Vocal Music

 

Soli, choir and orchestra

 

Faust II
Cantata bearbeitet für Sopran, Frauenchor (SSAA) und Orchester (R. Fehling)
für Sopran, Frauenchor (SSAA) und Orchester (R. Fehling)
fue 7580      ISMN: M-50012-758-1      Score              Euro 39,00    order
fue 7585      ISMN: M-50012-375-0      Hire material    
hire

Arrangement of Fanny Hensels beautiful "Faust" for orchestra instead of the original piano.
 


Festspiel (1829) „Die Hochzeit kommt” / The wedding is coming“
„Die Hochzeit kommt” (The wedding is coming“)
Festspiel for soli (SSSTBB), choir (SATB) and orchestra (Marilee Vana)
Scoring: strings, 2.2.2.2.-2.3.0.0., timp.
Text: Wilhelm Hensel
First Publication

fue 5630    ISMN: M-50012-563-1    score    Euro 42,00   order
fue 5637    ISMN: M-50012-246-3
    piano-v.sc.     Euro 21,00   order
fue 5636    ISMN: M-50012-293-7
    Hire material     hire

Besetzung: Streicher, 2.2.2.2.-2.3.0.0., timp.
Orchestermaterial leihweise

Festspiel, Fanny Mendelssohn Hensel’s first extended work with orchestra, composed for her parent’s silver wedding anniversary, is scored for tenor, two basses, two sopranos and alto soloists, four-part mixed chorus and orchestra. Hensel set this tri-part incidental piece using a text by Wilhelm Hensel describing an allegory about three weddings: the first, the silver, and the golden. Festspiel is a light-hearted, celebratory piece containing humorous elements and lyrical melodies which culminate in a joyous choral section of praise. 
 


Hiob (1831)
Cantata for A, soli, choir (SATB) and orchestra (15’)
(Conrad Misch) First Publication

Scoring: strings, 2.2.2.2.-2.2.0.0, Timp

fue 5260    ISMN: M-50012-370-5    score    Euro 32,00   order
fue 5261    ISMN: M-50012-371-2    choir score    Euro 5,00
   order
fue 5266    ISMN: M-50012-292-0    Hire material     
hire

New: Piano Vocal Score
fue 5267     ISMN: M-50012-385-9        Euro 16,50  order

This portrayal of Job’s suffering as a test of his belief in God is dramatically and expressively. Its symmetrical form (Chorus, Alto-Recit., Trio, Alto-Recit., Chorus) can be seen as symbolic and the question „Was ist der Mensch?“ (What is human beeing?), which is expressed in several melodic-harmonic variations in the opening chorus, seems to symbolically represent the search for the answer. The recitative and arioso call for four solo voices but a choral performance of these sections is also possible.
 


Lobgesang (1831) „Meine Seele ist stille“.
Cantata for S, A, choir (SATB) and orchestra (20’)
(Conrad Misch) First Publication

Scoring: 2.2.2.2. 2.2.0.0, strings

fue 5250    ISMN: M-50012-350-7    score    Euro 30,00   order
fue 5251    ISMN: M-50012-351-4    choir score    Euro 4,50
   order
fue 5257    ISMN: M-50012-366-8    piano score    Euro 21,00
   order
fue 5256    ISMN: M-50012-291-3    Hire material     
hire

This cantata, the text of which is related to birth, was composed a year after the birth of Fanny Hensel’s son Sebastian. The form (Pastorale, Chorus, Rez., Arie, Chorus) is based on the structure of Bach’s cantatas, the main difference being the lenghty choral fugue with which the work closes. The „heart” of the composition can be seen in the soprano aria „O dass ich tausend Zungen hätte“. In this aria the translation of the example set by Bach into Romantic compositional style is especially clear.


Oratorium (1831) nach Bildern der Bibel
for soli, choir (SATB) and orchestra (40’)
(Elke Mascha Blankenburg) First Publication

Scoring: 2.2.2.2.-2.2.3.0, Timp, strings

fue 5330    ISMN: M-50012-334-7    score    Euro 59,00   order
fue 5331    ISMN: M-50012-335-4
    choir score    Euro 7,50   order
fue 5337    ISMN: M-50012-349-1    piano score    Euro 27,00  
order
fue 5336    ISMN: M-50012-336-1    Hire material   
hire 

This oratorio is the third of three church works composed in rapid succession on 1831; its scoring is more abundant than that of the cantatas composed prior to it: there are five- to eight-part choruses and the orchestra is expanded to include three trombones. Once again Fanny Hensel looks back in musical history, this time to the pre-Baroque era, and adds a new dimension to her own compositional language by doing so. At times modal harmonies create an “archaic” atmosphere for the biblical texts.


Zum Fest der Heiligen Caecilia
Arr. for S, B, choir (SATB) and strings (2Vl, Va, Vc, Kb)
(Arr. Laurent Jouvet)

fue 2542    ISMN: M-50012-457-3    score    Euro 12,00   order
fue 24421    ISMN: M-50012-458-0    Hire material     
hire 

Saint and martyr of the early Christian church, honoured as patroness of music since the late 15th century, Cecilia is one of the few female saints evoked in the canon of the Catholic Mass. It is a really doxological piece – a short hymn on words of praise ascribing glory to God.

 

nach oben