Soli, choir and orchestra
Hochzeit kommt” / The wedding is coming“
Besetzung: Streicher, 18.104.22.168.-22.214.171.124., timp.
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.
Scoring: strings, 126.96.36.199.-188.8.131.52, Timp
New: Piano Vocal Score
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.
(1831) „Meine Seele ist stille“.
Scoring: 184.108.40.206. 220.127.116.11, strings
fue 5250 ISMN:
score Euro 30,00
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
Scoring: 18.104.22.168.-22.214.171.124, Timp, strings
fue 5330 ISMN: M-50012-334-7
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