, Florian Boesch and Anne Schwanewilms.

He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm was the Artistic Director of the 2011 Leeds Lieder Festival.


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Kitty Whately (mezzo soprano)

Kitty Whately trained at Chetham’s School of Music, the Guildhall School of Music and Drama, and the Royal College of Music International Opera School. She won both the Kathleen Ferrier Award and the 59th Royal Overseas League Award in 2011, and was part of the prestigious Verbier Festival Academy where she appeared as Cherubino in Le Nozze di Figaro and in Beethoven’s Choral Fantasy. Kitty was a BBC New Generation Artist from 2013-15, during which time she recorded her debut solo album This Other Eden (Champs Hill Records), made recordings with BBC orchestras, commissioned a new song cycle by Jonathan Dove (included on this album) and made several appearances at the BBC Proms. Opera highlights include the world premiere of Vasco...
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Kitty Whately trained at Chetham’s School of Music, the Guildhall School of Music and Drama, and the Royal College of Music International Opera School. She won both the Kathleen Ferrier Award and the 59th Royal Overseas League Award in 2011, and was part of the prestigious Verbier Festival Academy where she appeared as Cherubino in Le Nozze di Figaro and in Beethoven’s Choral Fantasy. Kitty was a BBC New Generation Artist from 2013-15, during which time she recorded her debut solo album This Other Eden (Champs Hill Records), made recordings with BBC orchestras, commissioned a new song cycle by Jonathan Dove (included on this album) and made several appearances at the BBC Proms.

Opera highlights include the world premiere of Vasco Mendonca’s The House Taken Over directed by Katie Mitchell, with performances in Antwerp, Strasbourg, Luxembourg, Bruges and Lisbon; Rosina in Il barbiere di Siviglia and Stewardess in Jonathan Dove’s Flight (Opera Holland Park); Hermia in A Midsummer Night’s Dream (Bergen National Opera); Kate in Owen Wingrave (Opera National de Lorraine); Dorabella in Così fan tutte (English Touring Opera) and Ippolita / Pallade in Cavalli’s Elena in Montpellier and Versailles for the Aix-en-Provence Festival.

Kitty is in high demand as a concert artist and has given performances with most of the UK’s major orchestras, including Duruflé’s Requiem and Mozart’s Requiem (Royal Philharmonic Orchestra), Bach’s B Minor Mass (Royal Northern Sinfonia and Scottish Chamber Orchestra), Beethoven’s Mass in C Major (Philharmonia Orchestra), Mendelssohn’s A Midsummer Night’s Dream (Ulster Orchestra), Haydn’s Nelson Mass (Britten Sinfonia on tour in Spain and the Netherlands) and Bach’s Magnificat (Britten Sinfonia and Choir of King’s College Cambridge). Further performances include Elgar’s Dream of Gerontius at St John’s Smith Square and Handel’s Messiah at the Royal Albert Hall. Kitty has given recitals at Wigmore Hall, Leighton House, and the Edinburgh, Oxford Lieder, Leeds Lieder and Buxton festivals, working regularly


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Susana Gaspar (soprano)

Gary Griffiths (baritone)

Manuel Walser (baritone)

Composer(s)

Fanny Mendelssohn-Hensel

Fanny Mendelssohn, in full Fanny (Cäcilie) Mendelssohn-Bartholdy, married name Fanny Hensel (November 14, 1805, Hamburg, Germany - May 14, 1847, Berlin, Prussia), was a German pianist and composer, the eldest sister and confidante of the composer Felix Mendelssohn. She composed over 460 pieces of music. Her compositions include a piano trio and several books of solo piano pieces and songs. A number of her songs were originally published under her brother's name in his opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name Lieder für das Pianoforte (Songs for the piano, a parallel to Felix's Songs without Words. Fanny Hensel grew up in a well-situated and highly cultured Berlin family....
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Fanny Mendelssohn, in full Fanny (Cäcilie) Mendelssohn-Bartholdy, married name Fanny Hensel (November 14, 1805, Hamburg, Germany - May 14, 1847, Berlin, Prussia), was a German pianist and composer, the eldest sister and confidante of the composer Felix Mendelssohn. She composed over 460 pieces of music. Her compositions include a piano trio and several books of solo piano pieces and songs. A number of her songs were originally published under her brother's name in his opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name Lieder für das Pianoforte (Songs for the piano, a parallel to Felix's Songs without Words.
Fanny Hensel grew up in a well-situated and highly cultured Berlin family. She and her younger brothers and sister Felix, Rebecca and Paul all received excellent education. The banker Abraham Mendelssohn Bartholdy and his wife Lea were quick to recognise Fanny's exceptional musical talent and, just like her brother Felix, she received instruction from the best music teachers available. In 1816, during a period of several months spent in Paris, the children studied piano with Marie Bigot de Morogues, who was a particular favourite of Haydn's and Beethoven's.
After returning to Berlin they took lessons with the well-known Beethoven interpreter Ludwig Berger. Abraham Mendelssohn hired the conscientious Carl Friedrich Zelter, a friend of Goethe's and the director of the Berliner Singakademie, to teach his children music theory and composition. Fanny soon became known to the Mendelssohn's circle of friends and acquaintances not just as an excellent pianist but also as the composer of lieder and piano pieces. In an obituary written just after Fanny's sudden death, the Berlin music critic Ludwig Rellstab wrote that she had shared "a partnership of talent" with her famous brother and "had achieved a level of musical knowledge which few other artists who have dedicated their lives to music could claim".
While Felix's education included lengthy travels and he was able to try himself as a conductor and pianist and become acquainted with the famous musicians of the times, Fanny was faced with many restrictions. At the age of 14 her father reminded her to concentrate on her future role as a wife and mother. Her musical activities did not reach beyond the bounds of the Mendelssohn's circle: public concerts and the publication of musical works were not deemed to be womanly activities. As Jews who had converted to Protestantism the Mendelssohns were particularly eager to live according to bourgeois convention. Restricted to the domestic realm, the majority of Fanny Hensel's compositions were piano pieces and lieder which could be performed in the evening concerts held at the Mendelssohn's home. Works such as the Piano Quartet written in 1822 remain unusual for her work during this time. In an attempt to make her compositions known beyond the inner circle of family friends, in 1827 and 1830 she found opportunity to publish five lieder and a duet with piano accompaniment under Felix Mendelssohn's name in his Liederheften op. 8 and 9. She made presents of copies of her lieder and piano pieces to friends and acquaintances.
Nevertheless, Fanny Hensel was able to reach at least a small circle of concert-goers by presenting her works in the ‘Sonntagsmusiken’ which were established during the early 1820s. Following the example of Zelter's ‘Freitagsmusiken’, Abraham Mendelssohn hired musicians from the Hofkapelle to play in these concerts which took place at the Mendelssohn's home every other Sunday from 11 a.m. to 2 p.m.. This gave both Felix and Fanny a chance to perform works by earlier and contemporary composers and to try out their own works in a semi-public setting with a hand-picked audience.
In 1829, when Felix left home to embark upon his first extended trip to England, the "Sonntagsmusiken" were not continued. In the spring of 1831 Fanny, who had married Wilhelm Hensel in October 1829, decided to reinstate these concerts which, as reported by Rellstab, were "a musical festival of the most unusual sort, in which meticulous interpretations of classical works of former and current times could be heard and the pleasure was enhanced by the performances or mere presence of the very best Berlin musicians or those from elsewhere who visited our city." Fanny Hensel conducted and accompanied her choir which consisted of about twenty singers giving, joined by instrumentalists who were friends of hers, high-level performances of oratorios, opera arias and chamber music by Bach, Mozart, Beethoven, Weber and Mendelssohn. Here she was also able to make her own works known.
These concerts became increasingly well attended over the years with Fanny presenting her works for piano solo, her lieder, duets, choral songs, the scene Hero and Leander for Soprano and Piano or Orchestra, the Piano Trio which appeared posthumously as op. 2 as well as the Orchestral Ouverture of 1830, for the première of which the Orchestra of the Königstädter Theater was engaged. In addition to the friends and acquaintances who came to the "Sonntagsmusiken", quite a number of famous people attended: the Humboldt brothers, Franz Liszt, Clara Wieck-Schumann, Johanna Kinkel, Heinrich Heine etc. These concerts with which, according to Rellstab, Fanny Hensel "to whom we are much indebted, enriched the artistic life in our town", made up for some of the restrictions she was forced to live with. Conducting such concerts had a positive effect on her work as a composer. In 1831, she composed larger works for soloists, choir and orchestra such as the cantatas Hiob en Lobgesang and Musik für die toten der cholera-epidemie.
In 1839/40 the Hensel family was finally able to fulfil a long-standing wish: they spent a year travelling in Italy. This year was among the happiest in Fanny's life. In Italy she finally received recognition for her work beyond the family circle and became acquainted with various musicians who thought highly of her work and were supportive of her creativity.
The young Charles Gounod, for example, wrote the following in his memories, "Mrs. Hensel was an extremely learned musician and played the piano very well. Despite her small, slight figure she was a woman of excellent intellect and full of energy that could be read in her deep, fiery eyes. Along with all this she was an extremely talented pianist...". After returning to Berlin, Fanny composed her most important piano work, the biographical cycle Das Jahr (1841). During the epoch in which she lived Fanny was the only composer to use the idea of depicting each of the twelve months of the year musically.
It was only in the last year of her life that Fanny, encouraged by the family friend Robert von Keudall and despite her brother's explicit objections, found the courage to start systematically having her works printed. Thus, in 1846 lieder, a cappella choral songs and piano pieces appeared with the opus numbers 1 to 7.
She was not to carry through further publications of her works: Fanny Hensel died of a stroke suffered during a rehearsal for one of her "Sonntagsmusiken" on May 14th, 1847.
Following the death of his sister, Felix Mendelssohn fell into a deep depression; he died suddenly on November 4th of the same year. Upon the request of his brother-in-law Wilhelm Hensel, he had arranged for several of Fanny's further works to be published. They appeared in 1850. In 1987, the Furore Verlag began publishing those of her works which had remained unprinted. Today Fanny Hensel born Mendelssohn is considered to be one of the most important composers of the romantic era.
Source: http://www.fannyhensel.de/bio_frame.htm
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Press

Malcolm Martineau weaves the piano accompaniment beautifully by the vocal parts and clearly shines the intense chromaticism of Fanny Hensel. The CD booklet contains an excellent essay by Susan Youens about Fanny Hensel and the repertoire on the CD and all song lyrics with English translation.
Opera Nederland, 20-11-2017

Play album Play album
01.
Morgenständchen Op.1 No.5
02:07
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
02.
Ich kann wohl manchmal singen
02:23
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
03.
Im Herbst
02:25
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
04.
Vorwurf Op.10 No.2
02:39
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
05.
Traurige Wege
03:47
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
06.
Der Eichwald brauset
01:20
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
07.
Gegenwart
03:22
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
08.
Gleich Merlin, dem eitlen Weisen
01:49
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
09.
Das Meer erglänzte weit hinaus
03:02
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
10.
Fichtenbaum und Palme
02:21
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
11.
Ach, die Augen sind es wieder
01:22
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
12.
Die frühen Gräber Op.9 No.4
04:09
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
13.
Warum sind denn die Rosen so blass Op.1 No.3
02:13
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
14.
Harfner?s Lied
02:17
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
15.
Dämmrung senkte sich von oben
02:22
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
16.
Suleika
03:02
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
17.
Die Schiffende
03:38
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
18.
Kein Blick der Hoffnung
01:47
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
19.
Die Mainacht Op.9 No.6
03:37
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
20.
Über allen Gipfel ist Ruh
01:32
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
21.
Wanderers Nachtlied
02:27
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
22.
Nach Süden Op.10 No.1
02:00
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
23.
Wanderlied Op.1 No.2
01:55
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
24.
Bergeslust Op.10 No.5
01:45
(Fanny Mendelssohn-Hensel) Malcolm Martineau, Kitty Whately, Susana Gaspar, Gary Griffiths, Manuel Walser
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