#henriettebosmans — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #henriettebosmans, aggregated by home.social.
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Conductor Ed Spanjaard saves Henriëtte Bosmans’ cello concertos from oblivion
For almost three decades I tried in vain to convince the Royal Concertgebouw Orchestra to perform the two cello concertos that Henriëtte Bosmans (1895–1952) composed in quick succession, in 1922 and 1923.
The artistic advisor made every effort to get at least one of them performed, but invariably met with a flat refusal from either the intended conductor or cellist. Recently Ed Spanjaard recorded both of them for cd, with the BBC Scottish Symphony Orchestra and cellist Raphael Wallfisch.The Concertgebouw Orchestra’s reluctance was all the more baffling since Bosmans had maintained close ties with it in her own time. Her music was placed regularly on their music stands, often with herself at the piano in her Concertino for piano and orchestra. In 1923, the orchestra programmed her Cello Concerto No. 1 twice, featuring the Flemish cellist Marix Loevensohn and the conductor Karl Muck.
As early as 1919, Bosmans had written a Poème for cello and orchestra, which was performed by the orchestra no fewer than three times before the Second World War, each time with Loevensohn. Bosmans’ love for the cello did not come out of the blue: her father – who died when she was only one year old – was principal cellist of the Concertgebouw Orchestra; Marix Loevensohn was a close friend, and she had a romantic relationship with the cellist Frieda Belinfante from 1922 to 1929.
In 1995, the Radio Chamber Orchestra recorded the Poème on CD under Ed Spanjaard, featuring cellist Dimitri Ferschtman. Spanjaard has now persuaded the BBC Scottish Symphony Orchestra and cellist Raphael Wallfisch to dust off the two cello concertos as well. The album powerfully demonstrates just how unjustly this music has remained unheard for a century.
Ed Spanjaard
The album opens with the Poème. A turbulent descending motif is launched loudly by strings and wind instruments – which allow their tones to swell and subside again (perhaps a little too abruptly). After a dramatic timpani roll, the theme is taken up pianissimo by the solo cellist, upon which it at once sounds fragile and wistful.
After a poetic cello line brimming with yearning lyricism, a dialogue unfolds with the orchestra, in a rapid alternation between melodious and rhythmic passages within an extremely varied dynamic range. The Poème concludes in a dreamy ‘morendo’, with the sounds of the cello and strings dissolving into the mysterious void.
Bosmans also powerfully opens her Concerto for Cello and Orchestra No. 1, with a pulsating rhythm in which the high woodwinds and low strings seem to pass a ball back and forth. Their play is cut short by expectantly tremulating strings, that introduce a lyrical theme from the solo cello, accompanied by atmospheric harp arpeggios.The second movement has a dance-like character, with whirling runs from the cello and feisty accents from percussion instruments that were uncommon at the time, such as castanets, tambourines and woodblocks.
In the third and final movement, following an intimate introduction, the solo cello plays a cheerful, bouncy theme reminiscent of American folk music. The oompah-like orchestral accompaniment conjures up images of cowboys galloping across the prairies. Spanjaard whips the musicians into a compelling and intense performance, against which Raphael Wallfisch’s technically sound but rather bland playing pales somewhat.
The Second Cello Concerto begins with a slow motif from the solo cello, rising from the depths, coloured by sultry swirls in the orchestra. The orchestra remains modestly in the background, allowing the soloist ample space to unfold his wistful argument.
After this poetic first movement, the second has a distinctly cheerful character. Against lively themes of the flutes in a brisk rhythm, the cellist weaves graceful melodic lines inspired by them. The infectious scherzo is followed by the final movement, in which the cello and first violin engage in a tender duet against subdued harp arpeggios.
This culminates in an exuberant finale, full of tambourine clatter in a rousing rhythm; for a moment, the cowboys reappear. Bosmans concludes this movement decisively, with a few repeated chords played fortissimo and a robust trumpet fanfare.
The album illustrates once again Bosmans’ incredible flair for writing melodious tunes and colourful orchestral parts, in which the harp and percussion play a major role. Her great skill is all the more evident in the natural ease with which she weaves rapidly shifting moods into a coherent whole; the narrative never feels disjointed.
Praise be to Ed Spanjaard for making these two cello concertos accessible to a wide audience. – Royal Concertgebouw Orchestra: all you have to do is head the ball!https://www.youtube.com/watch?v=CIpPoZKFjto
#BBCScottishSymphonyOrchestra #EdSpanjaard #HenriëtteBosmans #RaphaelWallfisch -
@classicalmusic
@womencomposers#HenriëtteBosmans 1895 –1952
Sonata for cello and piano (1919)
1. Allegro maestoso
2. Un poco allegretto
3. Adagio
4. Allegro molto e con fuoco#DorisHochscheid #Cello
#FransVanRuth #Piano#classicalmusic #Bosmans
#modenistmusic #womencomposers
#musik #music #musique #musica -
@classicalmusic
@womencomposers#HenriëtteBosmans 1895 –1952
'Impressions' (1926)
I. Cortège
2. Nuit Calme
4. En Espagne#DorisHochscheid #Cello
#FransVanRuth #Piano#classicalmusic #Bosmans
#modenistmusic #womencomposers
#musik #music #musique #musica -
Cello Concertos from The Netherlands
https://youtube.com/watch?v=0I5PIYlsBgU&si=nx9xQAscRcIGkU0U
@classicalmusic
#NetherlandsRadioChamberOrchestra
#HenriëtteBosmans
#HansKox
#LeoSmit
#WillemPijper -
"Dutch Hidden Gems" by Dana Zemtsov, Anna Fedorova, Phion Orchestra, Shizuo Z Kuwahara https://songwhip.com/danazemtsov/dutch-hidden-gems
#ClassicalMusic
#DutchComposers
#PhionOrchestra
#ShizuoZKuwahara
#DanaZemtsov
#Viola
#HenkBading
#ArneWerkman
#JanKoetsier
#HenriëtteBosmans -
Today 80 years ago, Leo Smit and his wife Lientje Smit-de Vries arrived in Sobibor. They were killed upon arrival.
The Leo Smit Stichting hosted a commemorative concert with Dimitri Malignan who performed music by #LeoSmit, #DanielBelinfante and #HenriëtteBosmans. I had the honour to talk about Leo Smit’s music and my research on #SuppressedComposers
@classicalmusicFor more information on Dutch composer Leo Smit and his music see https://www.forbiddenmusicregained.org/search/composer/id/100000
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Between diapers & dishes – the (in)visibility of the female composer
Walkyrien (c) Emil Doepler, via Wikipedia Media
Amsterdam, 8 March 2018. No chance to miss today is women’s day. The media are brimming with articles about the unequal pay for women and their still limited representation in prestigious positions. – In politics, the business world, universities and the arts.
The most conservative is perhaps the classical music world, where the female composer still has to fend for her right to exist. Even in 2018 she still has to cram her creative work in between domestic tasks, it seems. – Will a male composer ever be asked how he combines his work ‘with the children’? Despite tiny steps in the right direction, his female colleague still balances between diapers & dishes.
Perotinus & Leoninus
My own history began in a village in Limburg. I was not allowed to join the local brass band – simply because I was a girl. Later I started my own pop group. Though I wrote all the songs, invariably in interviews my male band members were asked all the questions. During my entire studies in musicology only two ladies were mentioned. Hildegard von Bingen was treated extensively, but after that it remained silent. In my my final year one song by Clara Schumann was analyzed.
During concerts I heard music from Perotinus & Leoninus, Bach and Handel, Mozart and Beethoven, Stravinsky and Bartók. Only in the world of new music I was sparsely treated to works by Galina Ustvolskaya and Sofia Gubaidulina, or Kaija Saariaho and Unsuk Chin. When I started working at Radio 4, I made thematic programs on countless subjects. But the moment I dedicated a series to female composers, I was deprecatingly dubbed ‘Her of the Women’.
Smyth ‘influenced’ by unborn Britten
Undaunted I tried to get work by female composers performed, but I stumbled on a wall of unwillingness and bias. The most poignant was my experience with the opera The Wreckers by Ethel Smyth. Everyone I played a recording to was enthusiastic about the beautiful and powerful music. – Invariably followed by the comment that Smyth had been ‘strongly influenced’ by Peter Grimes of Benjamin Britten.
A hilarious argument: Britten wasn’t even born when Smyth composed her opera in 1906. Indeed, Peter Grimes did not appear until 1945, a year after her death. When I pointed this out, my interlocutors fell silent, baffled. But the penny did not drop and the opera remained unperformed. While a rediscovered second-class composition of a man is not seldom hailed ‘discovery of the century’.
Netherlands’ Men’s Days and Bosmans Prize
During the yearly Netherlands’ Music Days hardly any women’s compositions were performed, so I dubbed them the Netherlands’ Men’s Days; in 2010 the event died a silent death. Even the composition competition named after Henriëtte Bosmans was never won by a woman. After I had criticized this in a column, at least some female jurors were recruited. But it wasn’t until 2008, when an audience prize was established, that this finally went to a female composer. After 2011 also this competition ceased to exist.
When the Festival of Early Music Utrecht put Felix Mendelssohn in the context of his time, not one note from his sister Fanny was played. She was not only Felix’s source of inspiration and sounding board, but also a composer who was highly appreciated in her own time. Most probably she developed the ‘Song without Words’, which is invariably attributed to her brother. After yet another column of mine the all-male concept was somewhat released. Since then, sporadically music by Elisabeth Jacquet de la Guerre, Barbara Strozzi, Hildegard of Bingen or Isabella Leonarda was programmed.
Modern music world forms an exception
A positive exception is formed by the circuit of modern music, such as the Thursday Evening Concerts of Muziekgebouw aan ‘t IJ. The same goes for the Red Sofa series of De Doelen, the Oranjewoudfestival and Dag in de branding. In Gaudeamus Muziekweek, women’s work sounds regularly, although the competition itself is still dominated by men.
The coming edition of Classical Encounters in The Hague only has male works in store for us, even thought the programmer is a woman. Muziekgebouw Eindhoven features two ladies in its new season; the Royal Concertgebouw Orchestra one; the Netherlands Philharmonic Orchestra none. In the upcoming Opera Forward Festival, only two female composers will be represented.
Bright spots
It is sad that even in the 21st century we have to fight for the music of women composers. Nevertheless, there have been some bright spots recently, thanks in part to the social media. Databases with female composers from all ages can be updated online and this information is shared quickly and easily. The #MeToo discussion also contributes to a greater awareness of the subordination of women.
In terms of policy, some steps have been made as well. Mayke Nas succeeded Willem Jeths as Composer Laureate in 2016. A year later, Kate Moore was the first woman ever to win the prestigious Matthijs Vermeulen Prize. The BBC initiated the project Celebrating Women Composers and the new February Festival gave voice to Fanny Mendelsohn and Clara Schumann. From season 2018-19 onwards, the Concertgebouw and NTRZaterdagMatinee will pay structural attention to composing ladies. Its counterpart AVROTROSVrijdagconcert also regularly features music by women composers.
Small successes that ‘Her of the Women’ will continue to fight for in the future.
Tonight Silbersee will perform music by Seung-Won Oh in Muziekgebouw aan ‘t IJ, I will speak to her during the introduction at 7.15 pm.
Please support independent music jounalism. Any amount is welcome. Thanks!
#ClaraSchumann #EthelSmyth #FannyMendelssohn #GalinaUstvolskaya #HenriëtteBosmans #HildegardVonBingen #KaijaSaariaho #MeToo #PeterGrimes #SofiaGubaidulina #TheWreckers #UnsukChin #WomenSDay
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Between diapers & dishes – the (in)visibility of the female composer
Walkyrien (c) Emil Doepler, via Wikipedia Media
Amsterdam, 8 March 2018. No chance to miss today is women’s day. The media are brimming with articles about the unequal pay for women and their still limited representation in prestigious positions. – In politics, the business world, universities and the arts.
The most conservative is perhaps the classical music world, where the female composer still has to fend for her right to exist. Even in 2018 she still has to cram her creative work in between domestic tasks, it seems. – Will a male composer ever be asked how he combines his work ‘with the children’? Despite tiny steps in the right direction, his female colleague still balances between diapers & dishes.
Perotinus & Leoninus
My own history began in a village in Limburg. I was not allowed to join the local brass band – simply because I was a girl. Later I started my own pop group. Though I wrote all the songs, invariably in interviews my male band members were asked all the questions. During my entire studies in musicology only two ladies were mentioned. Hildegard von Bingen was treated extensively, but after that it remained silent. In my my final year one song by Clara Schumann was analyzed.
During concerts I heard music from Perotinus & Leoninus, Bach and Handel, Mozart and Beethoven, Stravinsky and Bartók. Only in the world of new music I was sparsely treated to works by Galina Ustvolskaya and Sofia Gubaidulina, or Kaija Saariaho and Unsuk Chin. When I started working at Radio 4, I made thematic programs on countless subjects. But the moment I dedicated a series to female composers, I was deprecatingly dubbed ‘Her of the Women’.
Smyth ‘influenced’ by unborn Britten
Undaunted I tried to get work by female composers performed, but I stumbled on a wall of unwillingness and bias. The most poignant was my experience with the opera The Wreckers by Ethel Smyth. Everyone I played a recording to was enthusiastic about the beautiful and powerful music. – Invariably followed by the comment that Smyth had been ‘strongly influenced’ by Peter Grimes of Benjamin Britten.
A hilarious argument: Britten wasn’t even born when Smyth composed her opera in 1906. Indeed, Peter Grimes did not appear until 1945, a year after her death. When I pointed this out, my interlocutors fell silent, baffled. But the penny did not drop and the opera remained unperformed. While a rediscovered second-class composition of a man is not seldom hailed ‘discovery of the century’.
Netherlands’ Men’s Days and Bosmans Prize
During the yearly Netherlands’ Music Days hardly any women’s compositions were performed, so I dubbed them the Netherlands’ Men’s Days; in 2010 the event died a silent death. Even the composition competition named after Henriëtte Bosmans was never won by a woman. After I had criticized this in a column, at least some female jurors were recruited. But it wasn’t until 2008, when an audience prize was established, that this finally went to a female composer. After 2011 also this competition ceased to exist.
When the Festival of Early Music Utrecht put Felix Mendelssohn in the context of his time, not one note from his sister Fanny was played. She was not only Felix’s source of inspiration and sounding board, but also a composer who was highly appreciated in her own time. Most probably she developed the ‘Song without Words’, which is invariably attributed to her brother. After yet another column of mine the all-male concept was somewhat released. Since then, sporadically music by Elisabeth Jacquet de la Guerre, Barbara Strozzi, Hildegard of Bingen or Isabella Leonarda was programmed.
Modern music world forms an exception
A positive exception is formed by the circuit of modern music, such as the Thursday Evening Concerts of Muziekgebouw aan ‘t IJ. The same goes for the Red Sofa series of De Doelen, the Oranjewoudfestival and Dag in de branding. In Gaudeamus Muziekweek, women’s work sounds regularly, although the competition itself is still dominated by men.
The coming edition of Classical Encounters in The Hague only has male works in store for us, even thought the programmer is a woman. Muziekgebouw Eindhoven features two ladies in its new season; the Royal Concertgebouw Orchestra one; the Netherlands Philharmonic Orchestra none. In the upcoming Opera Forward Festival, only two female composers will be represented.
Bright spots
It is sad that even in the 21st century we have to fight for the music of women composers. Nevertheless, there have been some bright spots recently, thanks in part to the social media. Databases with female composers from all ages can be updated online and this information is shared quickly and easily. The #MeToo discussion also contributes to a greater awareness of the subordination of women.
In terms of policy, some steps have been made as well. Mayke Nas succeeded Willem Jeths as Composer Laureate in 2016. A year later, Kate Moore was the first woman ever to win the prestigious Matthijs Vermeulen Prize. The BBC initiated the project Celebrating Women Composers and the new February Festival gave voice to Fanny Mendelsohn and Clara Schumann. From season 2018-19 onwards, the Concertgebouw and NTRZaterdagMatinee will pay structural attention to composing ladies. Its counterpart AVROTROSVrijdagconcert also regularly features music by women composers.
Small successes that ‘Her of the Women’ will continue to fight for in the future.
Tonight Silbersee will perform music by Seung-Won Oh in Muziekgebouw aan ‘t IJ, I will speak to her during the introduction at 7.15 pm.
Please support independent music jounalism. Any amount is welcome. Thanks!
#ClaraSchumann #EthelSmyth #FannyMendelssohn #GalinaUstvolskaya #HenriëtteBosmans #HildegardVonBingen #KaijaSaariaho #MeToo #PeterGrimes #SofiaGubaidulina #TheWreckers #UnsukChin #WomenSDay
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Between diapers & dishes – the (in)visibility of the female composer
Walkyrien (c) Emil Doepler, via Wikipedia Media
Amsterdam, 8 March 2018. No chance to miss today is women’s day. The media are brimming with articles about the unequal pay for women and their still limited representation in prestigious positions. – In politics, the business world, universities and the arts.
The most conservative is perhaps the classical music world, where the female composer still has to fend for her right to exist. Even in 2018 she still has to cram her creative work in between domestic tasks, it seems. – Will a male composer ever be asked how he combines his work ‘with the children’? Despite tiny steps in the right direction, his female colleague still balances between diapers & dishes.
Perotinus & Leoninus
My own history began in a village in Limburg. I was not allowed to join the local brass band – simply because I was a girl. Later I started my own pop group. Though I wrote all the songs, invariably in interviews my male band members were asked all the questions. During my entire studies in musicology only two ladies were mentioned. Hildegard von Bingen was treated extensively, but after that it remained silent. In my my final year one song by Clara Schumann was analyzed.
During concerts I heard music from Perotinus & Leoninus, Bach and Handel, Mozart and Beethoven, Stravinsky and Bartók. Only in the world of new music I was sparsely treated to works by Galina Ustvolskaya and Sofia Gubaidulina, or Kaija Saariaho and Unsuk Chin. When I started working at Radio 4, I made thematic programs on countless subjects. But the moment I dedicated a series to female composers, I was deprecatingly dubbed ‘Her of the Women’.
Smyth ‘influenced’ by unborn Britten
Undaunted I tried to get work by female composers performed, but I stumbled on a wall of unwillingness and bias. The most poignant was my experience with the opera The Wreckers by Ethel Smyth. Everyone I played a recording to was enthusiastic about the beautiful and powerful music. – Invariably followed by the comment that Smyth had been ‘strongly influenced’ by Peter Grimes of Benjamin Britten.
A hilarious argument: Britten wasn’t even born when Smyth composed her opera in 1906. Indeed, Peter Grimes did not appear until 1945, a year after her death. When I pointed this out, my interlocutors fell silent, baffled. But the penny did not drop and the opera remained unperformed. While a rediscovered second-class composition of a man is not seldom hailed ‘discovery of the century’.
Netherlands’ Men’s Days and Bosmans Prize
During the yearly Netherlands’ Music Days hardly any women’s compositions were performed, so I dubbed them the Netherlands’ Men’s Days; in 2010 the event died a silent death. Even the composition competition named after Henriëtte Bosmans was never won by a woman. After I had criticized this in a column, at least some female jurors were recruited. But it wasn’t until 2008, when an audience prize was established, that this finally went to a female composer. After 2011 also this competition ceased to exist.
When the Festival of Early Music Utrecht put Felix Mendelssohn in the context of his time, not one note from his sister Fanny was played. She was not only Felix’s source of inspiration and sounding board, but also a composer who was highly appreciated in her own time. Most probably she developed the ‘Song without Words’, which is invariably attributed to her brother. After yet another column of mine the all-male concept was somewhat released. Since then, sporadically music by Elisabeth Jacquet de la Guerre, Barbara Strozzi, Hildegard of Bingen or Isabella Leonarda was programmed.
Modern music world forms an exception
A positive exception is formed by the circuit of modern music, such as the Thursday Evening Concerts of Muziekgebouw aan ‘t IJ. The same goes for the Red Sofa series of De Doelen, the Oranjewoudfestival and Dag in de branding. In Gaudeamus Muziekweek, women’s work sounds regularly, although the competition itself is still dominated by men.
The coming edition of Classical Encounters in The Hague only has male works in store for us, even thought the programmer is a woman. Muziekgebouw Eindhoven features two ladies in its new season; the Royal Concertgebouw Orchestra one; the Netherlands Philharmonic Orchestra none. In the upcoming Opera Forward Festival, only two female composers will be represented.
Bright spots
It is sad that even in the 21st century we have to fight for the music of women composers. Nevertheless, there have been some bright spots recently, thanks in part to the social media. Databases with female composers from all ages can be updated online and this information is shared quickly and easily. The #MeToo discussion also contributes to a greater awareness of the subordination of women.
In terms of policy, some steps have been made as well. Mayke Nas succeeded Willem Jeths as Composer Laureate in 2016. A year later, Kate Moore was the first woman ever to win the prestigious Matthijs Vermeulen Prize. The BBC initiated the project Celebrating Women Composers and the new February Festival gave voice to Fanny Mendelsohn and Clara Schumann. From season 2018-19 onwards, the Concertgebouw and NTRZaterdagMatinee will pay structural attention to composing ladies. Its counterpart AVROTROSVrijdagconcert also regularly features music by women composers.
Small successes that ‘Her of the Women’ will continue to fight for in the future.
Tonight Silbersee will perform music by Seung-Won Oh in Muziekgebouw aan ‘t IJ, I will speak to her during the introduction at 7.15 pm.
Please support independent music jounalism. Any amount is welcome. Thanks!
#ClaraSchumann #EthelSmyth #FannyMendelssohn #GalinaUstvolskaya #HenriëtteBosmans #HildegardVonBingen #KaijaSaariaho #MeToo #PeterGrimes #SofiaGubaidulina #TheWreckers #UnsukChin #WomenSDay
-
Between diapers & dishes – the (in)visibility of the female composer
Walkyrien (c) Emil Doepler, via Wikipedia Media
Amsterdam, 8 March 2018. No chance to miss today is women’s day. The media are brimming with articles about the unequal pay for women and their still limited representation in prestigious positions. – In politics, the business world, universities and the arts.
The most conservative is perhaps the classical music world, where the female composer still has to fend for her right to exist. Even in 2018 she still has to cram her creative work in between domestic tasks, it seems. – Will a male composer ever be asked how he combines his work ‘with the children’? Despite tiny steps in the right direction, his female colleague still balances between diapers & dishes.
Perotinus & Leoninus
My own history began in a village in Limburg. I was not allowed to join the local brass band – simply because I was a girl. Later I started my own pop group. Though I wrote all the songs, invariably in interviews my male band members were asked all the questions. During my entire studies in musicology only two ladies were mentioned. Hildegard von Bingen was treated extensively, but after that it remained silent. In my my final year one song by Clara Schumann was analyzed.
During concerts I heard music from Perotinus & Leoninus, Bach and Handel, Mozart and Beethoven, Stravinsky and Bartók. Only in the world of new music I was sparsely treated to works by Galina Ustvolskaya and Sofia Gubaidulina, or Kaija Saariaho and Unsuk Chin. When I started working at Radio 4, I made thematic programs on countless subjects. But the moment I dedicated a series to female composers, I was deprecatingly dubbed ‘Her of the Women’.
Smyth ‘influenced’ by unborn Britten
Undaunted I tried to get work by female composers performed, but I stumbled on a wall of unwillingness and bias. The most poignant was my experience with the opera The Wreckers by Ethel Smyth. Everyone I played a recording to was enthusiastic about the beautiful and powerful music. – Invariably followed by the comment that Smyth had been ‘strongly influenced’ by Peter Grimes of Benjamin Britten.
A hilarious argument: Britten wasn’t even born when Smyth composed her opera in 1906. Indeed, Peter Grimes did not appear until 1945, a year after her death. When I pointed this out, my interlocutors fell silent, baffled. But the penny did not drop and the opera remained unperformed. While a rediscovered second-class composition of a man is not seldom hailed ‘discovery of the century’.
Netherlands’ Men’s Days and Bosmans Prize
During the yearly Netherlands’ Music Days hardly any women’s compositions were performed, so I dubbed them the Netherlands’ Men’s Days; in 2010 the event died a silent death. Even the composition competition named after Henriëtte Bosmans was never won by a woman. After I had criticized this in a column, at least some female jurors were recruited. But it wasn’t until 2008, when an audience prize was established, that this finally went to a female composer. After 2011 also this competition ceased to exist.
When the Festival of Early Music Utrecht put Felix Mendelssohn in the context of his time, not one note from his sister Fanny was played. She was not only Felix’s source of inspiration and sounding board, but also a composer who was highly appreciated in her own time. Most probably she developed the ‘Song without Words’, which is invariably attributed to her brother. After yet another column of mine the all-male concept was somewhat released. Since then, sporadically music by Elisabeth Jacquet de la Guerre, Barbara Strozzi, Hildegard of Bingen or Isabella Leonarda was programmed.
Modern music world forms an exception
A positive exception is formed by the circuit of modern music, such as the Thursday Evening Concerts of Muziekgebouw aan ‘t IJ. The same goes for the Red Sofa series of De Doelen, the Oranjewoudfestival and Dag in de branding. In Gaudeamus Muziekweek, women’s work sounds regularly, although the competition itself is still dominated by men.
The coming edition of Classical Encounters in The Hague only has male works in store for us, even thought the programmer is a woman. Muziekgebouw Eindhoven features two ladies in its new season; the Royal Concertgebouw Orchestra one; the Netherlands Philharmonic Orchestra none. In the upcoming Opera Forward Festival, only two female composers will be represented.
Bright spots
It is sad that even in the 21st century we have to fight for the music of women composers. Nevertheless, there have been some bright spots recently, thanks in part to the social media. Databases with female composers from all ages can be updated online and this information is shared quickly and easily. The #MeToo discussion also contributes to a greater awareness of the subordination of women.
In terms of policy, some steps have been made as well. Mayke Nas succeeded Willem Jeths as Composer Laureate in 2016. A year later, Kate Moore was the first woman ever to win the prestigious Matthijs Vermeulen Prize. The BBC initiated the project Celebrating Women Composers and the new February Festival gave voice to Fanny Mendelsohn and Clara Schumann. From season 2018-19 onwards, the Concertgebouw and NTRZaterdagMatinee will pay structural attention to composing ladies. Its counterpart AVROTROSVrijdagconcert also regularly features music by women composers.
Small successes that ‘Her of the Women’ will continue to fight for in the future.
Tonight Silbersee will perform music by Seung-Won Oh in Muziekgebouw aan ‘t IJ, I will speak to her during the introduction at 7.15 pm.
Please support independent music jounalism. Any amount is welcome. Thanks!
#ClaraSchumann #EthelSmyth #FannyMendelssohn #GalinaUstvolskaya #HenriëtteBosmans #HildegardVonBingen #KaijaSaariaho #MeToo #PeterGrimes #SofiaGubaidulina #TheWreckers #UnsukChin #WomenSDay