Overture in C major

Fanny Hensel (1805–1847), born Fanny Mendelssohn, was one of the most gifted composers of the early Romantic period. The elder sister of Felix Mendelssohn, she grew up in a family where music played a central role and developed extraordinary abilities as a pianist, composer and musical organiser. Her extensive output includes songs, piano music, chamber works and choral compositions, yet relatively little of it was published during her lifetime.

The Overture in C major, composed in 1832, is her only purely orchestral work. It was written during a particularly productive period in her life, when she was balancing her musical ambitions with the responsibilities of family life. In an era when women were generally discouraged from pursuing public careers as composers, Hensel cultivated an important musical life through the Sunday concerts held at her family home in Berlin.

The overture received its first performance in 1834 at one of these gatherings. On that occasion, Hensel herself conducted the orchestra—a striking achievement at a time when women rarely took the podium. The work was not intended to introduce an opera or dramatic production; instead, it stands independently as a concert piece, displaying her command of orchestral writing.

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The music begins with a measured Andante, in which a theme gradually unfolds through the strings and woodwind. This restrained opening creates an atmosphere of anticipation before a brief flute solo provides a delicate link to the faster section.

The change of pace is unmistakable. A flourish from the violins launches the Allegro di molto, bringing a surge of movement and energy. Hensel develops her ideas with a sure sense of momentum, using crisp rhythmic figures from the brass and lively string writing to create a sound that is both buoyant and dramatic. The principal theme is marked con fuoco—literally, “with fire”—and the music certainly lives up to that instruction.

A contrasting, more lyrical passage offers a moment of respite, with a flowing violin melody answered by the flute. But the underlying energy is never far away. Hensel skilfully balances elegance with exuberance, building towards a confident and emphatic conclusion.

The overture is a persuasive reminder that Hensel’s musical gifts extended well beyond the piano and song. Its combination of structural assurance, melodic invention and vivid orchestral colour makes it a rewarding discovery—and an opportunity to hear a significant nineteenth-century composer on her own terms.

• The gradual opening: Listen to the strings as the opening theme emerges gently, establishing the mood before the full orchestra comes into play.

• The flute’s moment in the spotlight: A short solo flute passage links the slow introduction to the lively main section, briefly drawing attention away from the full ensemble.

• The sudden burst of energy: The fast section begins with an animated violin figure, soon reinforced by the bright, sharply defined rhythms of the horns and trumpets.

• The fiery main theme: Hensel’s con fuoco marking captures the music’s urgency. Notice how the strings maintain a sense of forward motion.

• A more lyrical interlude: Listen for the contrast between the flowing violin melody and the flute’s response. This is a chance to appreciate the more intimate side of Hensel’s orchestral writing.

• The final build-up: The music repeatedly gathers momentum, bringing the contrasting elements together in a decisive, full-orchestra ending.