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Fanny HenselThe Other Mendelssohn$
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R. Larry Todd

Print publication date: 2009

Print ISBN-13: 9780195180800

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195180800.001.0001

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Engraver's Ink and Heavenly Songs (1845–1847)

Engraver's Ink and Heavenly Songs (1845–1847)

Chapter:
(p.310) Chapter 12 Engraver's Ink and Heavenly Songs (1845–1847)
Source:
Fanny Hensel
Author(s):

R. Larry Todd

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195180800.003.0012

Robert von Keudell looms especially large in Fanny Hensel's biography because he apparently played the critical role of convincing her late in life to begin publishing under her own name, the final step toward her artistic self-fulfillment that Felix Mendelssohn Bartholdy had been unwilling to support. Keudell provided encouragement and, what is more, substantive critical advice as she began selecting her best music for publication. Fanny devoted 1846 to exploring and working exclusively on small-scale genres. By composing three series of piano pieces, lieder, and part-songs, she revealed a new determination to treat her art as a disciplined craft. Her process of self-discovery as a professional composer would lead first through the smaller genres, as she began to consider the musical public beyond Leipzigerstrasse no. 3, and emerged to the public as Fanny Hensel the composer.

Keywords:   Robert von Keudell, Fanny Hensel, Felix Mendelssohn Bartholdy, music, publication, piano pieces, lieder

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