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Songs

Songs

Du bist die Ruh Op. 7 no.4

Listen to Franz Schubert's setting of 'Du bist die Ruh' below, performed by award-winning British bass William Thomas and internationally-renowned pianist Eugene Asti live at the Oxford Lieder Festival 2020.

Du bist die Ruh

Du bist die Ruh,
Der Friede mild,
Die Sehnsucht du,
Und was sie stillt.
Ich weihe dir
Voll Lust und Schmerz
Zur Wohnung hier
Mein Aug’ und Herz.
Kehr’ ein bei mir,
Und schliesse du
Still hinter dir
Die Pforten zu.
Treib andern Schmerz
Aus dieser Brust.
Voll sei dies Herz
Von deiner Lust.
Dies Augenzelt
Von deinem Glanz
Allein erhellt,
O füll’ es ganz.

You are repose

You are repose
and gentle peace.
You are longing
and what stills it.
Full of joy and grief
I consecrate to you
my eyes and my heart
as a dwelling place.
Come in to me
and softly close
the gate
behind you.
Drive all other grief
from my breast.
Let my heart
be full of your joy.
The temple of my eyes
is lit
by your radiance alone:
O, fill it wholly!
Translations by Richard Wigmore first published by Gollancz and reprinted in the Hyperion Schubert Song Edition

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Composer

Fanny Hensel, née Mendelssohn (1805-47), was an exceptionally gifted musician whose potential was stifled by the gendered social conventions of her upper-middle-class background in mid-19th-century Berlin. She came from a wealthy and cultivated family, distinguished especially by its women. Alongside her brother Felix, she enjoyed an excellent general and musical education throughout her childhood, but while he was encouraged to pursue music professionally, she was prevented from doing so by her father. Nevertheless, music remained centrally important to her within private spaces such as the salon.

In 1825, the Mendelssohns moved to Leipziger Straße 3, a large property which allowed the family to establish one of the most impressive musical salons of the century. In 1829, Fanny Mendelssohn married the painter Wilhelm Hensel, whose active support of her gifts meant that – exceptionally –marriage and motherhood did not spell the end of her compositional life. She collaborated closely with her husband in a purpose-built studio, Hensel responding to her music with drawings, and she composing songs to his poetry.

From 1831, Mendelssohn organised the Sonntagsmusiken, informal private concerts in the garden room of the family home which involved attendees as impressive as Liszt, Paganini, Clara Schumann, Bettina von Arnim and Heine. The programmes mixed chamber music and songs, alongside some choral works and the occasional orchestra. In this ostensibly private milieu, she could flourish as a composer, conductor, performer and organiser. Maintaining the series was no small task, especially in the face of family bereavements and illnesses, and her own numerous but rarely mentioned miscarriages and still-births.

A long-desired trip to Italy from 1839 to 1840 with her family signalled the start of her liberation from her brother’s influence. Most importantly, her music was highly praised by the professional musicians she encountered in Rome. Fanny Mendelssohn was forty when she finally decided she would publish her music, in defiance of her brother.

Towards the end of her life, her self-confidence was boosted by the interest and encouragement of a young, musically inclined lawyer Robert von Keudell. By spring 1847, six opus numbers had appeared. Tragically, she suffered a stroke in May 1847 and died the following night. Felix Mendelssohn arranged the posthumous publication of two groups of songs and her Piano Trio Op. 11.

Fanny Mendelssohn wrote well over two hundred songs. As noted in Stephen Rodgers’s recent book songs, ‘Hensel’s music is tonally adventuresome, … free and flexible, often with a feeling of having been improvised on the spot; it can be at times wildly virtuosic…and at other times stripped to the barest essentials, so that every note, every moment of dissonance, speaks volumes; and it shows little obeisance to orthodox formal models,…pursuing unexpected musical narratives tailored to the needs of each expressive context.’

Hensel knew not only German but also French and English, and her output contains several French and English settings. Her taste in German poetry was discerning and high-quality, including Heine, Goethe, Eichendorff, Rückert, Lenau and her husband’s work.

Scores of all her songs are available on this site: https://henselsongsonline.org/, edited by Tim Parker-Langston, and many are easily available in print editions and recordings.

© Natasha Loges, 2022


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Poet

Friedrich Rückert was a German poet, translator, and professor of Oriental languages.

Rückert was born at Schweinfurt and was the eldest son of a lawyer. He was educated at the local Gymnasium and at the universities of Würzburg and Heidelberg. From 1816–1817, he worked on the editorial staff of the Morgenblatt at Stuttgart. Nearly the whole of the year 1818 he spent in Rome, and afterwards he lived for several years at Coburg (1820–1826). Rückert married Luise Wiethaus-Fischer there in 1821. He was appointed a professor of Oriental languages at the University of Erlangen in 1826, and, in 1841, he was called to a similar position in Berlin, where he was also made a privy councillor. In 1849 he resigned his professorship at Berlin, and went to live full-time in his Gut (estate) at Neuses (now a part of Coburg).

When Rückert began his literary career, Germany was engaged in her life-and-death struggle with Napoleon; and in his first volume, Deutsche Gedichte (German Poems), published in 1814 under the pseudonym Freimund Raimar, he gave, particularly in the powerful Geharnischte Sonette (Sonnets in Arms/Harsh Words), vigorous expression to the prevailing sentiment of his countrymen. During 1815 to 1818 appeared Napoleon, eine politische Komödie in drei Stücken (Napoleon, a Political Comedy in Three Parts) of which only two parts were published; and in 1817 Der Kranz der Zeit (The Wreath of Time).

Taken from Wikipedia. To view the full article, please click here.


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