A Woman's Hand Helen Cawthorne

• Fanny Mendelssohn Hensel (1805 - 1847):
• 1 Hensel: Allegro molto in C Minor (1846) 02:38
• 2 Hensel: Without Tempo Indication in G Minor (1844) 03:40
• 3 Hensel: Allegro molto in E Minor (1844) 03:19
• 4 Hensel: Allegretto grazioso in Bb Major (1836) 03:35
• 5 Hensel: Andante in G Major, Op. 2 No. 1 (1836) 03:48
• 6 Hensel: Prestissimo in C Major (1836) 04:29
• 7 Hensel: Adagio in Eb Major (1843) 03:41
• 8 Hensel: Allegro moderato in B Minor, Op. 8 No. 1 (1846) 04:57
• 9 Hensel: Andate con espressione in A Minor, Op. 8 No. 2 (1846) 03:01
• 10 Hensel: Lied. Larghetto in Db Major, Op. 8 No. 3 (1846) 02:25
• 11 Hensel: Wanderlied. Presto in E Major, Op. 8 No. 4 (1846) 02:32
• 12 Hensel: Lento appassionata in B Major, Op. 5 No. 4 (1846) 02:28
• 13 Hensel: Allegro molto vivace in G Major, Op. 5 No. 5 (1840) 02:57
• 14 Hensel: Andante soave in Eb Major, Op. 5 No. 6 (1840) 05:04
• 15 Hensel: Allegretto ma non troppo in E Minor (1843) 03:08
• 16 Hensel: Allegro moderato in B Major (1837) 05:03
• 17 Hensel: Andante con moto in E Major (1838) 04:21
• Total Runtime 01:01:06

Info for A Woman's Hand

There has been an upsurge of interest over recent years in Fanny Mendelssohn Hensel’s life and work, prompted both by her bi-centenary in 2005 and a more general impulse to re-examine undervalued and neglected female artists. Those who have been exposed to even a fraction of her work may need no further encouragement to explore this new and relatively rare recording of a generous selection of her shorter piano works. But if her music is unfamiliar territory, the experience might prove a surprising and exceptionally rewarding discovery; don’t be inclined to expect sentimental, pretty drawing-room stuff!

Fanny was subject, of course, to the familiar prejudices of her age. The title of this disc is a reference to the back-handed compliment of a contemporary critic who opined that her compositions 'did not betray a woman’s hand' but displayed, rather, 'a masculine seriousness'. However, her case is not a simple matter of gender prejudice. The limitations placed on Fanny’s musical life were as much, if not more, due to her elevated social position. As the daughter of a prominent and wealthy banking family, whose grand Berlin home was a prestigious cultural and intellectual centre, it was considered unthinkable that she should pursue a professional musical life of any kind, either as a pianist or as a composer. At the same time, it was that very background of intellectual vigour and sophisticated cultural influence that shaped an exceptional musical talent. Fanny’s closeness to her brother Felix and the demanding academic and musical training that they shared from a young age has been well documented, as has the acknowledgement that Fanny was an exceptionally accomplished pianist, equal or even superior to her brother.

There could be some poignancy, perhaps, in listening to the compositions of a pianist whose public career was restrained by social conventions. And it might be tempting to imagine piano ‘miniatures’ as somehow symbolic of these constraints. On the contrary, however, these works are bursting with a self-assurance grounded in virtuosic command of her instrument and a thorough schooling in compositional techniques. Hers is a distinctive voice (inescapably, a singing voice), working in a limited compass, perhaps, but embracing huge variety, from passion and tumult to utter serenity.

"This is an immensely satisfying performance. It is a voyage of delight from end to end. The superb recording complements the playing in every way." (John France, MusicWeb International)

Helen Cawthorne, piano

Helen Cawthorne
studied with the German pianist Annekäte Friedlander before entering the Royal Academy of Music, where she was awarded major prizes as a solo pianist, accompanist and chamber musician. Her subsequent career has reflected this diversity, and a special interest in working with singers and string players in the Romantic repertoire has been complemented by premières of over thirty newly commissioned works. Wigmore Hall and Purcell Room débuts came early in her career and she has returned many times to the Southbank Centre, most recently with the eight-hand piano ensemble Piano40, in their tenth appearance at the venue.

A long-standing working partnership with her husband, baritone John Barker, has included BBC broadcasts and recordings on the Sain and Regent Records labels.

A particularly high proportion of ensemble work with instrumentalists and singers, throughout her training and from the earliest stages of her performing career, has been perhaps the strongest influence on Helen Cawthorne as a musician and pianist. Apart from engagement with a very broad repertoire, from classical staples to the sight-reading of complex new scores, it gave her invaluable insights into the particular musical strengths, technical characteristics and colour palettes of a wide variety of instruments and voices, as well as exposure to the teaching of a large number of distinguished musicians outside her own particular instrumental discipline.

Thus, her introduction to a great European piano tradition when taught, as a teenager, by Annekate Friedlander and then, at the Royal Academy of Music, by Alexander Kelly, Rex Stephens and Jeremy Brown, was greatly enriched by involvement in lessons and coaching sessions with oboist Janet Craxton, cellist Jacqueline du Pré, contralto Janet Baker and violinist and quartet leader Sidney Griller among many others. Then, as a young rehearsal and masterclass accompanist, she worked, for example, with Sir Neville Marriner in rehearsals with distinguished concerto soloists, with Richard Hickox in rehearsals of the London Symphony Chorus, with leading instrumentalists such as violinist György Pauk (Cheltenham Festival) and in both early music and contemporary repertoire with recorder player Michala Petri.

The breadth and depth of these influences has informed all of her subsequent work both on the concert stage and as a teacher and coach.

This album contains no booklet.