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Fanny Hensel's Seasons of Life: Poetic Epigrams, Vignettes, and Meaning in Das Jahr

2008; Taylor & Francis; Volume: 27; Issue: 4 Linguagem: Inglês

10.1080/01411890802384409

1547-7304

Marian Wilson Kimber,

Folklore, Mythology, and Literature Studies

Abstract The poetic epigrams and vignettes that precede the movements of Fanny Hensel's Das Jahr in the recently discovered autograph allow for a new, enriched interpretation of the work, previously believed to depict the composer's Italian sojourn. Hensel's music is frequently shaped by the poems from which the epigrams were taken: works by Schiller, Uhland, Eichendorff, Tieck, and Goethe. The epigrams, vignettes drawn by Wilhelm Hensel, and references to other compositions combine to evoke the passage of time and the seasons of human life, a narrative of change tinged with a melancholic sense of loss, in a genuinely Romantic musical cycle. Notes 1Ludwig Uhland, Frühlingslieder, 2. Frühlingsglaube, in Gedicht, Dramen, Versepik, und Prosa, Ludwig Uhland Werke, vol. 1, ed. Hans-Rüdiger Schwab (Frankfurt am Main: Insel, 1983), 44–45, lines 5–6: "Now poor heart, be not afraid./Now must all, all change." 2Fanny Hensel, Das Jahr: 12 Charakterstücke für das Forte-Piano, ed. Liana Gavrila Serbescu, Barbara Heller, and Ayako Suga-Maack (Kassel: Furore, 1989). Das Jahr is number 385 in Renate Hellwig-Unruh, Fanny Hensel geb. Mendelssohn Bartholdy: thematisches Verzeichnis der Kompositionen (Adliswil: Kunzelmann, 2000), 316–20. 3The pianists who have recorded the 1989 published version of the piece are Béatrice Rauchs (Bayer 100 250, 1995), Sarah Rothenberg (Arabesque Z6666, 1996), Carl Levi Minzi (Antes Concerto 961040, 1997), and Ulrich Urban (Musica Mundi 3–67192, 1998). Three selections from the cycle have been recorded by Sontraud Speidel (Brioso BR107, n.d.). 4Annette Nubbemeyer, "Italienerinnerungen im Klavieroeuvre Fanny Hensels: Das verschwiegene Programm im Klavierzyklus 'Das Jahr'," in Fanny Hensel geb. Mendelssohn Bartholdy: Das Werk, ed. Martina Helmig (Munich: text + kritik, 1997), 68–80; Monika Schwarz-Danuser, "Mendelssohn, Fanny (Caecilie)," in Musik in Geschichte und Gegenwart, 2nd ed., ed. Ludwig Fischer (Kassel: Bärenreiter, 2004), Personenteil, vol. 11, col. 1539; John Toews, "Memory and Gender in the Remaking of Fanny Mendelssohn's Musical Identity: the Chorale in Das Jahr," Musical Quarterly 77 (1993), 727–48; Christian Thorau, "Das spielende Bild des Jahres: Fanny Hensels Klavierzyklus Das Jahr," in Fanny Hensel geb. Mendelssohn: Komponieren zwischen Geselligkeitsideal und romantischer Musikästhetik, 2nd ed., ed. Beatrix Borchard and Monika Schwarz-Danuser (Kassel: Furore, 2002), 88; R. Larry Todd, Mendelssohn: A Life in Music (New York: Oxford University Press, 2003), 425–88; and R. Larry Todd, "Issues of Stylistic Identity in Fanny Hensel's Das Jahr (1841)," in Mendelssohn Essays (New York: Routledge, 2008), 249–60. I am grateful to Professor Todd for sharing his work with me before it was published. 5Eva Weissweiler, "Vorwort," to Fanny Mendelssohn, Italienisches Tagebuch, 2nd ed. (Frankfurt: Societäts-Verlag, 1983), 26; Nancy B. Reich, "The Power of Class: Fanny Hensel and the Mendelssohn Family," in Women's Voices Across Musical Worlds, ed. Jane A. Bernstein (Boston: Northeastern University Press, 2004), 30. Nubbemeyer and Toews are cited in n4. 6Sebastian Hensel, Die Familie Mendelssohn 1729–1847 nach Briefen und Tagebüchern, ed. Konrad Feilchenfeldt (Frankfurt am Main: Insel, 1995), 570. 7Sarah Rothenberg, "Fanny Mendelssohn's Musical Diary," Keyboard Classics 11/4 (1991), 6–7, 43. 8Fanny and Wilhelm Hensel, Das Jahr: Zwölf Charakterstücke für das Fortepiano (1841); Faksimile nach dem Autograph aus dem Besitz des Mendelssohn-Archivs der Staatsbibliothek zu Berlin (Kassel: Furore, 2002). Beatrix Borchardt recounts her discovery of the autograph on pages iii–vi and x–xiii. The autograph of Das Jahr is also published as Fanny Hensel, Das Jahr, 2nd ed., ed. Liana Gavrila Serbescu, Barbara Heller, and Ayako Suga-Maack (Kassel: Furore, n.d.), and recorded by Wolfram Lorenz (Troubadisc 1419, 1998). Measure numbers in this article refer to this Furore edition. 9"Gesamtkunstwerk" is the designation of Schwarz-Danuser in "Mendelssohn, Fanny (Caecilie)," MGG, Personenteil, vol. 11, col. 1538. 10Hans-Günter Klein, "Auch in künstlerischer Zusammenarbeit vereint: Wilhelm Hensel, zeichnend, und Fanny Hensel, komponierend," Jahrbuch Preußischer Kulturbesitz 35 (1999), 270–71. Fanny's "second diary," reflecting her Italian travels, appears to be MA Ms. 163, the "Italienreise 1839/40" produced in 1841 and also recently acquired by the Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. See Hans-Günter Klein, "'O glückliche, reiche, einzige Tage': Fanny und Wilhelm Hensels Album ihrer Italienischereise 1839/40," Jahrbuch Preußischer Kulturbesitz 36 (1999), 291–300. Facsimiles of some of these works appear in Hans-Günter Klein, Die Mendelssohns in Italien (Wiesbaden: Dr. Ludwig Reichert Verlag, 2002), 58–89, and in Hans-Günter Klein, "O glückliche, reiche, einzige Tage": Fanny und Wilhelm Hensels italienische Reise (Wiesbaden: Dr. Ludwig Reichert Verlag, 2006). Gottfried Eberle argued against the "Italian travels" interpretation in "Zu Fanny Hensels Klavierzyklus 'Das Jahr,'" in Komponistinnen in Berlin, ed. Bettina Brand et al. (Berlin: Musikfrauen, 1987), 56–58. On the role that the Italian journey has played in Hensel's biographical portrayals, see Marian Wilson Kimber, "Fanny in Italy: the Female Composer as Travel Writer," in Musical Biography: Towards New Paradigms, ed. Jolanta T. Pekacz (London: Ashgate, 2006), 111–33. 11This estimate is based on Hellwig-Unruh, Fanny Hensel geb. Mendelssohn Bartholdy: thematisches Verzeichnis der Kompositionen. For comparison of the siblings' styles, see Camilla Cai, "Fanny Hensel's 'Songs for Pianoforte' of 1836–37: Stylistic Interaction with Felix Mendelssohn," The Journal of Musicological Research 14 (1994), 55–76, and R. Larry Todd, "On Stylistic Affinities Between the Music of Fanny Hensel and Felix Mendelssohn Bartholdy," in The Mendelssohns: Their Music in History, ed. John Michael Cooper and Julie Prandi (New York: Oxford University Press, 2002), 245–61. 12See Marian Wilson Kimber, "From the Concert Hall to the Salon: the Piano Music of Clara Wieck Schumann and Fanny Mendelssohn Hensel," in Nineteenth-Century Piano Music, 2nd ed., ed. R. Larry Todd (New York and London: Routledge, 2003), 344–46. 13Thorau, "Das spielende Bild des Jahres," 83. 14Measures 103–31 in the Furore edition. 15Claire Fontijn discusses Hensel's sources for the chorale tunes in her paper, "Bach-Rezeption und Lutherischer Choral in der Musik von Fanny Hensel und Felix Mendelssohn Bartholdy," which she graciously shared with me before it was published in "Zu gross, zu unerreichbar": Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, ed. Anselm Hartinger, Christoph Wollf, and Peter Wollny (Wiesbaden: Breitkopf & Härtel, 2007). Katharine Boyes's thesis, based on the 1989 publication of Das Jahr, stresses the possible ways in which the characteristics of the chorale tunes permeate the larger work. "The Months of the Year Portrayed in Piano Works by Fanny Hensel, Charles-Valentin Alkan, Peter Tchaikovsky, and Judith Lang Zaimont" (D.M.A. thesis, University of Cincinnati, 1997), 17–133. 16Here I draw on J. Peter Burkholder's terminology in "The Uses of Existing Music: Musical Borrowing as a Field," Notes, Quarterly Journal of the Music Library Association 50 (1994), 854. Hensel's references to other musical works and styles can also be categorized as "programmatic quotation." 17In contrast to Hensel's varied approaches to bells, her brother's The Evening Bell for harp and piano, composed for the family of Thomas Attwood in 1829 and published by Chapell in 1830, merely features simple repeated octaves in the harp midway through the work, accompanied by arpeggiation, then tonic and dominant triads in the piano, all at a subdued dynamic level. The work was meant to evoke an actual gate bell at Attwood's home, which the composer visited in 1829. See Felix Mendelssohn Bartholdy, The Evening Bell (Adliswil: Pizzicato Verlag Helvetia, 2001). 18Toews, "Memory and Gender in the Remaking of Fanny Mendelssohn's Musical Identity," 737–38; Todd, Mendelssohn: A Life in Music, 426–28, and "Issues of Stylistic Identity in Fanny Hensel's Das Jahr (1841)," 255–9. 19Todd, "Issues of Stylistic Identity in Fanny Hensel's Das Jahr (1841)," 255–6. Todd notes that the allusion is "strengthened in the middle of the movement, when Fanny directs her tripping, descending figure through the telltale key of E minor" (at measure 57); E minor is the key of the Presto section of Mendelssohn's op. 14. 20It is possible to assume too much about the choice of paper, as the Hensels would have had to use what was available to them. With many of the pieces in the Reise-album there does not seem to be much of a correlation between music, vignette, and paper color. However, the Allegro molto in B major (later published as op. 6, no. 2), with its picture of smoking Mount Vesuvius, is in reddish hues, perhaps to suggest the volcano's inner fire. See Klein, "O glückliche, reiche, einzige Tage," 43. In his "Issues of Stylistic Identity in Fanny Hensel's Das Jahr (1841)," 253, Todd finds no relationship between paper color and the keys of the movements of Das Jahr. 21I am indebted to Christina McOmber for this idea. 22Bildquelle: MA WH-Alben 2, in Cécile Lowenthal-Hensel and Jutta Arnold, Wilhelm Hensel: Maler und Porträtist (Berlin: Gebr. Mann Verlag, 2004), 141. The staff could also be a shepherd's crook, such as that held by the figure in Wilhelm's vignette for Fanny's Lied, Traum (MA Ms. 89), published in facsimile as, Traum, Lied auf einem Text von Joseph von Eichendorff für Singstimme und Klavier, F-dur, 1844, ed. Hans-Günter Klein (Wiesbaden: Dr. Ludwig Reichert Verlag, 1997). However Eichendorff's text indicates that here, too, the figure is a wanderer "on foreign peaks" dreaming of his far-away homeland. 23Only "September" and "November" feature lone male figures. 24Klein, "Auch in künstlerischer Zusammenarbeit vereint," 270–71. 25Cécile Lowenthal-Hensel and Jutta Arnold identified the two quotations from Goethe's März and An den Mond in Wilhelm Hensel, 306. 26Hensel's setting of An den Mond is number 19 in Hellwig-Unruh, Fanny Hensel geb. Mendelssohn Bartholdy: thematisches Verzeichnis der Kompositionen; Im Herbste is no. 54 in Hellwig-Unruh. 27It is possible that the setting of Tieck's Herbstlied is actually by Felix. See Annette Maurer, Thematisches Verzeichnis der klavierbegleiteten Sololieder Fanny Hensels (Kassel: Furore, 1997), 111. 28Hellwig-Unruh, 295. 29See John Michael Cooper, "Words without Songs? Of Texts, Titles, and Mendelssohn's Lieder ohne Worte," in Musik als Text: Bericht über den Internationalen Kongreß der Gesellschaft für Musikforschung Freiburg im Breisgau 1993, ed. Hermann Danuser and Tobias Plebuch (Kassel: Bärenreiter, 1998), vol. 2, 341–45. 30September 7, 1838, in The Letters of Fanny Hensel to Felix Mendelssohn, ed. Marcia J. Citron (New York: Pendragon, 1987), 547. 31April 22, 1840, in MA Depos. Lohs 3, Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, published in Vier römische Klavierstücke, ed. Christian Lambour (Wiesbaden: Breitkopf & Härtel, 1999), 33–36. 32May 4, 1840, in Fanny Hensel, Briefe aus Rom an ihre Familie in Berlin 1839/40, ed. Hans-Günter Klein (Wiesbaden: Dr. Ludwig Reichert Verlag, 2002), 93. On Felix Mendelssohn's distinction between public and private works, see John Michael Cooper, "Mendelssohn's Two Infelice Arias: Problems of Sources and Musical Identity," in The Mendelssohns: Their Music in History, ed. John Michael Cooper and Julie D. Prandi (New York: Oxford University Press, 2002), 91–93. 33Both are published in Topical Song Cycles of the Early Nineteenth Century, ed. Ruth O. Bingham, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vol. 37 (Middleton, Wisc.: A-R Editions, 2003). 34Translations are by Bingham, Topical Song Cycles of the Early Nineteenth Century, xxix–xxxii. 35Todd, Mendelssohn: A Life in Music, 227, 382. 36See Abraham's letter of March 10, 1835, in Felix Mendelssohn Bartholdy, Briefe aus den Jahren 1833 bis 1847, 5th ed., eds. Paul Mendelssohn Bartholdy and Carl Mendelssohn Bartholdy (Leipzig: Hermann Mendelssohn, 1865), 86–88. 37H. C. Robbins Landon, Haydn: Chronicle and Works, 5 vols. (London: Thames and Hudson, 1976–80), vol. 5, 120. See the possible influence of Die Jahreszeiten on Felix Mendelssohn in A. Peter Brown, "The Creation and The Seasons: Some Allusions, Quotations, and Models from Handel to Mendelssohn," Current Musicology 51 (1991), 53–54. 38Werner Bollert, ed., Sing-Akademie zu Berlin (Berlin: Rembrandt, 1966), 133. The concert took place on December 2, though several numbers (the Wine Chorus, the Spinning Song, and the Romance) were omitted because some female chorus members found their texts offensive. Zelter's review is "Die Jahrezeiten nach Thompson," Allgemeine musikalische Zeitung (6), May 2, 1804, cols. 513–29. 39December 27, 1834, January 16, 1835, and December 14, 1838, in The Letters of Fanny Hensel to Felix Mendelssohn, 483, 485, and 548. 40On Haydn's use of horn calls, see Daniel Heartz, "The Hunting Chorus in Haydn's Jahreszeiten and the 'Airs de chasse' in the Encyclopedie," Eighteenth-Century Studies 9 (1976), 523–39. 41Brown, "The Creation and The Seasons," 27. 42Brown, "The Creation and The Seasons," 27. See a facsimile of this bifolio in Ernst Wolff, Felix Mendelssohn Bartholdy, 2nd ed. (Berlin: Harmonie, 1909), 81. It contains one of the herald's speeches from Faust II, Act 1, lines 5393–406. 43R. Larry Todd, Mendelssohn: A Life in Music, rev. ed. (New York: Oxford University Press, 2005), 85. All other citations to this book are to the original 2003 edition. 44See, e.g., December 21, 1844, in The Letters of Fanny Hensel to Felix Mendelssohn, 330 and 598, citing Faust, part 1, line 2009; also her letter citing part 1, line 911, March 25–6, 1840, in Briefe aus Rom, 68. 45June 18, 1828, Hensel, Die Familie Mendelssohn, 224–25. The date of this letter seems to be incorrect, as Faust 2 did not appear until 1832. 46R. Larry Todd has hypothesized that the entire Octet might have a program drawn from Part 1 of Faust, and John Michael Cooper has suggested a link between Goethe's poem Lili's Park and the Minuet of the Italian Symphony. See Todd, Mendelssohn: A Life in Music, 150–52; John Michael Cooper, Mendelssohn's Italian Symphony, Studies in Musical Genesis and Structure, ed. Malcolm Gilles (New York: Oxford University Press, 2003), 182–87. 48Quoted in Hans-Günter Klein, "'O glückliche, reiche, einzige Tage'," 270–71: "Jetzt mache ich eine andre kleine Arbeit, an der ich viel Spaß habe, nämlich eine Reihe von 12 Clavierstücken, die die Monate vorstellen sollen, ich bin schon über die Hälfte gekommen, werde ich fertig, so schreibe ich die Stücke ebenfalls sauber ab, u. sie werden mit Vignetten versehn." Unless indicated otherwise, all translations are mine. 47Dates on the individual movements and the sources of their associated epigrams from the later autograph are as follows: August 28 February Goethe, Faust 2 October 7 April Goethe, März October 16 May Uhland, Frühlingsglaube October 29 June, version 1 [Goethe, Faust 1?] November 9 July Schiller, Der Abend November 15 September Goethe, An den Mond November 17 March Goethe, Faust 1 November 27 August Schiller, Das Lied von der Glocke December 1 October Eichendorff, Die Spielleute December 1–4 November Tieck, Trauer December 11 January Uhland, Im Herbste December 15 Nachspiel no epigram December 16–23 December chorale text 49On the tendency for Hensel scholars to encounter biographical transference, see Marian Wilson Kimber, "The Suppression of Fanny Mendelssohn: Rethinking Feminist Biography," 19th-Century Music 26 (Fall 2002), 125–26. 50In art works, the psaltery is sometimes seen among the Muses. 51 Fanny Hensel, geb. Mendelssohn Bartholdy: Das Werk, 8. 52The only other possible autobiographical reference is the "schöne Frau" who lives in a garden in Eichendorff's Die Spielleute, which provided the epigram for "October." The poem describes music-making in a natural setting, not unlike Fanny's own descriptions of the excursions she enjoyed in Italy with her spouse and their French artist companions. Yet, the poem comes from the point of view of the Spielleute, not the woman, who listens rather than creates music, so it is less likely that Fanny's choice of an epigram from this poem is deliberately self-referential. The section of the poem selected for the epigram refers to the "Lust'ger Schall" of the hunting horn, depicted in the movement's vignette. 53Fontijn notes the resemblance of the "December" vignette to Wilhelm Hensel's painting of his wife and son for Christus vor Pilatus in "Bach-Rezeption und Lutherischer Choral in der Musik von Fanny Hensel und Felix Mendelssohn Bartholdy," cited in footnote 15. Hensel's study for the painting, held in the Mendelssohn-Archiv Bildersammlung, can be seen in Lowenthal-Hensel and Arnold, Wilhelm Hensel, plate X. 54See her letter of February 25, 1840, in Hensel, Briefe aus Rom, 57–59. 55Cyrus Hamlin, Interpretative Notes to Faust, transl. Walter Arndt (New York: W. W. Norton, 2001), 400–7. 56Johann Wolfgang von Goethe, Italienische Reise, ed. Andreas Beyer and Norbert Miller, Sämtliche Werke nach Epochen seines Schaffens, 15 (Munich: Carl Hanser, 1985), 606–7; English translation, Italian Journey, ed. Thomas P. Saine and Jeffrey L. Sammons, transl. Robert R. Heitner, Goethe's Collected Works, vol. 6 (New York: Suhrkamp, 1989; reprint, Princeton, N.J.: Princeton University Press, 1994), 414. Hensel knew Goethe's Italienische Reise well and cited it frequently in her letters from Italy. 57September 28, 1840, in the Green Books, Bodleian Library, Oxford, XII, 89: "Wer übrigens dran zweifeln möchte, daß zehn Jahre eine lange Zeit sind, der braucht nur Briefe zu lesen, die so alt sind. Es ist schrecklich! Wie wenig von allen darin genannten Menschen und Verhältnissen übrig ist. Alles gestorben, verdorben, auseinander. Man muß Gott danken, wenn nur das zusammen Gehörige auch wirklich zusammen bleibt, u. sich nicht von einander trennt, es scheide denn der Todt." 58September 28, 1840, in the Green Books, XII, 89: "Wenn man so alte Zeit in Briefen wieder erlebt, u. da sieht, wie manche Befürchtung, wie manche Sorge man gehabt, die Einem die schönsten, theuersten Stunden verbittert, u. wie dann das Befürchtete ausgeblieben, dagegen so manches geschehn, worauf man gar nicht gerüstet war, wenn man dann weiter denkt, wie das immer so fort geht, wie ich jetzt die 5 Tage in Leipzig gar nicht genießen können [sic], weil mich die Sorge um Deine Reise nach England fast verzehrt, wie nun diese Reise jetzt zum größten Theil schon so glücklich züruck gelegt ist, u. Dir statt Unheil, Freude u. Vortheil gebracht hat, wenn man überzeugt ist, daß das Leben heißt, so sollte man wirklich nach einigem Leichtsinn trachten, um das was man eben hat, fröhlicher zu genießen u. um die Zukunft unbesorgt zu seyn, die eben deshalb fast immer anders kommt, als man sie erwartet, weil man sie nicht ergründen kann und soll." 59Quoted in Hans-Günter Klein, "'O glückliche, reiche, einzige Tage'," 270–71: "So suchen wir uns das Leben zu zieren u. zu verschönern, das ist der Vorzug der Künstler, daß sie solche Verschönerungen rings um sich her streuen, u. alle die daran Antheil nehmen lassen können, die ihnen irgend nahe stehn …" 60Quoted in Klein, "Auch in künstlerischer Zusammenarbeit vereint," 271: Dem Manne, der schon manches Jahr, So lang ich ihm verbunden war, Zum steten Festtag mir verkürzt, Mit Poesie das Leben gewürzt, Ihm sey gereicht, dem Ernsten, Tüchtigen, Das spielende Bild des Jahrs, des flüchtigen. 61Johann Wolfgang Goethe, Gedichte 1800–1832, ed. Karl Eibl, Sämtliche Werke: Briefe, Tagebücher und Gespräche, I. Abteilung, Band 2 (Frankfurt am Main: Deutscher Klassiker Verlag, 1985), 465–66, lines 1–7. 62Ludwig Tieck, Gedichte, ed. Ruprecht Wimmer, Ludwig Tieck Schriften, Band 7 (Frankfurt am Main: Deutscher Klassiker Verlag, 1995), 21, lines 13–18. 63Uhland, Frühlingslieder, 2. Frühlingsglaube, in Gedicht Dramen Versepik und Prosa, Ludwig Uhland Werke, 44–45. 64Another possible reflection of poetic imagery occurs in "July." The low tremolo in the bass (measures 25–36 and 54) may have originated in the ocean waves of Schiller's Der Abend: Nach einem Gemälde. However, Wilhelm's vignette does not reinforce this image, depicting instead an exhausted (and presumably thirsty) pilgrim. 65Gottfried Eberle also made this observation in "Zu Fanny Hensels Klavierzyklus 'Das Jahr'," 59. 66A reference to the chorale from "December," Vom Himmel hoch, appearing after the quotation of "August," was removed in MA. Ms. 47, possibly because of its association with winter, rather than "spring songs." 67Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth Century Music (Cambridge, Mass.: Harvard University Press, 2003), 148–50. Beethoven marked the dedication copy of the Sonata, op. 69, with the words "Inter lacrymus et luctus" ("Amid tears and sorrow"). Monika Schwarz-Danuser also recognized the Beethoven reference in the article on Hensel in MGG, Personenteil, vol. 11, col. 1539–40. While Christian Thorau's examples of transformations of the motive differ from one another enough to suggest that some of them may not have been intentional on Hensel's part, it nonetheless suggests Hensel's desire for overall unity and perhaps her creation of the underlying program, that they occur in movements seemingly absent of emotional distress, such as in "August" and in the chorale sections of "March" and "December." Thorau, "Das spielende Bild des Jahres," 83. 68Todd, "Issues of Stylistic Identity in Fanny Hensel's Das Jahr (1841)," 254–5. 69It has been suggested that Hensel made the movement easier to allow Das Jahr to be playable by pianists less gifted than herself (facsimile edition, xiv–xv), but if this is the case, it is unclear why the virtuosic levels of other movements were not modified as well. 70Jeffrey Kallberg, "Harmony of the Tea Table: Gender and Ideology in the Piano Nocturne" in Chopin at the Boundaries: Sex, History, and Musical Genre (Cambridge, Mass.: Harvard University Press, 1996), 30–61. See the similar vignette by Wilhelm for Hensel's Gondellied in the Reise-album 1839–40, shown in Klein, "O glückliche, reiche, einzige Tage," 23. 71 Faust, Part 1, lines 3881–8. 72Toews, "Memory and Gender in the Remaking of Fanny Mendelssohn's Musical Identity," 744. 73Friedrich Schiller, Das Lied von der Glocke, in Schillers Werke: Nationalausgabe, Zweiter Band, Teil 1, ed. Norbert Oellers (Weimar: Hermann Böhlaus Nachfolger, 1983), 238–39, lines 416–17. Fanny also changed Schiller's "fliegen" to "fliehen." 74That this change was deliberate is given weight by the fact that Hensel sometimes modified the texts of Lieder that she set: for example, Heinrich Heine's "Wenn der Frühling kommt" (Hellwig-Unruh, no. 286) and Nikolaus Lenau's "Stimme der Glocken" (Hellwig-Unruh, 444). I am indebted to Ruth Ochs for this information. 75Todd has noted Fanny's similar treatment of Vom Himmel hoch to that of Felix's 1831 cantata based on the chorale tune. Todd, Mendelssohn: A Life in Music, 428. 76Toews, "Memory and Gender in the Remaking of Fanny Mendelssohn's Musical Identity," 737–38. 77I would like to thank Christina McOmber for this suggestion. 78September 28, 1840, in the Green Books, XII, 89, cited in footnote 53.