Fanny Hensel

8/10/2019 Fanny Hensel

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7 WILSON KIMBER

Fanny Hensel Meets the Boys in the Band:the Brass Transcriptions of Gartenlieder , op. 3

Marian Wi son Kim er

s women musicians emerged from the parlors of late nineteenth-century America andbegan to take up orchestral instruments, various publications warned that there were limitsthat the gentler sex should not transgress. A writer in Musical America in 1906 feared that women might perform on the trombone, the French horn, or the “gigantic” sousaphone,because “seeing a woman get red in the face blowing a brass instrument is … an unpleasant

shock.”1

An article in the Musical Standar stated that “Women cannot possibly play brassinstruments and look pretty, and why should they spoil their looks?”2 Helen Ducommun,the only female in her small-town Iowa band, faced violent objections from a visitingdirector, who roared, “I wouldn’t have any damn girl in the band.”3 While several womencornetists—Louise Shaffer, Anna Berger, Alice Raymond, Nellie Daniels and others—appearto have attempted careers in the late nineteenth century, the world of brass bands, both

rofessional and amateur, remained almost entirely male. Female composers of the period,often denied conservatory training and access to larger musical ensembles, continued tobe associated with genres performed in the domestic sphere, songs and small piano pieces,

and practically never produced works for brass. Given the gender biases of the period, it is remarkable to find that music by a femalecomposer, Fanny Men e sso n Hense 1805- 7 , sur ace in America in t e ate nine-teent century as part o t e avai a e repertoire or an s. Brass an transcriptions oHensel’s Gartenlieder , op. 3, were published in Boston in 1871 by George W. Stratton (seeFigure 1).6 These transcriptions were a bridge, unusual for their time, between the feminineand masculine musical domains, as well as a part of the larger transmission of Germanmusic to American soil. Hensel’s Gartenlieder , consisting of six part-songs, were published in 1847.8 The songs

are settings of the Romantic poetry of Ludwig Uhland, Joseph von Eichendorff, and EmanuelGeibel; the song Morgengru features a text by the composer’s husband, Wilhelm Hensel.Unlike the international career of her better-known brother, Felix Mendelssohn, Hensel’smusical efforts took place in her Berlin home and found their fruition in a series of salonconcerts she hosted there. Thus most of her compositions were intended for semi-privatesettings. For an upper-class nineteenth-century woman, receiving money for musical activi-ties meant compromising her social position, and as late as 1888, an article in The MusicalTimes found it laudable that for most of her life Hensel did not undertake a “descent” intothe arena of publishing. Though she produced over four hundred compositions, Hensel

began a career as a professional composer only in 1846, publishing a series of works be-inning the year before her untimely death. That same year she wrote to her brother thater Fri ay singers a enjoye er Garten ie er A t oug t e songs were rst ear in



HISTORIC BRASS SOCIETY JOURNAL18

performances by Fanny’s friends and may have been programmed on her salon concertsthat spring, there is evidence to suggest that they were also composed with publicationin mind. R. Larry Todd has suggested that Hensel’s choice of part-songs was a symbolicmove away from stereotypically “feminine” genres for solo voice or piano “to the moremasculine ‘open-air’ part-song.” Nonetheless, the Gartenlieder remained appropriate foramateurs in t e omestic sp ere, an even t e tit e, Gar en songs, suggests a private,not a public setting. Although the composer did not live to see it, the Gartenlieder appear to have achievedsome popularity in the nineteenth century. Robert Schumann requested copies of them toconduct with his Verein für Musik in Dresden, and Johanna Kinkel directed them in Bonn with the Musikalische Liebhabergesellschaft.13 Sean Wallace has identified not only twoeditions from the work’s Berlin publisher, Bote & Bock, which sold approximately three

gure

anny ense , örst u n c t e äume rausc en, n i itary usic ew or :

o n . tratton s c , - , an usic rom t e ivi ar, rary o ongress,

Music Division, http://www.memory.loc.gov/ammem/cwmhtml/cwmhome.html



9 WILSON KIMBER

undred copies, but also two British editions with translations of the texts into English.The individual song Morgengru appeared in English translation in a volume entitled AlpineGlee Singer as well.1 A review of the Gartenlieder in the Musical Times in 1879 assumed that“These songs, by Mendelssohn’s sister, are lready known to most lovers of part music.”1

Evidence suggests that Fanny Hensel and her music were not unknown across thetlantic. Her Lieder published under Felix Mendelssohn’s name in his opp. 8 and 9 wouldave een avai a e to Americans, w o may or may not ave een aware o er aut ors ip.

Severa o t ese songs—Heimwe Ita ien, an ie onne —were avai a e in America inEnglish translations around 1870.16 Writing about Fanny in American publications increaseddramatically after the English translation of the family history, ie Familie Mendelssohn,by her son, Sebastian Hensel, appeared in 1881, as it included significant portions of heretters and diaries.17 However, even before the book’s publication, Fanny’s music was heardin America. The pianist Otto Dresel, a member of Leipzig musical circles during the 1840s,

erformed her Opus 11 piano trio in Boston in 1856. The review in Dwights Journal of’ Music found the work “remarkable,” praising it as “full of interest and beauty” and “vigor-ous, so full of fire.” The review claimed that in its “sustained strength, indeed, it exceedssome favorite productions of the brother.”18 Fanny’s song Schwanenlied her op. 1, no. 1,appeared in 1878 with English texts provided by a Mrs. R. von Minden, who seems to havebeen the wife of a publisher.19 In 1892, when Antonín Dvor ák was quoted in the ostonPost as saying that women have no creative power, the responses by Americans reveal thatthey knew of Fanny Hensel and her music. She was cited by the composer Amy Beachand the suffragist Alice Stone Blackwell, but more significantly, composer George Chadwicknoted, “there is the case of Mendelssohn’s sister, who wrote as good a trio as Mendelssohnever produced.” Yet whether or not the Gartenlieder , either as brass arrangements or int eir origina orm, were per orme in America is un nown. T e pu is ers o Hense s music or an , George W. Stratton . 1830 , seen in Fig-ure 2, and his brother, John F. Stratton (1832-1912), were influential in the development ofthe brass band movement in the post-Civil War era. John Stratton was a cornetist and banddirector who started his career in Worcester, Massachusetts and Hartford, Connecticut, thenmoved to New York, where he operated a highly successful instrument company. It has beenestimated that he sold 60,000 brass instruments to the United States government duringthe Civil War.22 Stratton published a great deal of brass band music during the years 1866to 1871, as well as a “how-to” guide to band arranging by George Patton in 1875.23 The

ublisher’s brother George, whose name appears on the transcriptions of Fanny’s music, was a composer and conductor.24 Favorable reviews of his standing-room-only concerts in

anchester, New Hampshire, were reprinted in The New York Musical Worl and Dwight’sournal of Music commending his ability to keep his orchestra “under complete control ” and

to insure that they were “well-drilled 2 His compositions included four concert overtures,an opera entitled The Buccaneer that was never performed, and several popular operettasdesigned for children. In 1869 George purchased the Boston Musical Times , in which headvertised his brother’s instruments and band music, and also publicized his own composi-tions until the journal ceased publication two years later.2




igure 2

George W. Stratton. From Benjamin Read, The History of Swanzey, New Hampshire,

from 1734 to 1890 (Salem, Mass.: Salem Press, 1892).

Courtesy of University of Chicago Libraries.



21 WILSON KIMBER

Clues in the two Strattons’ careers and their publishing history provide the contextfor the publication of Hensel’s music. John Stratton went to Germany in 1866 to openan instrument factory that could produce musical instruments more cheaply than in theUnited States; two years later he expanded his firm to Gohlis, near Leipzig, where he ran afour-story factory with three hundred employees. Sometime around 1871, George Strat-ton appears to have temporarily taken over the publishing end of the business, now basedin Boston, w ere e ran a music store, rat er t an in New Yor City. Hense s pieces were pu is e y George in t e Sixt Series o Mi itary Music. While these scores have the identical format as those in the previous series, which appearedunder John’s name, the content of George’s Series Six differs considerably from the musiccontained in previous Stratton publications. John Stratton’s collections typically includedmarches, quicksteps, dances, popular songs, and sometimes arrangements of opera excerpts. 9

The composers represented were primarily band or opera composers, though John didinclude several pieces by Felix Mendelssohn, including an arrangement of his Lied ohneWorte , op. 38, no. 4. In contrast, the series of works that appeared under George’s auspicesfeatured almost entirely German music, and included not only works by Hensel and

endelssohn, but others in their circle, such as Ferdinand Hiller and Robert Schumann.(The complete contents of this series can be found in the Appendix.) Schumann is theonly composer represented by more pieces in the collection than Hensel, with part-songsfrom his opuses 55, 67, 75, and two duets from opus 34. Following closely on his sister innumber of compositions represented is Felix Mendelssohn, with five arrangements takenfrom his opp. 75 and 76 part-songs. Notably, many of the lesser-known composers in the series were associated withLeipzig, where John Stratton had opened his factory. Carl Reinecke, Moritz Hauptmann,an Ru o Sac se taug t at t e Leipzig Conservatory. Franz A t, Jo annes Rupprec tDürnner, an Gustav Gra en-Ho man a stu ie in Leipzig, an August Fer inan Ricciusconducted opera there. Louis Papier conducted the Thomanerchor in the late 1870s, andCarl Friedrich Zöllner founded the Leipzig Liedertafel and numerous other men’s choralorganizations. Zöllner, Abt, Dürnner, Otto Claudius, Richard Seifert, and other composersin the Sixth Series all produced music for men’s chorus. Thus the pieces that the Strattonschose to arrange were, like the Gartenlieder and the works of Mendelssohn and Schumann,originally part-songs for the most part; several originated as vocal duets. 0 Indeed, with onlyone or two works by most composers—Hensel’s Gartenlieder are the only set of pieces by asingle composer presented in their entirety—the bulk of the Sixth Series resembles the songanthologies designed for four-part men’s chorus that were published in the second half ofthe nineteenth century. 1 The titles of the compositions refer to topics typical of such songs,such as woods, wandering, and springtime; their extra-musical associations with the “openair” are especially appropriate for brass. In fact, the two vocal duets by Richard Genée that

ad titles completely unrelated to typical Männerchore repertoire, Das Engagements-Gesuchand ie Politik , are disguised in the Strattons’ Sixth Series as generic “Duets.” Thus the publication of the Gartenlieder in brass transcriptions probably resulted from John Stratton’s residence in Leipzig and his sending or bringing back music from Germany.




Like John, George Stratton also traveled abroad a great deal, but not until three years afterpublishing Hensel’s pieces. (In 1872 he suffered from some sort of “nervous ailment” thatforced him to curtail his composing, and his journeys to the warmer climates of southernEurope and Egypt were ostensibly for the purpose of improving his health. Whetherthe transcriptions are John’s or George’s is not clear; one can imagine that George, as acomposer himself, was drawn to musical works with the potential for aesthetic pleasures

eyon t at o t e average marc or quic step. His 1857 musica soirée in Manc estereature Beet ovens Pat étique Sonata an music y Mozart an Sc u ert, 3 an t e os-

ton Musical Times advertised his edition of the Beethoven piano sonatas. Under George’sownership, the journal also published several editorials calling for improvements in musiceducation in America, one of which, entitled “Our Military Bands: How They Can BeImproved,” appeared the same year as the Sixth Series.34 While the article mentions nospecific repertoire and actually criticizes the contemporary emphasis on brass at the expenseof woodwinds and other instruments, it is possible that it was somehow meant to serve aspreliminary publicity for the forthcoming series of part-songs transcribed for band. Yet the Strattons’ sudden adoption of highly Germanic tastes may have been motivatedas much by their business acumen as by their musical preferences. The conductors andplayers in many American bands were German immigrants. Band historians Margaret andRobert Hazen have written that German bands were the most prominent among ethnicbands in the United States, spreading from New England to Texas to Oregon by the 1870s.3

Much anecdotal evidence supports the Hazens’ assertions. When the New York 7th Regi-ment Band was founded in 1852 it drew on the professional musicians of the GermanMusical Society.3 George Patton claimed he wrote his treatise on arranging because mostband instructors were German and weren’t capable of writing a treatise in English. an stLouis Moreau Gottsc a , upon encountering a vo unteer mi itary an in Wi iamsport,Pennsy vania, in 18 3, wrote, Is it necessary or me to say t at it is compose o Germans(all the musicians in the United States are Germans)?”38 Thus, the music of the Strattonbrothers’ Sixth Series may have been part of a deliberate marketing strategy: German musicfor German bands. Nonetheless, what is most striking about the appearance of the Gartenlieder arrangedfor band is the seeming intrusion of music by a woman into what was so clearly a masculine world. Not only the power of all-brass scoring, but bands’ long historical relationship withthe military solidified the association. 9 The brass band’s military basis certainly would havebeen most apparent immediately after the Civil War, when bands became a regular part ofthe United States militia for the first time.40 In 1861 Dwight wrote that the bands of PatrickGilmore and others would “probably incite the men to heroic deeds.” 1 That brass bandsand military bands were essentially conceived as one and the same is suggested by the Strat-tons’ heading of “Military Music” over opera arrangements and part-songs with no specificmilitary associations. Trevor Herbert has documented the use of military endorsement inadvertisements for brass instruments until as late as about 1920; Kenneth Kreitner writesthat “the town band remained a male province at least until the school band movement”of around the same time. 2



23 WILSON KIMBER

One need only turn to the criticism of John Sullivan Dwight, who, while decrying theopularity of “Brass, brass, brass,—nothing but brass,” nonetheless used gendered language

and military analogies in describing bands, recalling “the bold, manly tones of those old-fashioned, masculine brass instruments.” 3 In 1853, objecting to the proliferation of bandsand the abandonment of woodwind instruments, he wrote:

A at once, t e i ea o a Brass Ban s ot ort : an rom t e pro i c germsprang up a mu titu e o its in in every part o t e an …. An , as i t einvention of new and deadlier implements of war, which came out aboutthe same time, had hardened men’s hearts, all the softer companions of thesavage science were banished. 4

The loss of woodwinds was the loss of more feminine values, leaving only the masculinebrass: “Are the business and politics of the day so harsh,” Dwight complained, “that thetones of our street music must renounce all their sincerity and gentleness?”45 Herbert hasdescribed the military band’s role as more ceremonial than functioning in actual warfare,emphasizing that such bands “were a vital ingredient in the network of devices, many ofthem recently invented ‘traditions’, that served to symbolize and assert a prevailing author-ity,” an authority which was, without question, male. Historians have uncovered all-women bands in the nineteenth century, but these werea small minority of American amateur and professional bands. The Hazens noted that ofthe 1200 pre-1920 band photographs owned by the Smithsonian Institution, only abouttwenty different women’s bands are depicted. 7 Although women did sometimes appear intouring family bands, most of the female bands date from the turn of the century. 8 JudithTic notes t at y an arge, women i not earn orc estra instruments to any signi cant

egree unti t e 1870s an even t en t ey too up t e vio in, not woo win s or rass.49

s this musical activity emerged after the publication of the Gartenlieder transcriptions, itis highly improbable that the Strattons were aiming their publications specifically at the few women in bands. Nonetheless, George Stratton was not unaware of women as musicians, asthe oston Musical Times ublished a brief but enthusiastic notice about the expected arrivalof a Viennese ladies’ orchestra in New York the same year the Gartenlieder transcriptions were published, listing amid their instrumentation “trumpets, trombones, drums, etc.”The article also called for women to take up the violin, and, perhaps jokingly, supposedthat after the arrival of the women’s orchestra that “the trade in orchestral instruments willcertainly be doubled and all teachers of these instruments will be besieged with pupils!” 0

(After the ensemble’s performance, the critic for the New York Times complained about theensemble’s complete lack of brass instruments. 1) In spite of George’s seeming advocacy ofa rise in the number of women musicians, his journal also published an account of Britishmusic critic Henry F. Chorley’s address to the Royal Anthropological Society, negativelyassessing women’s creative abilities:




[T]he absence of musical inventive genius in women is explicable, and offersanother signal illustration of the contradictions and inconsistencies whichmark music beyond any other art. While women have achieved distinctionand often great success in literature, painting, sculpture, architecture, andscience, and while they are unsurpassed as interpreters of the drama and ofthe art of music, not a solitary female composer of originality, or even ofrepute is nown to t e istorica or critica o server.

Chorley’s lecture had recently been published in the Society’s journal. It offered, as partof a list demonstrating how women “have been habitually weak as composers,” his assess-ment of Hensel as having created “music in the most ambitious and severe forms,” music which he would have known from his personal acquaintance with the Mendelssohn fam-ily. 3 Although it thus seems that the Strattons were aware of the identity and the genderof the composer of the artenlieder , they listed her as “F. Hensel” on the six scores, so itis possible that players of these works would not even realize they were by a woman. Theobfuscation of Hensel’s gender was not deliberate on the publishers’ part, as most of thecomposers of their pieces were listed without full first names.54

The brass version of the Gartenlieder would have met the specific musical needs ofthe countless male musicians who joined brass bands after the American Civil War. The works are scored for various combinations of Ef and Bf cornets, alto, tenor, baritone, andbass horns, each taking one of the four individual voice parts. As shown in a chart fromGeorge Patton’s guide to band arranging (Figure 3) demonstrating the possible scoringsof period brass bands, a moderate-sized band of eight or nine would contain the required

gurea e rom eorge . atton, ractica ui e to t e

rrangement o an usic ew or e pz g: o n tratton, .



2 WILSON KIMBER

instruments for all six pieces. However, as seen in Figure 4, Hensel’s arrangement of hersongs by keys (B, e, A, D, a, A) is abandoned in Stratton’s publication, as the six appearout of order and are interspersed with pieces by Schumann, Haydn, Hauptmann, Hiller,and Sachse. While the Gartenlieder are accurate transcriptions of Hensel’s work and evenfaithfully include her original articulations and dynamics, they have all been transposedfrom her sharp keys into flat keys common to band music, though not in any consistentas ion w ic wou retain t e tona re ations ips etween songs. T at t e Strattons i

not conceive t at t e pieces wou e per orme as a set is urt er in icate y t e varietyof scorings they utilized; only Hörst du nicht die Bäume rauschen and Schöne Fremde shareinstrumentation: Bf cornet, Ef alto, tenor, and baritone horns.

The musical style of theGartenlieder is certainly appropriate for an amateur band. Whilenot particularly complex rhythmically, the songs would require players with some level ofability. The ranges of the individual parts usually encompass at least a tenth, somewhatmore than the “octave only or perhaps a compass of notes comprised between the first andfifth lines of the Treble staff,” suggested by arranger George Patton in A Practical Guide tothe Arrangement of Band Music . However, these works are sophisticated examples of the

art-song genre with all of the compositional finesse one might expect of a member of theendelssohn family.

The songs are brief and frequently homophonic in texture. However, in all six piecesthe three lower parts of the quartet have a higher level of melodic independence and subtle

Figure 4

odifications to Henselʼs arten ie er, op. 3, in the band arrangements.

Stratton Hense ’s origina Key Transposition ScoringSeries no. or ering

08 1. Hörst u nic t B B cornet, a to, tenor, aritone

02 2. Sc öne Freu e e– e – f cornet, a to, tenor, aritone

15 3. Im Her ste A B f cornet, corne , enor,baritone

09 . Morgengru D Ef f cornet, cornet, f a to,baritone

603 5. Abendlich a g B cornet, E alto, baritone, bass

607 6. Im Wald D A f Ef cornet, B cornet, baritone, bass




polyphonic interplay than would typically be found in the repetitive accompaniments ofmarches or quicksteps. Textural variety is created through brief solo sections in the sopranoline, such as in örst du nicht die Bäume rauschen mm. 8-9 or Schöne Fremde meas.35-36). More frequent divergence from homophony occurs through imitative passages orthrough rapid alternation between the soprano line and the lower parts. Brief moments ofimitation throughout the texture are heard in Im Herbste (mm. 10-12) and m Wald mm.3 -3 . T e tenor ine imitates t e soprano in Sc öne Frem e mm. - 5, 57-58 ; e se- w ere, t e entrance o t e soprano o ows t at o t e ot er voices mm. 8-10 . T e ec oingtechnique is particularly effective in the close of örst du nicht die Bäume auschen, as thevoices alternate, calling “kommt’ herab” (come down here) in the original song. Abendlichschon rauscht der Wal opens most of its melodic phrases with a three-note descendingmotive in unison before breaking into four-part harmony. In the following section (meas.9-10), descending half steps in the soprano line are echoed by a half-step motive in thealto, accompanied by the tenor and bass (originally repetitions of the words “Wie so stille”).The textural manipulations are here striking effects, used to evoke the evening’s stillnessdescribed in the song’s text. The forms of the Gartenlieder are straightforward: Morgengru and örst du nicht dieBäume rauschen originally were fundamentally strophic settings and are thus notated onlyonce in the band version (the latter with a second ending). m Wal has a ternary structure,and Schöne Fremde is in two parts. Nonetheless, within their overall regular frameworks,Hensel’s songs feature considerable variety and subtle transformations of repeated material.Schöne Fremde best exemplifies Hensel’s flexible treatment: internal sections of materialseem to repeat, refrain-like (mm. 9 and 30, 43 and 55), but veer off into new music afteronly four measures. In many of the Gartenlieder , phrases are varied upon repetition, and w at wou or inari y e a our-measure consequent p rase is requent y exten e to ve,giving t e songs a reer me o ic structure. Four o t e pieces eature rie co as, typica yfollowing a perfect authentic cadence on the tonic; the final cadence of Schöne Fremde is plagal, and Im Herbste closes with a half cadence. Im Wald the final song in Hensel’soriginal ordering, has an extended coda (mm. 69-80) with several authentic cadences, asif to reinforce the finality of entire set. Hensel’s melodic gifts are readily apparent throughout the lyrical songs, which some-times have the character of German folk song, especially in the dance-like second half ofSchöne Fremde and in Im Wald These two pieces, along with Im Herbste , are linked throughtheir compound meters and moderately fast tempos, designed to heighten the expression ofhappiness while surrounded by the joys of nature. The Gartenlieder ’s subtle word-paintingis, of course, lost in the transcriptions for instruments; the turns to the minor mode inIm Herbste, as the poet nostalgically recalls the “holde Träume” (sweet dreams) of the pastspring, is nonetheless poignant even without the text.

The Gartenlieder s harmonic characteristics, including modal mixture, modulations tothird-related keys, and a certain amount of chromaticism, make them interesting despitetheir seeming simplicity. For example, the first two phrases of the opening song, örst dunicht die Bäume auschen, with their antecedent-consequent structure, cadence on a first



27 WILSON KIMBER

inversion dominant seventh chord and submediant, respectively. The central section of the-major m Herbste is in A minor, returning to the major mode after cadences on C major,

B major, and E minor. Likewise the midsection of the D-major Morgengru modulatesthrough Fs minor and, briefly, B minor. Hensel’s harmonic language thus extends wellbeyond that described in Patton’s treatise, which covers only three or four basic chords; 7 itis more reminiscent of what George Stratton described when he complained of undertrained

ayers ecoming w o y ewi ere w en encountering a ew c romatic c or s anstu ie mo u ations. T e arten ie er wou ave provi e is esire goo music w ic would enable music students to “develope [sic ] a love for harmony and inspire one to studyit with earnestness, thereby making it a source of pleasure instead of the opposite.” 8

While the vocal origins of the Gartenlieder might appear to make them less thanidiomatic for brass instruments, bands’ leading cornet players were well acquainted with

erforming vocal lines from popular songs and opera arias. Patton’s guide to arrangingrecommended songs as the most suitable material for band arrangements, noting that an“air can always be adapted to the Cornet, as this instrument has about the same compass asthe human voice, and the music written for the latter can be executed upon the former.”Patton mentions that “Quartettes and Trios, both vocal and instrumental” can be drawnon for brass bands, and that such music would typically be used for “concert and serenade

urposes,” but this repertoire occurs almost as an afterthought, appearing marginally in hisconsiderations next to the omnipresent quicksteps, marches, polkas, and popular songs. 0

He suggested that when forming a band, players should be selected who are good singers.Likewise Frank Rauscher, who conducted a cornet band in Germantown, near Philadelphia,recalled the progress of his band members: “As instrumental musicians they were amateursand beginners, but with a fair knowledge of music as vocalists, by close application theyma e rapi progress. 1 T us t e Garten ie er wou contain t e sorts o me o ic ines t atsingers turne rass p ayers wou n ami iar. 2

If not well known to members of brass bands, the music of the composers in theStrattons’ Sixth Series would have been familiar to the numerous members of German Männerchöre in America; for example, a portrait of Franz Abt, two of whose pieces arefound in the collection, was included amid the likes of Handel, Beethoven, Mozart, Haydn,Schubert, Wagner, and Mendelssohn in the Indianapolis Concert Hall designed for thefifteenth Sängerfest of the North American Sängerbund, attended by forty singing soci-eties. 3 The period of the rise of the brass band in America coincided with the develop-ment of Männerchöre stemming from increased German immigration in the second halfof the century; by the end of the century most cities of any size with substantial German

opulation could boast at least one. Major cities had numerous such organizations; asmany as thirty-five Männerchöre had been founded in New York before 1871, the year ofthe Strattons’ publication, for example. How much overlap there was between the socialroups in which brass bands and Männerchöre originated has not been systematically

examined, but given the ubiquitous place both held in late nineteenth-century Americanife, it would be difficult to conceive of them as having carried on their musical activitiesin entirely separate spheres. Bands sometimes appeared on Männerchöre programs and




would often have served as entertainment at their purely social functions, such as ballsand carnivals. The U.S. Military Band of Newport, Kentucky, played three selections onthe main concert of the North American Sängerbund’s third festival, held in Cincinnatiin 1851. 7 When Chicago’s Germania Society performed in Indianapolis in 1867, theirconcert included the Prayer of the Earth by Carl Friedrich Zöllner, who is represented byfour pieces in the Strattons’ collection; appearing on the same program with them was theGreat Western Lig t Guar Ban .

Bot rass an s an mens c oruses were cre ite wit aving improve t e taste othe average American, the goal advocated in several editorials published in George Stratton’sBoston Musical Times Indeed, some of the larger and better-funded Männerchöre in largecities even undertook performances of operas and oratorios.68 In 1895 Victor Herbertclaimed that “The important part that military bands have taken in the developmentof musical knowledge in America cannot be overstated.”69 Likewise, Frank van Stuckenconfirmed that “the aim of male chorus singing societies is to develop the inborn love ofmusic in all classes of society, and thus prepare for the refining influence of chamber mu-sic, great orchestral concerts, and operatic performances, a desirable public.” 0 Both thespheres of the brass band and the Männerchöre were populated by amateur male musicians;nonetheless the Strattons’ arrangements of part-songs are somewhat unusual in the contextof nineteenth-century brass band literature and their inclusion of the Gartenlieder , by afemale composer, the most unusual of all.71

In 1889 Harper s Weekly ’ estimated that there were more than 10,000 bands in theUnited States, so it seems likely that players of John Stratton’s instruments would havepurchased his publications as well and performed Fanny Hensel’s music. George Pattoninserted a small advertisement for his publisher in his band arranging guide, noting that Jo n Stratton pu is e reasona y price scores, w ic are we a apte to purposes ostu y, esi es eing a out t e est or Amateurs on account o t e simp e manner in w icthey are arranged.”73 Perhaps referring to the Männerchöre selections, Patton added that“among them are quite a number of serious compositions suitable for concert and serenadeperformance.” The 1871 band transcriptions of the Gartenlieder thus occupied a uniqueplace in nineteenth-century American musical life, and they suggest wider disseminationof Hensel’s music than previously believed. The introduction of Hensel’s music into the world of brass bands took place within the larger context of the influx of German musi-cians and music into America, and the style of her part-songs intended for the domesticsphere also made them suitable for amateur male musicians performing in more publicspaces. Perhaps a hundred and thirty years ago, on a warm summer afternoon in a smalltown somewhere in America, an audience gathered to listen to the music of Fanny Hensel wafting from a bandstand.



29 WILSON KIMBER

Marian Wilson Kimber is Associate Professor of Musicology at the University of Iowa. Heresearch centers on Felix Mendelssohn and Fanny Mendelssohn Hensel, and explores issues sur-ounding biography, gender, compositional process, and musical reception. Wilson Kimber is theuthor of articles in 19th-Century Music an The Journal of Musicology, and chapters in

The Mendelssohn Companion, The Mendelssohns: Their Music in History, 19th-CenturyPiano Music, Fanny Hensel geb. Mendelssohn Bartholdy, and usical Biography: Towards

ew Paradigms.

NOTES

“The New Woman in Music,” Musical America 9 (28 April 1906): 8; quoted in Beth Abelson Mac-

eo , Women Per orming Music: t e Emergence o American Women as C assica Instrumenta ists anCon uctors (Je erson, Nort Caro ina: McFar an , 2001), 10.“Opinions of New York Leaders on Women as Orchestral Players,” Musical Standar (2 April 1904);

quote in Ju it Tic , “Passe Away is t e Piano Gir : C anges in American Musica Li e, 1870-1900,” in Women Making Music: The Western Art Tradition, 1150-1950 , ed. Jane Bowers and JudithTic (Ur ana: University o I inois Press, 198 ), 333.Helen Ducommun, Laurnes, Iowa, personal communication of 15 April 1985; quoted in Margaret

Hin e Hazen an Ro ert M. Hazen, T e Music Men: an I ustrate History o Brass Ban s in America,1800-1920 (Washington, D. C.: Smithsonian Institution Press, 1987), 57.4 C ristine Ammer, Unsung: A History o Women in American Music , 2n e n. (Westport, Conn.:

madeus, 2001), 119.5Monique Buzzarté’s ist o rass wor s y women composers contains on y our nineteent -century

wor s, t oug it contains many more wor s y women orn in t e ate nineteent century. “Women’sContributions to the Brass Repertoire: A List of Works,” in The Musical Woman, 1986-1990 , vol. 3,e . Ju it Lang Zaimont et a . (Westport, Conn.: Greenwoo , 1991), 5 7- 21. Military Music (New York: John F. Stratton [sic ], 1866-71), in Band Music from the Civil War ,

Li rary o Congress, Music Division, ttp://www.memory. oc.gov/ ammem/cwm tm /cwm ome.tml, accessed 30 October 2005. I am deeply grateful to Wayne Shirley for calling these works to

my attention. T an s a so to Me issa Bro ston or e ping to i enti y severa o t e composers inthe collection.

T e met o o ogy in t is stu y in some sense resem es t e micro- istorica approac o Kat erineE is in er “T e Fair Sax: Women, Brass-P aying an t e Instrument Tra e in 18 0s Paris,” Journaof the Royal Musical Association 124 (1999): 223: “[A]nalysis of a single and sometimes bizarre eventcata yses stu y o t e conste ation o roa y e va ues to w ic it re ates…. passing rom ‘texts’to contexts and back again, repeatedly measuring the one against the other, helps the historian ‘teasemeaning rom ocuments’ unti e or s e as ‘c eare a way t roug a oreign menta wor ’.”

modern edition of the Gartenlieder was published by Hildegard Press in 1997.“Fanny Men e sso n,” T e Musica Times 29 (1 June 1888): 3 1. 0 After 26 August 1846] in The Letters of Fanny Hensel to Felix Mendelssohn, ed. Marcia J. CitronNew Yor : Pen ragon, 1987), 353.1Sean M. Hamilton Wallace, “The Gartenlieder, Op.3, of Fanny Mendelssohn Hensel (1805-1847)”D.M.A. issertation, Mic igan State University, 2000), 7 -77. See a so Wi i Grun ac , “Die

C or ie er von Fanny Hense : Eine späte Lie e?” Men e sso n Stu ien 11 (1999): 105-30.




12 R. Larry Todd, Mendelssohn: A Life in Music (Oxford: Oxford University Press, 2003), 536. 13Sean M. Wa ace, “Fanny Men e sso n Hense ,” inWomen Composers: Music T roug t e Ages , e .Martha Furman Schleifer and Sylvia Glickman (New York: G.K. Hall, 2003), 7: 2.

14 Part-Song Boo , 2n Series, vo . 12 (Lon on: Nove o, 1875), 57-95; Orp eus , 3r Series, Boo27 (London: Ewer, n.d.); and Alpine Glee Singer (N.p.: W.B. Bradbury, [1850]); cited in Wallace,“T e Garten ie er, Op. 3,” 91.15 “Six Four-Part Songs,” The Musical Time 20 (1 March 1879): 159. Emphasis is mine.1 Comp ete Cata ogue o S eet Music an Musica Wor Pu is e y t e Boar o Music Tra e o t e UniteStates o America , e . Dena J. Epstein (1870; reprint e n., New Yor : Da Capo Press, 1973).17The Mendelssohn Family (1729-1847) from Letters and Journals , 2nd edn., transl. Carl Klingemann(1882; reprint e n., New Yor : Has e House, 19 9). On Hense ’s reception see Marian Wi sonKimber, “Zur frühen Wirkungsgeschichte Fanny Hensels” in Fanny Hensel geb. Mendelssohn: Kom-

ponieren zwisc en Gese ig eitsi ea un romantisc er Musi äst eti , e . Beatrix Borc ar an Moni a

Schwarz-Danuser (Stuttgart: Metzler Verlag, 1999), 248-62.18 “Otto Drese ’s Soirees,” Dwig ts Journa o Music ’ 8 (1 Marc 185 ): 17 . 19 Fanny Hensel, Saw a Bright Star Falling Schwanenlie (n.p.: A. von Minden, 1878), in Musicor a Nation: American S eet Music, 1870-1885 , Li rary o Congress, Music Division, ttp://www.

memory.loc.gov/ammem/mussmhtml/mussmhome.html, accessed 11 November 2005. Mrs. vonMin en a so pu is e er own songs, as we as Eng is texts or a song y Anna Ama ia o Prussia,suggesting t at s e a a specia interest in music y women.20 “Women Can’t Help,” oston Pos (30 November 1892), in Robert Winter, Antonín Dvor ák:Symp ony no. 9, rom t e New Wor [CD-ROM] (New Yor : Voyager, 199 ). 21“American Music: Dvor ák Thinks Little Has Been Done Here,” oston Daily Traveler , (10 Decem-

er 1892), in Winter, i i . It is not c ear w ere C a wic encountere Hense ’s trio; per aps it wasduring the years 1878-79 when he attended the Leipzig Conservatory.22 Martin Krivin, “A Century o Win Instrument Manu acturing in t e Unite States: 18 0-19 0”(Ph.D. diss., University of Iowa, 1962), 33. See Stratton’s advertisement in The American Musical

rectory , new intro uction y Bar ara Owen (New Yor : T omas Hutc inson, 18 1; reprint e n.,New Yor : Da Capo Press, 1980), 2 5.23 George F. Patton, A Practical Guide to the Arrangement of Band Music (New York, Leipzig: JohnStratton, 1875). See a so Laverne Jo n Wagner, “Doing-it-Yourse in 1875: George F. Patton on

Arranging Band Music,” American Music 6 (1988): 28-40.24For muc etai regar ing George Stratton’s ear y i e an career an a itiona in ormation on Jo n

Stratton, see Benjamin Read, The History of Swanzey, New Hampshire, from 1734 to 1890 (Salem,Mass.: Sa em Press, 1892), 550-59.25“Musical Intelligence,” Dwights Journal of Music 10 (24 January 1857): 135; and 10 (13 December185 ): 85. See a so “Wor o Music,” New Yor Musica Times 11 (7 Apri 1855): 159; an “MusicaItems,” New York Musical Times 11 (6 December 1856): 673. The latter prints a favorable review ofGeorge Stratton’s rst Concert Overture.26 Russe Sanje , American Popu ar Music an its Business: t e First Four Hun re Years, Vo ume II.From 1790-1909 (New York: Oxford University Press, 1988), 120. The heading of the Musical Times an its reviews o New Yor musica events suggests t at George Stratton rie y trie to circu ateit in New York as well.27 Wi iam Water ouse, T e New Langwi In ex: a Dictionary o Musica Win -Instrument Ma ersand Inventors (London: Tony Bingham, 1993), 389.28 New Grove Dictionary o American Music , vo s., e . Stan ey Sa ie an H. Wi ey Hitc coc (New

York: Macmillan, 1988), s.v. “Stratton, John F(ranklin),” by Robert E. Eliason. When Patton’s ar-



31 WILSON KIMBER

ranging guide appeared, it listed John Stratton as the publisher, based in both New York and Leipzig.ancy Groce says t at Jo n Stratton was part o Stratton an Foote in 18 5, t en Stratton was ea

of Stratton & Co. in 1866 (though Groce says 1870-88). In 1889 he added his son, Frank A., to

tratton & on. ancy roce, Musica Instrument Ma ers o New Yor : a Directory o Eig teent - anNineteenth-Century Urban Craftsmen (Stuyvesant, New York: Pendragon, 1991), 152-53.

9 Severa o Stratton’s se ections can e ear per orme y t e American Brass Quintet Brass Ban ,on The Yankee Brass Band: Music from Mid-Nineteenth Century America , Recorded Anthology of

merican Music (New Wor Recor s NW312-2, 1981).0T e most nota e exception is a Concertino or Ef Cornet y Sac se. As Ru o Sac se was a vio in

teacher at the Leipzig Conservatory, it is possible that this work is a transcription of a violin concerto.However, as Sac se’s rst name is not given, t is wor may e y Ernst Sac se, w o compose somemarches and other band music.

1 Per aps t e u o t e Sixt Series is ase on an actua voca ant o ogy, as o yet un ocate .

2 Read, The History of Swanzey , 55 .3 “Musica Inte igence,” Dwig ts Journa o Music ’ 11 (18 Apri 1857): 20. Stratton’s ecture recita s

in the fall of 1886 at the Swanzey, New Hampshire, Public Library, which he had donated to hisome town, inc u e wor s y Beet oven, Mozart, Sc u ert an Men e sso n. Rea , T e History

of Swanzey , 558.4 “Our Mi itary Ban s: How T ey Can e Improve ,” Boston Musica Times 13, no. 3 (June 1871):

1 -15.5 Hazen and Hazen, The Music Men, 52-53.6 on Newsom, “T e American Ban Movement in t e Mi -Nineteent Century,” in T e Win

Ensemble and its Repertoire: Essays on the Fortieth Anniversary of the Eastman Wind Ensemble , ed. Frank

Cipo a an Dona Huns erger (Roc ester: University o Roc ester Press, 199 ), 80.7 Patton, Practical Guide to the Arrangement of Band Music , vi.8 Louis Moreau Gottsc a , Notes o a Pianist , e . Jeanne Be ren (New Yor : A re A. Knop ,

19 ), 127.9 Hazen an Hazen, T e Music Men, 55.

40 Newsom, “T e American Ban Movement in t e Mi -Nineteent Century,” 78.1 ohn Sullivan Dwight, “Gilmore’s Band,” Dwights Journal of Music ’ 19 (28 September 1861):

207.2Trevor Herbert, “Selling Brass Instruments: The Commerical Imaging of Brass Instruments (1830-

1930) an its Cu tura Messages,” Music in Ar 29, nos. 1-2 (200 ): 223; Kennet Kreitner, scours-

ing Sweet Music: Town Bands and Community Life in Turn-of-the-Century Pennsylvania (Urbana andC icago: University o I inois Press, 1990), 132.43 John Sullivan Dwight, “Brass! Brass! again.” Dwights Journal of Music ’ 9 2 August 185 ): 1 1.44 Jo n Su ivan Dwig t, “Our Mi itary Ban s,” wig ts Journa o Music ’ 3 (1 Apri 1853): 9. 45 John Sullivan Dwight, Dwights Journal of Music 3 (16 April 1853): 13. 46 Her ert, “Se ing Brass Instruments,” 217.47 Hazen an Hazen, T e Music Men, 5 .

8 Ibid., 55.49Tic , “Passe Away is t e Piano Gir ,” 328.50 “Female Orchestra,” Boston Musical Times 13, no. 4 (August 1871): 25. 51 “Vienna La y Orc estra,” T e New Yor Times (13 Septem er 1871): 5, n omen n us c: an

Anthology of Source Readings , 2nd edn., ed. Carol Neuls-Bates (Boston: Northeastern UniversityPress, 199 ), 193.52 Boston Musical Times 12, no. (August 1870): 23.




53Henry F. Chorley, “Race in Music,” Journal of the Anthropological Society of London 8 (1870-1871):c xvii. E sew ere C or ey was more comp imentary regar ing Hense ’s a i ities; e ai e er as “a

pianiste and composer of no ordinary force and feeling,” in “Mendelssohn’s Mother and Sister,” in

W.A. Lampa ius, Li e o Fe ix Men e sso n Bart o y , trans. Wi iam Leon ar Gage (Boston: O iverDitson, 1865; reprint edn., Boston: Longwood, 1978), 210.54 S ort y e ore George Stratton too over t e Boston Musica Times , it pu is e an artic e t at e-scribed Hensel’s grave next to her brother’s in Berlin, and given the popularity of Mendelssohn’s musicin Boston, it seems i e y t at e wou ave een ami iar wit t e composer’s sister. “Men e sso n’sGrave,” Boston Musica Times 9, no. 3 (7 Marc 18 8): 18. 55 The only differences other than transposition are minor; for example, the arranger has added apianissimo mar ing in t e next-to- ast measure o en ic sc on rausc t er Wa In severa instanceschanges are due to the omission of the text: a repeated note on the second beat of a measure, whichorigina y accompanie a wea na sy a e o a wor , as een tie to t e note prece ing it.

5 Patton, ractical Guide to the Arrangement of Band Music , 71.57 I i ., 7 -75.58 “Our Military Bands: How They Can be Improved,” 14.59 atton, ractica Gui e to t e Arrangement o Ban Music , 81.60Ibid., 82. Two brief excerpts of Mendelssohn’s popular Wedding March from A Midsummer Night’s

ream appear on pages - 7.61Fran Rausc er, Music on t e Marc , wit t e Army o t e Potomac, 11 t Regt. P. V., Co is Zouaves (Philadelphia: Wm. F. Fell & Co., 1892), 13-14, quoted in Newson, “The American Band Movementin t e Mi -Nineteent Century,” 89.

2 The degree to which choral genres were arranged for band can be seen in the repertoire of the

Cy art a Ban in Wa es, w ic ouris e ca. 18 0-80. T eir repertoire inc u e numerous c ora works by Felix Mendelssohn, including sections fromElijah, obgesgang , and his Psalm 42 . However,t ese se ections are ta en rom arge-sca e pu ic wor s, consi era y i erent genres rom t at othe smaller part-song. Trevor Herbert, “The Reconstruction of Nineteenth-Century Band Reper-tory: Towar s a Protoco ,” in Perspectives in Brass Sc o ars ip: Procee ings o t e Internationa HistoricBrass Symposium, Am erst, 1995 , e . Stewart Carter, Bucina: T e Historic Brass Society Series, 2(Stuyvesant, New York: Pendragon, 1997), 211-22.63 Suzanne G. Sny er, “T e In ianapo is Männerc or: Contri utions to a New Musica ity inMidwestern Life,” in Music and Culture in America, 1861-1918 , ed. Michael Saffle (New York andLon on: Gar an , 1998), 118-19.

ichael Broyles, “Immigrant, Folk, and Regional Musics in the Nineteenth Century,” in TheCam ri ge History o American Music , e . Davi Nic o s (Cam ri ge: Cam ri ge University Press,1998), 146. See also Albert Bernhardt Faust, The German Element in the United States with SpecialRe erence to its Po itica , Mora , Socia , an E ucationa In uence , 2 vo s. (Boston, New Yor : Houg -ton & Mifflin, 1909), 2: 269-77. Suzanne Gail Snyder lists some 950 German-American singingsocieties, 1835-19 0, in “T e Männerc öre Tra ition in t e Unite States: a Historica Ana ysis oits Contri ution to American Musica Cu ture” (P .D. iss., University o Iowa, 1991), 2 -551.See also the list of Sängerbund festivals between 1849 and 1901 in Mary Jane Corry,“The Role ofGerman Singing Societies in Nineteent -Century America,” in Germans in America: Aspects o Ger-man-American Relations in the Nineteenth Century , ed. E. Allen McCormick (New York: Brooklyn

Co ege Press, 1983), 1 7. Ironica y, accor ing to Marcia J. Citron, Fanny Hense i not i e musicasettings for male chorus. The Letters of Fanny Hensel to Felix Mendelssohn, 3 .65 See Mary Sue Morrow, “Somew ere Between Beer an Wagner: t e Cu tura an Musica Impactof German Männerchöre in New York and New Orleans,” in Music and Culture in America, 1861-



33 WILSON KIMBER

1918 , 81.6 On t e c u s’ socia unctions, see Morrow, “German Männerc öre,” 85-93, Sny er, “T e Män-

nerchöre Tradition in the United States,” 177-202 and 380-406, and Mary Sue Morrow, “Singing

an Drin ing in New Or eans: T e Socia an Musica Functions o Nineteent -Century Germanännerchöre,” The Southern Quarterly 27, no. 2 (1989): 5-2 .

7 Sny er, “T e Männerc öre Tra ition in t e Unite States,” 233.8 Morrow, “German Männerchöre,” 93-97, 106-08.9 Victor Her ert, “Artistic Ban s,” in Music o t e Mo ern Wor e . Anton Sei (New Yor : D.pp eton, 1895), 120.

0 Frank van der Stucken, “Male Chorus Singing,” in Music of the Modern World 127. 1For examp e, t e repertoire o t e Cy art a Ban , w ic Trevor Her ert as escri e as unpara -eled in its “sophistication and diversity,” contains no works by any of the composers in the Strattons’Sixt Series ot er t an Fe ix Men e sso n. Her ert, “T e Reconstruction o Nineteent -Century

Band Repertory: Towards a Protocol,” 211-22.2 Mac eo , Women Per orming Music , 51.3 Patton, Practical Guide to the Arrangement of Band Music , 2.




PPENDIX

Contents of Military Music , Sixth Series (Boston: G. W. Stratton, 1871)

Franz Abt (1819-85) Lieder und Chöre für 3 Frauenstimme mit Piano-orte, op. 18 , He t 1

3. Die NachtDer rec te Mann

[C.F.] Adam Waldeinsamkeit

J[ohannes] Becker (1833-84) 6 dreistimmige Lieder3. Aus er Ferne4. Schweizerlied

O[tto Karl] Cla[u]dius (1795-1877) Auf, schenket ein. Doppelquartett

J[ohannes Rupprecht] Dürnner (1810-59) 6 Gesänge für 4 Männerstimmen, op. 22 1. Frü ings ie

2. Das Vög ein im Wa e

Ric [ar ] Genée (1823-95) Die Po iti , op. 0. Komisc es Duett ür 2 Bässemit Pianoforte

Das Engagements-Gesuc , op. 82. Duett ür Tenorund Bass mit Pianoforte

[Gustav] Graben-Hoffman (1820-1900) Liebeshandel. Duet für Sopran und Tenor mit Piano- orte, op. 19

[Moritz] Hauptmann (1792-1868) Auf dem See, op. 21, for four soloists, four-partc oir, an piano

[Franz] Jos[ep ] Hay n (1732-1809) Aus es Ram ers yrisc er B umen ese, H. XXVc 1. Der Augenblick 13. A en ie

F[anny Men e sso n] Hense (1805-18 7) Garten ie er, op. 3 1. Hörst du nicht die Bäume rauschen 2. Sc öne Frem e 3. Im Her ste

4. Morgengruß 5. A en ic sc on rausc t er Wa 6. Im Wald

[Eduard] Hermes Deutschland dein Volk es singt Wie önnt’ ic ein vergessen



3 WILSON KIMBER

Ferd[inand] Hiller (1811-85) 6 Gesänge für Sopran, Alto, Tenor und Bass, op. 31 He t 1, 1. Wi ommen 2. Frühlingsgedränge

3. onntag Heft 2, 1. Gute Nacht 2. Morgens a s Lerc e

[Frie ric ] Ku au (178 -1832) “Ue er a en Wip e n ist Ru .” A en ie v

Felix Mendelssohn Bartholdy (1809 47) Vier Lieder, op. 75 1. Der ro e Wan ersmann

2. Abendständchen . A sc ie sta e

Vier Lieder, op. 76 3. Lie ür ie Deutsc en in Lyons

T . Mer er Serena e

[August] Mü i[n]g (178 -18 7) Frü ings Erwac en

Rich[ard] Müller Reiselied Lie : Das arme Rös ein

L[ouis] Papi[e]r B auäuge ein

C[ar ] Reinec e (182 -1910) Nun angen ie Wei en zu ü en an Volkslied, op. 80

[ugust] F[er inan ] Riccius ( . 1819) Wa rast

H. Ric ter A t eutsc es Lie

G.A. Ritter Lie : An er Mon

[Ru o ] Sac se ( . 18 8) Concertino or Ef ornet

Ro [ert] Sc umann (1810-5 ) Vier Duette, op. 3 1. Liebesgarten

. Fami ien-Gemä eFün Lie er, op. 55

1. Das Hochlandmädchen 2. Za nwe 5. Hochlandbursch

Romanzen un Ba a en, op. 7 2. Sc ön Ro traut

3. er traur ge äger




4. Ungewitter 5. Jo n An erson Romanzen und Balladen, op. 75

2. Im Wa e. C or mit Ec o O se ig v

R[ic ar ] Sei ert Sc neeg öc c en Liebesschmerz

[Frie ric ] W[i e m] Sta e ( . 1817) Vier Gesänge ür vier Männerstimmen 1. Wanderlied

C[arl Friedrich] Zöllner (1800-60) Hymnus (bei Trauungen)

12 Lie er u. Gesänge ür Männerstimmen, op. 13 2. Wanderlied . Trin ie

Wanderlieder von Wilhelm Müller für 4 Männer- st mmen, op. 1 3. Ein e r

Unattri ute Die Warnung

As Abt produced over 3000 works under 600 opus numbers, this attribution may or may not becorrect. T e u o t e i enti cations o t e sources o t e arrangements ave een ma e romnineteeenth-century publishers’ catalogues. Pu is e in Lie er ort (Deutsc er) ür vierstimmige Männerc or in 100 neuen Gesängen (Leipzig:

Kollmann, n.d.). The opening text of the song is “Im schattigen Haine.” In t e an arrangements, ot wor s y Genée are entit e “Duett.”

v Pu is e in C. W. E issen, o s ie er ür Piano orte ü ertragen (Hannover: Hornemann, ca.1849).

A so possi y Ju ius Mü ing (1810-80).v Possibly not by Schumann. Perhaps Richard Genée’s 3 Lieder für Bass , op. 44, no. 1, “O selig einTür e zu sein,” misattri ute .

Documents

Fanny Hensel