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Clara Faisst - The Woman and her Songs
No full textIn the realm of lieder compositions, the name “Clara Faisst” evokes, for most, a reaction of puzzlement. This forgotten German composer has slowly been making her way back into the spotlight; while she has yet to experience a Renaissance of performances and recordings, a rather recent re-discovery of her music at the end of the 20th century has given Faisst recognition, and a place among song composers which she deserves. This re-discovery occurred in 1993, when a linen folder, containing autographs, pictures, programmes and more, was saved from a waste pile and sold to the Badische Landesbibliothek. Thus began the start of a slow reconstruction process of Clara Faisst’s life, a process which remains challenging today mainly due to the fact that much of Karlsruhe was destroyed during the Second World War, and along with it, precious documents, letters, and scores.
Faisst’s compositional voice was firmly rooted in the Romanticism of the 19th century. She wrote mainly in small-scale genres but with more than 100 Lieder compositions and several chamber music works, Faisst was a highly prolific and well-known composer in Karlsruhe at the turn of the 20th century. Most significantly, it was her song compositions which made her famous outside of Karlsruhe.
Part 1 of this dissertation provides a biographical context of Clara Faisst, including an overview of her early life and musical education, her friendships, and her work as a composer and poet. Part 2 introduces the Lieder of Clara Faisst, giving focus to her published opuses. Even in her first works for voice and piano, written during her studies at the Conservatory in Berlin, one sees a remarkable and profound sensitivity to this genre, and a total internalization of all the best impulses of Schubert, Schumann, and Brahms. The published songs have been organized into three categories (songs before WWI, songs during WWI, and songs following WWI), and thus show the growth of Faisst as a composer during these important years.D.M.A
Die Sennin - Mus. Hs. 1411,5 : V, pf; A; RebF CF 101
No full textSiehe auch D KA Mus. Hs. 1400,7Clara Mathilde FaisstText: Nikolaus Lenau. - Quelle: autograph[caption title:] Die Sennin (N. Lenau) | [in margin:] C. Faisst | August 4
Empire of Ruins: American Culture, Photography, and the Spectacle of Destruction by Miles Orvell: (A Book Review)
No full textJulia Faisst\u27s review of Miles Orvell\u27s Empire of Ruins: American Culture, Photography, and the Spectacle of Destructio
Die Sennin - Mus. Hs. 1400,7 : V, pf; A; RebF CF 101
No full textNochmals vorhanden unter der Signatur D KA Mus. Hs. 1411,5Clara Mathilde FaisstText: Nikolaus Lenau. - Quelle: autograph[caption title:] Die Sennin (N. Lenau) | C. Faisst | August 4
Wie soll ich dich empfangen - Mus. Hs. 1411,11 : pf; A; RebF CF 108
No full textFotografisch reproduziertes Autograph. - Autor- und Tempoangabe handschriftlich (autograph). - 2 weitere Exemplare mit autographen Eintragungen: D KA Mus. Hs. 1400,12Clara Mathilde FaisstQuelle: autograph[caption title:] Clara Faisst: | "Wie soll ich dich empfangen" (Advents-Choral
Im Herzen hab' ich dich getragen - Mus. Hs. 1400,15 : V, pf; A|b; RebF CF 78
No full textAm Schluß die unvollständige Bleistiftskizze eines weiteren Liedes ("Aus der Jugendzeit klingt ein Lied"). - Siehe auch D KA Mus. Hs. 1400,18Clara Mathilde FaisstText: Dora Paschkowsky. - Quelle: autograph[caption title:] Im Herzen hab' ich Dich getragen. | Clara Faisst | [in left margin:] Febr. 0
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