a concert review by Irene Brychcin as published in the IAWM Journal, June 1994, pp. 40.
Exactly 151 years and 3 days after its completion, conductor Robert Page, the women of the Mendelssohn Choir of Pittsburgh, soprano Lisa Temple, and pianist Joy Ann Crummie joined forces to present Faust by Fanny Mendelssohn Hensel in its American Premiere and first modern performance on Saturday, March 26, 1994. The reconstruction and modern edition of Faust is by Dr. Suzanne Summerville, Professor of Music at the University of Alaska Fairbanks.
Set for Soprano solo, SSAA soli, SSAA chorus, and piano, Fanny Hensel's Faust is based on the opening stanzas 4613-4678 of Part II, Act I of Goethe's Faust. Included is the song of Ariel accompanied by Aeolian harps and the chorus of spirits. The scene opens with Faust lying in a coma-like sleep induced by Ariel and the spirits to cleanse and heal him after the ordeals and disgrace he had brought upon himself in Part I. According to notes provided by Dr. Summerville, the period of healing is coincident with the four Roman vigilae of three hours each, extending from six p.m. to six a.m. This setting begins with an introduction by the piano and leads to Ariel's first statement which establishes the scene within the Pleasant Region to which Faust had been taken. It is in this first statement that the small spirits or elves are introduced as those who can assist in the healing of Faust. The "kleiner Elfen Geister grosse" repeat Ariel's song at this point. This in turn leads to a recitative by Ariel in which the elves are commanded to restore Faust to the holy light. After this is a 14 measure piano solo in 12/16. The Serenade (first of the four vigils) in which a healing sopor is induced is sung by the spirits. The Nottorno, or deep slumber, is described by the spirits in the Andante section. The crystalline magic of a night bathed in the light of the full moon is evoked by the delicate filigree of the piano accompaniment and the soft dynamic of the spirit chorus. The Mattutino, or coming of dawn is extolled by Ariel in the aria, Allegro Moderato. A virtuoso piano interlude leads to the celebration of the sunrise (Reveille) sung by the spirit chorus, and the exhortation to Faust to throw off the shell of sleep and not delay in returning to life.
This excellent reconstruction and edition by Dr. Suzanne Summerville brings to the repertoire a fine example of early-middle nineteenth century choral, vocal, and pianistic styles, the work having been completed March 23, 1843. The role of the piano is vital in setting the mood of each contrasting section and the virtuosic demands placed upon the performer reflect Fanny Hensel's skill as a pianist. The playing of pianist Joy Ann Crummie brought forth the elegance and vivacity characteristic of this genre. Soprano Lisa Temple was outstanding as Ariel with a beautiful, clear, expressive voice. The women of the Mendelssohn Choir of Pittsburgh were superb as the spirit chorus with vocal coloration that enhanced the poetry and clearly defined the contrasts within the work. The masterful preparation, insight, and conducting of Music Director and Conductor Robert Page made this a cohesive, expressive, and enjoyable performance that was warmly and enthusiatically received by the audience.
I think Fanny Hensel would have been pleased, too.
Irene Brychcin is a member of the soprano section of the Professional Core of the Mendelssohn Choir of Pittsburgh as well as a professional freelance clarinetist. Her undergraduate study was at Baldwin-Wallace College and the MM and A. Mus. D. were granted from the University of Michigan. Dr. Brychcin has taught at the college level, and performed as a recitalist, conductor, lecturer, clinician, and adjudicator.