Fanny Mendelssohn: Notturno H. 337 | performed by Pierpaola Porqueddu
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Fanny Mendelssohn: Notturno H. 337
Performed by Pierpaola Porqueddu
Notturno H. 337
Fanny Mendelssohn’s Nocturne, H. 337 is a jewel of intimate piano composition: gentle, lyrical, and reflective. A flowing accompaniment supports the tenderness of the melody, which unfolds like late-night thought — glowing and soft, but also bittersweet, succeeding in expressing the complexity of experience. It’s the kind of piece that doesn’t rush ahead, but lingers invitingly. All we can do is listen closely to every nuance and breath.
Fanny Mendelssohn-Hensel
Fanny Mendelssohn (1805–1847) was a brilliant German pianist and composer whose music combines elegance, imagination, and a distinctly personal lyricism. She grew up in a privileged, intensely musical Berlin household, and from childhood she was regarded as a pianist and composer of exceptional ability. But her personal life was shaped by a contradiction that many talented women faced in the 19th century: she was encouraged to be brilliant in private, yet discouraged from being visible in public. Her family valued music deeply, but social expectations—and even advice from within her own circle—often framed composition and public performance as unsuitable “careers” for a woman of her class.
Much of Fanny’s musical life therefore unfolded in domestic and salon settings. She became the driving force behind the Mendelssohn family’s Sunday concerts in Berlin, programming, performing, conducting, and presenting new music to an invited audience that included leading intellectuals and artists. These gatherings were influential, but they also highlight the limits placed on women: salons could offer artistic authority, yet still kept recognition within a “private sphere.”
She married the painter Wilhelm Hensel, who supported her creativity more openly than many husbands of the era. Even so, publication was complicated—some of her songs appeared under Felix Mendelssohn’s name, reflecting a wider system in which women’s work was treated as secondary, “amateur,” or simply not marketable. Fanny herself wrestled with this, balancing ambition with the pressure to be discreet, respectable, and family-centered.
Her story mirrors a broader pattern: women composers often had less access to formal positions, professional networks, publishers, and paid performances, and their successes were frequently filtered through fathers, brothers, teachers, or husbands. That’s why reclaiming Fanny Mendelssohn’s music today matters—it’s not just about rediscovering beautiful works, but about recognizing how much brilliance was historically kept out of the spotlight.
Pierpaola Porqueddu
Pierpaola Porqueddu was born in Nuoro, Italy, in 1976. At the age of twenty, she graduated with top marks from the 'Palestrina' Conservatory in Cagliari. In 1996 she won the first prize at the Città di Camaiore competition. She was chosen by the Conservatorio Palestrina to perform Brahms' Concerto No. 1 at the Teatro Comunale in Cagliari under the direction of Maestro Sanna. The same concert was performed again with the Camille Saint-Saens chamber orchestra. In 1997 she studied at the Accademia Chigiana in Siena with Paul Badura-Skoda. The following year she won the first prize at the National Piano Competition in Cesenatico and the first prize at the International Piano Competition Premio Caffa Righetti in Cortemilia. In 1999 she won 1st prize at the Città di Verbania and Città di Montescudo competitions. In 2000 she won the Castiglion Fiorentino Competition, which gave her the opportunity to study at the Mozarteum in Salzburg in July 2000. She also won the 38th edition of the prestigious International Piano Competition Arcangelo Speranza in Taranto.
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#FannyMendelssohn #Mendelssohn #FannyHensel #WomenInMusic #WomenComposers #RomanticEra #ClassicalMusic
🎧Find it on all major platforms: bfan.link/music-of-the-heart
🎵Stream the track on all major platforms: bfan.link/mendelssohn-notturno...
Fanny Mendelssohn: Notturno H. 337
Performed by Pierpaola Porqueddu
Notturno H. 337
Fanny Mendelssohn’s Nocturne, H. 337 is a jewel of intimate piano composition: gentle, lyrical, and reflective. A flowing accompaniment supports the tenderness of the melody, which unfolds like late-night thought — glowing and soft, but also bittersweet, succeeding in expressing the complexity of experience. It’s the kind of piece that doesn’t rush ahead, but lingers invitingly. All we can do is listen closely to every nuance and breath.
Fanny Mendelssohn-Hensel
Fanny Mendelssohn (1805–1847) was a brilliant German pianist and composer whose music combines elegance, imagination, and a distinctly personal lyricism. She grew up in a privileged, intensely musical Berlin household, and from childhood she was regarded as a pianist and composer of exceptional ability. But her personal life was shaped by a contradiction that many talented women faced in the 19th century: she was encouraged to be brilliant in private, yet discouraged from being visible in public. Her family valued music deeply, but social expectations—and even advice from within her own circle—often framed composition and public performance as unsuitable “careers” for a woman of her class.
Much of Fanny’s musical life therefore unfolded in domestic and salon settings. She became the driving force behind the Mendelssohn family’s Sunday concerts in Berlin, programming, performing, conducting, and presenting new music to an invited audience that included leading intellectuals and artists. These gatherings were influential, but they also highlight the limits placed on women: salons could offer artistic authority, yet still kept recognition within a “private sphere.”
She married the painter Wilhelm Hensel, who supported her creativity more openly than many husbands of the era. Even so, publication was complicated—some of her songs appeared under Felix Mendelssohn’s name, reflecting a wider system in which women’s work was treated as secondary, “amateur,” or simply not marketable. Fanny herself wrestled with this, balancing ambition with the pressure to be discreet, respectable, and family-centered.
Her story mirrors a broader pattern: women composers often had less access to formal positions, professional networks, publishers, and paid performances, and their successes were frequently filtered through fathers, brothers, teachers, or husbands. That’s why reclaiming Fanny Mendelssohn’s music today matters—it’s not just about rediscovering beautiful works, but about recognizing how much brilliance was historically kept out of the spotlight.
Pierpaola Porqueddu
Pierpaola Porqueddu was born in Nuoro, Italy, in 1976. At the age of twenty, she graduated with top marks from the 'Palestrina' Conservatory in Cagliari. In 1996 she won the first prize at the Città di Camaiore competition. She was chosen by the Conservatorio Palestrina to perform Brahms' Concerto No. 1 at the Teatro Comunale in Cagliari under the direction of Maestro Sanna. The same concert was performed again with the Camille Saint-Saens chamber orchestra. In 1997 she studied at the Accademia Chigiana in Siena with Paul Badura-Skoda. The following year she won the first prize at the National Piano Competition in Cesenatico and the first prize at the International Piano Competition Premio Caffa Righetti in Cortemilia. In 1999 she won 1st prize at the Città di Verbania and Città di Montescudo competitions. In 2000 she won the Castiglion Fiorentino Competition, which gave her the opportunity to study at the Mozarteum in Salzburg in July 2000. She also won the 38th edition of the prestigious International Piano Competition Arcangelo Speranza in Taranto.
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#FannyMendelssohn #Mendelssohn #FannyHensel #WomenInMusic #WomenComposers #RomanticEra #ClassicalMusic
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