 Aussi douée que son frère, Fanny Mendelssohn. Ce ne sont pas les treize merveilles de Das Jahr qui infirmeraient cette suggestion. D’ailleurs le vocabulaire, l’imaginaire, l’invention mélodique, tout dans ce cycle majeur du piano romantique que l’on redécouvre depuis quelques années, s’assortit d’évidence au propre génie de Félix. L’ouvrage est merveilleux, collections de vignettes senties, d’une qualité d’écriture remarquable, d’autres « Mois » qu’il sera passionnant de comparer avec ceux de Tchaikovski, ils ne leur cèdent en rien, pour l’inspiration comme pour la mise en œuvre. Peu de versions : elles se comptent sur un peu plus que sur les doigts d’une main, la plus remarquable jusqu’ici étant celle de Lauma Skride (Sony) avec laquelle Martina Frezzotti fait jeu égal. Doigts légers mais qui timbrent, vélocité et legato, des couleurs à revendre, tout y est pour rendre justice à ces pièces de pur charme. Et quelle poésie pour les deux Nocturnes, le mélancolique et peu sombre premier, l’extase rêveuse du second (Nocturne Napolitano), quelle brio dans l’Introduction et Capriccio qu’on croirait absolument de la plume de son frère ! Disque parfait pour découvrir l’autre génie de la famille Mendelssohn. (Discophilia - Artalinna.com) (Jean-Charles Hoffelé) One of the most prolific female composers of the 19th century, Fanny Hensel was also a pianist of rare talent and prodigious memory who dazzled private audiences at her concert series in her Berlin home. During her lifetime, Hensel’s career was overshadowed by the career of her brother, Felix Mendelssohn. She received much the same liberal education in the arts as Felix, and demonstrated hardly less talent than him as a musician, a linguist and an artist in her early years. Hensel’s music reflects her deep reverence for Bach and Beethoven, but it also exhibits the fine craftsmanship and lyricism associated with her brother’s music, and her own experimental and inventive approach to form and content. She allowed her music to be published only in the year before her early death at the age of 41 – which foreshadowed and probably hastened her brother’s demise – though in fact several of her pieces had already appeared in print under her brother’s name. Martina Frezzoti’s choice of repertoire focuses on the period of 1838 to 1841, bookended by a pair of dreamy nocturnes. By this point in her life Hensel had been married to the painter Wilhelm Hensel for almost a decade and had produced dozens of Lieder and short piano pieces, as well as a string quartet (one of the first women to do so), concert arias, choral songs and a cantata. The album’s major work is a cycle of character pieces based on the months of the year, and ingeniously unified by leitmotifs which run through the 13 pieces (including a final chorale). The ‘Spring Song’ for May bears comparison with Felix’s much more famous example, and several other pieces in the cycle could easily pass for one of his Songs without Words. Born in 1986, Martina Frezzotti studied with both Lazar Berman and Elisso Virsaladze, and this Russian training manifests itself in both the power and the expressive sensitivity of her playing. She has retained strong performing connections in Russia and Ukraine, as well as her native Italy. This highly appealing collection marks her recorded debut.
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