<p>Fanny Hensel wrote much of Felix Mendelssohn's music. Or so goes the popular misconception. It is true that Felix did publish six of his sister's Lieder under his own name, in his Op. 8 and Op. 9, but there is no evidence that anything else he published was actually by Fanny. The perpetuation of this idea is by no means new to our century; even during her lifetime, Fanny received letters alluding to the possibility that some of her music was masquerading as Felix's. But how could this supposition even be possible?</p><p>Complicating our reception of Hensel's works and our knowledge of her influence over him, and perpetuating our misconception (and perhaps hopes) that some of Felix's music was by Fanny was the unavailability of her music to the general public. For most of the twentieth century, she was known mostly by her eleven published opera (five of which were released posthumously). Before she was able to plan and accomplish any sort of systematic publication of her works, she died suddenly, at the age of 41, leaving behind upwards of 450 unrevised, unpublished works.</p><p>Clearly, we need to reconsider the term "Mendelssohnian," and bring Hensel to the foreground as an equal partner in forming the Mendelssohns' common style. I examine the roots of the "Mendelssohnian" style in their parallel musical educations, their shared enthusiasm for the music of Bach, and their simultaneous collision with Beethoven's music (and the diverse ways each responded to his influence). I explore in detail the relationship between Fanny, Felix, and her fiancé Wilhelm Hensel through the methodology of kinship studies, to contextualize what some have viewed as a quasi-incestuous sibling relationship within the norms for sibling communication in the nineteenth century. Finally, I discuss how deeply their separation after 1829 affected both Fanny and Felix, and how Fanny negotiated her changing life roles and ambitions as a composer and performer.</p><p>One work that Fanny never released, and, indeed, one work that has remained a mystery, is the Ostersonate (Easter Sonata). Believed lost since it was first mentioned in correspondence in 1829, the sonata resurfaced in the twentieth century, when it was recorded and attributed to Felix, and then disappeared again without a trace. In the absence of any identifiable manuscript, it had been impossible to definitively challenge this attribution. My research represents a major breakthrough: I traced the manuscript to a private owner and positively identified it as the work of Fanny Mendelssohn.</p><p>Lurking behind the popular misconception is a broader truth: Fanny Hensel can be heard in much of Felix Mendelssohn's music. In other words, what audiences have recognized as Felix Mendelssohn's music for nearly two hundred years would not have existed as such without the influence of Fanny Hensel. This idea in itself is hardly new, but by revising this line of reasoning, we see that it is equally possible that much of Fanny Hensel can be heard in Felix Mendelssohn's music. In the end, neither composer could have existed as we know them today without the other, and their shared musical style stands as a lasting testament to their shared identity as Mendelssohns.</p> / Dissertation

This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center

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Das Jahr is considered Fanny Hensel's most impressive accomplishment of piano solo work. However, the only modern edition that is extant includes many additional editorial markings. By further analyzing the sections that are technically challenging or musically demanding from an interpretive standpoint, pianists wishing to perform the work will have to find workable fingerings and pedal markings to learn this piano cycle. For this reason, this dissertation will not only provide readers with an original text of Das Jahr, but also assist pianists in finding practical solutions that can help them to interpret this distinctive work successfully on the modern piano.

Das Liedschaffen Felix Mendelssohn Bartholdys war zu Beginn des 21. Jahrhunderts nur zu knapp zwei Dritteln der tatsächlichen Produktion bekannt. Erst im Jahre 2007 erschienene, bis dahin ungedruckte oder an entlegener Stelle veröffentlichte Lieder werden in vorliegender Studie zusammen mit den übrigen, nicht mit einer Opuszahl versehenen Liedern und Duetten zu thematischen Untergruppen geordnet und knapp in textlich-musikalischer Hinsicht charakterisiert. Diese Lieder und Duette, die nach dem Wunsch des Komponisten in den allermeisten Fällen nicht in die Öffentlichkeit gelangen sollten, stellen das gewohnte Bild Mendelssohns, das des Heiter-Sorgfältigen, in ein neues Licht.

This thesis takes issue with Fredric Jameson’s suggestion that contemporary science fiction is sending back “more reliable information [about current political and economic organisation] than an exhausted realism” and it develops an alternative Marxist defense of contemporary realist fiction. Can realism's techniques adequately represent the complexity of contemporary political organization? The thesis presents readings of key realist texts — by Pat Barker, Maurice Gee, Kerstin Hensel, James Kelman and David Peace — testing their potential to produce the knowledge of history, industrial politics and the metropolis traditionally central to literary realism’s concerns. (For complete abstract open document).

Das Liedschaffen Felix Mendelssohn Bartholdys war zu Beginn des 21. Jahrhunderts nur zu knapp zwei Dritteln der tatsächlichen Produktion bekannt. Erst im Jahre 2007 erschienene, bis dahin ungedruckte oder an entlegener Stelle veröffentlichte Lieder werden in vorliegender Studie zusammen mit den übrigen, nicht mit einer Opuszahl versehenen Liedern und Duetten zu thematischen Untergruppen geordnet und knapp in textlich-musikalischer Hinsicht charakterisiert. Diese Lieder und Duette, die nach dem Wunsch des Komponisten in den allermeisten Fällen nicht in die Öffentlichkeit gelangen sollten, stellen das gewohnte Bild Mendelssohns, das des Heiter-Sorgfältigen, in ein neues Licht.

Der Beitrag untersucht an Hand von Fanny Hensels Lied Ich kann wohl manchmal singen die Konstruktionsprinzipien eines intertextuelles musikalischen Idioms. Dabei spielen nicht nur Vorbildkompositionen, hier Ludwig van Beethovens Klaviersonate Op. 14/2 eine wesentliche Rolle, sondern auch der kulturelle Hintergrund der Textvorlage sowie die Rezeptionsgeschichte der musikalischen Vorlage. Da sowohl Joseph von Eichendorffs Roman Ahnung und Gegenwart als auch die einschlägige Rezeption von Beethovens Klaviersonate op. 14/2 durch Adolf Bernhard Marx eine starke gendertheoretische Konnotation haben, spielt dieser Metaphernhof in die Analyse des Liedes hinein mit der Hypothese, dass Fanny Hensel vor dem Hintergrund und mit den Mitteln einer gerade in der Salonkultur gepflegten interdisziplinären Konversation einen künstlerischen Beitrag zum Gender-Diskurs der Biedermeierzeit geleistet hat. / The article examines the construction principles of an intertextual musical idiom on the basis of Fanny Hensel’s song Ich kann wohl manchmal singen. Not only do model compositions play an important role, in this case Ludwig van Beethoven’s Piano Sonata Op. 14/2, but also the cultural background of the text as well as the reception history of the musical model. Since both Joseph von Eichendorff’s novel Ahnung und Gegenwart and the relevant reception of Beethoven’s Piano Sonata op. 14/2 by Adolf Bernhard Marx have a strong gender-theoretical connotation, this metaphorical court of metaphors plays into the analysis of the song with the hypothesis that Fanny Hensel made an artistic contribution to the gender discourse of the Biedermeier period against the background and with the means of an interdisciplinary conversation cultivated especially in salon culture.

L'implantation en Virgule Flottante (VF) d'une fonction à valeurs réelles est réalisée avec arrondi correct si le résultat calculé est toujours égal à l'arrondi de la valeur exacte, ce qui présente de nombreux avantages. Mais pour implanter une fonction avec arrondi correct de manière fiable et efficace, il faut résoudre le "dilemme du fabricant de tables" (TMD en anglais). Deux algorithmes sophistiqués (L et SLZ) ont été conçus pour résoudre ce problème, via des calculs longs et complexes effectués par des implantations largement optimisées. D'où la motivation d'apporter des garanties fortes sur le résultat de ces pré-calculs coûteux. Dans ce but, nous utilisons l'assistant de preuves Coq. Tout d'abord nous développons une bibliothèque d'"approximation polynomiale rigoureuse", permettant de calculer un polynôme d'approximation et un intervalle bornant l'erreur d'approximation à l'intérieur de Coq. Cette formalisation est un élément clé pour valider la première étape de SLZ, ainsi que l'implantation d'une fonction mathématique en général (avec ou sans arrondi correct). Puis nous avons implanté en Coq, formellement prouvé et rendu effectif 3 vérifieurs de certificats, dont la preuve de correction dérive du lemme de Hensel que nous avons formalisé dans les cas univarié et bivarié. En particulier, notre "vérifieur ISValP" est un composant clé pour la certification formelle des résultats générés par SLZ. Ensuite, nous nous sommes intéressés à la preuve mathématique d'algorithmes VF en "précision augmentée" pour la racine carré et la norme euclidienne en 2D. Nous donnons des bornes inférieures fines sur la plus petite distance non nulle entre sqrt(x²+y²) et un midpoint, permettant de résoudre le TMD pour cette fonction bivariée. Enfin, lorsque différentes précisions VF sont disponibles, peut survenir le phénomène de "double-arrondi", qui peut changer le comportement de petits algorithmes usuels en arithmétique. Nous avons prouvé en Coq un ensemble de théorèmes décrivant le comportement de Fast2Sum avec double-arrondis.