Clara Schumann; Fanny Hensel: O, Wie Beseligend 'o How Enchanting'

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Release Date: 2nd Sep 2022
Catalogue No: HC20026
Label: Hänssler
Length: 60 minutes

Opus Klassik Awards

2023

Nominated - Solo Vocal

Usually despatched in 3 - 4 working days

Mendelssohn, Fanny: Ave Maria

Work length1:52

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Schumann, Clara: Lieder (6), Op. 13

Work length2:31

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

No. 3, Die Liebe sass als Nachtigall

Track length2:31

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Mendelssohn, Fanny: Was will die einsame Trane

Work length3:37

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: Zauberkreis

Work length2:38

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Schumann, Clara: Lieder (6), Op. 13

Work length2:40

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

No. 6, Die stille Lotosblume

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Mendelssohn, Fanny: Zwischen Capua und Gaeta

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Schumann, Clara: Lorelei

Work length2:29

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: Vier Lieder, Op. 2

Work length2:54

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Christine Schornsheim (fortepiano)

No. 3 in E Major, Allegretto grazioso

Track length2:54

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Schumann, Clara: Oh weh des Scheidens das er tat

Work length2:42

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Excerpt, Mendelssohn, Fanny: Lieder (6), Op. 1

Work length2:26

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

No. 1, Schwanenlied

Track length2:26

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Mendelssohn, Fanny: Wanderlied

Work length2:10

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: Lebewohl

Work length1:54

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Schumann, Clara: Am Strande

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: 4 Songs for Piano, Op. 2 (Excerpts)

Work length3:46

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Christine Schornsheim (fortepiano)

No. 1 in G Major, Andante

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Mendelssohn, Fanny: Frühlingslied

Work length1:18

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Schumann, Clara: 3 Lieder Op. 12

Work length1:54

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

No. 2, Liebst Du um Schönheit

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Mendelssohn, Fanny: Die furchtsame Träne, H-U 66

Work length2:12

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: O, wie beseligend

Work length0:39

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: Nacht

Work length1:50

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Excerpt, Schumann, Clara: Soirées musicales (6), Op. 6

Work length5:04

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Christine Schornsheim (fortepiano)

No. 2 in F Major, Notturno

Track length5:04

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Schumann, Clara: 3 Lieder Op. 12

Work length2:28

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

No. 1, Er ist gekommen

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Schumann, Clara: Lieder (6), Op. 13

Work length1:49

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

No. 5, Ich hab in Deinem Auge

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Mendelssohn, Fanny: Am Leuchtenden Sommermorgen

Work length1:06

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: Lied der Fee, H-U 73

Work length1:36

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Mendelssohn, Fanny: Gebet in der Christnacht, H-U 63

Work length3:08

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

Schumann, Clara: Die gute Nacht, die ich dir sage

Work length2:17

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Bettina Pahn (soprano), Christine Schornsheim (fortepiano)

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About

"Oh, do it Clara darling!" said Robert Schumann to his bride Clara, strongly encouraging her to pursue composing. Although the pianist had always composed, when she married in 1840 - without being asked to - she was immediately willing to dispense with this part of her musical output: "A woman does not have to desire to compose - so far not one has been able to do so; should that be what I am destined to do?" Clara is caught up in a crisis and feels resigned: "But I cannot compose ... I lack all talent for it." Only after the wedding did Clara return to composing. As long as her father or husband encouraged her to do so, in her consummate adaptability she did so with joy. But after Robert's death in 1856, Clara stopped composing entirely. It does not appear that the Mendelssohns were able to enjoy Heine's kinder side. Although Heine was sometimes a visitor at their home in Berlin, somehow friendly relations did not develop. However, the poet Heine held Fanny in high regard. She had already set his poems "Was will die einsame Trane" (Why this solitary tear) and "Am I euchtenden Sommermorgen" (On a radiant summer morning) to music in 1827/28. Her song setting of Heine's "Schwanenlied" (Song of the swan) - was her first published work, but this only happened in 1846. At first Fanny chose to set poems by her bridegroom WiIhelm to music, of which she had already composed "Lebewohl" (FarewelI) the same year they met and before the wedded couple were separated for a long period. Upon getting married she, too, began a busy and fruitful artistic colIaboration that involved the daily morning ritual of Wilhelm leaving poems on the piano for her to set to music.

Clara Schumann; Fanny Hensel: O, Wie Beseligend 'o How Enchanting'

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