Check out this wonderful program at Georgetown University! I will be sharing my experience transferring my humanities skills into private industry on the Career Showcase (Saturday, June 8). The website for the event, whether you are able to attend or not, contains a wealth of resources for those with advanced degrees in the humanities/research who are searching for jobs outside of the university setting. Click below to head to their website!
I pop on here to post the occasional update, but I do apologize for my delay in responding to many emails. I used to live with my personal computer almost surgically attached to my fingers. I don’t anymore. And that’s a good thing. But it means that I didn’t notice many emails coming in over the last year or so on the account associated with this website. I have recently logged in and replied to as many as I could right away. Please keep them coming, and I will make a resolution to schedule some time to come to my website on a regular basis and stay in touch. Please also send me your Easter Sonata performances - I just made an events page for them. Even if it happened in the past, I can enter it as a past event to add to the record.
The Big Reason I stepped away from my personal computer was that I took a job in private industry about a year ago, as an analyst. It was an enormous personal and professional transition, and it wasn’t easy. But it has been wonderful. I ended up at a great company with a fantastic boss. I never knew just how many of the skills I learned in grad school and in my four years as a professor would come in handy in the corporate world. The post-ac career path can be incredibly rewarding, and I am glad I made the leap. I still stay in touch with my music/academic colleagues, and I am even still publishing occasionally. I am very grateful for the opportunities to keep contributing not only to Fanny Hensel’s continuing story, but also to keep contributing to the recognition of women in all walks of life and all kinds of careers.
More and more graduate programs are recognizing the need for education and coaching around post-ac options, and I believe that is a very good trend. Individuals with advanced degrees in pretty much anything demonstrate a massive amount of stick-to-itiveness, creativity, writing skills, public speaking skills, mentoring and leadership skills - the list goes on and on. And companies are looking for those skills. When anyone asks me (which they often do these days), I always say - go for that dream. Become the best musician you can be, the best writer, the best [insert humanities degree here] you can be. (And some sciences degrees too! Jobs don’t magically appear for STEM graduates, either.) But keep your options open, take some quantitative research and/or data science courses, plan for the future, and be aware of your own value and how to communicate it. Michelle Obama, in her autobiography Becoming, said it perfectly:
Well, Women’s History Month is pretty much over now, but that doesn’t meant the celebration can’t keep going! That’s also essentially the point of a short invited post I wrote for the Oxford University Press blog. You can read that on their site, at this link.
The social media team did a wonderful job! I hope you enjoy. I’ve included links to some amazing women who are doing amazing things in music today. I hope you will explore, maybe discover something new, and share it with your own peer group. Everyone can be a part of writing our history for the next generation!
Now available, free of subscription for a limited time at the link below, is my new, full-length article and works list on Fanny Hensel! This article was a labor of love: it is the product of 12 years of getting to know Fanny through her music, diaries, and letters - and, of course, all made possible by the work of the incredible individuals in the Mendelssohn scholarly community. A special tip of the hat to Marcia Citron, who wrote the first Grove article on Hensel in the ‘90s, and who provided early access to Hensel’s letters. And, as always, a special thanks to my Doktorvater, R. Larry Todd, whose work on his critical biography of Fanny Hensel sparked my own life-long interest in Hensel’s life and music.
Also, it was featured on the homepage for a while as a new article! *fistbumpfanny*
The first-ever all-Mendelssohn panel at the American Musicological Society was a wonderful success! The presentations were beautifully done (including live singing, always a real treat), and the discussion was vibrant. Thank you, presenters AND attendees, for a truly memorable experience. It was an honor to organize and chair!
“Time is, Time was, Time is past”: Felix Mendelssohn’s Songs of Travel - Susan Youens
Fanny Hensel’s Sechs Lieder op. 9: A Brother’s Elegy - Stephen Rodgers
Changes of Pace: Expressive Acceleration and Deceleration in Felix Mendelssohn’s Vocal Rhythms - Harald Krebs
Reassessing Felix Mendelssohn’s Song Aesthetic through the Lens of Religion: The Case of “Entsagung” - Jennifer Ronyak
It's been a while since I've been able to get on here - lots of life has been happening! But I just had to share this wonderful new release:
The role that Sara Levy played in the Mendelssohn family's obsession with Bach is a topic that is near and dear to my heart, since I got into Mendelssohn scholarship through a fascination with Bach. It is exciting to see new work being done on Sara Levy after Peter Wollny's foundational article from 1993. This CD will certainly be on my wishlist this year!
I keep finding myself coming back to Linda Shaver-Gleason's blog, Not Another Music History Cliché!, when I'm teaching (and on my own, too!). I keep sending my students there for examples of good, critical thinking and excellent "public musicology." And just good fun, too. Linda manages to mix expertly the serious and the comical and approaches some heavily ingrained misconceptions about music culture with a light hand and wonderful authority. A rare combination!
Mozart has, for whatever reason accrued more than his fair share of popular myths (perhaps it's that unshakeable Salieri-as-murderer myth? #thanksAmadeus). This post is a perfect example of the mission of Not Another Music History Cliché! - enjoy!
While International Women's Day (IWD) doesn't garner as much attention as it should in the USA, it is quite a phenomenon overseas; a quick perusal of the IWD website yields hundreds of events around the world - including in America - with the theme "be bold for change." I did just that and chose a few cities at random to see what they were up to on March 8.
For example, in Maun, Botswana the community could attend an event called "Bold Women, Inspiring Stories." The description reads thus:
I most definitely want to hear those stories! The Facebook page for the event reported that "The women were inspired and challenged to take bold action towards their goals and dreams. It was a night of laughter and inspiration!" The photos posted there show a room packed with energy as these women grew bolder together to face the challenges of their lives.
Most smaller cities like Maun (ca. 60,000 people) had only one or two events. London, UK, however had no fewer than 100 events, and those were only the ones advertised on the site. These events ranged from international involvement in hashtag campaigns (for example, the #Smashshame campaign) to teas, sports events, business development events, film screenings, and a march. And music!
OK, I admit, I didn't choose London at random. As most visitors to this website probably already know, I was part of London's IWD events with BBC Radio 3, and had a wonderful time visiting the city for a few days! The indefatigable great-great-great granddaughter of Fanny Hensel, née Mendelssohn, Sheila Hayman, helped to organize and splendidly pull off the UK premiere of Hensel's "Easter Sonata" in partnership with BBC Radio 3, the Royal College of Music, and me. (My role in finding the manuscript and making an edition can be read here.)
Hayman and I were interviewed together - live! - on BBC Radio 3's program "In Tune" on Tuesday, March 7. The interview had a bit of a comical start as the host, Sean Rafferty, accidentally identified Fanny as Robert Schumann's sister, instead of Felix Mendelssohn's sister! We put him immediately to right, though, and even though he apologized for the error later, it really served as quite a good ice breaker for the interview. I think the fault lay with the lead-in: the work that was playing as we took our seats in front of the microphones was by Robert Schumann. Oops! Otherwise, though, the interview went very well and I felt I was able to say what I wanted to say and help share the story of Fanny's perseverance with a worldwide audience of over 1.5 million listeners - that's more than she ever had the chance to do for herself!
The next day, on IWD proper (March 8), the Royal College of Music hosted a Women in Music concert, which was broadcast live on BBC Radio 3's Lunchtime Concert. The program included new works by two local women in music - one even inspired by the "Easter Sonata"! - and the UK premiere, and world broadcast premiere, of the "Easter Sonata" by pianist Sofya Gulyak. I have never before heard Hensel performed with such grit and intensity - almost even a "no nonsense" practicality. These are the same words we use to describe Hensel's personality, so I absolutely enjoyed Gulyak's interpretation. Hayman and I spent the rest of the day doing some filming about my rediscovery of the "Easter Sonata" and capped off the day with some delicious chicken tagine at a Lebanese restaurant in Kensington. The weather was unusually balmy, and sunny, for March in London and I enjoyed strolling through Hyde Park to admire the spring flowers and the Prince Albert memorial, as well as a couple of hours in the Victoria and Albert Museum.
It was a fitting tribute to Fanny Hensel's story. It was music written by women, performed by women (Gulyak was the first female top prize winner of the Leeds Competition in 2009), and organized (mostly) by women. A wonderful moment that occurred just as I arrived in London for the events put a smile on my face the whole week: as I was going through immigration, the immigration officer asked, as usual, what business I'd be conducting in London while I was there. When I told her I'd be on BBC Radio 3 and attending a concert of women in music, she asked if it were for IWD, and, when I confirmed it was, she said "Good on you!"
Good on everyone who participated in these richly varied IWD events around the world! And good on everyone who continues to #beboldforchange!
Exciting news! My article on the "Easter Sonata" will appear in the journal Musical Quarterly. This is a wonderful opportunity for Hensel's work to be featured in such a prominent, peer-reviewed, publication. The article traces the documentary trail I followed to discover the manuscript and provides the details of the manuscript itself that confirmed the attribution to Fanny. I also provide an initial formal and hermeneutical analysis.
The full title:
“Authorship, Attribution, and the Historical Record: Solving the Mystery of the Easter Sonata by Fanny Hensel geb. Mendelssohn Bartholdy”
No word yet on which issue the article will appear in, but I will post an update to this space once I know!
I've just returned from a wonderful conference with the theme "Memory and Commemoration" hosted by the Nineteenth-Century Studies Association in Charleston, SC. A group of us put together a panel called "Sonic Memorialization: Music." The "music" designation was necessary since this was a broadly interdisciplinary conference; there were papers on everything from "Repatriation Through Discovery: Revisiting the 1605 Gunpowder Plot in Children’s Fourth of July Tales" by Steve Bellomy (Clarke University) to "Defeating Death with the Camera: The Thanatographic Photographer in the 1800s" by Joanna Madloch (Montclair State University).
You can see in the titles of the papers, below, why we titled our panel "Sonic Memorialization." We had two papers on very public demonstrations of memory (mine and Wilson's) and two on very private expressions (Sholes and Carrier-McClimon). It was a constructive balance and stimulated a productive conversation. The delicious South Carolina BBQ that we enjoyed after the panel also stimulated some wonderful conversation! It was all too short a visit to lovely Charleston (a town with its own sense of memory, with a history stretching back to the late 17th century!).
Vive la Révolution! French Expatriates in New York and Philadelphia
Jennifer C. H. J. Wilson, Westminster Choir College, Rider University
Zemlinsky’s Lyrische Symphonie: An Homage to Mahler
Angela Mace Christian, Colorado State University
Commemorative Birthday Pieces in Johannes Brahms’s Circle, 1853-1854
Jacquelyn Sholes, Boston University
Public Object, Private Memories: Robert Schumann’s "Erinnerung" of Felix Mendelssohn
Carolyn Carrier-McClimon, Furman University
Chair: Kunio Hara, University of South Carolina
This is why I am enjoying teaching from Richard Taruskin's Oxford History of Western Music this semester (the 17th and 18th-centuries volume):
This is one of the most widely respected American scholarly experts on music history writing about J. C. Bach's Sonata in D major, op. 5 no. 2, first movement. And I love it! It takes a potentially tedious explanation of formal process and gives it a playful turn - not unlike the music under discussion, which was a central example of the Galant style. That style, as my graduate students in a class on Music of the Classical Era have been discussing in great detail, took its elegant melodies, stark contrasts, and overt humor straight from comic opera of the day.
Perhaps Taruskin caught a little of the comic opera bug there!
I was excited to receive a copy of Mendelssohn Perspectives in the mail today! That's the book of essays I edited with the lovely Nicole Grimes (who has recently joined us on this side of the Atlantic - finally! A win for America!) which first appeared in hardcover back in 2012. The publisher told us that titles that do well get reissued in paperback, so we were quite pleased to hear this news.
Also, because Taylor & Francis bought Ashgate, the book is now technically published by Routledge even though it originally appeared with Ashgate - just to clear up any potential confusion on that!
Get yours now for the low low price of $41.81 on amazon! The hardcover on the publisher's website is $149.95 (a little cheaper on amazon, of course), so this new price should make this volume more accessible to more people - like me! I couldn't afford to buy my own book. I hope this book ends up on more shelves now; I would love to hear from you, dear reader, if you've been reading and have comments or questions!