Podcast appearances and mentions of fanny hensel

Erhabene Geschöpfe der Natur, die in den Himmel ragen: Berge. Auch Komponistinnen und Komponisten haben sich von ihnen inspirieren lassen. Unter ihnen Fanny Hensel, die Schwester von Felix Mendelssohn Bartholdy. Sie ist vor allem als Komponistin von Liedern bekannt. Rund 250 hat sie geschrieben. Einer ihrer bevorzugten Dichter war Joseph von Eichendorff. Dessen Gedicht "Bergeslust" hat Fanny Hensel vertont.

Frauen haben in jeder Epoche komponiert. In den Spielplänen und Repertoires sind sie aber kaum präsent. Zu Unrecht! Ein Überblick über die bedeutendsten Komponistinnen.

“Notas de Mujer” una celebración del talento y la creatividad de destacadas mujeres compositoras a lo largo de la historia. De lunes a viernes a las 9:00 hrs. en www.radioudec.cl y el 95.1 FM. Producción: Carolina Valdés - Locución: Sergio Morales.

„Ja, es ist alles beseelt in deinen heiligen Mauern, Ewige Roma; nur mir schweiget noch alles so still“, klagte der mit der römischen Sinnesüberfülle überforderte Johann Wolfgang von Goethe. Wer findet das Zauberwort, das die Stadt zum Klingen bringt? Mit weiteren Texten von Stefan Ulrich, Joseph von Eichendorff, Charles Dickens, Fanny Hensel, Hoffmann von Fallersleben, Ingeborg Bachmann, Friedrich Theodor Vischer und Musik von Felix Mendelssohn Bartholdy, Robert und Clara Schumann, Giovanni Palestrina und Eros Ramazzotti.

Ihre Musik bäumt sich auf, malt mit dickem Pinsel und ist dann wieder schrecklich zerbrechlich. Die Komponistin Fanny Hensel ist genauso talentiert wie ihr Bruder Felix Mendelssohn-Bartholdy. Wie kann es sein, dass ihre Musik über Jahrhunderte in der Schublade verschwindet und viele Menschen ihren Namen nicht kennen? Darauf finden wir in dieser Folge von Klassik für Klugscheisser eine Antwort und blättern uns dafür durch 200 Jahre alte Tagebücher und Briefe.

durée : 01:27:48 - En pistes ! du jeudi 28 mars 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, Emilie et Rodolphe vous proposent d'écouter le Concerto pour violon n° 5 de Mozart, des pièces pour piano de Lekeu, un extrait de l'opéra "Katja Kabanova" de Janacek, nous poursuivrons avec la Symphonie n°7 de Bruckner et le Quatuor à cordes de Fanny Hensel. En pistes !

Mit ihrer Ostersonate schreibt die junge Fanny 1828 ein virtuoses Meisterwerk über das Auferstehungsfest und wandelt darin auf den Spuren Bachs. Lange schrieb man es fälschlich ihrem Bruder Felix zu. Erst vor wenigen Jahren kam die Wahrheit ans Licht. Von Ben Süverkrüp.

Fanny Hensel, genial begabte Musikerin, ehemaliges Wunderkind wie ihr Bruder Felix Mendelssohn, ist Anfang 30, als sie erstmals auf den Gedanken kommt, Werke von sich zu veröffentlichen.

Ein Klassiker für die musikalische Ewigkeit hat am 14.10.1843 Premiere: Felix Mendelssohn Bartholdy hat Shakespeares "Sommernachtstraum" genial vertont. Von Christoph Vratz.

Fanny heiratet und heißt fortan Fanny Hensel. Mit ihrem Mann zieht sie ins Gartenhaus ihrer Familie und verfügt so über einen eigenen Konzertsaal. Doch ihr Vater hält nichts von einer modernen Künstlerehe. Und der endlich heimgekehrte Bruder bricht schon bald wieder auf Tour Richtung Italien auf, wovon sie selbst vorerst nur träumen kann.

durée : 01:29:36 - En pistes ! du vendredi 23 décembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Après trois albums pour le label Hypérion, le pianiste Steven Osborne continue son exploration du répertoire de Claude Debussy mais cette fois, c'est sur ses oeuvres anciennes qu'il s'attarde. Egalement au programme : Clara Schumann, Emilie Mayer et Fanny Hensel entre autres.

Pasaulinės Fanny Hensel kūrinių premjeros, visas Mario Jansono ir Bavarijos radijo simfoninio orkestro Gustavas Mahleris, naujausias Rono Carterio albumas, Lelandas Whitty iš grupės „BADBADNOTGOOD“ – visa tai muzikinės leidybinės naujienos, kurias pristato Domantas Razauskas. O taip pat – sudiev į „Kitą laiką“ tik ką iškeliavusiam „Tvin Pykso“ kompozitoriui Angelo Badalamenti.

durée : 00:25:08 - Fanny Hensel-Mendelssohn, Trio op 11 - par : Anne-Charlotte Rémond - Dans ce numéro de Musicopolis, Anne-Charlotte Rémond revient sur le Trio op 11 en Ré mineur de la compositrice Fanny Hensel-Mendelssohn ! - réalisé par : Philippe Petit

Äneas Humm gehört zu den Shooting-Stars der europäischen Klassikszene. Bereits mit 18 Jahren debütierte der Spross einer schweizerisch-ungarischen Künstlerfamilie als Opernsänger am Stadttheater Bremerhaven. Damals hatte er gerade ein Musikstudium an der Musikhochschule Bremen begonnen. Sein Examen machte er an der berühmten Juilliard School in New York. Es folgten Engagements an den Bühnen von Weimar und Karlsruhe. Neben der Oper gilt Äneas Humms große Liebe dem Kunstlied. Für sein zweites Album "Embrace" erhält er am 8. Oktober den Opus Klassik als Nachwuchskünstler des Jahres. Kurz vor der Verleihung zeigt er im Konzert bei NDR Kultur sein Können. Auf dem Programm stehen Lieder von Fanny Hensel, Alma Mahler, Edvard Grieg und Robert Stolz. Am Klavier begleitet ihn die hawaiianische Pianistin Renate Rohlfing, auch sie eine Ausnahmetalent. Das Video des ganzen Livekonzerts gibt es anschließend auf ndr.de/extra.

Mal poetisch und zart, dann wieder stürmisch und rau: Fanny Hensel hatte ein Faible für extreme Stimmungswechsel. Ihre leidenschaftliche und eigensinnige Musiksprache ist eine Herausforderung, der sich die Mitglieder des Kaleidoscope Chamber Collective gern stellen. Natürlich und ausgelassen klingt ihr Zusammenspiel, alle Stimmen sind wunderbar ausbalanciert.

Komponiert habe sie nichts, schreibt Fanny Hensel 1840. Denn es „kräht ja doch kein Hahn danach“, stellte die hochmusikalische Schwester von Felix Mendelssohn fest. Einige Jahre später aber entstand ihr Klaviertrio d-Moll. Heute finden komponierende Frauen Gehör. Wenn man sie zu Gehör bringt, wie hier das Trio Gaspard.

Fanny Hensel-Mendelssohn war 29jährig, als sie im Sommer 1834 ihr erstes und einziges Streichquartett komponierte. Sie lebte damals mit ihrem Sohn und ihrem Mann, dem Maler und Bildhauer Wilhelm Hensel noch in Berlin im Elternhaus.  Dort organisierte sie musikalische Sonntagsmatineen, bei denen sie vor z.T. illustrem Publikum auftrat und auch eigene Werke präsentierte. Doch öffentlich auftreten durfte sie nicht, geschweige denn ihre Werke herausgeben. Sowohl ihr Vater wie auch ihr Bruder Felix waren strikte dagegen, obwohl Fanny genau die gleiche musikalische Ausbildung genossen hatte, wie ihr Bruder und anscheinend auch die gleich grosse Begabung zeigte. «Die Musik wird für ihn [Felix] vielleicht Beruf, während sie für Dich stets nur Zierde, niemals Grundbass Deines Seins und Tuns werden kann und soll», sagte der Vater. Erst 1989 erschien Fannys Es-Dur-Streichquartett im Druck. Mittlerweile sind nun auch mehrere gute Aufnahmen entstanden. Fünf davon stehen sich in der Diskothek gegenüber. Gäste von Eva Oertle sind die Musikjournalistin und Geigerin Corinne Holtz und der Geiger und Dirigent Manuel Oswald.

„Ja, es ist alles beseelt in deinen heiligen Mauern, Ewige Roma; nur mir schweiget noch alles so still“, klagte der mit der römischen Sinnesüberfülle überforderte Johann Wolfgang von Goethe. Wer findet das Zauberwort, das die Stadt zum Klingen bringt? Mit weiteren Texten von Stefan Ulrich, Joseph von Eichendorff, Charles Dickens, Fanny Hensel, Hoffmann von Fallersleben, Ingeborg Bachmann, Friedrich Theodor Vischer und Musik von Felix Mendelssohn Bartholdy, Robert und Clara Schumann, Giovanni Palestrina und Eros Ramazzotti. Sprecher: Antje Rennicke, Stefan Evertz

"Die schönste Musik auf Erden" habe sie geschrieben, sagte ihr Bruder, der wesentlich populärere Komponist Felix Mendelssohn. Komponieren als Frau? Im 19. Jahrhundert? Fanny Hensel hat erfahren, wie schwer das ist - und sie war trotzdem erfolgreich. Autor: Christoph Vratz Von Christoph Vratz.

Operatic Soprano Chen Reiss began singing at the age of 14 in her native Israel. She has since toured the world and taken part in many recordings of classics and soundtracks. Her new album explores the work of romantic composer Fanny Hensel, whose music was often attributed to her brother Felix Mendelssohn. She stopped by the FRANCE 24 studio to tell Marjorie Hache more.

En este episodio conoceremos a la compositora romántica Fanny Hensel Mendelssohn, antiguamente conocida más como "la hermana de Félix Mendelssohn", pero que recientemente se está ganando su propio lugar dentro de los compositores reconocidos de la primera mitad del siglo XIX.  La música de Fanny Mendelssohn que vas a escuchar en este episodio 00:30 Allegro grazioso No. 1, WV 294, interpretado por Elżbieta Sternlicht. 05:04. String Quartet in E-Flat Major (H. 277), interpretado por Quatuor Ébène. 10:36. 4 Lieder, Op. 6: No. 4, Il saltarello romaNo. Allegro molto, interpretado por Ana Markovic & Yen-Ling Liu. 13:56 Six mélodies pour le Piano, Op. 4 & Op. 5: Andante soave in E-Flat Major, interpretado por Beatrice Rauchs. 15:36. Das Jahr: 12 Characterstucke (original version): No. 4. April, interpretado por Wolfram Lorenzen. 16:45. 6 Lieder, Op. 1: No. 1, Schwanenlied, interpretado por Jerilyn Chou & Chiaki Kotobuki. 18:26. Overture in C Major, interpretado por The Women's Philarmonic, JoAnn Falletta.    

Die israelische Sopranistin Chen Reiss singt auf großen Opernbühnen in aller Welt. Jetzt hat die in Wien lebende Sängerin gemeinsam mit dem Jewish Chamber Orchestra Munichein neues Album herausgebracht. "Fanny und Felix" heißt es und rückt vor allem die Kompositionen von Fanny Hensel in den Mittelpunkt.

Was haben Fanny Hensel, Elisabeth Jacquet de la Guerre und Tsippi Fleischer gemeinsam? Ihre Kompositionen wurden vom Furore-Verlag in Kassel gedruckt und vertrieben – denn „Furore“ ist der weltweit einzige Verlag, der sich umfassend für die Werke von Frauen einsetzt. In diesem Jahr feiert er sein 35-jähriges Bestehen. Verlagsgründerin Renate Matthei hat unermüdlich mit dafür gesorgt, dass der Begriff „Komponistin“ überhaupt ins Bewusstsein der Musikwelt drang. Ursula Böhmer hat sich in Kassel umgehört und gratuliert.

Was würde man heute über diese Komponistin sprechen, hätte sie ungehindert publizieren und ihrer Kunst nachgehen können. Und wie viele Werke von Felix Mendelssohn Bartholdy sind in Wirklichkeit von seiner Schwester? Von Devid Striesow und Axel Ranisch www.deutschlandfunkkultur.de, Echtzeit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Was würde man heute über diese Komponistin sprechen, hätte sie ungehindert publizieren und ihrer Kunst nachgehen können. Und wie viele Werke von Felix Mendelssohn Bartholdy sind in Wirklichkeit von seiner Schwester? Von Devid Striesow und Axel Ranisch www.deutschlandfunkkultur.de, Echtzeit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Was würde man heute über diese Komponistin sprechen, hätte sie ungehindert publizieren und ihrer Kunst nachgehen können. Und wie viele Werke von Felix Mendelssohn Bartholdy sind in Wirklichkeit von seiner Schwester? Von Devid Striesow und Axel Ranisch www.deutschlandfunkkultur.de, Echtzeit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Was würde man heute über diese Komponistin sprechen, hätte sie ungehindert publizieren und ihrer Kunst nachgehen können. Und wie viele Werke von Felix Mendelssohn Bartholdy sind in Wirklichkeit von seiner Schwester? Von Devid Striesow und Axel Ranisch www.deutschlandfunkkultur.de, Echtzeit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Tom Service talks to the pianist Piotr Anderszewski about a new album he’s recorded and edited featuring Bach's preludes and fugues – a project undertaken during lockdown. He reflects how the quest to achieve perfection is one of the drives that still keeps him searching, as well as what he describes as the need to 'tame the beast' – his piano. The scholar Laura Tunbridge, expert on 19th-Century lieder, reviews 'The Songs of Fanny Hensel', a new collection of essays edited by Stephen Rodgers about this pioneering composer and sister of Felix Mendelssohn, who remains mostly undiscovered. We hear from the violinist Maxim Vengerov about his latest project, an educational website designed to give masterclasses to both his regular students at prestigious institutions.... and any players from around the world who subscribe and who are selected for free lessons from an open lottery. We learn about the touching stories behind the first two winners. And we take a look at two projects aiming to engage young audiences and bring them to Classical Music, including 'Classics Explained' – a YouTube channel dedicated to short video animations that throw light on the greatest pieces of the classical repertoire; and a new radio station for children, 'Fun Kids Classical', which is reviewed by radio critic, journalist and broadcaster, Gillian Reynolds. Photo credit: Simon Fowler, © 2020 Parlophone Records Limited

Fanny Hensel schrieb 1840 ihren meisterhaften Klavierzyklus "Das Jahr", in dem sie die Eindrücke einer Italienreise verarbeitet. Als Komponistin stand sie stets im Schatten ihres Bruders Felix Mendelssohn Bartholdy. Dabei zeigt das Werk eindrucksvoll das Potential dieses Ausnahmetalents. (Autor: Martin Zingsheim)

Zenélő levelek a műsor, amelyben hétről-hétre kevésbé ismert zenészek leveleit, naplóit vagy jegyzeteit idézzük meg. Ezeken keresztül nem csak hozzájuk, hanem ahhoz a korhoz is közelebb kerülünk ahol ők éltek és alkottak. Az első adás főszereplője Fanny Hensel született Fanny Mendelssohn Bartholdy. Műsorvezető: Bősze Ádám

When Dr. Molly McCann isn't doing cannabis consumer research, she's at the piano engaging in the intoxicating sounds of the music of Fanny Hensel. She joins Garrett and Scott to talk about why Mrs. Hensel's music is so important, the stigma surrounding cannabis use, and how "classical" music institutions could benefit from weed culture. An episode of "Good Times" inspires Garrett's musical picks for the week, and Scott offers warm words to people spending the holidays alone for the first time. Playlist: John Debney - "By the Fire with Grandma" (from 'Jingle Jangle') Elizabeth Nonemaker - "Lines and Variations" Nina Simone - "Baltimore" John Williams - Lando Calrissian's Theme Trent Reznor - "Hurt" Ludwig Göransson - The Mandalorian Theme (cond. Anthony Parnther) Terry Riley - "In C" Terry Riley - "Rainbow in Curved Air" Terry Riley - "Francesco en paraiso" Fanny Hensel - "Das Jahr" More: Contact Dr. Molly McCann: molbol@gmail.com Dr. Molly McCann on Twitter: https://twitter.com/henselpushers Is Jingle Bells Racist?: https://www.theguardian.com/lifeandstyle/2017/dec/22/is-jingle-bells-racist-despite-backlash-from-the-right-its-not-black-and-white Blob Opera: https://artsandculture.google.com/experiment/blob-opera/AAHWrq360NcGbw?hl=en Baltimore Symphony Orchestra Must Do Better: https://www.baltimoresun.com/entertainment/arts/bs-pr-fe-baltimore-symphony-orchestra-diversity-20201217-qklyktd5wbb2todqrt7f4gy53q-story.html An Open Letter to Black People About Your Super Powers: https://www.theroot.com/an-open-letter-to-black-people-about-your-upcoming-supe-1845897034

Dr. Stephen Rodgers is Professor of Music Theory and Musicianship at the University of Oregon School of Music and Dance, where he has been teaching since 2005. He writes about the relationship between music and poetry, focusing especially on German Lieder. His edited collection, The Songs of Fanny Hensel, is forthcoming from Oxford University Press, and he is currently working on a book about Clara Schumann’s songs and another about song and the musical aspects of poetry. Rodgers’s work extends beyond academia as well. He regularly gives pre-concert lectures for the Oregon Bach Festival and other local performing arts organizations, and he has performed several lecture-recitals throughout the United States. An Iowa native, he received his B.A. in Music and English from Lawrence University and his Ph.D. in music theory from Yale University. The question of the week is, "Why does music theory and analysis today feel so separate from performance?" Dr. Rodgers and I discuss the ever-widening chasm between theory and performance, how music education may not encourage students to prioritize analysis and theory in there performances, how his time as a Professor of Music Theory has informed his own musicality and performance, and the tools of musical analysis that he believes are important.

Am 14. November 1805 wird Fanny Hensel geboren. Die Schwester von Felix Mendelssohn-Bartholdy war eine der bedeutendsten Komponistinnen und ein Ausnahmetalent.

Schon in jungen Jahren ist Fanny eine hervorragende Pianistin, ihre musikalischen Hausgötter sind Bach und Beethoven. Die Schwester von Felix Mendelssohn-Bartholdy ist eine der bedeutendsten Komponistinnen der Musikgeschichte. Mehr als 400 Werke stammen aus ihrer Feder. Als Pianistin, Dirigentin und Organisatorin hat Fanny Hensel das Berliner Musikleben entscheidend mitgeprägt. Autorin: Hildegard Schulte

FEMINALE DER MUSIK – Female Composers | Interview [15.04.2020] Live-Interview über die Komponistin Fanny Hensel mit Susanne Wosnitzka, Vorstand musica femina münchen und freischaffend beim Archiv Frau und Musik, Frankfurt/Main

Daniella Theresia (mezzo-soprano) and Suzanne Yeo (pianist) discuss the piece "Sehnsucht nach Italien" by Fanny Hensel (née Mendelssohn)(1805-1847) as part of The Eternal Feminine Podcast Series. To learn more, visit: www.ArtSong-Podcast.com/ef-hensel.

durée : 00:25:03 - Fanny Mendelssohn, Quatuor à cordes - par : Anne-Charlotte Rémond - Berlin, entre le 26 août et le 23 octobre 1834 : Fanny Hensel, née Mendelssohn, compose son Quatuor à cordes en mi bémol majeur à l'occasion de concerts publics qu'elle organise chez-elle. Unique quatuor à cordes de son répertoire, sa partition ne sera publiée que 150 après sa composition... - réalisé par : Claire Lagarde

Nytt decennium! Musikrevyn utser 2010-talets 10 bästa skivor och spelar massor av musik från årtiondet som gått. Musikrevyns Johan Korssell gästas av Sara Norling, programledare för P2 Live, och tillsammans lyssnar de igenom årsbästaskivorna från årtiondet som gått. Vad utmärkte 2010-talets skivutgivning? Vilka trender fanns? Hur känns det att återhöra skivorna som toppade årsbästalistorna har de stått sig eller gjorde vi fel val? Och: vilken är egentligen 2010-talets allra bästa inspelning? MUSIKREVYNS FAVORITER FRÅN 2010-TALET 2010: SONG OF THE NIGHT  Karol Szymanowskis Symfoni nr 3 & Violinkonsert Steve Davislim, tenor & Christian Tetzlaff, violin 2011:  BACEWICZ: VIOLIN CONCERTOS VOL. 2 Violinkonserterna nr 2, 4 & 5 Joanna Kurkowicz, violin Polska radions symfoniorkester & ukasz Borowicz 2012: ALBAN BERG LUDWIG VAN BEETHOVEN  Violinkonserterna Isabelle Faust Orchestra Mozart & Claudio Abbado 2013: BEETHOVEN - THE COMPLETE STRING QUARTETS VOL. 2 Stråkkvartetter Ludwig van Beethoven Belceakvartetten 2014: JOHN ADAMS - THE GOSPEL ACCORDING TO THE OTHER MARY  Los Angeles Master Chorale Los Angeles filharmoniker Gustavo Dudamel, dirigent 2015: AIDA - GIUSEPPE VERDI Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk m.fl. Santa Cecilia-akademins kör och orkester Antonio Pappano, dirigent 2016: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent 2017: FRANZ SCHUBERT Pianosonater D 959 och D 960 Krystian Zimerman, piano 2018: SHOSTAKOVICH Stråkkvartett nr 3 och pianokvintett Belcea-kvartetten Piotr Anderszewski, piano 2019: FANNY OCH FELIX Musik av Fanny Hensel och Felix Mendelssohn Malin Broman, violin och viola Simon Crawford Phillips, piano Musica Vitae i Växjö

Din guide till de bästa nya inspelningarna av klassisk musik. Musikrevyn sammanfattar musikåret 2019 och viktigast av allt utser årets bästa skiva. ÅRETS SKIVA 2019: 1. FANNY OCH FELIX Musik av Fanny Hensel och Felix Mendelssohn Malin Broman, violin och viola Simon Crawford Phillips, piano Musica Vitae i Växjö dB Productions dBCD191 2. POULENC CONCERTOS Solokonserter av Francis Poulenc Norska radions Kringkastningsorkestret i Oslo  Thomas Söndergårdh, dirigent Peter Szilvay, dirigent Lawo Classics LWC 1173 3. BRUCKNER SYMFONI NR 8 Bayerska radions symfoniorkester i München Mariss Jansons, dirigent BR Klassik 900165 och: 3. LUTOSLAWSKI SYMPHONIES NOS. 1 & 4, JEUX VÉNITIENS Musik av Witold Lutoslawski Finska radions symfoniorkester Hannu Lintu, dirigent Ondine ODE 1320-5

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women's roles in nineteenth-century Europe shifted, so too did the analysis of Hensel's life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel's life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women’s roles in nineteenth-century Europe shifted, so too did the analysis of Hensel’s life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel’s life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women’s roles in nineteenth-century Europe shifted, so too did the analysis of Hensel’s life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel’s life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women’s roles in nineteenth-century Europe shifted, so too did the analysis of Hensel’s life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel’s life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women’s roles in nineteenth-century Europe shifted, so too did the analysis of Hensel’s life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel’s life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women’s roles in nineteenth-century Europe shifted, so too did the analysis of Hensel’s life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel’s life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nineteenth-century composer Fanny Hensel is the subject of more published research than any other woman of the period, with the possible exception of Clara Schumann. A prolific composer, salon hostess, and a member of a well-connected and prominent family, she was one of the first women composers that musicologists studied in depth. Yet, in some ways, the historiography of Hensel scholarship is as fascinating as her life and music. As musicological priorities and historical understandings of women’s roles in nineteenth-century Europe shifted, so too did the analysis of Hensel’s life and cultural significance. In Fanny Hensel: A Research and Information Guide (Routledge, 2019), Laura Stokes provides a comprehensive bibliography of Hensel scholarship but also confronts the ethical issues presented by the sometimes fraught scholarly work on Hensel through her annotations, the work she decided to include in the Guide, and the organizational structure she employed. In this interview, Dr. Stokes discusses Hensel’s life and music, and then the ethical issues she considered and the challenges she faced in writing the guide. Laura Stokes is the Performing Arts Librarian at Brown University and holds a Ph.D. in musicology from Indiana University. Her scholarly work examines music and cultural politics in nineteenth-century Germany. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Veckans program inför publik i Berwaldhallen i Stockholm. Panelen hyllar Jacob Mühlrad och Fanny Mendelssohn och hänförs av operaskisser som Mozart lade i byrålådan men som nu ges ut på skiva. Veckans skivor: FANNY OCH FELIX Musik av Fanny Hensel och Felix Mendelssohn Malin Broman, violin och viola Simon Crawford Phillips, piano Musica Vitae i Växjö dB Productions dBCD191 Betyg: 5 - en totalfemma! SZYMANOWSKI, ZEMLINSKY Violinkonsert av Karol Szymanowski och Lyrisk symfoni av Alexander von Zemlinsky Polska radions symfoniorkester Elina Vähälä, violin Alexander Liebreich, dirigent Accentus Music ACC 30470 Betyg: 4 TIME - JACOB MÜHLRAD Vokalmusik av Jacob Mühlrad Radiokören i Stockholm Fredrik Malmberg Ragnar Bohlin Deutsche Grammophon Betyg: 4 LIBERTA! Opera i tre scener av Wolfgang Amadeus Mozart m fl, sammanställd av konsertarior, övningsstycken, skisser och ofullbordade verk Pygmalion-ensemblen Raphael Pichon Harmonia Mundi HMM 90263839 Betyg: 4 Reportage: Så föddes Berwaldhallen För fyrtio år sedan fick Sveriges Radios symfoniorkester äntligen ett hem när Berwaldhallen invigdes. Men att för att ett nytt konserthus i Stockholm skulle bli verklighet krävdes både politiska kompromisser och duster med miljörörelsen. Musikrevyns Berit Nygren har dykt ner i Berwaldhallens historia och börjar mitt i en repetition av musik av Haydn, under konsertmästaren Malin Bromans ledning.  

Mal etwas Musikgeschichte. In den Kompositionen von Fanny Hensel und Robert Schumann sind spannende, gezielte Brüche zu finden. Felix Mendelssohn ist vielleicht eleganter..

la vita e le storie di una donna nella Germania del XIX secolo, in lotta con tutti per affermare il proprio talento di musicista, compositrice e artista a tempo pieno, tra fratelli invidiosi, padri autoritari e un marito di sorprendente intelligenza

la vita e le storie di una donna nella Germania del XIX secolo, in lotta con tutti per affermare il proprio talento di musicista, compositrice e artista a tempo pieno, tra fratelli invidiosi, padri autoritari e un marito di sorprendente intelligenza

la vita e le storie di una donna nella Germania del XIX secolo, in lotta con tutti per affermare il proprio talento di musicista, compositrice e artista a tempo pieno, tra fratelli invidiosi, padri autoritari e un marito di sorprendente intelligenza

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber's new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women's clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women’s clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

I programmet diskuterar panelen bl. a. Tobias Berndts tolkning av 28 Fanny Hensel-sånger samt kammarmusik av engelsmannen Gerald Finzi. Dessutom möter vi den unge pianisten Daniil Trifonov. I panelen Aurélie Ferrier, Hanns Rodell och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  FANNY HENSEL Goethe-sånger Tobias Berndt, baryton Alexander Fleischer, piano Querstand VKJK 1509 JOHANN SEBASTIAN BACH Cembalokonserter BWV 1052 1057 Andreas Staier, cembalo Freiburgs barockorkester Harmonia Mundi HMC 902181-82 GERALD FINZI Fem bagateller, Elegi, Preludium och Fuga m.m. Kölns kammarsolister MDG 903 1894-6ALEXANDER SKRJABIN Symfonier nr 3 och 4 Oslo filharmoniker Vasily Petrenko, dirigent Lawo LWC 1088Sofia möter pianisten Daniil Trifonov Sofia Nyblom mötte den unge konsertpianisten i samband med Stockholms-besöket och Nobelkonserten i Stockholms konserthus den 8 december 2015, då Trifonov framträdde som solist i Rachmaninovs tredje pianokonsert tillsammans med Kungliga filharmonikerna och dirigenten Franz Welser-Möst. Andra nämnda eller rekommenderade inspelningarBachs klaverkonserter med Trevor Pinnock och The English Concert på Archiv och DG; Pierre Hantaï tillsammans med Le Concert Francais på skivmärket Astree samt med cembalisten Lars Ulrik Mortensen och Concerto Copenhagen på CPO. Nytt Finzi-album Introit med Aurora Orchestra under ledning av Nicholas Collon på Decca. Fanny Hensel-Mendelssohns sånger med sopranen Susan Gritton ackompanjerad av Eugene Asti på märke Hyperion (tidigare recenserad i CD-revyn). Felix och Fanny Mendelssohns stråkkvartetter med Ebène-kvartetten på Virgin Classics (tidigare recenserad i CD-revyn). Skrjabins symfonier med New Yorks filharmoniker under Giuseppe Sinopoli på DG samt Londons symfoniorkester dirigerad av Valerij Gergiev på egna märket LSO Live samt med Philadelphia-orkestern under Riccardo Mutis ledarskap på EMI. SvepetJohan sveper över Brahms Ein Deutsches Requiem i en inspelning med sopranen Lore Binon och barytonen Tassis Christoyannis tillsammans med Flamländska radions kör allt under ledning av Hervé Niquet på skivmärket Evil Penguin.