Album insights
Fanny Hensel, the older sister of Felix Mendelssohn Bartholdy, was a prolific composer and virtuoso pianist. Hindered by her gender and social standing, she faced constraints on pursuing a professional music career in the conservative Prussian society of the 1820s. Despite this, she received extensive musical training similar to her brother, with notable composers and musicians mentoring her. Fanny married Wilhelm Hensel in 1829, shifting her focus to organizing concerts and conducting choirs, showcasing her creative talents behind the scenes.
As a composer, Hensel excelled in composing lyrical songs and piano miniatures, demonstrating her versatility across various musical forms. Her sole string quartet from 1834, a departure into a male-dominated genre, remained unpublished and unknown until posthumous recognition in 1988. The quartet has since gained prominence for its innovative response to Beethoven's late style, solidifying her place among romantic-era composers.
Fanny Hensel's quartet begins with an expressive yet unconventional Adagio, showcasing her audacious musical approach. Each movement of the piece reflects her thematic depth and rhythmic intricacy, paying homage to Beethoven and her brother through subtle musical references. The quartet's Scherzo carries a sense of unease, while the poignant Romanze in G minor and the lively Rondo-Finale in E-flat major highlight her compositional prowess and emotional depth.
Fanny Hensel's musical legacy contrasts with that of her brother, who was a skilled violinist and violist, composing string quartets from a young age. Mendelssohn's op. 80 quartet, seen as a requiem for Fanny, incorporates dissonant elements and emotional turmoil, especially evident in the Scherzo with its haunting chromaticism. The quartet's Adagio in A-flat major offers a brief respite, delving into the introspective world of both siblings' musical genius.