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Fanny Hensel

 

Fanny Hensel nee Mendelssohn

Fanny Mendelssohn was four years older than her brother Felix. As children they were very close, challenging and stimulating one-another intellectually and musically. They stayed in close contact for their entire lives.

The convention at the time was that Felix, though the younger, being male, would play the dominant rôle as a musician. They conformed to this, much to the detriment of Fanny. She could well have been Felix’s equal in ability, but she was discouraged from publishing her work, even by her brother (perhaps for complex reasons). As was ‘suitable for a lady’, her output was limited in the main to Lieder and piano pieces: salon music in effect. She has just 11 opus numbers to her credit, though her compositions number 500 (including one cantata, one oratorio, one overture and some chamber works). She started to publish just a year before her death, a venture in which her brother did not participate.

Fanny married the painter William Hensel – they had one child. She was a central figure in Berlin salon life (for which most of her music was written). Visiting Rome, she became friends with the young Gounod, who acknowledged her as an important influence on his developing style.

On 14th May 1847 she died suddenly of a stroke aged 41.

 

Mendelssohn

Felix Mendelssohn grew up in Berlin with his dearly beloved sister and soul-mate Fanny.

Felix Mendelssohn

They led a charmed life together: highly privileged, both phenomenally clever, moving in the highest circles of Berlin intellectual society. There was much flexing of young intellectual and creative wings, by both of them, to everyone’s astonishment.

The op.69 motets belong to the other end of Mendelssohn’s life, composed in the summer of 1847.

They are remarkably serene, considering the circumstances in which they were written, for they belong to a year of turbulence he had not encountered before.

He was at the height of his career;  Elijah had been premièred in Birmingham the previous August to huge acclaim.

In early 1847 he was back in Leipzig doing his regular job directing the Gewandhaus Orchestra. In mid-April he returned to England. He oversaw six performances of Elijah in London, Birmingham and Manchester, and directed a concert with the Philharmonic Orchestra. He also gave a private concert for Gladstone at the Prussian Embassy, and was received again at Buckingham Palace.

Mendelssohn returned to Frankfurt (his wife’s family home) in mid-May completely exhausted, only to be greeted by the dreadful news that his dear sister Fanny had died while he was absent. He was in a state of mental collapse and could not attend her funeral. Trying to recover from the shock and exhaustion, he went to Switzerland with his brother, staying for several months. Being, for the first time in his life, incapable of composing, he turned to painting watercolours.

It was some weeks before he was able to start composing again. Still in Switzerland, he eventually began with the Motets op.69. If in these, perhaps, he found solace, it was in the String Quartet op70 that his anguish found expression. These were the last works he would complete.

At the end of September he finally managed to find the resolve to visit Fanny’s grave in Berlin.

He was so deeply upset by the experience that he could not conduct his next Gewandhaus concert. The following month he suffered a series of strokes, and becoming progressively more incapacitated, he died on 4th November. He was buried three days later next to the grave of his sister Fanny.

Handel’s maggots – obsessions

On 19th September 1738, Jennens wrote to a friend

“Mr.Handel’s head is more full of maggots than ever”

Maggot 1: His newly discovered carillon – “with this Cyclopean instrument he designs to made poor Saul stark mad.”

Maggot 2: A bespoke organ, costing £500, designed so that he could direct the orchestra from it, ‘all the time with his back to the audience!’ (Not considered a bad idea now; but the cost in current money would be about £77,000). Jennens suggested he was ‘overstocked with money’ – a bit rich considering the cost of his own Leicestershire home.

Maggot 3: ‘A Hallelujah he has trumped up at the end of his oratorio since I went into the country’. Handel had refused to set the Hallelujah Jennens had put at the end of the opening scene, and thought Jennens’ ending not sufficiently grand. Fortunately for us Handel carried out precisely Jennens intentions regarding Hallelujahs.

Jennens concludes: “but it grows late and I must defer the rest till I write next, by which time, I doubt not, more new ones will breed in his brain.”

 

Gopsall Hall, Leicestershire

Charles Jennens converted the hall into a magnificent Georgian mansion, which cost him more than £100,000 (about £15,000,000 in today’s money).

Gopsall Hall

The house still stood in the 20th century, indeed the estate had a motor-racing circuit in the 1920s and ’30s. But by 1952 it was mostly demolished, and the current Gopsall Hall Farm stands on its site – not far from Twycross Zoo.

 

Charles Jennens

was born in Gopsall Hall in Leicestershire.

His great-grandfather was one of the great Birmingham ironmasters and lived at Aston Hall. So the family were immensely wealthy and Charles lived accordingly, with a second home in Bloomsbury.

Charles Jennens

He was a man of literary pretensions, bringing out his own edition of some of Shakespeare’s tragedies, which brought him scorn and ridicule from some quarters. But he was a very able amateur librettist, providing the libretti for Messiah and Belshazzar, as well as Saul.

Both Jennens and Handel were difficult men, apt to be high-handed. Handel could fairly massacre a libretto to suit his music; but Jennens would not countenance such treatment of his work (see maggot number 3 )

 

Ralph Vaughan Williams

Ralph Vaughan Williams was born in Down Ampney in Gloucestershire, but although he was deeply involved in the folk-song revival, for most of his adult life he lived in London and saw himself as a city man.

Ralph’s father was a vicar, son of an eminent lawyer, and his mother was niece of Charles Darwin, and great-granddaughter of Josiah Wedgwood.  Wealthy and cultured, they sent Ralph to Charterhouse, from whence he continued to Trinity College Cambridge via the Royal College of Music. Composing did not come easily to him, so he returned to the RCM to study with Parry, Wood and Stanford, and then went on to study with Max Bruch in Berlin and Maurice Ravel in Paris. It was while he was studying with Ravel that he began composing the first of the Five Mystical Songs.

His slow-burn development delayed his arrival as the leading British composer of his generation. He was consciously an English composer with strong roots in English folk music. He was at pains never to be elitist, an ideal he shared with his friend Gustav Holst.  Since the two composers shared so much, they had what they referred to as ‘field days’, which they put aside to criticise one another’s work.  Vaughan Williams missed these dreadfully when Holst died in 1934.

Gustav Holst
Ralph Vaughan Williams

Telemann 1681-1721

Georg Philip Telemann

was born in Magdeburg. Like his near contemporary Handel, his family actively discouraged him from making music and as a musician he was virtually self-taught.

G. F. Telemann

He was from a professional family, so he was sent to school; and it was at school his remarkable talent was recognised and he was given opportunities and support. From the age of 16 he made many visits to the courts of Hannover and Brunswick, and by this time he had learned to play the recorder, violin and keyboard instruments, plus the flute, oboe, chalumeau (an early form of the clarinet), viola da gamba, double bass and bass trombone. He would later add the cello to his list, but violin would be his 1st instrument.

When he was 20 he went to Leipzig, ostensibly to specialise in Law in his final year; but he quickly became embroiled in the music of the city, among other things getting commissions to write music for the two main churches. Four years later, after he had thoroughly made his mark in Leipzig , he was appointed Kapellmeister to Count Erdmann II of Promnitz in what is now Poland, and then went on to hold substantial posts in Eisenach and Frankfurt. But it was when he was 40 he landed a plum job in Hamburg where he remained (but for one hiccup) for his remaining 47 years.

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Telemann 1721-67

The plum job

His main positions were Kantor of the Johanneum Lateinschule and Musical Director of the five main churches of the city.

Hamburg Johanneum

He had been living in Hamburg for about 14 years when he wrote Allein Gott in die Höh sei Ehre , by which time he was securely embedded as a most prominent and influential figure in Hamburg society.

 

Gaensemarkt Theater

He was also director of the Gänsemarkt opera house, where he mounted performances of his own operas, and those of other composers, particularly Handel’s, to which he added some of his own numbers. He founded a collegium musicum in Hamburg, and also one in Leipzig. It was originally intended that the collegium would give one concert a week during the winter season, but the public demanded two. On top of this he published his own music, wrote poetry and was corresponding agent for the Eisenach court, collecting news from across northern Europe.

Apart from a natural workaholic tendency, some of his workload may have been driven by the need to service the massive gambling debts his 2nd wife incurred.

Telemann’s Allein Gott in die Hoeh sei Ehre

Telemann appears to have composed the cantata Allein Gott in die Höh sei Ehre (sung by the angels at Christ’s birth) in about 1735.

It was composed to be sung at Christmas in the principal Lutheran churches of Hamburg, one imagines with the congregation joining in, since it begins with the first verse of a popular German hymn (written by Nicolaus Decius and Martin Luther). It continues with a setting of verses on the significance of Christ’s birth. Who wrote these words is not clear but they could be by Telemann himself. The cantata concludes with a verse from another popular hymn.