Mendelssohn-Henschel Lieder
Heard in sequence as they should be, these long-neglected [song] songs reveal their strength
View record and artist detailsRecord and Artist Details
Composer or Director: Felix Mendelssohn, Fanny Mendelssohn-Hensel
Label: Hyperion
Magazine Review Date: 3/2000
Media Format: CD or Download
Media Runtime: 72
Mastering:
DDD
Catalogue Number: CDA67110
Tracks:
| Composition | Artist Credit |
|---|---|
| (6) Lieder |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| Ich wandelte unter den Baümen |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| (Die) Schiffende |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| Traum |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| Suleika |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| Dämmrung senkte sich von oben |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| Nach Süden |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| (5) Lieder |
Fanny Mendelssohn-Hensel, Composer
Eugene Asti, Piano Fanny Mendelssohn-Hensel, Composer Susan Gritton, Soprano |
| (12) Lieder, Movement: No. 3, Italien (wds. Grillparzer) |
Felix Mendelssohn, Composer
Eugene Asti, Piano Felix Mendelssohn, Composer Susan Gritton, Soprano |
Author: John Steane
In 1836 Fanny Mendelssohn, now married to Wilhelm Hensel, wrote that her songs lay 'unheeded and unknown'. Until very recently, nothing much had changed in that respect. Scholars, of course, have long been aware of the songs (some 300 of them), and Lorraine Gorrell's The Nineteenth-Century Lied (Amadeus: 1993) has a seminal chapter, which may in turn have prompted the interest that inspired this record, and which, by remarkable coincidence (if it is one), uses the same painting, Friedrich's Woman at a Window, for its cover. Professor Gorrell concludes, modestly enough, that Fanny's 'unique voice deserves to be heard, for she has justly earned a place among the respected Lieder composers of the 19th century'. This record ensures that what has been earned can also be gained.
A few single songs have appeared in concert programmes and, if my own reactions are at all typical, have registered as pleasant, delightful even, but rather too comfortable and conventional to reward any more sustained attention. This is now proved to be untrue. Heard in sequence, as here, the songs reveal their strength. The melodies are more athletic, the piano parts more varied, the modulations more expressive than one may have thought. The choice of text - more of Goethe than of any other poet - challenges thoughtfulness. There is also a curious feature of the music: though the excellent commentary on the songs often suggests a reminiscence on Fanny's part (of Bach or Schubert or Schumann), the associations in a present-day listener's mind are likely to be forward as often as back. Die fruhen Graber (Op 9 No 4), for instance, is compared to 'a Bach organ chorale'; and yet as one searches in the mind to identify a kinship for that unusually deep-toned piano writing, the name which surfaces is not Bach but Brahms.
In less sensitive hands than Eugene Asti's this could sound muddy, and much else might sound merely complacent; but his clarity and feeling for rhythm and harmony obviate that. Similarly, a springlike voice such as Susan Gritton's could have confirmed the impression that pleasantness was all, whereas she is quite remarkably good at deepening the colours (as in Der Ersehnte, Op 9 No 1) and concentrating the mind (as in Im Herbste, Op 10 No 4). An excellent record: enterprising programme, fresh young artists, fine presentation. Typical Hyperion, in short.'
A few single songs have appeared in concert programmes and, if my own reactions are at all typical, have registered as pleasant, delightful even, but rather too comfortable and conventional to reward any more sustained attention. This is now proved to be untrue. Heard in sequence, as here, the songs reveal their strength. The melodies are more athletic, the piano parts more varied, the modulations more expressive than one may have thought. The choice of text - more of Goethe than of any other poet - challenges thoughtfulness. There is also a curious feature of the music: though the excellent commentary on the songs often suggests a reminiscence on Fanny's part (of Bach or Schubert or Schumann), the associations in a present-day listener's mind are likely to be forward as often as back. Die fruhen Graber (Op 9 No 4), for instance, is compared to 'a Bach organ chorale'; and yet as one searches in the mind to identify a kinship for that unusually deep-toned piano writing, the name which surfaces is not Bach but Brahms.
In less sensitive hands than Eugene Asti's this could sound muddy, and much else might sound merely complacent; but his clarity and feeling for rhythm and harmony obviate that. Similarly, a springlike voice such as Susan Gritton's could have confirmed the impression that pleasantness was all, whereas she is quite remarkably good at deepening the colours (as in Der Ersehnte, Op 9 No 1) and concentrating the mind (as in Im Herbste, Op 10 No 4). An excellent record: enterprising programme, fresh young artists, fine presentation. Typical Hyperion, in short.'
Mendelssohn-Henschel Lieder
Explore the world’s largest classical music catalogue on Apple Music Classical.
Included with an Apple Music subscription. Download now.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £9.20 / month
Subscribe
Gramophone Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £11.45 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.