Book contents
- Hensel: String Quartet in E flat
- New Cambridge Music Handbooks
- Hensel: String Quartet in E flat
- Copyright page
- Contents
- Figures
- Tables
- Musical Examples
- Preface
- 1 Introduction
- 2 Background
- 3 Genesis and Private Reception
- 4 First Movement
- 5 Second Movement
- 6 Third Movement
- 7 Finale
- 8 Responding to the Quartet
- Select Bibliography
- Index
- References
Select Bibliography
Published online by Cambridge University Press: 07 December 2023
Book contents
- Hensel: String Quartet in E flat
- New Cambridge Music Handbooks
- Hensel: String Quartet in E flat
- Copyright page
- Contents
- Figures
- Tables
- Musical Examples
- Preface
- 1 Introduction
- 2 Background
- 3 Genesis and Private Reception
- 4 First Movement
- 5 Second Movement
- 6 Third Movement
- 7 Finale
- 8 Responding to the Quartet
- Select Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Hensel: String Quartet in E flat , pp. 116 - 118Publisher: Cambridge University PressPrint publication year: 2023
References
Select Bibliography
Bartsch, Cornelia, ‘Fanny Hensels einziges Streichquartett – ein Problemfall? Fanny Hensels Streichquartett zwischen Zuweisungen und Aneignung’, in von Braunmühl, Claudia (ed.), Etablierte Wissenschaft und feministische Theorie im Dialog (Berlin: Berliner Wissenschafts-Verlag, 2003), pp. 135–58.Google Scholar
Bartsch, Cornelia, Fanny Hensel, geb. Mendelssohn: Musik als Korrespondenz (Kassel: Furore, 2007).Google Scholar
Borchard, Beatrix and Schwarz-Danuser, Monika (eds.), Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligskeitsideal und romantischer Musikästhetik (Stuttgart: J. B. Metzler, 1999).Google Scholar
Cadenbach, Rainer, ‘“Die weichliche Schreibart”, “Beethovens letzte Jahre” und “ein gewisses Lebensprinzip”: Perspektiven auf Fanny Hensels spätes Streichquartett (1834)’, in Borchard, Beatrix and Schwarz-Danuser, Monika (eds.), Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligskeitsideal und romantischer Musikästhetik (Stuttgart: J. B. Metzler, 1999), pp. 141–64.Google Scholar
Cai, Camilla, ‘Fanny Hensel’s “Songs for Pianoforte” of 1836–37: Stylistic Interaction with Felix Mendelssohn’, Journal of Musical Research, 14 (1994), 66–73.Google Scholar
Head, Matthew, ‘Genre, Romanticism and Female Authorship: Fanny Hensel’s “Scottish” Sonata in G Minor (1843)’, Nineteenth-Century Music Review, 4/2 (2007), 67–88.CrossRefGoogle Scholar
Hellwig-Unruh, Renate, ‘Zur Entstehung von Fanny Hensels Streichquartett in Es-Dur (1829/34)’, in Borchard, Beatrix and Schwarz-Danuser, Monika (eds.), Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligskeitsideal und romantischer Musikästhetik (Stuttgart: J. B. Metzler, 1999), pp. 121–40.Google Scholar
Helmig, Martina (ed.), Fanny Hensel, geb. Mendelssohn Bartholdy: Das Werk (Munich: edition text+kritik, 1997).Google Scholar
Hensel, Fanny, Tagebücher, ed. Klein, Hans-Günter and Elvers, Rudolf (Wiesbaden: Breitkopf & Härtel, 2002).Google Scholar
Hensel, Fanny, The Letters of Fanny Hensel to Felix Mendelssohn, Collected, Edited and Translated with Introductory Essays and Notes, ed. and trans. Citron, Marcia (Stuyvesant, NY: Pendragon, 1987).Google Scholar
Hensel, Sebastian, Die Familie Mendelssohn 1729–1847: Nach Briefen und Tagebüchern, 3 vols. (Berlin: B. Behr, 1879), English translation as The Mendelssohn Family (1729–1847): From Letters and Journals, trans. Carl Klingemann [d.J.], 2 vols. (London: Sampson Low, 1882).Google Scholar
Huber, Annegret, ‘Das Konzept der Montage als analytische Kategorie: Fanny Hensels Metaphernspiel um “Jugend/Altersschwäsche” in neuem Licht’, in Digitale Festschrift für Beatrix Borchard zum 65. Geburtstag, 2016. https://mugi.hfmt-hamburg.de/BeatrixBorchard/index.html%3Fp=59.html. Last accessed 9 May 2021.Google Scholar
Huber, Annegret, ‘Zerschlagen, zerfließen oder erzeugen? Fanny Hensel und Felix Mendelssohn im Streit um musikalische Formkonzepte nach “Beethovens letzter Zeit”’, in Brand, Betina and Helmig, Martina (eds.), Maßstab Beethoven? Komponistinnen im Schatten des Geniekults (Munich: edition text+kritik, 2001), pp. 120–44.Google Scholar
Kimber, Marian Wilson, ‘Fanny Hensel’s Seasons of Life: Poetic Epigrams, Vignettes, and Meaning in Das Jahr’, Journal of Musicological Research, 27 (2008), 359–95.Google Scholar
Kimber, Marian Wilson, ‘From the Concert Hall to the Salon: Piano Music of Clara Wieck Schumann and Fanny Mendelssohn Hensel’, in Todd, R. Larry (ed.), Nineteenth-Century Piano Music, 2nd ed. (New York: Routledge, 2003), pp. 316–55.Google Scholar
Kimber, Marian Wilson, ‘The “Suppression” of Fanny Mendelssohn: Rethinking Feminist Biography’, 19th-Century Music, 26/2 (2002), 113–29.CrossRefGoogle Scholar
Mace [Christian], Angela R., ‘Fanny Hensel, Felix Mendelssohn Bartholdy, and the Formation of the Mendelssohnian Style’, PhD diss., Duke University, 2013.Google Scholar
Mace Christian, Angela, ‘Sibling Love and the Daemonic: Contradictions in the Relationship between Felix and Fanny Mendelssohn’, in Taylor, Benedict (ed.), Rethinking Mendelssohn (New York: Oxford University Press, 2020), pp. 140–57.Google Scholar
Nubbemeyer, Annette, ‘Die Klaviersonaten Fanny Hensels: Analytische Betrachtungen’, in Borchard, Beatrix and Schwarz-Danuser, Monika (eds.), Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligskeitsideal und romantischer Musikästhetik (Stuttgart: J. B. Metzler, 1999), pp. 90–119.CrossRefGoogle Scholar
Osborne, Tyler, ‘“You Too May Change”: Tonal Pairing of the Tonic and Subdominant in Two Songs by Fanny Hensel’, in Rodgers, Stephen (ed.), The Songs of Fanny Hensel (New York: Oxford University Press, 2021), pp. 113–28.Google Scholar
Reich, Nancy B., ‘The Power of Class: Fanny Hensel’, in Todd, R. Larry (ed.), Mendelssohn and His World (Princeton: Princeton University Press, 1991), pp. 86–99.Google Scholar
Reynolds, Christopher A., Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge, MA: Harvard University Press, 2003).Google Scholar
Rodgers, Stephen, ‘Fanny Hensel’s Schematic Fantasies: or, The Art of Beginning’, in Parsons, Laurel and Brenda, Ravenscroft (eds.), Analytical Essays on Music by Women Composers (New York: Oxford University Press, 2018), pp. 151–74.Google Scholar
Rodgers, Stephen, ‘Fanny Hensel’s Sechs Lieder, Op. 9: A Brother’s Elegy’, in Taylor, Benedict (ed.), Rethinking Mendelssohn (New York: Oxford University Press, 2020), pp. 454–73.Google Scholar
Rodgers, Stephen (ed.), The Songs of Fanny Hensel (New York: Oxford University Press, 2021).CrossRefGoogle Scholar
Rodgers, Stephen and Osborne, Tyler, ‘Prolongational Closure in the Lieder of Fanny Hensel’, Music Theory Online, 26/3 (2020), https://mtosmt.org/issues/mto.20.26.3/mto.20.26.3.rodgersosborne.html.Google Scholar
Schmidt, Thomas Christian, Die ästhetischen Grundlagen der Instrumentalmusik Felix Mendelssohn Bartholdys (Stuttgart and Weimar: M & P, 1996).Google Scholar
Steinberg, Michael P. (ed.), ‘Culture, Gender, and Music: A Forum on the Mendelssohn Family’, Musical Quarterly, 77 (1993), 648–748.Google Scholar
Sumner Lott, Marie, The Social Worlds of Nineteenth-Century Chamber Music (Urbana: University of Illinois Press, 2015).Google Scholar
Taylor, Benedict, Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge: Cambridge University Press, 2011).CrossRefGoogle Scholar
Tillard, Françoise, Fanny Mendelssohn, trans. Camille Naish (Portland, OR: Amadeus Press, 1996).Google Scholar
Todd, R. Larry, Fanny Hensel: The Other Mendelssohn (New York: Oxford University Press, 2010).Google Scholar
Todd, R. Larry, ‘On Stylistic Affinities in the Works of Fanny Hensel and Felix Mendelssohn Bartholdy’, in Cooper, John Michael and Prandi, Julie D. (eds.), The Mendelssohns: Their Music in History (Oxford: Oxford University Press, 2002), pp. 245–61.Google Scholar
Wollenberg, Susan (ed.), ‘“Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle”: Proceedings of the Bicentenary Conference, Oxford, July 2005’, Nineteenth-Century Music Review, 4/2 (2007), 3–138.CrossRefGoogle Scholar
Hensel, Fanny, Autograph score of String Quartet in E flat (1834), Staatsbibliothek Berlin, MA Ms 43.Google Scholar
Hensel, Fanny, Autograph score of unfinished Piano Sonata in E flat (1829), Staatsbibliothek Berlin, DB-SB, MA Depos. Lohs 4, 73–6.Google Scholar
Hensel, Fanny, Streichquartett Es-dur (Kammermusik-Bibliothek 2255), ed. Marx, Günter (Wiesbaden: Breitkopf und Härtel, 1988).Google Scholar
Hensel-Mendelssohn, Fanny, Streichquartett Es-Dur (fue 121), ed. Eggebrecht-Kupsa, Renate (Kassel: Furore, 1989, 2nd rev. ed. 1997).Google Scholar
Hensel, Fanny, Autograph score of String Quartet in E flat (1834), Staatsbibliothek Berlin, MA Ms 43.Google Scholar
Hensel, Fanny, Autograph score of unfinished Piano Sonata in E flat (1829), Staatsbibliothek Berlin, DB-SB, MA Depos. Lohs 4, 73–6.Google Scholar
Hensel, Fanny, Streichquartett Es-dur (Kammermusik-Bibliothek 2255), ed. Marx, Günter (Wiesbaden: Breitkopf und Härtel, 1988).Google Scholar
Hensel-Mendelssohn, Fanny, Streichquartett Es-Dur (fue 121), ed. Eggebrecht-Kupsa, Renate (Kassel: Furore, 1989, 2nd rev. ed. 1997).Google Scholar