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from Part I - Themes in Studying Women Composers
Published online by Cambridge University Press: 23 May 2024
The last years of the nineteenth century saw many high-profile performances in Britain, Europe, and the USA of complex, large-scale musical works composed by women. In 1890, for example, a distinctive four-movement orchestral Serenade by the British composer Ethel Smyth (1858–1944) was performed at the Crystal Palace in London. In 1895 La Montagne, a drame lyrique in four acts and five tableaux by the French composer Augusta Holmès (1847–1903), her fourth opera, was premiered at the Paris Opéra while the ‘Gaelic’ Symphony by the American composer Amy Beach (1867–1944) was first heard in Boston’s Music Hall the following year, 1896. The ‘Gaelic’ Symphony went on to be widely performed in Europe and the United States, and was critically well received, with one reviewer of the premiere praising it as ‘high-reaching, dignified and virile’.1
Amy Beach. Gaelic Symphony; Piano Concerto, Nashville Symphony Orchestra cond. Kenneth Schermerhorn, Naxos Classics: 8559139 (2003).
Cécile Chaminade. 6 Etudes de concert, op. 35: No. 2, ‘Automne’, Cécile Chaminade (piano), YouTube, www.youtube.com/watch?v=KyJ6wBj-kcQ.
Elizabeth Maconchy. The Land, Concertino for Piano and Orchestra, Music for Wind and Brass, Symphony for Double String Orchestra, BBC Scottish Symphony Orchestra cond. Odaline de la Martinez, Lorelt: LNT133 (2011).
Ethel Smyth. Concerto for Violin, Horn and Orchestra; Serenade in D, BBC Philharmonic cond. Odaline de la Martinez, Chandos: 5117610 (1996).
Maude Valérie White. ‘So We’ll Go No More A’roving’, Felicity Lott (soprano) and Graham Johnson (piano), YouTube, www.youtube.com/watch?v=9Ud-JEKc1LU.
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