coverCover next page > title: author: publisher: isbn10 | asin: print isbn13: ebook isbn13: language: subject publication date: lcc: ddc: subject: A Guide to Piano Music By Women Composers. Volume I, Composers Born Before 1900 Music Reference Collection 0736-7740 ; No. 84 Dees, Pamela Youngdahl. Greenwood Publishing Group 0313319898 9780313319891 9780313017032 English Piano music--Bibliography, Music by women composers-Bio-bibliography. 2002 ML102.P5D44eb vol. 1 016.78620263 Piano music--Bibliography, Music by women composers-Bio-bibliography. cover next page > < previous page Page i A Guide to Piano Music by Women Composers page_i next page > < previous page page_i next page > < previous page page_ii next page > Page ii Recent Titles in the Music Reference Collection Aton Rubinstein: An Annotated Catalog of Piano Works and Biography Larry Sitsky An Index to African-American Spirituals for the Solo Voice Kathleen A.Abromeit, compiler Sinatra: An Annotated Bibliography, 1939–1998 Leonard Mustazza Opera Singers in Recital, Concert, and Feature Film Sharon G.Almquist, compiler Appraisals of Original Wind Music: A Survey and Guide David Lindscy Clark Popular Singers of the Twentieth Century: A Bibliography of Biographical Materials Robert H.Cowden The Printed Elvis: The Complete Guide to Books about the King Steven Opdyke One Handed: A Guide to Piano Music for One Hand Donald L.Patterson, compiler Brainard’s Biographies of American Musicians E.Douglas Bomberger, editor The Mozart-Da Ponte Operas: An Annotated Bibliography Mary Du Mont A Dictionary-Catalog of Modern British Composers Alan Paulton Songs of the Vietnam Conflict James Perone < previous page page_ii next page > < previous page Page iii A Guide to Piano Music by Women Composers Volume I Composers Born Before 1900 Pamela Youngdahl Dees Music Reference Collection, Number 84 Donald L.Hixon, Series Adviser page_iii next page > GREENWOOD PRESS Westport, Connecticut • London < previous page page_iii next page > < previous page page_iv next page > Page iv Library of Congress Cataloging-in-Publication Data Dees, Pamela Youngdahl, 1948A guide to piano music by women composers/Pamela Youngdahl Dees, p. cm.—(Music Reference Collection, ISSN: 0736–7740: no. 84) Includes bibliographical references and index. Contents: v. 1. Composers born before 1900. ISBN: 0-313-31989-8 (alk. paper) 1. Piano music—Bibliography. 2. Music by women composers—Bio-bibliography I. Title. ML102.P5D44 2002 016.7862′0263—dc21 2001058623 British Library Cataloguing in Publication Data is available. Copyright © 2002 by Pamela Youngdahl Dees All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2001058623 ISBN: 0-313-31989-8 ISSN: 0736-7740 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 < previous page page_iv next page > who had the wisdom. women and men. and to the editors and publishers. < previous page page_v next page > . energy.< previous page page_v next page > Page v To the talented and courageous women who composed this music. and integrity to preserve this heritage for us all. page_vi next page > < previous page page_vi next page > .< previous page Page vi This page intentionally left blank. < previous page page_vii next page > Page vii Contents Preface Using the Guide Sample Entry Grade Levels Abbreviations Bio-Bibliographical Sources Music Publishers and Agents Women Composers: Biographies and Available Music for Solo Piano Notes Selected Bibliography Composer Indexes I. Composers and Dates II. Country of Origin III. Musical Eras/Styles ix xi xii xiv xv xix xxi 195 207 217 219 221 < previous page page_vii next page > . < previous page Page viii This page intentionally left blank. page_viii next page > < previous page page_viii next page > . and it is sincerely hoped that this volume will make it easier for teachers and pianists to find and perform music written by women. Only music < previous page page_ix next page > . Volume I. teachers. and music in reference series. and of the beauty and merit of their specific compositions. and include a list of sources consulted. training. music in collections and anthologies. Far too many students. mood. style characteristics. the biographies incorporate the pertinent facts about the personal lives. and compositions of each woman. The study contains only music readily available at time of writing from music publishers and distributors. and technical requirements. and audiences are still unaware of the contributions made by women in music. A survey of keyboard reference materials disclosed a need for an index of available piano music written by women composers. career. professional artists. Designed as a practical reference volume for pianists and piano teachers. The music is described in terms of grade level. No transcriptions or arrangements of music for other instruments are included. It is also a bio-bibliographical reference work containing short biographies of each composer compiled from many secondary musicological sources. with the exception of Gail Smith’s arrangement of a plainchant by Hildegard von Bingen. It consists of single works. genre. and ranges in difficulty from late elementary to virtuoso concert repertoire. The music incorporated here is as worthy of performance as any in the standard repertoire. is an annotated catalogue of the solo piano music in print composed by 144 women born before 1900. in order to encourage inclusion of their works in the standard teaching and performance repertoire.< previous page page_ix next page > Page ix Preface A Guide to Piano Music by Women Composers. from Ella Adaiëwsky to Grete von Zieritz. a variety of sources were consulted: publishers’ catalogs (both hard copy and online). Thanks must also be given to Saint Louis University for providing the time. the author would be most grateful for the information. facilities. to Dr. for his support of my work as a teaching assistant and his untiring attempts to help me hear and play better. for their unflagging belief in my abilities. The author is deeply grateful to the University of Miami in Coral Gables.< previous page page_x next page > Page x written for solo piano has been included in this book. which will be included in a supplemental chapter at the end of the projected Volume II (music by twentieth-century composers). three composers appear here (Branscombe. Chair of the Fine and Performing Arts Department. received. and Likoshin) whose music was listed in other catalogues but not found by this author. Pamela Youngdahl Dees Saint Louis University < previous page page_x next page > . excluding at least as many composers as are found here. If readers know of music in print inadvertently omitted from the current work. Paul Posnak. thanks are due to my family: to my grandmother and mother. for his enthusiastic and inspiring lectures on Romantic music and piano repertoire. found in the keyboard volumes of the monumental series-in-progress. music dictionaries and bio-bibliographical volumes. dissertations and biographies of composers. truth and beauty. Much worthy music is languishing on dusty shelves in libraries and publishers’ warehouses. for the Graduate Research Fellowship award that enabled the initial research and writing on which this volume is based. Special thanks are due to Dr. edited by Sylvia Glickman and Martha Furman Schleifer. Sadly. To find the music for this book. and to my daughter Jennifer and husband William. with special thanks going to Dr. and assistance needed to complete this project. Finally. Cynthia Stollhans. with two exceptions: Howe (duo piano) and Stirling (organ). Frank Cooper. further search is indicated. and to Dr. and published listings of music in print. Kenon Renfrow. Florida. two strong-minded women who believed in hard work. waiting to be rediscovered. the music was ordered. and analyzed. In addition. the stellar work of far too many women has been forgotten or ignored. for her enthusiasm and support of this project. Women Composers: Music Through the Ages. played. Composers and titles were then submitted to music distributors for overseas searches. Harrison. Acknowledgements for support with this project are due here. a great deal of music was found to be permanently out of print. for his suggestion of the topic and his kind and thoughtful mentoring in the Keyboard Performance and Pedagogy program. Works are listed alphabetically or. style characteristics. LISTED but not found in print: Works cited in other catalogues of piano music but not found by this author. and abbreviations. Available piano music in print by each composer is sorted into SINGLE WORKS. First Middle/Maiden Names (variant spellings and names found in citations. major works. date—Place of death. compositional genres. career. meter. 1785/1786. page length). awards. mood and effect. Work Title Op. stylistic characteristics. Arabic numerals indicate opus numbers and separate pieces in a suite or group. e. SOURCES: Acronyms of biographical and musical reference works consulted. Biography: pertinent information about family. and ANTHOLOGIES (several composers). alternative dates are listed with a slash between. COLLECTIONS (selected works by one composer).. pseudonyms) Birthplace. with hanging indent. Genre. by opus number. date). A question mark indicates uncertainty of date or place. if known.< previous page page_xi next page > Page xi Using the Guide SAMPLE ENTRY: LAST NAME. editor (Publisher. italics indicate single works in collections/anthologies. tempo. Level: technical grade level. date Composer’s name is listed as it appears on the music cited. Annotated bibliography format. (Key. < previous page page_xi next page > . technical needs described. when several sources disagree. Bold case indicates selling title. sentence fragments. training. # [translation.g. Upper case Roman numerals indicate sonata movements. date composed or originally published]. 7: Clementi Sonatinas Op.< previous page page_xii next page > Page xii GRADE LEVELS: Benchmark Repertoire Works in this catalog are sorted into five levels of technical difficulty.and Late Intermediate Levels The following summaries were used for further clarification of technical requirements at the three intermediate levels. These guidelines were developed by Mary K.B. Beethoven Sonata Op. Advanced Virtuoso concert repertoire Hinson: “D”: Barber Sonata.M. Mendelssohn Songs Without Words. Bartok Rumanian Folk Dances Late Intermediate Magrath Levels 8. Chopin Etudes Early. A. Mid. Notebook Hinson “Easy”: Schumann Album for the Young Mid-Intermediate Magrath Levels 6. Beethoven Sonatas Op. 5: Kabalevsky Pieces for Young People.1 Late Elementary Magrath Levels 1. Debussy La Soiree dans Granade.”: Beethoven Ecoissaises. 36. illustrated by well-known “benchmark” pieces in the excellent repertoire guides by Jane Magrath and Maurice Hinson. Brahms Rhapsody Op. 49. 1.Scanlan in her exemplary dissertation on the assessment of intermediate repertoire. 79 Hinson “M-D”: Bach Partitas. Field Nocturnes. Bach Little Preludes Hinson “Int.2 < previous page page_xii next page > . easier Chopin Mazurkas Hinson “M-D”: Bach French and English Suites. 57. Chopin Nocturnes. 9: Bach Two-Part Inventions. 4. Turk Pieces for Beginners Hinson “Easy”: Leopold Mozart Notebook for Wolfgang Early Intermediate Magrath Levels 3. 2: Mikrokosmos Vol. 79/2. Mozart Sonatas Early Advanced Magrath Level 10: Bach Three-Part Inventions. harmony and melody parts in one hand. wider range of dynamics. frequent sudden contrasts. and finger substitutions. Wide tempo ranges. faster changes in direction. more frequent hand shifts but rarely greater than an octave. longer. preface. dynamics range ppp to fff. mostly diatonic triads and seventh chords. Mid-Intermediate Level Quicker. Mary Kathryn Scanlan. Independent inner voices. short pieces. preface. faster harmonic rhythm. Hand extensions greater than an octave. figures change direction infrequently. skips of an octave. more damper pedal. symmetric structures. with longer passages of parallel intervals. accents. more frequent ornamentation. “The Development of Guidelines to Assess the Relative Difficulty of Intermediate-Level Piano Repertoire” (Ed. many fluctuations. (Bloomington: Indiana University Press). frequent changes of direction and figuration. Calif: Alfred Publishing. frequent hand contractions and finger substitutions. Consistent texture. modulation to distant keys. Frequent repetition. Melody. No parallel intervals by one hand. hand contractions and finger substitutions rare. ample time to move. more non-harmonic tones. more difficult ornamentation. Longer structures. infrequent simple ornaments.D. octave hand extensions.< previous page page_xiii next page > Page xiii Early Intermediate Level Close hand shifts. frequent diverse articulation in one hand. borrowed. and tempo throughout. Guide to the Pianist’s Repertoire. frequent secondary. Fast harmonic rhythm. Chordal textures distributed between hands. Frequent. occasional una corda. larger harmonic vocabulary. The Pianist’s Guide to Standard Teaching and Performance Literature (Van Nuys. Late Intermediate Level Rapid. Parallel intervals in one hand. more frequent. Simple. Frequent use of contrasting textures. pedaling.. Hand extensions no greater than an octave. Modulation. frequently asymmetric. altered and embellishing chords. 1988). 1995). Different pedaling styles required. 2. 1. University of Illinois at Urbana-Champaign. longer works. greater range of tempos. Maurice Hinson. Melodies of skips and steps. < previous page page_xiii next page > . Jane Magrath. Cross-rhythms and syncopations. more cross-rhythms and syncopations. Limited pedal. Changing rhythm patterns. mixed or changing meters and hemiolas. range of octave or less. figuration may span 2–3 octaves. Contrasting textures and articulations. accompaniment and melody in same hand. four-octave range of melody and figuration. hand contractions. diss. one hand rarely plays both melody and harmony. articulation. 2nd ed. Longer extended forms. extensive elaboration. Slow harmonic rhythm. key. frequent hand shifts 1–2 octaves. dynamics p to f . compiled d. flourished gen general intro. Opuses. pseudonym RH right hand repr. married mvmts movements n.v. died ed. born bap. available b. near m.d. variant names and spellings vol. century ca. near Op. pages pseud. edited by facs. see another entry in this catalog repr. reprint trans. translated by var. baptized c. number nr. opera pp. reprinted edition q. facsimile edition fl.< previous page page_xiv next page > Page xiv ABBREVIATIONS: av. volume WoO without opus number < previous page page_xiv next page > . no known date nee birth name no. Opus Opp. introduction by LH left hand nr. approximately comp. < previous page page_xv next page > . ed. B&NB Block. and Karin Weingartz. J. and Judith Tick. Komponistinnen von A-Z. Christine. Borroff Borroff. Heide M. eds. Edith. Biographical Dictionary of American Music. under the heading SOURCES.Ruth. Bastien Bastien.D. Jane. James W. Johannes Brahms: Life and Letters. Sylvia. and S. but information common to several sources is not specifically attributed. Women Making Music. Ammer Ammer. Unique information from a particular source is indicated in the endnotes. the abbreviations in italics refer to the following bio-bibliographical and musical reference works. AndersonAnderson. ClagAm Claghorn.. How to Teach Piano Successfully. Boenke Boenke. AKM4 Glickman. For complete documentation of these references and others found in the notes. ClagH _________. Avins Avins. British Musical Biography. Music Melting Round: A History of Music in the United States. J.Bunker. B&T Bowers. AKM3 Clark.S. American Keyboard Music Through 1865. Flute Music by Women Composers. Antje. A-Z Olivier. ed. Styra. Adrienne and Carol NeulsBates.< previous page page_xv next page > Page xv Bio-Bibliographical Sources In the last line of each composer’s entry. comp. Brown Brown. please see the selected bibliography. comp. eds. Women Composers and Hymnists. Contemporary American Composers. Unsung: A History of Women in American Music. eds. American Keyboard Music 1866 Through 1910. Baker Baker’s Biographical Dictionary of Musicians. Charles Eugene. E.Stratton. Women in American Music. David. Frauen als Komponistinnen. Rags and Ragtime: A Musical History.< previous page Page xvi ClagS Clark Cohen Dubal Eitner ElsonA Faurot Fetis Friskin FRK Fuller G&F G&G Gillespie Gordon Goss Green Grove GroveAm grovemusic Gustafson Hale HAMW Hasse Heinrich H&H Hinson Hutcheson Hyde IDBC Jackson Jasen Jeric page_xvi next page > Claghorn. ed. < previous page page_xvi next page > . Gillespie. Robert. above. Historical Anthology of Music by Women. Hutcheson. 3rd ed. Albert. and Irwin Freundlich. online version of The New Grove Dictionary. Philip. Floyd Jr. François. Hale.Wiley and Stanley Sadie. Women Composers and Songwriters. Composers. Biographie universelle des musiciens. Diane Peacock. Organ and Harpsichord Music by Women Composers.Bunker. Stanley. Guide to the Pianist’s Repertoire. Modern Music-Makers. Ragtime: Its History. Hyde. John and Anna Gillespie. and Jay Tichenor. Eitner. ed. Women in Music: An Encyclopedic Biobibliography. Green. Barbara Garvey. Gene. 19th Century American Piano Music. Rudolph Ganz. Black Women Composers: A Genesis. Heinrich. Jezic. Gustafson. H. Arthur. Bruce and David Fuller. The Pandora Guide to Women Composers. The Literature of the Piano. eds. Music for the Piano. Sophie. Gordon. John. Hasse. J. “Say Can You Deny Me. Samuel A. Goss. Elson. New Grove Dictionary of American Music. and Music. French Harpsichord Music of the 17th Century. Dubal. Stewart. Cohen. Adel. The Art of the Piano. Biographisch-Bibliographisches Quellen Lexikon. Hitchcock. ed. comp.. 1980. John Edward.” Jasen. Aaron. Hinson. Bruce. and Karin Weingartz. Derek. Briscoe. Famous Composers and Their Works. Gustafson. 1699–1780. Hixon. ed. New Found Voices: Women in Nineteenth century English Music. Clark. Madeleine. Faurot. eds. James. Co ncert Piano Repertoire Fetis. Jackson. The New Grove Dictionary of Music and Musicians. International Dictionary of Black Composers. French Harpsichord Music. Friskin. Gillespie. Mildred Denby. The Dawning of American Keyboard Music. David. Fuller. Woman’s Work in Music. rev. International Encyclopedia of Women Composers. Sadie. Olivier. Women Composers: The Lost Tradition Found. Ernest. James. Antje. Don & Don Hennessee. Five Centuries of Keyboard Music. Maurice. A History of Keyboard Literature. Carol. Helen. 2000./annot. Kallman Kallman. F. Janna. Sperber Sperber. Southern Southern. KOM: Komponistinnen im Musikverlag: Katalog. Essential Scores and Recordings. Panzeri Panzeri. Guide to Standard Teaching and Performance Literature. Stern Stern. Harold C. Schonberg Schonberg. Albert E. The Great Pianists from Mozart to the Present.E.. Women Composers: Music Through the Ages. eds. Sowinski Sowinski. and Winters. Women in Music: An Anthology of Source Readings. comp.. Susan. Clara. George. Guitar Music by Women Composers. Krobn Krohn. Les Musiciens Polonais et Slaves. Karin. Women of Notes: 1. Oster. Kehler Kehler. Potvin. < previous page page_xvii next page > . Eileen. Rose-Marie. Sopran Contra Bass: Die Komponistin im Musikverlag. Julie Ann. ed. comp. eds. American Women Composers before 1870. Women Composers. Lepage LePage. Women & Music: A History. and Musicians. Walker-Hill Walker-Hill. Ernst C. Keyboard Music by Women Composers. Thompson. S&S Sadie. Anya. Donald and Annie F. Magrath Magrath. Music for Piano: A Short History. MacAusIan MacAuslan. Music by Black Women Composers. KOM Mayer. Kirby Kirby. Violin Music by Women Composers. Meggett Meggett. ed. Newgrove The New Grove Dictionary of Music and Musicians. Louisiana Composers. MLA Music Library Assn.000 Women Composers Born Before 1900. MGG Die Musik in Geschichte und Gegenwart. Music and Dance in Puerto Rico. Macmillan Encyclopedia of Music and Musicians. Biographical Dictionary of Afro-American Musicians. Missouri Music. Jane Weiner. eds. and Kristan Aspen. Joan. comp. Encyclopedia of Music in Canada. Pendle Pendle. comp./ed. Judith. Thompson. Jane. eds.< previous page page_xvii next page > Page xvii Johnson Johnson. Roswitha. Louis. ed. comp. wcmta# Glickman and Schleifer. The Piano in Concert. Laurence Laurence. Tick Tick. Woman Composers: A Handbook. ed. SCB Rieger. Women Composers in Germany. Conductors. and Rhian Samuel. Albert. Mac Wier. Norton/Grove Dictionary of Women Composers. and Schmidt. N-B Neuls-Bates. page_xviii next page > < previous page page_xviii next page > .< previous page Page xviii This page intentionally left blank. DC 20003 Website: www.apimusic.E.org A-R Editions. Washington. Wl 54212–9619 Tel: 920–868–4491 Fax: 608–748–4491 E-mail:
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NY 10918 Valley Forge.com Website: masters-music.com Website: www.com Fax: 49/(0)561/83 472 E-mail: FuroreVerlag.com European American Music Distributors Recital Publications P.com Website: www.tisbook. FL 33481–0157 Stevens Point. < previous page Page xxi Women Composers: Biographies and Available Music for Solo Piano page_xxi next page > < previous page page_xxi next page > . page_xxii next page > < previous page page_xxii next page > .< previous page Page xxii This page intentionally left blank. < previous page page_1 next page > . two ornamental variations called “doubles” in this Baroquesounding work.< previous page page_1 next page > Page 1 A ADALËWSKY.”2 From 1864–1869. creating a breathless. Schultz-Adajewski. Petersburg. Russian ethnomusicologist and pianist. in 4. Considered a pioneer of modern musicology. 1846—d. collecting and writing about folk music. and some piano pieces. including the politically banned Zarja svobody (Dawn of Freedom) . St. where she joined “the liberal-minded artistic circle around the poet Carmen Sylva (Elisabeth. From 1882–1911. hurried effect. begins each measure with a sixteenth rest. A folk-like eight-bar theme with extension. including twenty-four preludes.” The young woman made successful concert tours in Europe and Russia. SINGLE WORKS: Air Rococo für Klavier (Tischer & Jagenberg. and in Germany met Franz Liszt. presto brilliante. Bonn. Jul 26/29. Germany. Variation 2. four operas followed. who “gave her kind attention and played duets with her. Adaiëwsky then moved to Germany. 6 pp). Adajewska. 1926 Ella Adaiëwsky. and around 1870 began composing. receiving the diploma “Freien Künstlerin. and include four operas. and a unifying ritornello. 1914). she published articles in many journals examining the connection between the ancient rhythms of Greek church music and Slavic (Rhaetian) folk songs. Her first works were liturgical songs for the Russian Orthodox Church. Russia. Adaevskaja. née Elizabeth von Schultz)1 b.”3 Her compositions display strong Romantic and folkloric characteristics. (E major. songs and choral music. Ella Georgievna (var. a Sonata Grecque for clarinet using quarter-tones. studied with Henselt for nine years. Queen of Romania). Level: Late Intermediate. she studied at the newly founded Petersburg Conservatory under Rubenstein and Dreyschock (piano) and Zaremba and Famintsin (composition). Feb 10/22. Adaiëwsky lived in Italy. They had no children. having to sell their personal possessions and depend on repeated assistance from her family. The identity of Teresa’s teachers is unknown. inventive. (C/F/G majors. H&H. harpsichordist. H&H. a member of the Royal Academy of Music. Vienna. with occasional two-note chords and contrasts in articulation and dynamics. Hands share the stepwise melodies in five-finger positions in the center of keyboard. Guernsey. Mac. gave discourses in Latin. Yvonne b. Italy. ed.4 SOURCES: Cohen. In 1795. Twelve brief musical portraits of a mother dog and four puppies. chamber music. accompanied by pictures and a story line in English. Born the second daughter in a family of twenty-one children. when she enjoyed the patronage of the Empress Maria Theresa and the Electress of Saxony. Stern ADAIR. in Frauen als Komponistinnen. Teresa accompanied at the harpsichord as her elder sister. French. MGG. Oct 17. Maria Gaetana. Meggett. Agnesi’s operas were successfully produced in Milan. tranquillo to presto. harp sonatas. and Spanish. < previous page page_2 next page > .< previous page page_2 next page > Page 2 SOURCES: A-Z. 1720—d. two piano concertos. Maria Teresa d’ (pseud. FRK. singer. and idiomatic. Jan 19. they endured great poverty.d. S&S. Her most important works are operas and theatrical pieces. Agnesi married Pier Antonio Pinottini. 1931). and her portrait hangs in the Theatrical Museum of La Scala. tuneful. taught piano and rhythmic and aural training to music teachers in London. Laurence. Naples. and miscellaneous teaching works for piano. Teresa Agnesi died of a high fever. and Dresden. but remained married until his death in 1793. Level: Mid-Elementary. In 1752. and librettist Teresa Agnesi is the only known woman composer of Italian opera seria . 2/4–3/4–4/4. each). Francesco Mainini) b. She wrote Andante and Vivace for voices and percussion. During their last years. but she also composed cantatas. 1897—d. KOM. FRK. LISTED but not found: Sketches from Hans Andersen (Oxford University Press. 1795 Composer.). SCB AGNESI-PINOTTINI. SINGLE WORKS: Little Dog Tales (Boosey & Hawkes. Cohen. n. Milan. Olivier and Weingartz. ? This twentieth-century British pianist and teacher. and short keyboard pieces in the galant style. but she began composing in the 1740s. British Isles. Milan. ½ pp. ed. Two years later. in 4–3/4. SOURCES: A-Z. and nearly continuous alternation of arpeggios and scale passages make this considerably showier (and trickier) than the Sonata. Women Composers: Music Through the Ages. Hinson. The songlike Minuet is extremely simple. but the second seems designed to show off harpsichord registers. (3/8. 6/8. Reminiscent of Scarlatti. Ars Femina. Heinrich. EAF 36–13). Sonata in G Major—see above. Meggett. Aldridge enjoyed a successful concert career as a contralto. The two-voice Italianate texture is typical of the period. Amanda Ira (pseud. 1956 Daughter of the famous African-American actor Ira Aldridge and Amanda Pauline von Brandt. (G major. and the written-out ornaments are not difficult. A cheerful one-movement work in rounded binary. The Allemande has continuous broken-chord triplets in the LH. Stern. Two Pieces for Solo Piano or Harpsichord. but after her < previous page page_3 next page > . Many hand-crossings. 1866—London. Allegro on Presto. Allemande Militaire & Menuetto Grazioso. Laurence. F. sometimes of unequal length. A pair of binary dances.Hall.Brodszky (Budapest: Zenemükiadó Vállalat. rapid changes in LH registers. 3. Cohen. 6 pp). 1962). Level: Mid-Intermediate. 17: Sonate Italiane per Clavicembalo del secolo XVIII. Mar 5. MGG. Mar 16. 4 pp). Vol. ed. scores ALDRIDGE. 1998). with sparse quarter-note accompaniment and some hand-crossing. Sonata in G. she won a scholarship to the newly founded Royal Academy of Music. Fetis. ClagS. The charming melody has carefully articulated phrases. of fifteen appeared as a singer at the Crystal Palace in London. S&S. vivace-grazioso. to be performed ABA ( da capo first movement).< previous page page_3 next page > Page 3 SINGLE WORKS: Sonata in G: Allegro. Amanda Aldridge attended a convent school in Belgium. 1996). Britton (Hildegard. Jackson. Both pieces work well on either keyboard. Ebel. Level: Late Intermediate. Barbara Harbach (Vivace Press. FRK. Also av. GKH reprint. Montague Ring) London. Editorial markings include occasional echo effects on repeated phrases. where she studied voice with George Henschel and Jenny Lind. ANTHOLOGIES: Thesaurus Musicus. and at the age. a Swedish opera singer. ElsonA. the passepied or scherzo has an arpeggiated opening motif like Bach’s second Minuet in G. Vol. Gustafson. under a rousing melody with many ornaments. H&H. Baker. Glickman and Schleifer (G. K.4 pp). ed. Level: Mid-Intermediate. (A major. series eds. NewGrove. Marianna von (var. score AUENBRUGGER. a well-known Austrian physician who wrote the libretto to Salieri’s opera. and works for orchestra and band. a grim march. published posthumously with an ode by Salieri. used West African themes and was later arranged for a variety of instrumental groups. A picturesque work in modified rondo form (ABB ACB ACA). No. As a teacher and composer.< previous page page_4 next page > Page 4 voice was ruined by severe laryngitis.6 ANTHOLOGIES: Black Women Composers: A Century of Piano Music (1893–1990). Her music has strong rhythmic appeal: one of her best-known works. The main theme. 1992). Walker-Hill. Fuller. in a letter to his publisher Artaria. Marianna studied composition with Salieri. 1781/1782 or 1786 Very little is known about the Viennese composer Marianna von Auenbrugger. 4/4-2/43/4. Von Auenbrugger’s only known work is the sonata below. Hoboken XVI: 35–39 and 20. Three African Dances for piano. (D minor. A dotted-note motif in major keys surges upward by steps. Vienna. numbering among her students Marian Anderson and Paul Robeson. supported by dark. Horne. The second theme is an undulating chant. meter. Maria D’Auenbrugg) b. S&S. include piano pieces. she played an important role in the musical life of the black community in London. she became a teacher. with contrasts in key. opens with an octave leap followed by a descending natural-minor scale. Der Rauchfangkehrer . homophonic textures. over twenty-five art songs. Level: Mid-Intermediate. Austria ?—d. and tempo.5 Her compositions. Haydn. ed. dissonant chords strummed upward. all published under the pseudonym Montague Ring. wrote that “their way of playing and genuine insight into music equal those of the greatest masters. to be repeated an octave higher. Both deserve to be known throughout Europe through the public newspapers. 3 pp). all over a tonic pedal. SOURCES: Cohen.”7 Haydn dedicated six of his piano sonatas to the two sisters. then drops down. and both she and her sister Katharina were fine keyboard players known and respected by Haydn and the Mozart family. 1 of Four Moorish Pictures [1927]. Helen Walker-Hill (Hildegard. KOM. H&H. Southern. She was the daughter of Leopold von Auenbrugger (1722–1809). suggesting a supplicant’s plea. Prayer Before Battle.8 < previous page page_4 next page > . Josephine.448 two-piano sonata for performance with her. was the eleventh child of Johann and Elisabeth von Auernhammer. Hinson (Alfred. Rondo from Sonata in E-flat: see above Women Composers: Music Through the Ages. 3/8. ed. well-crafted work in galant/Classical style. and most of her more than sixty works are well-crafted keyboard variations. This edition is the only modern publication of the complete sonata. Harbach (Elkan-Vogel. and when she was twenty-two. Level: Early Advanced. Vol. Mozart did not return her affection. Hinson. and composing the K. 1820) Josepha von Auernhammer. graceful arioso. 1787]. but she continued to perform and teach under her maiden name. playing concerts with her. including their daughter Marianna Auenheim. a civil servant. with triadic themes emphasizing tonic and dominant on every strong beat. 6 pp). 3. Jan 30. Sep 25. also Mme Boesenhoenig/Bessenig) b. Rosario Marciano (Furore. Boisterous and clever. Chromatic colors help express a wide range of < previous page page_5 next page > . articulation.Glickman (Hildegard. (E-flat major. Josepha Barbara von (var. Vienna. 8 pp). 1990). ed. 2/4-common time. ed. and texture. As one of Mozart’s favorite pupils. ANTHOLOGIES: At the Piano with Women Composers. I: Moderate (common time. who herself became a well-known pianist and voice teacher. making full use of the existing five octaves of the keyboard.K. ed. with Mozart. They had four children.< previous page page_5 next page > Page 5 SINGLE WORKS: Sonata per II Clavicembalo o Forte Piano [ca. she proofread many of his sonatas and songs for his publisher. with sudden contrasts in dynamics. Meggett. A charming. 3 pp). 1986). Stern. ed. Level: MidIntermediate. strongly rhythmic. but he respected her abilities. III: Rondo Allegro (E-flat major. Aurenhammer/Aurnhammer. In 1786. She studied piano with Richter and Kozeluch. A witty. scores AUERNHAMMER. Glickman and Schleifer (G. 1756—d. Auernhammer married Johann Bessenig.Hall. see above. A-flat major. 6 pp). Serene. SOURCES: Cohen. H&H. 1988). 15 pp). S. Jackson. with whom she fell in love. imaginative and sensitive work. KOM. 1990) and Women Composers for the Harpsichord. Sonata-allegro form. Heinrich. Vienna. II: Largo (3/4. 365 concerto for two pianos and the K. Kirby. (F major. SINGLE WORKS: Sechs Variationen über ein ungariscbes Thema. 1998): Largo from Sonata in E-flat. Auernhammer excelled at extemporaneous variations of a given theme. S&S. a Viennese concert pianist. and only the first section of the theme appears in the final statement. Techniques include two-against-three rhythms in the var. adagio. was a favorite pianist in the Indianapolis area who studied classical piano with an aunt. including Julia Niebergall (q. and most of them stopped composing after marriage. but loved the popular music of the day. Jackson.v. Eve Meyer (Hildegard. series eds. KOM. she composed her first rag. where Aufderheide lived until her death at the age of eighty-four.11 < previous page page_6 next page > .K. H&H. California.). the family moved to southern California. The work closes with a nimble allegro in jig time. Six delightful variations on Papageno’s character aria from Mozart’s Magic Flute. however. Blue Ribbon Rag. Dusty. GKH repr. ANTHOLOGIES: Women Composers: Music Through the Ages. Six Variations on “Der Fogelfänger bin ich ja. Johnson. Sep 1. middle-class. SCB. male-dominated field. Meggett. Aufderheide married architect Thomas Kauftnan in 1908. Buzzer Rag. scores AUFDERHEIDE. the leading woman composer of ragtime piano. Stern. including two sets of waltzes and six more rags: The Thriller! (another big hit). Meyer: see Single Works. 1972 May Aufderheide. Pasadena. 10 pp). Novelty Rag. Indiana. Hinson. (G major. 5. Glickman and Schleifer (G. 3. allegretto. she apparently stopped composing completely. Grove.Hall. No tempo indications appear except for the “Marcia” variation six.< previous page page_6 next page > Page 6 moods. In 1947. Sperber. 1998). Heinrich. and classically-trained. May 21. dialogue between the hands in vars. now considered the first major rag of the Indianapolis-Ohio Valley area. 1888—d. May Frances b. 2/4. 2. SOURCES: Cohen.). and in the next four years she published nineteen more compositions. S&S. Level: Early Advanced.9 It was so successful commercially that her father started a publishing business to promote her music and that of her friends. in var. The simple nature of the tune is preserved with a minimum of bravura figuration. above. Richmond Rag. Indianapolis. Vol. Six Variations on “Her Fogelfänger bin ich ja” [1792] ed. Laurence. Although ragtime music was in general a black. In 1908. Kirby.” ed. women composers of ragtime music were usually white. 3 and 4.10 By 1915. and frequent hand crossings display the pianist’s virtuosity. Marciano. and modulation to a minor key. MGG. Ebel. and A Totally Different Rag . Written in three repeated sections. with sweet triadic melodies. eds. 3 pp). in C. ed.Lindeman (Theodore Presser. “suspended 4ths. Level: Mid-Intermediate (C/F/B-flat majors. 2/4. with its chromatic alto melody sandwiched between dissonant harmonies in treble and bass. AA BB CC. GroveAm. 4 of series Three Centuries of American Music. Hasse. 1975). ed. ed. occasional brief chromatic passages. Cohen. A Totally Different Rag [1910]. 2/4. 3 pp). The piece is great fun to play. percussive rhythms. as described by Jasen and Tichenor. and in instrumental arrangements. tempo di marcia. gen. it became a nationwide hit in sheet music. Level: Mid-Intermediate. A Rag [1908]./ed. 1994) and Ragtime Rarities: Complete Original Music for 63 Piano Rags. and blue 3rds and 7ths. written shortly after the Aufderheides moved to Richmond. Published by Aufderheide’s father.K. and its unorthodox structure. A Tribute to Scott Joplin and the Giants of Ragtime. 1985. ClagS. The first rag published by her father’s new company. The difference in this rag lies in its slow tempo. Kaluza (Furore. comp. (A-flat major. 3 pp). on piano rolls. hands alternate on syncopated descending octaves. Level: Mid-Intermediate. Tichenor (Dover. Unusually for a rag. and in the B section. (E-flat/A-flat majors. The Thriller! Level: Late Intermediate. In B. (C major. Ragtimes für Klavier. Richard Zimmerman (ShattingerInternational Music. Dusty and The Thriller! See above. An unusual form: AAB (in F major) CC (in B-flat major) B. 3 pp). KOM. Hinson. scores < previous page page_7 next page > . moderate. this nationwide hit remains in C major throughout. Repr. Vol. Carolynn A. another feature of Ohio Valley rags after 1908. slowly. with a wonderful oom-pah bass throughout. 1975). subtly emphasizing the syncopation. Offbeat soprano notes harmonize with the suave chromatic alto melody in the Trio (C). deviates from the typical rag format (AA BB A CC DD). 1990). a sustained alto pedal tone lends smoothness to the thirds above. Amy Appleby and Peter Pickow (Amsco Publications. Or. Glickman (Hildegard. 1995). H&H. 2/4.Hall.< previous page page_7 next page > Page 7 ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915. Ragtime & Early Blues Piano. Dusty. The B section has distinctively syncopated. not fast. comp. Indiana. The Richmond Rag [1909]. Schleifer and Dennison (G. of the original sheet music). 2/4.”12 SOURCES: B&NB. The Thriller! See above.. Women Composers of Ragtime: A Collection of Six Selected Rags by Women Composers. 1990) and American Keyboard Music 1866 through 1910. comp. playing many of her own works. include 260 songs. Etude in D Major Opus 32/1. Chopin. (Recital Publications. Backer-Grøndahl also exerted great influence as a teacher. 1847—d. and was the favorite female pianist of George Bernard Shaw. (In 4.15 The piano pieces include short descriptively titled miniatures in simple song form. Level: Advanced. and she rarely used recognizable Norwegian folk-tunes in her piano works. (In 4. Her works are sensitive.< previous page page_8 next page > Page 8 B BACKER-GRØNDAHL. then composing. nocturne-like melody. an assured late-Romantic harmonic style. a conductor and composer. virtuoso octaves in both hands. Although she revered Grieg. Jun 4.). who had a long career as a concert pianist.13 A winner of Sweden’s Royal Gold Medal and the “Pro Literis et Artibus” medal from the King of Norway and Sweden. then concertizing. imaginative without being sentimental. Dec 1. She received high praise for her performances of Beethoven. A spirited. allegro. a number of Norwegian folksong arrangements. Holmestrand. she continued to give frequent concerts and to teach several hours daily. Backer-Grøndahl’s published works. Horn calls in rapid double notes. like that of her contemporary. joyful work. SINGLE WORKS: Trois Etudes de Concert Opus 32. Hans von Bülow. larger fantasy-like works.14 A highly successful composer and concert artist. and a number of fine concert etudes. composer. melodic charm. Cécile Chaminade. < previous page page_8 next page > . which were extremely popular throughout Scandinavia. then concertizing again. features directness of expression. and teacher Agathe Backer-Grøndahl studied piano with Kullak. her music is not particularly nationalistic. wonderfully idiomatic pianism. and 138 piano works in twenty-nine opus numbers. and Grieg. Etude in F Minor Opus 32/2. and composition with Lindeman in Norway and Wuerst in Berlin. Her music. An undulating triplet figure forms the background for the elegiac. and Liszt. and strong evocations of dance rhythms. Though she suffered from ill health and deafness later in life. Norway. Christiana. 1907 Norwegian concert pianist. and extremely well crafted. 4 pp). Agathe Ursula (née Backer) b. had three sons. Backer-Grøndahl managed the difficult feat of combining a domestic life with a musical career by devoting blocks of years to different activities: first raising her family. 5 pp). RH. She and her husband. Schumann. tranquillo. 1998. reprint of Wilhelm Hansen pub. including Fritjof. below. The Giant Troll (G minor. 4 pp). (D-flat major. a busy melody. (G minor. [On the Blue Mountain: Folklore Suite of 6 Piano Pieces]. molto largo. (A minor. Dance of the trolls. Aeolian harmonies echo Norwegian folk tunes. Level: Advanced. 15/3. III. 23 pp. Margaret Meyers (Hildegard. Level: Early Advanced. Op. (F major. 2/4. Etudes de concert. The Blue Mountain was a legendary home of trolls. 11. with a playful middle section. (D major. Tone painting establishes a Norwegian atmosphere in this lengthy movement. A six-movement major work. I. (Da Capo Press reprint. allegretto grazioso). in 4. intro. gruff march. COLLECTIONS: Agathe Bäcker-Grondahl: Piano Music. 3 pp). Fortyseven works in chronological order. 2 pp). Charles Slater. 11/2. Da Capo. below). largo. A beguiling work. The Bewitched Captive’s Lay. I Blaafjellet: Eventyr Suite i 6 Claverstykker Opus 44 No. Op. (A minor. allegro con spirito. Stealthy footsteps and eerie descending octaves explore the full range of the keyboard. 6/8. An ungainly. allegretto. Continually shifting arpeggios support a melody played in octaves. ed. 15/2. (D-flat major. 11/6. andantino. moderate a la burla. allegretto molto energico. Night. delicate outer sections framing a lyric intermezzo. 6/8. sotto voce. 1982). See Agathe Bäcker-Grondahl: Piano Music. 3/4. the primarily LH melody shifts registers frequently. 6 pp). 15/1. II. 2 [1894]. with quick. Trois morceaux. 3/4. andantino. symmetrical phrases arch over a gently strummed bass in this unhurried portrait of summer twilight in the north. 15. GKH repr. in 4. The forest nymph. A series of parallel sixths. discordant and chromatic. A rapid study in staccato alternating hands. 3/4. Level: Advanced.). 5 pp). 9 pp). in 4. (D-flat major. 2/4. Op. (A major. Late Intermediate to Early Advanced.< previous page page_9 next page > Page 9 Etude in D-flat Major Opus 32/3 (Also found in Agathe Bäcker-Grondahl: Piano Music. Au bal [At the Ball]. 6/8. Op. (B-flat minor. demonstrating the composer at the height of her expressive and dramatic powers. Op. Level: Late Intermediate. V. Level: Advanced. allegro leggiero. Op. Overture: In the Hall of the Trolls. Humoresque. Melodious trills and flourishes decorate the contrasting center section. ranging from intermediate-level salon pieces to challenging concert etudes. Serene. 2 pp). allegretto. 3 pp). Spirited and witty dance. 3 pp). Chromaticism. (D-flat major. IV. Serenade. Serene and lovely main theme. < previous page page_9 next page > . 7 pp). Fantasistykker Opus 36 (Recital Publications). Op. Level: Early Advanced. Nos 2 and 6. in 4. VI. and open fifths describe a dance of the grotesque. reminiscent of Grieg. grave. 4 pp). andantino. two vols (Huntsville. swirling triplets race up and down the keyboard. rather like three little moans and a sigh. leggiero). 19/1-4. < previous page page_10 next page > . Suite pour Piano Op. Huldreslått (WoO). and Grieg. They are short. (A minor. using the full range of the instrument. The Fantasy pieces constitute an exceptionally fine addition to late Romantic repertoire. Etude de concert. Each is a three-page allegretto in common time and ABA form. in 4. The vigorous.< previous page page_10 next page > Page 10 Fire skizzer (Four sketches). A repeatednote motive. (A major. Both of the Opus 36 sets are also available as Fantasistykker Opus 36. Gavotte Op. 36/1. 19/1. A wistful little harlequin of a piece. molto allegro. with the tenor in counterpoint to the soprano.16 Fantasistykker Op. Mendelssohn. Fantasistykker (Fantasiestücke). allegretto. and some “barbershop” sliding sevenths. Level: Mid-Intermediate. A late-19th century example of the lively and gracious Baroque dance. the occasional augmented-sixth. (The suite originally included a prelude. Op. leggiero). grazioso). Op. and all of Opus 45. 2 pp). in 4. Klage [Lamentation]. 36/2. 20/3. TX: Recital Publications). Level: Early Advanced. surging melody occurs first in octaves. Harmonically inventive. 20/1. a few borrowed chords. (G minor. (A minor. and they are stylistically similar to the smaller works of Schumann. 19/4. menuett. Op. Heartening and repetitive. runs through this sad little piece. stylized dances. (D major. Like a fiery gypsy dance or tarantella. Op. as in some Bach preludes. 19/3. one can almost hear the rattle and crash of tambourines. allegro non troppo e molto risoluto. accompanied by an alternating bass. Level: Mid-Intermediate. allegretto grazioso. in 4. and scherzo). permeated with Spanish dance rhythms and embellishments. Difficult pieces alternate with easier ones. (A-flat major. Interesting scale patterns in the accompaniment save it from being maudlin. Op. (A-flat major. Level: Early Advanced. 4 pp). A bass pedal supports the upper voices. six often in Opus 39. Level: Early Advanced. Op. Level: Late Intermediate. A daring harmonic progression begins the work. with continuous exploration of a sixteenth note figure in related keys. Harmonies include secondary dominants. 19/2. Heft 1: Nos 1–5 (composed 1895). extremely wellwritten examples of the Romantic piano miniature. descriptive scenes of nature. 32/3. with effective textures and strong dance rhythms. Prelude Op. or depictions from Norwegian folklore. and the sets have many characteristics in common. 1 pp). in 4. 36. nocturne. Twenty-one Fantasy Pieces from three sets: all of Opus 36. Late Romantic chromaticism. then over dense chords. See Single Works: Trois Études de Concert. A contrasting marcato section in A major features leaping accented chords. 4 pp). gavotte. Op. (C major. 4 pp). Op. Chopin. (E minor. in 4. 20. semplice). Friskt mod! [Take courage!]. Dramatic. Level: Mid-Intermediate. allegretto grazioso. 39 [1896]. Op. Reminiscent of Nedda’s aria in I Pagliacci. Op. 36. An effective setting of the Faust story: Gretchen’s frantic spinning refrain. Op. Op. Level: Mid-Intermediate. Alternating sixteenth notes depict the lightly rustling breezes. (D major. 2 pp). 36/6. Op. 1 pp). grazioso. Souvenir. 3/4. (D minor/major. A sweet song wafts out of a delicate cloud of rising and falling arpeggios. 3 pp). swoop in weightless broken chords and twonote figures in the upper half of the keyboard. Level: Mid-Intermediate. Fantasistykker Op. alternating happy and sad moods. (F major. 36/5. in 4. 36/9. 3 pp). allegretto leggiero. Op. Level: Mid-Intermediate. Level: Late Intermediate. in 4. with LH octaves and thick heavy RH chords. (A major. 39/1. leisurely evening. A vigorous and exuberant dance with a playful middle section. is harmonized by sparse chords above a gently rocking bass. Op. Texture is Brahmsian. 39/4 Rosernes sang [Song of the roses]. A nimble dance in airy staccatos and whirring sixteenth notes. Heft 2: Nos 6–9 [1895]. (B-flat major. The characteristic Ländler pickup (&3&) begins the merry yodeling melody. 3/4. and tenor and soprano registers. Op. Vuggevise [Berceuse]. Ballade. (A minor. 9/8. (A minor. Level: Late Intermediate. Level: Mid-Intermediate. An attractive arching melody. in 4. Level: Late Intermediate/Early Advanced. Ungdomssang [Youth’s song]. Sommernat [Summer night]. Close four-part harmony is played in the lower middle register of the piano. 2 pp). 2 pp). 5 pp). in 4. Descending double octaves herald the return of A. Ceaseless sixteenth notes. like a male choir singing a chorale of praise. 3 pp). allegretto). Great dramatic fun. A contrasting fanfare in E-flat major sounds: perhaps the hero is coming to the rescue. 3/4. in 4. 2 pp). andantino. Svalernes flug [Swallows flight]. divided between the hands. 2 pp). common time. (G major. created by rising and falling triplets. A waltz in ABAB form. 36/4. Level: Late Intermediate. 39/3. which bobs and bows over a waltz bass. (A-flat major. Ländler. Portrait of a balmy. 3/4. LH and RH melodies. echoed by bass octaves like a Greek chorus. Op. Op. allegro. center section is a courtly promenade in the parallel major. (E-flat minor. andantino. allegretto.< previous page page_11 next page > Page 11 Op. A tragic march opens the piece. alternates with a forlorn second theme. andante. 39/2. Fantasistykker Op. 3/4. 36/7. andante. Alfeleg [Elfin dance]. Sang ved Rokken [Spinning-wheel song]. Op. poco allegro. < previous page page_11 next page > . Level: Late Intermediate. stressing the second scale degree. frequent LH crossovers. Level: Late Intermediate. 36/8. Aftenwind [Evening breezes]. tranquillo. (G-flat major. Level: Mid-Intermediate. (A-flat major. Vals. 36/3. 5 pp). 36/10. (F major. 2 pp). (D-flat major. I baaden [In the boat]. in 4. 6 pp). Op. Leggierissimo staccato triads in the mid-to-upper registers fade swiftly away to ppp. The climactic chords “may be the last grand gestures of the Romantic age” (score preface). Virtuosic LH octaves shape an heroic march. 45/3. Level: Mid-Intermediate. Zephyr. 1 pp). Op. rapidly rolled RH chords. 45/1. A playful and brilliant grand waltz. Op. 39/5. (F major. allegretto leggierissimo. Gently mysterious. no. center section in F minor is slightly slower. with descending chromatic passages. Op. accidentals. Level: Late Intermediate/Early Advanced. in 4. 59/3. A virtuoso caprice depicting the fickle wind. Upward-strummed arpeggios suggest the easy grace of a southern serenade. Level: Advanced. One of the composer’s last works. con fuoco. Prelude and Grand menuet Op. Center section features “plucked” chromatic scales. 47/2. allegretto. and alternating hands. (A minor. tranquillo). con grandezza). Prelude (C-sharp minor. Mandolinata Op. 6/8. 45/2. with toccata-like use of repeated note figures. Level: Late Intermediate. 3/4. Level: Advanced.< previous page page_12 next page > Page 12 Op. 55/10. Wide repeated arpeggios furnish the movement under the graceful melodic stretches. tranquillo. Sommervise [Summer song]. andante espressivo. (D major. 5 pp). 2/4. Vals Caprice. (E-flat major. 2/4. allegretto. Included in several anthologies. Level: Early Intermediate. molto con anima. (A minor. these two pieces form one large-scale dramatic composition. 12 pp. allegretto. balanced by wide. (A major. 45/1–5 [1897]. segueing chromatically into the Grand menuet (E major. A wonderful group for ballet use. Level: Advanced. Op. LH melody against fluttering double-note figures in RH. 61/1-2. A barcarolle. requiring good legato technique. Level: Late Intermediate. in 4. Visnet [Withered]. 45/5. played one beat to the bar. andantino semplice. Level: Late Intermediate/Early Advanced. Gyngende [Rocking]. 1 pp). 45/4. < previous page page_12 next page > . Level: Early Advanced. (G minor. 6). in 4. Brahmsian ideas and textures. as the melody is played in dolce thirds and sixths. 9/8. 3 pp). Etude de concert Op. Barcarole Op. allegretto non troppo. Op. Op. requireing careful voicing and pedaling. 6/8. 6/8. Level: Late Intermediate. The huge climax fades into pp octaves. Fantasistykker. 3/4. with an ostinato bass creating the rocking of the boat and the sound of the waves. 5 pp). more satisfying than the earlier piece by the same name (Opus 36. Ungdomssang [Song of Youth]. Characteristic melody is traded between hands. 39/9. (G major. 5 pp). 2 pp). 4 pp). A chorale in the lower-middle registers of the keyboard. with late-Romantic altered chords in a sparse texture. with melody in the tenor. which still appears in anthologies. Dubal. and almost every instrument. sel. < previous page page_13 next page > .”17 it was strongly criticized by professional musicians. 45/1–5: see Collections. fluffy. 3: see Collections. Warsaw. An effective introduction to advanced figurations such as extended arpeggios. Kehler. pianistic cotton candy. series eds. going into 140 editions and reprints in Europe. and insubstantial. Meggett. Before her untimely death at age twenty-seven. 1913). Ebel. who composed a wickedly clever parody for a recital encore. Gillespie (Dover. is presented by RH in six slightly varied versions. Hyde. 1834—d. Sep 29. ed. (Schott Musik International.18 SINGLE WORKS: Gebet einer Jungfrau [1856. the piece became a runaway success all over the world. The theme. 6. SOURCES: A-Z. scores BADARCZEWSKA-BARANOWSKA. (E-flat major. and long trills. comprised of one arching. Margaret Meyers: see Single Works. Eventyr Suite i 6 Claverstykker Opus 44/2. but none approached the popularity of The Maiden’s Prayer. she published The Maiden’s Prayer in Warsaw. ed. Fantasistykker Op. 45/1. Hinson. Gillespie. as well as transcriptions for orchestra. Sweet. FRK. including Louis Gottschalk. 1999). In 1856. this young Polish pianist was apparently an amateur with no formal training. Level: Late Intermediate. The Virgin’s Prayer ]. ElsonA.< previous page page_13 next page > Page 13 ANTHOLOGIES: At the Piano with Women Composers. After its appearance in 1859 as a supplement to the Paris Revue et Gazette Musicale. and triplet repeated-note staccato octaves. Still. KOM. I Blaafjellet. var. 1861 Composer of the worldwide best seller of her time. dripping maudlin arpeggios. imitation is the sincerest flattery. voice. the United States. Johnson. hands crossed. H&H. 1990). Variations include arpeggios in octaves. Nineteenth-Century European Piano Music: Unfamiliar Masterworks. piano duo. A “unique piece of salon pianism. Hinson (Alfred. The Maiden’s Prayer. andante. ending in a crescendo. and the work was unquestionably the smash hit of the mid-nineteenth century. and Australia. Grove. Fantasistykker Op. La prière d’une vierge. common time. 3 pp). Pendle. over an ostinato bass of block chords and octaves. Schonberg.K. Glickman and Schleifer (G. Vol. Women Composers: Music Through the Ages. Thekla b. Warsaw. as well as a number of songs. 1977). Badarzewska composed thirty-three more salon piano pieces. Cohen. octaves. Kirby. Baker. Laurence. eight-bar parallel period. extended arpeggios of 16th and 32nd notes with trills at cadences.Hall. Sperber BARTHELEMON. and harp from her parents and J. Lyrical. and conductor.P.19 As an adult. 3/4. II: Adagio. diminished chords and deceptive cadences. piano. include several sonatas for keyboard with accompanying violin. Cecilia married Captain E. Level: Late Intermediate. SINGLE WORKS: Three Sonatas for Piano. was the daughter of a pair of leading London musicians. Cohen. I: Allegro con spirito (common time. S&S. Meggett. II: Rondo allegretto (6/8. register and texture. the grandniece of Thomas Arne. 2/4. after 1840 Cecilia Barthélemon. 10 pp). In 1796. The Maiden’s Prayer. and modulating development sections with fragmented motives. Late Intermediate. including dance elements. Mrs.P. SOURCES: Baker. 2 pp). and form. FRK. Late Classical sonatas sophisticated in harmony. 9 pp). (E-flat major. I/I. melody. For pianoforte or harpsichord. 6/8. Her published compositions. and reportedly sang for Marie-Antoinette. ed. a celebrated singer.Henslowe) b. The young girl made her formal vocal debut at the Haymarket Theater in 1779. MGG. Hinson. Laurence. sudden contrasts in dynamics. keyboardist and composer. Albert E. SCB. with interesting harmonic and rhythmic figures. The works contain dramatic pauses. Barthélemon was active as a singer. England. with some imitative passages. ElsonA. 8 pp). Sonata-rondo with development in 2nd episode. Witty and Haydnesque. Maria (Polly) Barthélemon (née Mary Young). 1769/70-d. II: Larghetto (A major. She dedicated her Opus 3 keyboard sonata to Joseph Haydn. Sonata in C Major Op. 8 pp). the first movement is a well-developed sonata-allegro with contrasting themes. She learned to sing and play harpsichord. Cecilia toured with her parents from babyhood. I/3.< previous page page_14 next page > Page 14 ANTHOLOGIES: Masterpieces of Piano Music. and was a subscriber to his Creation. 7 pp). III: Allegro ma non troppo (6/8. a keyboard work concluding with a song by soprano and chorus. organ.20 two keyboard trios. Level: Late Intermediate. E. Grove. singing an Italian duet with her mother between sections of the Messiah. KOM. Opus III. I: Allegro vivace.Henslowe. Sonata in E Major Op. Cecilia Maria (var. 1: Allegro (common time. Ebel. Barbara Harbach (Vivace Press. 3 pp). a violinist. 1918). (G major. the couple had one child. 1995). harpist. which date from 1786 to 1795. Late Intermediate. a family friend. and the last is a rondo with development in the second episode.Schröter. in each. and three solo keyboard sonatas. and François Hippolyte Barthélemon. Fanny Henslowe. ed. Sonata in G major. A < previous page page_14 next page > .S.Wier (Carl Fischer. composer. H&H. meter. III: Rondo alla Hornpipe. Würzburg. The Capture of the Cape of Good Hope. Jackson. GKH reprint). commemorating the 1795 British victory over the Dutch in southern Africa.Hall. above. A child prodigy. vivace. Germany. SINGLE WORKS: Douze Variations pour le Pianoforte [1797/8]. ed. Meggett. The progress of the battle and the ensuing surrender are depicted by verbal descriptions and a variety of pianistic devices. Fuller. KOM. Opening triadic motive is balanced by graceful thirty-second note arpeggios and scales. 1993). Opus 3: see Three Sonatas. and dynamics. and composed three sets of twelve variations for the clavier. 4 pp). Cohen. SOURCES: Boenke. Mac. Level: Late Intermediate/Early Advanced. eight sections. In this engaging example of late Classic writing for the keyboard. (G major. H&H. 14 pp). S&S. ed. MGG. and Barthélemon.? Very little is known about this German harpsichordist and composer. (Ars Femina. (C/E/G/E-flat/A majors. A lively folk dance in sixteenth note triplets. Hayes. Andante. 16 pp). requiring a light touch and nimble fingers. 1785—d. Cianchettini. Women Composers: Music through the Ages. 3/4. 1996). The Capture of the Cape of Good Hope for the Piano Forest or Harpsichord. Eitner. 1998). Heinrich. Vol 3. Park. including obvious contrasts in theme. she studied harpsichord and composition with Abbé Johann Sterkel. Katerina (var. ending with a cadenza and a final restatement of the theme. above. Eitner. trommel bass patterns. Concluding with a Song & Chorus. The movement ends with both hands below middle C. Intended for informal salon performances. and everyone present join in for the final Chorus . Deborah Hayes (Hildegard. Level: Mid/Late Intermediate. A straightforward. Sonatas by Billington. runs and flourishes. 2/4. and some mild chromaticism. tempo. scores BAUER. < previous page page_15 next page > . attractive example of the popular genre of program music called the “battle sonata. the simplest of melodies undergoes standard changes in accompaniments.K. scales in octaves.< previous page page_15 next page > Page 15 slow pastorale. Katherine/Catherina de) b. Stern. (F major. Hinson. it is suggested that the pianist sing the final Song. Glickman and Schleifer (G. Sally Fortino (Hildegard. ed. series eds. ANTHOLOGIES: Four Keyboard Sonatas by Early English Women Composers. < previous page page_16 next page > Page 16 SOURCES: Cohen, Eitner, Grove, H&H, Heinrich, Jackson, Laurence, Mac, Stern BAUER, Marion Eugenic b. Walla Walla, WA, Aug 15, 1887—d. South Hadley, MA, Aug 9, 1955 Marion Bauer, composer, critic, writer, and educator, was the youngest of seven children, and took her first music lessons with her sister Emilie Frances, who later became a music critic in New York. She was educated in the West, then went to New York and studied with Henry Holden Muss, Eugene Heffley, and Walter Rothwell. In 1906, she studied piano in Paris with Raoul Pugno, a violinist; through him she met Nadia Boulanger, who taught her harmony. As payment, Bauer gave Boulanger lessons in English, and was probably the first American pupil of the woman who was to teach most of the next generation of American composers.21 Bauer spent many summers at the MacDowell Colony, where she met other important women composers: Beach, Daniels, Howe, Gideon, and Crawford. During her outstanding career as an educator, she taught music history and composition at New York University (1926–51) and at Juilliard (1940–44). With Ethel Peyser, she co-authored the textbooks How Music Grew and Music Through the Ages, and she was sole author of Twentieth Century Music . A fervid and vocal champion of American music and contemporary composers, she was one of the founders of the Association of American Women Composers, a co-founder of the American Music Guild, the only woman among the founders of the League of Composers, and an active member of many other artistic and philanthropic organizations.22 Bauer composed chamber, orchestral, and choral music, songs, and many piano works. Her music, originally considered radical, now seems moderately impressionistic, with coloristic harmonies, programmatic titles, through-composed forms, and some exoticisms from non-Western cultures. Although her writing remained melodic and grounded in tertian harmony, she used extended harmonies and diatonic dissonance to blur functional tonality. According to Dubal, her piano works (which generally appeared in sets of three to six short pieces) include nineteen titles, ranging from the 1909 Elegy to Summertime Suite (1953), with the Dance Sonata (1935) and Four Piano Pieces Op. 21 of special merit.23 Unfortunately, the teaching group below and the Op. 36 Piano Concerto (American Youth, Schinner, 1943) appear to be her only keyboard works currently in print. Many of her works are available in libraries, and a description of From The New Hampshire Woods is included here as an example of Bauer’s outstanding keyboard writing.24 SINGLE WORKS: For Nimble Fingers (Mercury Music/Presser, 1948). Level: Late Elementary/Early Intermediate. Three delightful little pieces full of rhythmic energy. < previous page page_16 next page > < previous page page_17 next page > Page 17 Tumbling Tommy. (C major, 2/4, fast, 2 pp). Like a simplified version of Pinto’s “Run, Run,” hands alternate a single-note melody with a two-note chord in a continuous eighth-note rhythm. A New Solfegietto (after C. P. E. Bach). (G minor, 2/4, rapidly, 2 pp). Aptly named, this work is nearly as much fun as the original, and of similar figuration, providing a gratifyingly intricate sound at little technical expense. Parade. (C major, common time, with energy, 2 pp). Four-part seventh-chords in close position march through the piece in staccato dotted rhythms, like a quartet of trumpeters. From the New Hampshire Woods: A Suite of Three Pieces for the Pianoforte Op. 12 (G.Schirmer, 1922). Level: Late Intermediate. A set of impressionistic miniatures depicting New England flora, with a poetic inscription preceding each landscape. Later arranged for orchestra, these reflect the influence of the MacDowell school. Characteristics of Bauer’s style include use of the full range of the keyboard, continuous rhythmic motion, a wide dynamic palette, asymmetrical phrases, and the use of pedal tones, seventh chords, and gliding parallel chords within a strong tonal center. White Birches Op. 12/1. Level: Late Intermediate. (D-flat major, 6/8, grazioso e rubato, 5 pp). A “song without words,” with the melody created from downward-rippling arpeggios over a slow-moving bass. Dissonant suspensions, sliding seventh and ninth chords, descending chromatic scales, and tone clusters caught by the pedal contribute to the portrait of rustling leaves and palely glowing bark, dappled with moonlight and mysterious shade. Indian Pipes Op. 12/2. Level: Late Intermediate. (G major/minor, 3/4, andante con moto, 3 pp). Indian pipes are small plants that poke up through the moist carpet of the forest’s floor after a rain. A rhythmic motive slides chromatically down a fourth; there are flirtations with whole-tone scales and parallel diminished triads. Pine-Trees Op. 12/3. Level: Late Intermediate. (F major, 5/4–4/4–6/4, andante con moto, 5 pp). The wind sweeps through the boughs of great pine trees on a hillside above a river. The shifting meters are used to expressive advantage, creating short asymmetrical phrases with natural fluidity. ANTHOLOGIES: The World of Modern Piano Music, comp. Denes Agay (MCA Music, 1964). Pond Lilies, from Summertime Suite [1953]. Level: Early Intermediate. (C major, 6/8, moderate, 2 pp). A teaching piece set in the swaying, languorous rhythms of a Sicilienne. Hands remain a second apart throughout the piece, moving stepwise in the center of the keyboard and forming mild dissonances within a tonal framework. < previous page page_17 next page > < previous page page_18 next page > Page 18 LISTED but not found in print: Turbulence Op. 17/2 (EBM); A Fancy (Axelrod); Four Piano Pieces Op. 21 (Arrow Music); Dance Sonata Op. 24 (ACA); Patterns Op. 41 (ACA). Cited in Hinson’s Guide, 3rd ed., and Friskin & Freundlich’s Music for the Piano. 25 SOURCES: Ammer, Anderson, Baker, B&NB, Boenke, , ClagAm, ClagS, Cohen, Dubal, Elson, Faurot, Friskin, Fuller, Gordon, Goss, Grove, Grove Am, Heinrich, Hinson, Hutcheson, Johnson, Kirby, Laurence, Mac, Meggett, Pendle, S&S, Stern BAYON, Marie-Emmanuelle (var. Bajon, Baillon, Bayon-Louis, Mme Louis) b. Marcei, Orne, France, 1746—d. Aubevoye, Eure, Mar 19, 1825 Marie Bayon was a French harpsichordist, pianist, and singer who wrote chamber music, opera, and pieces for the clavecin and voice. It is assumed she grew up near Paris and received advanced training in voice and harpsichord, perhaps through the patronage of Mme la Marquise de Langeron, to whom she dedicated her Opus 1 sonatas. Diderot, the philosopher and encyclopedist, greatly admired Bayon’s playing, and arranged for her to teach his daughter. He wrote, “She played like an angel. Her soul was entirely at the ends of her fingers.”26 In 1770, she married an architect, Victor Louis, designer of the Theater in Bordeaux; the couple had one child, a daughter. Bayon’s later works were signed “Mme Louis” or “Bayon-Louis;” in a number of reference works, she appears under both names as two apparently different people. In 1776, her two-act comic opera, Fleur d’Epine, was produced at the Theatre-Italien. As a hostess of esteemed literary and artistic salons in Bordeaux and Paris, Bayon-Louis is credited with bringing the fortepiano into vogue in France. In addition to her compositions, she appears to have written two manuals on keyboard technique and the principles of accompaniment. Her husband lived until 1800, as “citizen Louis;” Mme Louis outlived him by twenty-five years. ANTHOLOGIES: Francesca LeBrun and Marie-Emmanuelle Bayon: Keyboard Sonatas [ca. 1769], intro. Deborah Hayes (Da Capo Press, 1990 reprint). Six Senates pour le Clavecin ou le Piano Forte, dont trois avec accompagnement de Violon oblige Opus 1. Level: Late Intermediate or Early Advanced. Appealing, well-constructed representatives of the late eighteenth century international style. Each two-movement sonata is 4–5 pages long; both movements are in repeated binary form and the same key, but of contrasting tempo and character. This facsimile edition is not easy to read: there are 6–8 systems per page, note heads are round and small, and many accidentals and ornaments appear between staves. Also, there are occasional changes from bass to alto clef in LH part, difficult for the modern player. No articulations and < previous page page_18 next page > < previous page page_19 next page > Page 19 few dynamics are indicated. The works were known in Germany and Britain; Queen Charlotte’s personal copy is housed in the British Library. Sonata I in F major. 1. Allegro con brio, in 4. A vigorous study, with continuous 16th note accompaniment. 2. Tempo di minuetto, in 3. Elegant and graceful in a sparse Italianate texture. Sonate II in G major. 1. Andante affetuoso, 2/4. Expressive melody over Alberti bass. 2. Allegro, in 2. Exuberant triplets, sixteenth note arpeggios and scales; includes a one-page minuetto. Sonata III in Eb major. 1. Allegro, in 2. Melodious and gracious. 2. Presto, 12/8. A rollicking jig. Marie-Emmanuelle Bayon and Caroline Wuiet: Operatic Transcriptions for Keyboard, ed. Calvert Johnson (Vivace Press, forthcoming). Ouverture de Fleur d’Epine. Level of difficulty: Medium. Arranged for harpsichord or fortepiano with ad. lib. accompaniment of violin and cello. Transcription by M.Benoit. (Publication notes by Calvert Johnson). SOURCES: B&T, Cohen, Ebel, Eitner, ElsonA, Fetis, G&F, H&H, Heinrich, Jackson, Laurence, Meggett, S&S, Stern, score BEACH, Amy Marcy (née Cheney; Mrs. H.H.A.Beach) b. Henniker, New Hampshire, Sep 5, 1867—d. New York, Dec 27, 1944 Amy Beach, the foremost American woman composer of her time, was the first to achieve success as a composer of large-scale works. She was a child prodigy who improvised alto parts to her mother’s soprano before the age of two, taught herself to read at age three, and at four played four-part hymns by ear. By age seven, she was playing Handel, Beethoven, and Chopin in public recitals. Beach studied piano with her mother, Ernst Perabo, and Carl Baermann, and became a pianist with a virtuoso technique and a phenomenal memory. In 1885, she made the first of several appearances with the Boston Symphony Orchestra, but after her marriage to Dr. Henry Harris Aubrey Beach, a man twentyfour years her senior, she limited her public performances and concentrated on composition. As a composer, Beach was largely self-taught: she followed a course of study designed for her by William Gericke using master composers as models; she studied harmony and counterpoint with Junius Hill for one year; and she taught herself orchestration and fugue by translating the treatises of Berlioz and Gevaert. After the death of her husband in 1911, Beach toured Europe for three years, playing many of her own works as well as those of recognized composers. Although she never had piano pupils of her own, her works were admired and played in the numerous Beach societies that sprang up all over the country, and she contributed many articles to magazines devoted to music teachers and their pupils. A leader in the MTNA and the MENC, in 1925 she was a co-founder < previous page page_19 next page > < previous page page_20 next page > Page 20 and first president of the Society of American Women Composers, and she generously helped to further the careers of many musicians. Beach’s more than three hundred compositions include art songs in several languages, orchestral, chamber and choral works, and a great deal of piano music, ranging from early Intermediate to concert level. Although she is sometimes considered a member of the New England school, her style is eclectic, displaying late Romantic, nationalistic, and Impressionist aspects. Beach had a fine ear for harmonic color, and expressively used modulation, mixed modes, and the increasingly complex chromaticism of the late Romantic era. Her keyboard music is characterized by a fondness for formal symmetry and balance, lyrical melodies, modulation by thirds, arpeggios, trills, passages in parallel thirds and octaves, and use of the full range of the keyboard.27 Her most popular works, in addition to her songs, include her Gaelic Symphony Op. 23, the Mass in E-flat Op. 5, the violin and piano Sonata in A Minor Op. 34, the Piano Quintet, the choral works The Chambered Nautilus and The Canticle of the Sun, and the Hermit Thrush pieces for piano. SINGLE WORKS: Valse-Caprice Op. 4 (Masters Music, 1995). Level: Advanced. (E major, 3/8, a capriccio, 10 pp). A whimsical fancy with symmetrical phrases, in ternary form with an intro and coda. Main theme features a grace-note figure over a pedal point and triple meter; more adventurous harmonies appear in the contrasting middle section. Ballade Op. 6 (Masters Music, n.d.). Level: Early Advanced. (D-flat major, 3/4, andantino, 10 pp). A concert fantasy/rondo based on Beach’s setting of the Robert Burns poem, “O my luve is like a red, red rose.”28 A lovely early work displaying late Romantic lyricism in a constant texture of arpeggios in triplets. The main theme, repeated in various keys and registers, is contrasted with an allegro in C-sharp minor and an A major lento. Sketches Op. 15/1-4 (Masters Music, 1995; also av. Hildegard, 1998). Level: Early Advanced/Advanced. Four small tone poems; translations to the prefatory French quotations are in brackets.29 Op. 15/1. In Autumn. [“Yellowing foliage scattered on the grass”]. Level: Early Advanced. (F-sharp minor, 2/4, allegro ma non tanto, 4 pp). A melancholy theme and variations, progressively more complex and brilliant. Op. 15/2. Phantoms. [“All fragile flowers, as soon their deaths as their births”] Level: Early Advanced. (A major, 3/8, allegretto scherzando, 3 pp). Ternary, with B a graceful contrast to the playful, will-o-thewisp A sections. Op. 15/3. Dreaming. [“You speak to me from the depths of a dream”]. Level: Early Advance. (G-flat major, common time, andante con molto espressione, 5 pp). In this Lied for the piano, the tonality, the sustained melody, and its quiet accompaniment are like Schubert’s Impromptu, < previous page page_20 next page > with an added Trio. singing tone. Level: Late Intermediate/Early Advanced.32 Op. each two to three pages long. and light-hearted. (G minor. rambunctious work with lots of staccato bounce. with B section in both relative and parallel majors. vivace). then falls back. Op. 3/4.< previous page page_21 next page > Page 21 Op. allegretto con delicatezza. 1990). as Children’s Carnival Op. 15/4. diminished chords. below). (C major. allegro vivace. 25/5. dynamic contrasts provide interest. Tenuto melody notes alternate between the hands. (G major. publ. Six portraits of the stock characters in European pantomime. Pantalon. 6 pp). 25/1. (F major. 28/1. with flickering RH thirds. in which augmented sixths. Level: Late Intermediate/Early Advanced. 3/4. allegro). ed. 7 pp). it was played in recital by piano virtuosi Busoni. Orig. Also av. suspensions. 4/4. in E-flat. 25/2. Gentle. An airy. andantino.” it has rustic energy. Ternary. A fanfare opens the parade of players. Level: Early Intermediate. (A-flat major. 90/3. A brilliantly shimmering perpetual motion etude. 25/1–6. Fire-Flies. Originally entitled “The Barn Dance.”30 Op. alla marcia). most are in simple ternary form. 6/8. with hands in the center of the keyboard. Rosenthal.31 Young People’s Carnival Opus 25/1–6. 2/4. and some development. Three Pieces for Solo Piano Op. ed. 1894). 6/8. Good transitional pieces. [“To be born in spring. 25/4. tempo di valse). common time. and chromatically altered tones appear. 6/8. An amiable little waltz between two lovers in white-face. romantic harmonies. 28/1–3 (Masters Music. Level: Late Intermediate/Early Advanced. Op. A first exercise in finger-pedaling. a nostalgic melody rises up to the dominant. Hinson (Alfred. 28/2. with lively grace notes. treat the parts as a duet. (F minor. A saucy. 2/4. Thin texture of solo melody and a sketchy broken-chord bass. which also share the arpeggiated accompaniment. Level: Advanced. Harlequin. with rippling sixteenth notes arpeggios for the right hand. andante). it is described by Dubal as “a perfect reverie that asks the pianist for a beautiful. and staccato bass. pastoral melody shifting from hand to hand. (A minor. A dance for a mischievous comedian in spangled motley. 25/6. 25/3. Secrets. 1995. dreamy. Original title: Trois morceaux caractéristiques). avoiding the leading tone at the cadence. Pierrot and Pierrette. Boston: A. with the soothing. 1994. The stormy center portion. foreshadowing Kabalevsky’s Clowns. Barcarolle Op. 6 pp). Included in many collections. Included in several collections. (D major. Glickman (Hildegard.Schmidt. is broader and with simpler harmonies than the outer ones. < previous page page_21 next page > . Op. An elaboration of the Minuet written at age ten (see Smith’s Life and Music in Collections. Columbine. Op.P. and Hofmann. traditional forms. filigreed passage in G major follows. (C major. a twirling. Menuet Italien Op. tumbling melody. andantino). Op. to die with the roses”]. fuller chords. Promenade. In the characteristic rocking rhythm. 36/1–5 [1897]. Level: Early Intermediate. 2/4. Polka Op. (G major. Fugue. is first heard in the Prelude. common time and 3/4. Summer Op. and lots of dynamic contrasts. Also av. (common time. Romantic RH melody sings out over the simplest of waltz-bass accompaniments. 60 (Masters Music. Classical in sound. Waltz Op. Five dances based on old forms. which emphasizes a melodic tritone. (C-sharp minor. Level: Advanced. A tone poem to the wild aster (also called “Frost Flower” and “Farewell Summer”). symmetry and early 20th c. graceful steps and polite gestures imitate the eighteenth-century dance. virtuoso variations on sad Balkan folk tunes. it is an imposing and grand work in A minor. Level: Mid-Late Intermediate. (D major. 1995). and an invitation to send in compositions for a critique. performance suggestions. Level: Early Intermediate. in G major. with 18th c. 4/4. includes a space on the cover for the child’s picture. 25 pp). lyric duet in alto and tenor voices. 1995). most are 2–3 pp. adagio malincolico. Beach’s first contrapuntal piece. A snappy. manuscript paper for original compositions. 1990). Two Pieces Op. cheerful march with dotted rhythms. with occasional double notes and running passages.< previous page page_22 next page > Page 22 Danse des Fleurs Op. with ninth chords. 102/1-2 [1924] (Masters Music.d. 36/4. B. Small. con moto). ed. 28/3. harmony. common time. 36/3. 3/4). (C major. common time). Nimble and playful. Minuet Op. ed. 9 pp). Reminiscent of circus music or a turn of the century school fight song. like her Children’s Carnival. 36/1. tempo di valse. notated entirely in the treble clef. good preparation for the easier Chopin waltzes. with Chopinesque movement and figurations. (maestoso quasi improwisatione. a more lyric melody in the middle section is set over a drone bass. 1994). Gavotte Op. Level: Early Intermediate. Variations on Balkan Themes Op. the alternating eighth. (G minor. 3/4. two-note slurs. useful elementary to intermediate transition pieces. common time. Farewell. the theme. Level: Late Intermediate/Early Advanced. Hinson (Alfred. n. 81 (Masters Music. March Op. Level: Early Intermediate. 10 pp). 102/1. alla gavotta. Level: Early Intermediate. Tuneful and symmetric. Thin textures. 36/2. Prelude and Fugue Op. 36/5. Children’s Album #1 Op. In free fantasy form. 4 pp). Level: Early Intermediate. 3/4). Ternary: the A section is a charming gavotte. The Glickman edition. Level: Advanced. Four voices. Glickman (Hildegard. (D-flat major. as Young People’s Album. Staccato notes alternated between the hands form quick elfin steps. tritones. rather like simplified Mozart. Imaginative. long. < previous page page_22 next page > . in binary form.and sixteenth note figures require clear execution of legato and staccato. has a sweet. Ternary form. (D minor. 6 pp).). and pedal tones. scherzando). this is Beach’s longest work for solo piano. (F major. Grieg-like. Prelude. short phrases. The mood is casually French. followed by octave scales in the right hand and a waltz bass. dynamics and articulations. Barcarolle Op. like a waltz from Strauss’ Der Rosenkavalier. 2001). Level: Mid-Intermediate. 83. combining many of Beach’s familiar gestures with fresh harmonic ideas for a distinctive early-twentieth century ambiance. 9/8 and 3/4. The work is firmly tonal. Level: Mid-Intermediate. and From Grandmother’s < previous page page_23 next page > . Later. Level: Late Intermediate. A waltz in ternary form. Leaves spiral and swirl effortlessly in the brisk autumn breeze. sel. Level: Late Intermediate/Early Advanced. A Cradle Song of the Lonely Mother Op. as the left hand rises in a countermelody. molto lento e tranquillo). Tempo. Dreaming. tip-toeing melody is played against staccato fourths and fifths in cakewalk rhythms. Ternary. A tentative.” Op. Op. An appropriate transitional piece to advanced repertoire. 3/4. (A minor. 28/1. 102/2. largo maestoso). bass line. 15/1. 148/5. lento espressivo. 92/2. Like a Satie Gymnopédie. reminiscent of Poulenc and Satie. alternated between hands. Op. 4 pp). Level: Late Intermediate/Early Advanced. long trills. a dominant pedal appears on a third staff. (G-flat major. and parallel RH thirds make this a challenging study. The second section contains the quarter/dotted quarter/eighth note motif found in each of these “improvisations. 6.< previous page page_23 next page > Page 23 Dancing Leaves Op. with the theme frequently in inner voices. A Hermit Thrush at Morn Op. Five Improvisations Op. with characteristic three-part texture of soprano melody. Sketches Op. allegretto grazioso e capriccioso). molto vivace. (A major. COLLECTIONS: Amy Beach Piano Music. 108 [1924] (Masters Music. 3. 1982). and Beach’s characteristic chromatic thirds in a transition passage. Op. 148/1. 148/2. A joyful valse brilliante. key changes.). molto tranquillo). chromatic scale patterns. Scottish Legend Op. Ballad Op. Adrienne Fried Block (Dover. 4 ( In Autumn. these fascinating and unusual miniatures are well worth serious attention. 2/4. 148/4. 3/4. (G major. Some lovely Impressionistic dissonances are employed. (E minor. and inner-voice chords. (E-flat minor. allegro con delicatezza). Beach’s last pieces for piano. A berceuse with the typical LH rocking rhythm. (G major. From Blackbird Hills Op. 2/4. the calm right hand melody moves down the scale in a sequential motif. Level: Late Intermediate. opening with simultaneous wide leaps in contrary motion. 54/1. Rapid changes of register make this work harder than it appears. 6 pp). Level: Mid-Intermediate. 3/4. 148/3. and Fire-Flies ). 4/4. Op.d. modal scales. with the echoes of fìn-du-siècle Vienna. but there is a continual play of colors from non-functional sliding harmonies and added-note chords. n. lento. 148 [1938] (Composers Press. Graceful and playful. A playful. Melody < previous page page_24 next page > . allegro con leggierezza. Level: Late-Intermediate. 6 pp). Amy Marcy Cheney Beach: Music for Piano (I). Sous Les Étoiles [Under the Stars] Op. 65/1-5. 28/1: see Individual Works. and Op. 3/4. Level: Late Intermediate/Early Advanced. 65/1-5 ( Suite Française. vivace/adagio molto. The easiest of the group. and then steps quickly back up the octave to the tonic. interspersed with occasional glittering splashes of 32nd and 16th notes. Op. 65/1. and some very rapid scales. Op. a drone bass as drum. interrupted scale which leaps up to appogiature octaves. con gran espressione. Level: Late Intermediate. Level: Late-Intermediate/Early-Advanced. the melody increases in intensity as the intervals widen. (D minor. 83. The whimsical four-bar dance theme skips gracefully down the dominant chord. 54/2. except for Op. a calm. 2 pp). Set in various registers. Folk-like tune in rounded binary form. Level: Late Intermediate to Advanced. (G-flat major. Valse Amoureuse [Lover’s Waltz] Op. 54/1-2. 4 pp). vivace. with inner voices providing forward motion on subdivisions. Columbine’s Dreams). Baroque articulations. 15/4. and foot-stamping accents. lento con molto espressione. An example of Beach’s fascination with indigenous music. common time. below. 7 pp). 54/1. 83 [1922]. Fifteen works from six opus numbers. altered dominants. Les Reves de Columbine Op. (A major. murmuring harmonies support a static melody. 2/4. 65/2. andante con calma. Of the contrasting Adagio molto section. cut time. Op. Level: LateIntermediate/Early-Advanced. See Single Works and other collections. carefree waltz using a broad range of the keyboard. Level: Early Advanced. LH maintains a steady waltz bass. answered by downward arpeggios. pincès and grace notes. 3 pp). La Fée de la Fontaine [The Fairy of the Fountain] Op. then takes off on a breathless. 6 pp). she used an authentic tune from a Native American children’s game. (D minor. A light and lively dance with octave passages. Level: Late-Intermediate/Early-Advanced.< previous page page_24 next page > Page 24 Garden Op. Gavotte Fantastique Op. 6. Scottish Legend Op. Chopinesque. The complete sets Opp. in 4. 1994). Le Prince Gracieux [The Graceful Prince] Op. 4/4. (A major. adagio di molto. and some RH octaves. simple melody is set in hymn texture. Level: Late-Intermediate/Early-Advanced. along with vigorous rhythms. From Blackbird Hills (An Omaha Tribal Dance). 65/3. 65/4. (F-sharp minor. and 97/1-5 are described here. as RH executes a figure. long trills. (G major. with characteristic Scottish sounds: the “Scotch snap” cadence. common time. 6 pp). 97. chromatic harmonies. Glickman (Hildegard. staccato scale passages. Shifting. cadences. Nos 1 and 5 ( Morning Glories and Honeysuckle ). above. Beach wrote that “ghosts of long-dead Indians were looking sadly over the shoulders of the happy children at play” (score preface). allegro grazioso alla gavotta. ed. 97/3. Impetuous flourishes of liquid. vivace. bouquet of old-fashioned flowers in Impressionist harmonies. Mignonette. allegro con leggierezza/vivacemente. The melody moves to the tenor voice. Reminiscent of a Chopin valse brilliante . ed. Sliding harmonies with many accidentals are prominent. (G major. 3/4. 97/4. meditative. cocky Tin-Pan Alley march with a sassy tenor countermelody. Level: Late Intermediate/Early Advanced. 92/1-2) were written in 1921 while Beach was resident at the MacDowell Colony. Glickman (Hildegard. In ABAB form. 65/5. Rapid. allegro di molto. Level: Advanced. A delicate pianissimo waltz frames a jaunty. 5 pp). Op. Etude-like. a tender pas de deux . (A minor. Amy Marcy Cheney Beach: Music for Piano II. Danse d’Arlequin Op. each piece explores the technical challenges of a different figuration. 8 pp). 97/5. 92/2. Hands entwine in rapidly climbing arpeggios on seventh chords. 15/1-3. (A major. Heartsease. 3/4. 4 pp). and abrupt modulations. with cross rhythms. Op. Level: Late Intermediate to Advanced. 97/2. 60. rapid flute-like arpeggios end every phrase. molto lento. 2/4. (D-flat major. tempo di menuetto. (In the language of flowers. pp chords. 97/1–5. A Hermit Thrush at Morn Op. Op. A Hermit Thrush at Eve Op. murmuring birdsong interrupt the melody. 6 pp). (E minor/major. A delicate minuet with staccato. Rosemary is for remembrance. 3/4-2/4. with a rocking-triplet figure in RH against wide LH arpeggios. 97/1. 148/1-5: see Single Works. LH melody appears first in the alto and then the tenor. 2 pp). Rosemary and Rue. The simplest of this set. An early 20th c. 92/1. con delicatezza. Rue is for regret). Gentle. The Hermit Thrush pieces (Op. surrounded by syncopated block chords. lento cantabile. and Op. 2/4. Twelve works in five opus numbers. 9 pp). Late Intermediate/Early Advanced. 4. Morning Glories. common time. RH creates a countermelody a 9th or 10th higher with the last note of each figure. Honeysuckle. broadening out under the wide night sky. 1997). Op. The plaintive melody first occurs as a RH solo three octaves above the modal chords of the waltz bass. Op. In the right hand the soprano and alto alternately hold tied notes and sigh in a descending chromatic figure. (E minor. Level: Late-Intermediate/Early-Advanced. and melancholy. Op. andante con sentimento. difficult accidentals in twisting melodic lines. 3/4. 5 pp). (E-flat minor.< previous page page_25 next page > Page 25 shifts to tenor voice. Op. common time. (D minor. quasi valse lento. From Grandmother’s Garden Op. forming the melody from the lowest LH notes. using alternating textures. Key signature and harmonies shift continually. 4 pp). and are two contrasting settings using the actual song of the hermit thrush. Op. < previous page page_25 next page > . accompanied by a “plucked” broken-chord bass. 54/1–2. Modulations through several minor keys in the development. 3 pp). A through-composed work written at age ten. Standard waltz texture throughout. An excellent collection. 119/1. No. and three pieces from two sets not available in their entirety. by Gail Smith (Creative Keyboard Publications/Mel Bay. Op. Sliding on the Ice. See Smith’s Great Women Composers for Op. Through-composed. (D-flat major. Written at age ten. 2 pp). and brief RH octave passages provide interest in the texture of RH melody/LH triads. in the set From Six to Twelve: A Suite for Piano [1927}. Level: Early Intermediate. (G major. Op. 25/4-6. 15/4. and Summer Dreams. 1992). 2 pp). (F major. with contrasting shifts in register and numerous secondary dominants. (A-flat major. may be based on a native melody. 3/4. 2/4. Composed at age four. common time. allegro vivace. waltz bass. resolves to a simple four-part chord. Below are four very early pieces not available in other editions. 1 does not seem to be in print. Level: Late Elementary. Petit Waltz (WoO). 4/4. An extended rondo with three separate but related themes in three keys of startling complexity and structural skill for a toddler. Level: Early Intermediate. 64/2. the First Woman Composer of America. and a staccato LH melody against offbeat RH chords. triadic melody. Op. (D major. (D major. The work closes with an abbreviated return to the first setting. Menuetto (WoO). Romania (WoO). with several simple figures: first. Level: Mid-Intermediate. Schumannesque codetta. 3/4. 36/1–3./ed. Register changes. followed by repeated melodic seconds. fragments of the theme occur at the end of each section. 47/1-6. The center section (G major) uses a cakewalk rhythm as transition. 64/3 and 4. 28/2. Homophonic texture. A simple tune built on a descending tonic triad. modulations. Written at age eleven. Op. Level: Early Intermediate. formed of a shared-hand ascending scale. Op. see Single Works and Collections. and Op. For Op. 2 pp). with fifteen pages of wellresearched biographical information and archival photographs of Beach throughout her life. allegro vivace). seventeen solo works. a set of late-elementary/early intermediate level duets. Level: Early/Mid-Intermediate. comp. Ternary form. this Classicalsounding little piece imitates the genteel steps and graceful bows of the antique dance. < previous page page_26 next page > . then the RH plays block staccato chords over LH whole notes. lento. Clever modulations in third section. Rounded binary form with clever chromatic writing in the development. The Returning Hunter. from Four Eskimo Pieces (also called Four Characteristic Pieces). 4 pp). Mamma’s Waltz (WoO). Op. shifting chords between a static melody and bass. 3/4. notated for her by her mother.< previous page page_26 next page > Page 26 with an agitated RH fluttering of 16th notes and soprano countermelody. The Life and Music of Amy Beach. with some graceful changes in register for contrast. the running start. set in perfectly balanced four-measure phrases. 54/1. Op. 1990). 108. (F major. Dreaming. The ghostly atmosphere of an ancient. 6. Op. ed.< previous page page_27 next page > Page 27 Canoeing. 64/3. dilapidated church < previous page page_27 next page > . 4 pp). simulating the dip of the paddle on each side of the canoe. 4/4. Level: Mid-Intermediate. 64/3-4. Op. Scottish Legend Op. Hinson (Alfred. 54/1. 1996). and Op. tranquillo e sempre legato). 15/1-4. Op. from Four Eskimo Pieces. continuous staccato 8th notes. 3. 1975). 92/2. Dreaming Op. Promenade and Waltz Op. 3 pp). Les Reves de Columbine. from Four Eskimo Pieces.K. eds. 6/8. repeated tones and half-step slurs give this piece a breathless. Vol. 25/1. 2 pp). 87. 4. This wonderful collection of virtuoso works was unfortunately out of print by 1997. 81. (D major. Through-composed. 1990). in From Six to Twelve: A Suite for Piano [1927]. Martha Furman Schleifer and Sam Dennison (G. Op. 4 of Three Centuries of American Music. (A-flat major. ed. Gail Smith (Pacific. 65/4: At the Piano with Women Composers. Op. ed. The American Book for the Piano. 3/4. including four by Beach: Op. ed. 119. Great Women Composers. some chromatic harmonies for contrast and development. grave. 128/1-3. 10 in the Women Composers Series. Album of American Piano Music from the Civil War through World War I. American Keyboard Music 1866 through 1910. Op. (Da Capo Press. Dubal (International. The sweetly plaintive melody is reminiscent of Dvorak’s “Going Home. Piano Music. Excellent descriptions in Introduction. Secondary dominants.Hall. (C major. Flowing 8th note arpeggios and melody notes alternate between hands. ed. a temporary key change. No. Glickman (Hildegard. Op. 15/3. Waltz Op. Glickman. common time2/4. Op. ANTHOLOGIES: See Single Works and Collections for most descriptions. intro. With Dog-teams. gen. ed. Op. 106. No. and Op. and contains the following works. The Old Chapel By Moonlight. 107. Level: Late Intermediate. racing character. Edward Gold (MacAfee. 60. maestoso/presto ma non troppo. many of which are available as single works or in other collections: Op. 1990). Op. Late Intermediate. 116. 36/3. it is still available in many libraries. 106. 1982).” Occasional shifts in register. Op. However. 15/3 and Sous les Étoiles Op. MO: Creative Keyboard Publications/Mel Bay. 1995). Scottish Legend Op. American Women Composers: Piano Music from 1865 to 1915. and register shifts provide color and a few rocky places in the flowing stream. 3. 28/1-3. 65/1-3. Level: Mid-Intermediate. 1975). Op. Op. Exiles. Op. William Deguire (Galaxy. The Bicentennial Collection of American Keyboard Music. Thin texture. Op. Twenty-seven keyboard compositions by twelve women. Tempo and accidentals make it more difficult than it looks.Glickman. 64/4. lento con amore. S. ed. Elson.Church). FRK. Gordon. and a few pieces for piano. Feb 26. B&T. 1949). Boenke. MLA. sliding chromatic chords with suspensions. a queasy little motif fashioned from an augmented triad flickers with dissonance. Gillespie (Dover. Kirby. scores BEEKHUIS. 4 pp). Stern. Baker. Barblan. Level: Late Intermediate. she lived in Zurich. tranquillo. From 1908 to 1911. Magrath. Leeuwarden. 3rd edition. the Netherlands. On the final page. Masters of American Piano Music. Vol. LISTED but not found in print: Nocturne Op. Grove. Hinson. the Netherlands. 92/2. Johnson. Gilbert. A seascape tone-painting of the many moods and colors of the sunset at Corsica. over them. ClagH. 1999). G&G. and bell tones of octaves and fifths.< previous page page_28 next page > Page 28 is created by ppp and legatissimo markings. 15/1. many works for voices and instruments. she studied at the Cologne Conservatory under Uzielli. where many of her compositions were performed. 1980 Dutch composer and pianist Hanna Beekhuis studied piano first with her mother. chorale phrases. Women Composers: Music Through the Ages. Mac. SINGLE WORKS: Corsica. sel. and Morocco influenced her compositional style. N-B. Glickman and Schleifer (G. Op. B&NB. In Autumn Op. 3/2 and 2/2. Zee en Rotsen (Amersterdam: Donemus. a sostenuto tonic pedal on a third stave tolls under the bell effects and the hymn. 6. murky blue-green depths. Fireflies and Dreaming Op. Catalonia. SOURCES: Ammer.Hall. Gillespie. Op. Though there is no feeling of meter. ed. while a slowly-spiraling figure suggests shifting. A Hermit Thrush at Morn and A Hermit Thrush at Eve. Meggett. Ebel. Her teachers in composition included Peter van Anrooy. Jezic. H&H. 92/1-2. Heinrich. < previous page page_28 next page > . Her travels in Corsica. and Bolsche. Borroff. GroveAm. During the war. 1978). Hanna b. 1889-d. Historical Anthology of Music by Women. Briscoe (Indiana University Press. Laurence. (No key signature. Sep 24. Block. ClagAm. KOM. series eds. ed. Bloemendaal. 15/3-4. Pendle. and the conductor Frits Schuurman. Widely spaced major chords evoke serenity and golden light. Nineteenth-Century American Piano Music. Friskin. 107 (J.K. S&S. Beekhuis composed chamber and orchestral pieces. then with Dirk Schafer in Amersterdam and Bernhard Stavenhagen at the Geneva Conservatory. Cohen. Hinson (Alfred 4603). 1987). A Hermit Thrush at Morn. Strasser. cited in Hinson’s Guide. Dubal. MGG. Hutcheson. Fuller. (D. and no further biographical information is available about this young girl. Convents were abolished in 1790. with modal borrowing of chords. Strongly tonal. her first two keyboard collections were published. was a child prodigy who lived with her teacher. whose first name is unknown. Her extant works also include two organ works. to remain until her first Communion. it will repay study by the student interested in twentieth-century sounds. Boenke. 1778-d.Benaut was composed works for the organ. 1949). with a well-set melody supported by good part writing and occasional lush rolled chords. dedicated to Mme de Schodt. spiral-bound manuscript edition. All of her compositions are located in the Bibliotèque Nationale. shifting chords serve as the background for brief chromatic outbursts by solo voices. Frequent accidentals. Oude Sage (Donemus. M. and some dissonance. setting of an old tune. Heinrich. Cohen. when Mlle Benaut was nine years old. like many upper and middle class young women of the time. 4 pp). Benault) b. shifting meters and registers. the harmony is non-functional. Possibly. Paris. and clef changes make the work harder to read than it is to play.34 < previous page page_29 next page > . but musically. Facsimile manuscript.33 On the title pages of two of her four volumes of keyboard airs and variations. Although this is an oversized. SOURCES: A-Z. harpsichord. it is not difficult to read. she was sent to a convent at a tender age. sometimes swelling and rocking. 2/2–3/2. A 20th c. a Magnificat and Piece d’orgue. Mademoiselle (var. Benaut. Each fifteen-page set includes three popular airs of the time. in revolutionary Paris. The entire range of the piano is used.< previous page page_29 next page > Page 29 there is a definite sensation of motion. France. An abbé. Level: Early Advanced. and was the maitre de clavecin at the royal abbey of Montmartre. Center molto agitato section is written in 2/4 and 3/4. Idiomatic and dramatic. who may have fled the country or perhaps perished in the political struggles. M. Jeanne BENAUT. and piano. Mlle Benaut is described as a pensioner at the Royal des Dames de Bon Soucours priory. many dynamic contrasts. KOM BEIJERMAN. each with three to six variations. books 1–9. tricky rhythms. opening with a trumpet fanfare.? Mademoiselle Benaut. Jeanne —see BEYERMAN-WALRAVEN. would work well orchestrated for concert band. sometimes surging and splashing. Throughout. In 1788. Marie was systematically exposed to music even before she was born: when her mother learned of her pregnancy. Jackson. H&H. Hardin. Marie was apprenticed to Miss Robyn. Changes rung on the accompaniment patterns include broken chords. syncopated melody. Edelmann. 3. Binghamton. ed. a young neighbor who later became a famous teacher. Savage. It is likely that the child had access to an early pianoforte. Although included in an anthology for harpsichord.K. of British and Cherokee heritage. 1989 American composer and pianist Marie Bergersen was born to Louis Bernhardt Bergersen. and a thicker texture for the final variation. 10 pp). 1998). Turner. Theme and six variations on an operatic duet from Grétry’s 1786 opera of the same name. November 29. in 2. a lawyer born in Norway. probably composed by Nicolas Dalrayac in 1786. 3/4. the piece is delightful on the piano. Ripley. The folk-like melody. Chicago. The theme is from the opera Nina. (F major. Martha Asti (Hildegard. IL. and Mary Letitia Cox from Missouri. to play daily in their home. G&F. a foreshadowing of Papageno’s arias in the Magic Flute. Air de L’Amitié a I’épreuve avec cinq variations. thereafter receiving a music lesson every day of the year except on Christmas < previous page page_30 next page > . pref. “Friendship put to the test” (score preface). series eds. Level: Mid Intermediate. and a 16th note Alberti bass. NY. SOURCES: Cohen. Air de Nina avec Six Variations (from Recueil d’Airs avec Variations Op. May 15. At the age of three. keyboard figurations. Eitner. 1998). theme length. attractive introduction to late 18th c. Marie Christine b. Tempo. 1894—d.35 A 36-bar theme in charmingly uneven phrases undergoes textural variations in each hand: neighboring-tone eighth notes. A simple. (F major. broken-chord triplets. either harpsichord or piano is appropriate.< previous page page_30 next page > Page 30 ANTHOLOGIES: Eighteenth Century French and English Music for the Harpsichord by Benaut.Hall. allegro moderate.. larghetto. essay by Collette S. Heinrich. Ripley. Vol. scores BENDA. she paid Louise Robyn. Women Composers: Music Through the Ages. Dedicated to Mme la Presidente de Fleurieu. and sold by the nine-year-old composer in her home (score preface). progressively faster subdivisions. an offset. and dynamic markings indicated in another collection may indicate use of a piano. melodic embellishments (especially passing tones). uses the diatonic harmony and thin two-voice texture typical of the era. 8 pp). Berhardine Juliane BERGERSEN. Level: Late Intermediate. Sylvia Glickman and Martha Furman Schleifer (New York: O. 2. ca 1787). Juliane —see REICHARDT. and key remain constant throughout. Alberti basses. may be performed separately. series eds. musician. 3/4. Original and very pianistic. returning to the United States and marrying Raymon Borroff. most of which is unfortunately lost. Vol. In the main theme. B section has fluttering RH quadruplets against LH triplets in an ascending whole-tone scale. each about sixteen measures long. and died in Binghamton. She is credited with writing over a thousand arrangements in many styles. and Rachmaninoff believed her to be the best sight-reader in the United States. managing and performing with the Major Bowes Amateur Hour . Three Silhouettes. with remarkable harmonies for their time. Glickman and Martha Schleifer (G. From 1917-1923 Bergersen gave a special series of concerts in Chicago and New York demonstrating a unique electromagnetic instrument called the choralcelo. 6. 4 pp). II. I. Bold strokes of texture and harmonic color. H&H < previous page page_31 next page > .K.Hall. New York at the age of 95. Bergersen was equally adept at all styles of music. 3/4. and by her late teens already had a reputation as a fine pianist. the son of a wellknown singer. she fled Vienna. after the Board of Examiners heard her Theme and Variations for Piano. From the early 1940s until her retirement in 1951. Sprightly rhythms and fresh harmonies in a playful dance. 2/4.36 SINGLE WORKS: Three Silhouettes [1911] (Hildegard. ABA form. The piu mosso center section features a LH melody accented by rapid RH chords on offbeats. At the onset of World War I. above. SOURCES: Cohen. ABA plus codetta. Borroff. ABCA. ANTHOLOGIES: Women Composers: Music Through the Ages. 4 pp).< previous page page_31 next page > Page 31 and her birthday. Level: Early Advanced. she was prominent in show business circles as Marie Baldwin. Molto moderato (C minor. Bergersen became the only student ever admitted to the Viennese Imperial Conservatory by acclamation. Romantic espressivo in first section contrasts strongly with the faint. Vivace (E minor. 1999). a brief espressivo motive (not unlike the young Tristan) is offset by scherzando chirps. In 1913. GKH reprint). Four sections. rapidly fluttering fifths in second section. whole-tone scales. III. she was a composer and organist for NBC in Chicago. 5 pp). She studied composition with Adolf Weidig at the American Conservatory of Music in Chicago. a respected musicologist and composer. Allegretto ma piacere (C# minor. She was the mother of Edith Borroff. From 1931 on. A suite of three works. as well as a good deal of vocal and keyboard music. and composer. < previous page page_32 next page > Page 32 BERGH. she was one of only thirteen European musicians received in the prestigious Association for the Advancement of Music. one of the first women choral conductors in the Netherlands. including Moscheles. but only seven of her compositions are extant. many famous performers visited her.Bach. Level: Mid/Late Intermediate. Beyer came to America in 1924 and studied at the David Mannes School in NewYork.1832]. She studied with Dane Rudyar. was especially renowned for her Beethoven interpretations.K. Ruth Crawford. Leipzig. and acted as secretary for Cowell during his 1937-41 prison term in San Quentin. Beyer’s over fifty works include chamber music for < previous page page_32 next page > . Some bold harmonic effects remind of Schubert and Fanny Hensel. An excellent addition to the early nineteenth century repertoire. ed. and works for piano. and the Lied for piano is her only keyboard work in modern edition. this is a lovely example of the genre: a graceful. Jan 21. and the first Dutch woman to publish a theory manual. Gertrude van den bap. a child prodigy. In 1830. Johanna Magdalena b.S. Kalkbrenner.37 ANTHOLOGIES: Women Composers: Music through the Ages.. 1840. with shared chords in the middle for the alto and tenor. she had a harpsichord sonata published. Sep 10. and she and her younger sister gave concerts to an enthusiastic public. and she remained the only woman to achieve this signal honor until Clara Schumann’s election to the group in 1854. Vol. 6 pp). Lied für Piano-forte [ca. Jan 9. chamber music. Cologne. 12/8. 1998). Glickman and Schleifer (G. She composed songs. was one of the few nineteenth century Dutch women to receive recognition during and after her lifetime. and Henry Cowell. 1840 Gertrude van den Bergh. she died of breast cancer. who studied piano with Ries and composition with Burgmüller. The first “Lied ohne Worte” written in the Netherlands (score preface). Although she ended her performing career early. after dreadful suffering. Helen Metzelaar.Hall & Co. S&S BEYER. Charles Seeger. Van den Bergh. New York. 3. As a child. receiving a teacher’s certificate in 1928. (E major. In ABA form. SOURCES: grovemusic. 1793—d. series eds. She was one of the earliest Dutch musicians to show a renewed interest in J. The Hague. On September 10. 1944 After studying piano and music theory in Germany. Van den Bergh supported herself by giving piano and voice lessons at the rate of two guilders per lesson. 1830). her Principes de musique (c. the texture and wistful mood remain constant throughout. 1888—d. andante. and Mendelssohn. Jul 11. singing melody perfectly partnered by gently rippling bass arpeggios. Wide. accidentals affect only the notes they immediately precede). articulations. 1 pp). Many articulation contrasts. and dying back to ppp. Animated. starting at pp. No. Many dynamic contrasts and tempo changes. 3 pp). (Various meters. Level: Mid-Intermediate to Advanced. vary from 1/4-2/4-3/8. though unmarked. ed. even by the experimental music community. Metronome markings by the composer’s. with theme briefly developed in standard contrapuntal fashion. (Half note=56. facsimiles of the original manuscript are included. eighth note=96. (Eighth note=132. and register changes. 2 pp). VI. her music was largely ignored. Nos IV and VIII (intermediate): plausible introductions to 20th c. Irregular subdivisions of the beat avoid metrical feeling. wide range. sharing of registers. and received few performances. Level: Late Intermediate. VII. No. Level: Advanced. (In 4. The tonal range is small. No. as in 12-tone pieces. unremitting dissonance. V. quarter note=96. (Note: In this edition. less than an octave separates them. moving in whole and half notes. eventually disappearing into thin air. Most of the piece is piano or softer in this light-hearted tone-painting for the adventurous student. Four-part “chorale” writing. The piano music below. However. Level: Early Advanced. III. occasional tone clusters. Eight brief atonal pieces. NH: Frog Peak Music. No. ed. mainly in two-voice counterpoint. 1996). and fly around. < previous page page_33 next page > . with many meter and tempo changes. Larry Polansky (Frog Peak Music. and accidentals. Level: Mid-Intermediate. with crescendos and diminuendos. 1 pp). The other six are much faster.< previous page page_33 next page > Page 33 string. Metric values. quarter note=120. percussion. No. Level: Late Intermediate/Early Advanced. Level: Early Advanced. and wind ensembles as well as piano music. Level: Advanced.38 SINGLE WORKS: Bees. 1994). 1. upper and lower voices are only two and a half octaves apart. No. 2 pp). Demanding rhythms. with arched dynamics to match. many contrasts in articulation and dynamics. make these bees hum. Much hand crossing. was published fifty years after her death. buzz. quarter note=88. quarter note=60. No. Progressively wider and narrower intervals. Level: Advanced. and in the center of the keyboard: at the widest point. most of the time. (3/4. 2 pp). Chromatic scales and dissonant double trills in the center of the keyboard. as in old organ preludes. as fast as possible. (2/4. frequent hand crossings and changes of clef and register. Dissonant Counterpoint [1931–34]. (6/8. which dates from the early 1930s and shows the influence of Crawford and Cowell. 11. 2 pp). increasing to forte. 3 pp). IV. and present serious challenges to pianist and listener. thick chords in opening section. David Fuqua (Lebanon. (2/4. dissonance. RH plays thick block chords over an octave stepwise bass. Paris. France. Franck and Bruckner. Beethoven encouraged and taught her. grovemusic. it is an intriguing challenge. (Changing meters and keys. Mar 3. where her husband was librarian to Count Andreas Rasumovsky. Arnhem. and gave piano lessons to the eight-year old Franz Schubert. 6 pp). 1911). with many accidentals. played piano throughout. voice. non-structural harmony. They moved to Vienna. Level: Mid-Intermediate. E. half note=56. SINGLE WORKS: Andante Espressivo con Molto Emozione (Broekmans & Van Poppel. Th. lento. Boenke. SOURCES: Baker. espressivo. (D major. and it was there that she met Haydn.39 Beyerman-Walraven composed works for orchestra. Level: Late Intermediate/Early Advanced. 1950). Koraal (for organ or piano) (Broekmans & van Poppel. née Walraven) b. she privately studied harmony and composition with F.A. in 1804 virtuoso harpsichordist and pianist Marie Kiéné married Paul Bigot. Beyerman. but. At the Hague. Cherubini. chamber. 1878—d. Cohen. (3/2. simple song form. H&H BEYERMAN-WALRAVEN. Throughout. VIII. themes moving down by thirds. 1820 Daughter of a professional violinist and a pianist. after marrying Dr. H&H. Atonal. Sep 20. and Beethoven. SOURCES: Cohen. She moved to Amersterdam in 1911. A retrograde canon. Sep 16. and a plethora of expressive markings.Koeberg. 1786—d. continual meter and tempo changes. 4/4. and considered her one of his best < previous page page_34 next page > . 1969 Dutch pianist and composer Jeanne Walraven first studied piano with her mother. Full of passionate dissonances and dramatic gestures. Sixteen measures in length. tricky rhythms. Colmar. Her early compositions were in the late-Romantic tradition of Mahler. Heinrich. Indonesia. Salieri. but later works showed the influences of Schoenberg and modern French expressionist music. Jeanne (var. KOM. 2 pp). Level: Mid-Intermediate. Advanced chromaticism. a French Huguenot from Berlin. Jun 14. 2 pp). Beijerman. Alsace. A brief chorale moving with magisterial serenity in two-bar phrases and balanced periods. S&S BIGOT DE MOROGUES. Semarang. and not a work for the faint-hearted. Holland.< previous page page_34 next page > Page 34 No. Marie (née Kiéné) b. and piano. in 4. Clementi. Level: Late Intermediate. after hearing her play one of his compositions. with the repeated closing section slightly varied or extended. supple wrists. Six technical etudes. ed. octaves. Ternary form with middle section in A major. Haydn. < previous page page_35 next page > . forming a one-page introduction to the sonata-form Allegro in nearly continuous sixteenth notes. possibly her best composition. Level: Late Intermediate to Early Advanced. allegretto. 3/4. presto. 10 pp). published in Vienna and Paris. II: Andantino (G minor. Classical form and textures. Unusually. (12/8. After her husband’s capture during the Russian campaign of 1812. and they made friends with composers Auber. and a cool head. tricky study. an Andante with eight variations and caprice. and Clementi. Cramer.41 Etude in C minor. where Mme Bigot introduced the works of Beethoven to the city. 4 pp). 10 pp). Generally ternary in form. An exhilarating. Sonate in B-flat Major. Rounded binary with repeats. Opus 1 [1806]. 1992). Level: Late Intermediate. I: Adagio/Allegro espressivo (B-flat major. Romantic melodies and harmonies. there is no unifying scheme of forms or keys. and Cherubini. with appealing melodies and less harmonically complex accompaniments than Chopin. Earlier material is developed. 3 mvmts. They are sensitive. Bigot’s piano works. Dussek. 3 pp). and the Suite d’études . 6/8. said “Oh! my dear child. it is not I who wrote that piece but you who composed it!”40 In 1809. An arioso in expanded ternary form. Chopin. for a short time. many dynamic contrasts. it ends on an F7 chord. allegro. though several seem based on old dance types. include a Sonata Opus 1. Attractive and worthwhile early examples of the genre. Like a passepied (a fast minuet demanding nimble feet). she spent the rest of her short life teaching to support her two children. can be thought of as a virtuoso gigue. Level: Early Advanced. Etude in A minor. the young Fanny and Felix Mendelssohn were students of hers. (2/4. competent examples of early Romantic writing in Classic forms. balance and control of quiet dynamics required. LH plays legato chord progressions and parallel thirds. 5 pp). Etude in C major. 3 pp). Supple RH needed in continuous sixteenth note texture with rapid ornaments. Extended passages of legato neighboring-tone triplets require lightness. like those by Cramer. the Bigots moved to Paris. The Adagio ends on a V chord. Despite the title. Level: Early Advanced. innovative transitions and developments. COLLECTIONS: Historical Women Composers for the Piano: Marie Kiéné Bigot de Morogues. (3/8. Opus 2. leading straight to movement III: Rondo (B-flat major.< previous page page_35 next page > Page 35 interpreters. 23 pp. Suite d'études (1818). Calvert Johnson (Vivace Press. allegro. closely spaced broken chords and syncopations. Level: Late Intermediate. then reunited. nr. (6/8. and legato right-hand octaves. Jackson. Billington left for Italy with her husband and her brother. a famous English soprano with a highly colorful and successful career. score BILLINGTON. Elizabeth took keyboard lessons from J.43 In 1794. Serious technical requirements for playing this etude: The RH scalewise melody expands and contracts over a repeated tone. (3/4.Schroeter. presto. ElsonA. Pendle. Ebel. Grove. was a German oboist and clarinetist. smooth chords in LH. Fetis. she married James Billington. Brown. a double bass player and her singing teacher. (3/8. The study also uses rapid extended scales in parallel tenths.42 In 1783. two years after the publication of a set of scurrilous Memoirs by James Ridgway.< previous page page_36 next page > Page 36 Etude in G major. Level: Late Intermediate. Paer. Careful articulations. she married a man named Felissent. Similar to a pastorale in movement and mood. After the death of her husband. Independent LH/RH articulations. her uncannily accurate intonation. 4 pp).”44 < previous page page_36 next page > . Her father. performing in operas by Bianchi. a violinist. Mac. London. Elizabeth (née Weichsel(I). Stern. Level: Advanced. 1818 Elizabeth Billington. 1765/1768—d. Dubal. who reportedly abused her. brilliant ornamentation. Fellisent) b. N-B. Venice. Cohen. Dec 27. Gordon. SOURCES: Baker. MGG. allegro. codetta contains large intervals in rapid contrary motion. requiring loose wrist in rotary motion. Laurence. H&H. They separated. Carl Weichsell. and in 1818 Billington died at her estate in Italy. LH plays a countermelody with pedal points. S&S. was renowned for the naturalness and control of her wide-ranged voice. and her mother was a singer and pupil of J. and sensitive balance between melody and accompaniment are required. later m. RH agility in rotation. Meggett. Great fun! Etude in A minor. and immediately made her debut in Dublin as Gluck’s Euridice. Paisiello. Hinson. with whom Billington herself studied. and her tasteful.S. and as a child appeared in public accompanying her brother. and Himmel written especially for her.Bach. “possibly as a result of injuries inflicted on her by Felissent. lyricism.C. allegretto. Aug 25. 8 pp). Thereafter. arpeggios. Haydn called her “ein grosses Genie” (a great genius). Etude in D major. Later voice lessons were with Mortellari in London and Sacchini in Paris. her two sets of keyboard sonatas published before the age of twelve are her only extant compositions. she enjoyed an extremely successful career as an opera singer in London and Italy. 3 pp). ed. Heinrich. Each is in two movements. See Six Sonatas. Jackson. H&H. KOM. the last three sonatas use the variation form of increased rhythmic values (“doubles”). above.K. see Single Works. Op. 1995). Each has two movements. by the eight-year-old Elizabeth. The works abound in energetic triadic melodies. 1998). E-flat. with informative prefaces and helpful ornament charts. ed. but articulations and the occasional crescendo seem to indicate the expected use of the pianoforte. and A major. 1995). Meggett. with some complexity of rhythm and virtuoso technique. Barbara Harbach (Vivace Press. Sonata VI (from Six Progressive Lessons for the Harpsichord or Piano Forte Op. Dynamics are consistent with the terraced” effects of the time. 1 [1775]. scalar passages. Brown. S&S. Sonatas in G. except for Sonata I. Sonata VI ed. Harbach (Vivace Press. Six Sonatas for Harpsichord or Piano Op. Hinson. Written. Level: Mid-Intermediate. A. Also av. and a good deal of ornamentation. Grove. and VI contain multiple themes. IV. 7–11 pp.< previous page page_37 next page > Page 37 SINGLE WORKS: Three Sonatas for Harpsichord or Piano Op. Vol. Figuration frequently shifts from broken-chord eighth note triplets to continuous sixteenth notes. 2 [ca. 8–12 pp. two-measure phrase repetitions. Alberti basses and broken-chord figures are prominent in the left hand. Stern. long. the harmony consists of primary chords with a few secondary dominants. in length. Second movements are complex rondos in Sonatas I. 1778]. two rondos). Fortino (Hildegard. 1995). Hyde.Hall. series eds. Cohen. sonatas III. amazingly. Glickman and Schleifer (G. ed. the sonatas show a clear understanding of the textures and forms of their time. First movements (except for II) are in cut time. and use arpeggio patterns. E-flat. ANTHOLOGIES: Four Keyboard Sonatas by Early English Women Composers. B-flat. simple but with some ornamentation and occasional irregular phrase lengths. rounded binary form. Sonatas in D. The Vivace edition is extremely clear and easy to read. sequences. with duple-meter allegros in binary form. 1/2. scores < previous page page_37 next page > . which has a brief Pastorale as an added middle movement. Six elegant two-voice compositions in galant style. GKH reprint). Sonata II. Ursula Rempel (Hildegard. and G major. as Six Progressive Lessons for the Harpsichord or Piano Forte (Broude Bros Performers’ Facsimile Series). ed. Level: Late Intermediate. Women Composers: Music Through the Ages. and second movements in triple meters (one minuet and trio. II and III. 3. 2). F. Ursula Rempel SOURCES: Baker. The melodies vary from graceful and galant to folklike and energetic. taking the name Mary Edward. Blackwell then won the American Scholarship. 1887—d. Alliance Publications is now publishing music by Mary Edward Blackwell through the efforts of Anita Smisel. Wisconsin as a Dominican sister. Hearts.” After Respighi’s death in 1936. 3 pp). very sensitive. who later described her work as “very. Milwaukee. Level: Mid-Intermediate. Anita Smisek (Alliance Publications. and in 1820. she met Igor Stravinsky. flute. The lyric Trio (andante) is in C major. A slightly quirky 20th c. Between 1921 and 1931. (G major.P. and Cibbini-Kozeluch. 1996). Boulogne. After graduating from St.46 At Beethoven’s suggestion. 1987 Marion Blackwell. as a faculty member of Rosary College and Edgewood College (Madison). moderato. 1811—d. and at Rosary College in River Forest. daughter of Thomas and Julia Britt Blackwell. She later studied piano with Moscheles. a number of her compositions were published by Clayton Summy and Boston Music. she entered religious life at Sinsinawa. In later years. 188745 A child prodigy. she made a sensational debut in Vienna. and piano. with charactistic rhythms but some harmonic playfulness. Sister Edward hosted Stravinsky and Boulanger for presentations and workshops.. Jan 7.. and embarked to Rome for a three-year study of orchestration and symphonic composition with Ottorini Respighi. one of her grateful piano students and the source of this biography. Sinsinawa. 3/4. She first taught music in schools in Peoria and Bloomington. at the age of eight. Nadia Boulanger invited Sister Mary Edward to join her studio in Paris. Illinois. Forthcoming works by Blackwell from Alliance Publications: Rain Song. A contemporary of Clara < previous page page_38 next page > . John’s Academy in Milwaukee. ed. Nov 15. and developed lifelong friendships with both great musicians. becoming the first woman (and first religious sister) to received degrees in music and music theory. Mary Edward ( née Blackwell. began piano studies at the age of six with her sister.< previous page page_38 next page > Page 38 BLACKWELL. playing Beethoven’s Piano Concerto in B-flat major. Inc. Guntramsdorf nr. Kalkbrenner. Sister Mary Edward continued her own musical studies with Professor Videk at the American Conservatory in Chicago. There. for soprano and piano. score BLAHETKA. Marion) b. for soprano. Marie Léopoldine b. a virtuoso pianist who was herself the daughter of Viennese composer and music publisher Andreas Träg. Vienna. O. SOURCES: Alliance Publications web page. the five-year old took lessons from Joseph Czerny. version of the archaic dance. SINGLE WORKS: Menuet. Jan 12. Blahetka studied piano with her mother. WI. at the École Normale de Musique. 9 pp). and taught piano for the remainder of her life. Ledeen (Hildegard. COLLECTIONS: Marie Leopoldine Blahetka: Music for Piano. provides a dignified contrast to the brilliance of running figures. appeal. Blahetka moved to Boulogne.). and arpeggios in the surrounding variations. 3 pp). Lengthy introduction. and retains that form throughout the five amusing (and challenging) variations. England. in rounded binary with repeats. virtuoso leaps. 12/8. Paris and Vienna. and a coda. chamber music. Her playing was praised by Chopin and Schumann. various tempi. The nocturne-like B section has an embellished lyric melody over an arpeggiated bass.< previous page page_39 next page > Page 39 Schumann and a pianist of the same rank. like an écoissaise. is in two eight-bar sections. composed. In 1840. n. mounted under the piano keyboard and played simultaneously. (B-flat. repeated. writing more than seventy works (nearly all published in her lifetime) for solo piano. (C major. piano with orchestra. Originality. and France. octaves. and was a member of the Viennese Biedermeier musical world. 16 pp). two main alternating ideas. and many sets of variations. Blahetka belonged to Schubert’s circle of friends. Polonaise Op. introduction and 3 pp. Lyric and delicate song without words. 3. Blahetka studied composition with Hieronymus Payer and Simon Sechter.d. Trills. a Siciliano in A minor. reminiscent of the Parisian opera ballet. the Netherlands. coda < previous page page_39 next page > . and she successfully toured as a concert pianist in Germany. 2/4. common time. allegretto. Level: Advanced. 1992). an adagio. and includes polonaises. Variations sur un Theme Original Op. 6. She also played the physharmonica. 3/4 and common time. Level: Advanced. 15 pp). nocturnes. and the fifth. Souvenirs d’Angleterre Op. Var. Level: Advanced. Level: Advanced. Six variations. valses. and considerable challenges to the pianist are displayed in these virtuoso examples of piano music from mid19th c. Her virtuoso piano music. explores the singing tone and brilliant upper range of the instrument. andante. (B major. and one opera. 19 pp). andante cantabile con molto expressione. finishes with a cadenza into the sixth. common time. Level: Early Advanced. Bohemia. The 4½ pp. a polonaise (score preface). with an expression stop controlled by the player’s feet. (A major. ed. Variations pour le Piano-Forte sur la Cavatine favorite: “Cara deh attendimi” dans l’opera Zelmira de Rossini. 38. rapid ornaments. where she performed. The lively theme. SINGLE WORKS: Mélodie (Editions Ars Femina. The two-page Adagio introduction in C minor ends with a cadenza into Rossini’s sparkling theme. the fourth is a series of repeated notes. and crossed hands add interest. reminiscent of both Beethoven and Mendelssohn. 19. an experimental instrument similar to a reed organ. voice (including a Rastlose Liebe and an Ave Maria ). (D major. Dubal. Gordon.< previous page page_40 next page > Page 40 flank the main theme. florid introduction in common time sets the stage. Level: Late Intermediate. A strummed bass supports a caballetta-like melody. ClagS. Mac.” make an appearance in the grandioso finale. Boenke. or with orchestral accompaniment. Rondeau Elegant No. grovemusic. The least difficult of the three. SOURCES: Baker. 11 pp). Jeffrey Kallberg (Garland Publishing. 11 pp). Vol. with repeated notes in octaves. the work uses the entire tonal and dynamic range of the piano. Britannia. A leggiero waltz begins with three grace-noted chirps. (G major. S&S. 3. hands alternate on G minor/major arpeggios. a lengthy.10 of series Piano Music of the Parisian Virtuosos 1810–1860. piano with string quartet. ANTHOLOGIES: Ragtime Rarities: Complete Original Music for 63 Piano Rags. later. Kaluza (Furore. tempo d’une valse. the hands trade roles. Franck. Stern. and the curtain rises on splendid pianistic chiffon and lace in the tradition of Chopin and the French opera ballet. Kehler. (E-flat major. Late 19th c. < previous page page_40 next page > . 37. (B-flat. Rondeau Elegant No. 1. H&H. eighth note scales. allegro. and Contemporaries. Facsimile edition. allegretto. scores BOLEN. Tichenor (Dover. Designed for performance by solo piano. and triads picked out in staccato. 3/4. including “Rule. ed. Transitions contain brilliant arpeggios and scales. 2. Lengthy works requiring stamina and technique commensurate with a Chopin valse brilliante . Grace M. followed by an arpeggio sweeping up to an appogiatura. In each. ANTHOLOGIES: Native and Foreign Virtuosos: Selected Works of Zimmerman. 9 pp). ElsonA. a little shuffling in place. In a contrasting section. American No biographical information was available for this ragtime composer. 1993). Cohen. Laurence. Ebel. Heinrich. MGG. and the step is ready to begin again. Level: Advanced. “God Save the Queen” (“My Country Tis of Thee”) and its several variations. then three more chirps. B&T. KOM. Hinson. Rondeaux Élégans sur des Melodies Favorites Allemandes pour le Piano (divises en trois Suites) Op. 6/8. Alkan. Fetis. 1994). Meggett. Rondeau Elegant No. A lovely nocturne-like adagio after the third variation provides a respite from the scintillating pyrotechnics in the rest of the work. 1975) and Ragtimes für Klavier. Other tunes. Pendle. ed. Level: Late Intermediate/Early Advanced. 3/4. P. Graun. She was born into a family of theatrical and musical professionals: her mother. common time. The family. Elector Friedrich August II in Dresden. These are the six flute sonatas. The sixteen-bar interlude. and Quantz. and Frederick the Great at Potsdam.Bach. where Anna’s stay coincided with Haydn’s early years. Opus I. tempo di cakewalk. Descending scale segments alternate with ascending arpeggios. an Italian tenor. Sonata I in G Minor. stage designer. Petersburg. ending with a trill to an appogiatura. Triadic/scalar melodies are motivic rather than thematic. and very little imitation. 1739/40—d. the same houses which employed Hasse. three movements each. set in one of the standard rag forms: AABBCC-Interlude-C. II: < previous page page_41 next page > .47 Anna herself played the harpischord. was hired by many noble patrons. while harmonies in slow movements add to the sweetness and pathos. Graceful. which seems to have originated in Venice. Barbara Harbach (Vivace Press. By 1755. inventive and welcome additions to the rococo repertoire. In 1762. Fast movements highlight technical skill. COLLECTIONS: Six Sonatas for Harpsichord or Piano [1757]. Girolamo Bon. 6–10 pp. sister of Frederick the Great. Rosa Ruvinetti. with non-melodic basses. and lyricist. with repeats. all published during the Bayreuth stay and before Anna was twenty. was a comic opera singer. they must have known knew each other. ed. is in the relative minor of the Trio (C) section. 3 pp). 52pp. Three collections of chamber works comprise her known output. ?Russia. based on the rhythm of the introduction.E. like a movement from a dance suite. 2/4. 1995). the six sonatas for harpsichord Opus II. including the Russian court at St. Challenging. and Sei divertimenti a due flauti e basso. KOM. C. Simple forms. forward-moving. the entire family moved to the court of Prince Nikolaus von Esterhazy. Level: Late Intermediate. Six sonatas. SOURCES: Hinson. I: Allegro. Anna b.< previous page page_41 next page > Page 41 The Smoky Topaz (March and Two Step) [1901]. An eight-bar intro (hands in unison at the octave) with a Latin feel opens this lighthearted piece. in length. score BON (DIVENEZIA). was an artist. two-voice textures. composed. simple but graceful ornamentation. after 1767 Anna Bon was one of the few women in the eighteenth century to have her music published during her lifetime. (A-flat/D-flat. Opus III. director. and to be included in important contemporary reference works. and her father. and sang. the Bons were in Bayreuth at the court of Margrave Friedrich of Brandenburg Culmbach and his wife Wilhelmine. one overruling emotion per movement. Level: Late Intermediate. No records exist of her life after her move to Hildburgshausen and her 1767 marriage to Mongeri. uses LH repeated notes. 1991) Sei Senate Per II Cenbalo (sic) /Opera Seconda (Performers’ Facsimiles #PF 152. 2/4. Edition Donna. tremolos.< previous page page_42 next page > Page 42 Andantino. (facs. altered in the recapitulation. 3/8. Energetic arpeggios alternate with scales. Sonata VI in C Major. I: Allegro moderate. II: Andante. Closes with three adagio measures of arpeggiated chords. Rapid galant style. Heinrich. Cohen. Augmented sixth chords add expressive color. 2/5-6 (Editions Ars Femina Nos 40-05 and 40-04) Six Sonatas for Keyboard. Two and three-voice textures. Vol. 1998). 1997) 6 Cembalosonaten (1757). G minor.K. French overture style. common time. series eds. grovemusic. Jackson. Sonata V in B Minor. III: Allegro. in a two-voice texture with four-part chords at the beginning of sections and the final cadence. II: Adagio non molto. with running sixteenths on scales and broken chords accompanied by the merest suggestion of harmony. Sonata III in F major. 3/4. Kloft. common time. III: Allegretto. B major. early sonata-allegro form. OTHER AVAILABLE EDITIONS: Clavier Sonatas Op. Women Composers: Music Through the Ages. full chords before cadences. ed. 1998): Sonata II in B-flat major. As in first movement. SOURCES: Boenke. A triadic theme set to dotted rhythms. II.Hall. Dances along in jig-fashion on dotted figures and sextuplets. Sonata II in B-flat Major. III: Allegro. The work moves steadily on the quarter-note beat. common time. ed. III: Allegro assai. H&H. with occasional four-voice chords.. common time. Sonata IV in C Major. I: Allegro. Melody is doubled in thirds. Hettrick (Hildegard. 3. I: Allegro non molto. varied with sixteenth note scales. 3/4. 2/4. followed by six melodic variations over an ostinato bass pattern. II: Largo. B-flat. Hinson. III: Minuet and trio. Trio is in the parallel minor. 2/4. Energetic. II: Andante. III: Minuetto con Variazione. Stately and unhurried. A few dotted rhythms refer to first movement theme. scores < previous page page_42 next page > . A sixteen-measure theme is. II: Adagio. dramatic rests. 3/4. 3/4. Fortino. 2/4. with dotted rhythms. 2/4. Continuous 16th note figuration over a wide range of the keyboard. full-voiced chords. ed. A lively scherzo. Op. opening with a motive in conversation between the hands. KOM. Glickman and Schleifer (G. I: Allegro. Dashing and attractive melody. I: Allegretto. common time. Eitner. ed. and sweeping flourishes on thirty-second notes. SOURCES: Ammer. In the agitato B section. ed. Also available in American Keyboard Music 1866 Through 1910. Two of them achieved astronomical success: I Love You Truly sold a million copies. ed. and became friends with a number of movie stars. Dec 28. Fuller. 4 of Three Centuries of American Music. H&H. Bond married twice: the first marriage. Cohen. Bond settled in California. Laurence.Hall. after six years of marriage to Dr. the harmonic rhythm increases to two chords per measure. WI. 1990). her works were characterized by sweet melodies. andante canatabile. and is still occasionally heard at weddings. 1862—d. with a coda entirely of the rolled triads. A blend of parlor and art song traditions written mostly to her own texts. 3 pp). KOM. and in promoting her works with influential people. B&NB. She published a book of memoirs. a few piano works are in existence. 1946 American composer and publisher Carrie Bond was a precocious child who played Liszt’s Second Hungarian Rhapsody by ear at the age of nine. ClagS. she was left a widow. Level: Mid-Intermediate. Janesville. and the scalar motive is fragmented. Carrie Minetta Jacobs (var. (F major. and a collection of poems entitled The End of the Road.Smith. helped found the California Federation of Music Clubs. An appealing melody sings above rolled triads. lilting rhythms. the left hand gently places a tonic or dominant pedal tone at the beginning of each measure. Hollywood. and simple accompaniments.K. The Roads of Melody. score < previous page page_43 next page > . and continued to publish songs into her eighties. Pendle. Dedicated to the popular American pianist. Her formal musical training was limited to local teachers. Stern. Frank Bond. Mac. Schleifer and Dennison (G. where she wrote newspaper articles. Vol. Glickman (Hildegard. B&T. to a man named E. Jacobs-Bond. In 1901. Amy Fay. The first section returns. the resourceful and energetic Bond formed a publishing company in Chicago. Aug 11. CA. A Perfect Day sold an unbelievable eight million copies of sheet music in over sixty editions. printing over 175 of her own songs.< previous page page_43 next page > Page 43 BOND. Although most of Bond’s two hundred compositions were songs. Several long trills and three chromatic runs provide a bit of challenge. and was a favorite during World War I. 1990). common time.48 In 1920. then. ClagAm. Borroff. Rêverie [1902]. ClagH. ANTHOLOGIES: American Women Composers. but she showed considerable early talent in illustrating her poems in picture and song. Glickman. gen. née Jacobs) b.J. over five million recordings. Baker. eds. ended in divorce. 2/4. L’escarpolette (Valse) [Little dancing slipper]. A more lyric second theme goes through many keys in the development. swirling two-note slurs lead to an arpeggio. d’lndy. She married in 1883. with only two or three voices. and Saint-Saëns. 5 pp). < previous page page_44 next page > . 8 pp). ranging from midintermediate to advanced level. Bonis studied harmony with Ernest Guiraud and organ with César Franck. 1858—d. d’lndy. including twenty-two chamber pieces. Sarcelles. 1993). Bonis produced over three hundred works. added-note and suspended chords. Seine-et-Oise. andantino. A “watery” piece not unlike Reflets dans l’eau or Jardins sous la pluie. Shifting 32nd note arpeggios between the hands surround the unhurried eighth note melody. songs. and spent the next ten years raising her family. Level: Late Intermediate. Mel-Bonis. The texture is delicate. 1987). and are balanced by short steps back down. The recurring motif of a rising third is paired with undulating seconds. 6/8. choral pieces. very often a single note serves as pickup. Her piano works are frequently in well-constructed binary forms. as well as occasional pentatonic and whole-tone scale fragments. generally overlooked. Nineteen works. and Pierné at the Paris Conservatoire. andantino. Level: Advanced. ascending 8th-note scales accompany a third theme in C major. however. Level: Early Advanced. Mar 18. 7th. Real dissonances are rare. SINGLE WORKS: Mélisande (Editions Henry Lemoine. it closes with eleven chorale-like measures of 9th chords. should be included in discussions of the French post-Romantics. (E-flat major. suggestions of story. (D-flat major. then began composing regularly around 1894. Mme Albert Domange) b. winning first prize in harmony in 1880.< previous page page_44 next page > Page 44 BONIS. Paris. altered mediants and occasional whole tone fragments add color. Bonis improvised at the keyboard and made remarkable progress as a pianist. shape. 1937 As a child. ABA form. all of whom praised her music warmly: Franck. eleven orchestral works. mouvement modéré de valse. a brief but lovely Impressionistic work. and used the entire range of the keyboard in her wonderfully idiomatic and well-written pieces. organ music. Barcarolle. and 150 works for solo piano. Bonis’ adventurous harmonic palette includes seventh chords. and 11 th chords. Debussy. A breathlessly gay Viennese waltz. and the general effect is that of an Impressionist painting: a wash of shifting colors and movement. lovely Impressionist work evoking movement and moods on the water. Bonis had a gift for melody and movement. Beautiful watercolor miniature. Melanie Hélene (pseud. and substance. A classmate of Debussy. 3 pp). Pierné. Jan 21. COLLECTIONS: 17 Pieces Pour Piano (Editions Henry Lemoine. with several themes and a development section in a related key. (G major. 3/4. Her work. 9th. sliding harmonies over pedal tones. 6/8. punctuated by full-voiced chords leaping around at cadences. majestueux. A Spanish character piece in ABA form. A playful piece. 4 pp). grave. B section is in D-flat major. in rounded binary form with two prevalent rhythmic motives. allegro molto. the sighing motive is in minor mode. (A-flat major. See Single Works.” Middle section is in F-sharp minor.< previous page page_45 next page > Page 45 Bourée. using typical dance rhythms. 4 pp).” this buzzing insect is rarely still. (F Major. with chords marching in a jerky staccato. (A minor. A graceful waltz reminiscent of Chopin. allegro con moto. 5 pp). common time. allegro. then zooming through trills and turns in the middle of the keyboard. Marionettes. (E major. perhaps the creature flits out of reach—or stops for a bite. Level: Mid-Intermediate. the lyric theme. Level: Early Advanced. first hopping down the keyboard in bursts of 16th notes. appears out of the prevailing arpeggios. Level: Mid-Intermediate. Level: Advanced. then crosses over to join in the melody. Prelude. ornamented trio is in A major. then the theme returns in the parallel major. Level: Late Intermediate. Gai Printemps [Gay spring. harmonized and played over tonic and dominant pedals. Binary dance with repeats. allegretto con moto. (G-flat major. evoke sounds of an organ. prevailing texture is a 16th note cloud of seventh-chord arpeggios. cut time. Entire keyboard is used. Ascending scales. 4 pp). 6 pp). Binary dance with repeats. allegro con molto. Keys change frequently in a long developmental section. In the first section. in pointillistic fashion: a descending scale in dotted quarters shifts register on each beat. Romance sans Paroles [Song without words]. Lovely romantic melody. and the upside-down theme is now joyous and elegant. Level: Late Intermediate/Early Advanced. 12/8. (F-sharp minor. Refined hops and mincing staccato steps on eighth note scales. 6/4. in 4. andantino. and trills. Pavane. con moto. not unlike Debussy’s “Engulfed Cathedral. like Schumann’s “Soldier’s March. 4 pp). Level: Advanced. Dignified binary dance has a measured tread in a < previous page page_45 next page > . Le Moustique [The mosquito]. (B minor. In the standard texture for the genre. The mode changes to the relative major. Texture changes to continuous eighth notes with open-fifth arpeggios. Mélisande. A contrasting piu vivo in staccato eighth notes and dissonant chords provides a rest.” The puppets seem to dance in the contrasting center section. 4 pp). poco andante. (B minor. Sevilliana. a descending pentatonic scale (6-5-3-2-1). La cathédrale blessée. (G-sharp minor. The suave. Level: Mid-Intermediate. Level: Mid-Intermediate. (B minor. 3/4. Level: Late Intermediate. LH plays a bass octave at the start of each measure. Menuet. Like Rimsky-Korsakov’s “Bumblebee. allegro molto. 6 pp). repeated notes. Impromptu]. in 4. common time. delicate and wistful. 3 pp). Seven bars in the middle are in E major. A modal folk melody accompanied by broken-chord musette-like bass. 6 pp). 3/4. “No. Level: Mid-Intermediate. Joyeux réveil. moods. 2/4–3/4. while the left hand plays calm. Croquemitaine. first striking a bass octave. RH plays triads ornamented with grace notes. 6 pp). Le Moulin. La toute petite s’endort. 1912).g. cut time. A contrasting section in F-sharp minor moves a bit faster. quasi andante. (F-sharp minor. middle section is in D-flat. Patineurs (à roulettes). No. kiddie. < previous page page_46 next page > . Level: Early to Mid-Intermediate. (G minor. Frère Jacques. and Les noces de Polichinelle. moderato.< previous page page_46 next page > Page 46 curiously light texture. 8 pp). and rhythms. (E-flat major. 6/8. flirting with whole-tone scales. Level: Late Elementary to Mid-Intermediate. 6/8. 1993). and Carillon. an ornamented melody is accompanied by deliberately plucked broken chords. assez vite. Several interpolated phrases (e. wide chords. Level: Advanced. Level: Advanced. Short bursts of running 16th notes are interrupted by rests and tip-toeing quarter-notes. Piquenique. Plutôt une vielle danse française. Une Flûte Soupire [A sighing flute]. Lacy. LH doubles the main theme. then crossing over for the chromatic tune. as the seeker stops to look around and listen for his playmates. A pas de loups. Joyeux scouts. Valse lente [Slow waltz]. A subdued song-without-words. LH provides both bass and melody in this poignant dance. in “song without words” texture. with many LH crossings into the treble. each. with larger notes than rest of collection. Au crepuscule [At twilight]. 1928). 3/4. Bébé s’endort. and meters. trés modéré. The melody descends in fluttering triplets. Six charming character pieces. or tot]. Level: Early Advanced. 2 pp). Cache-cache. 1920s illustrations accompany each piece: Première solitude. 2 pp. Level: Late Intermediate. presto. 3/4. (B-flat minor/G-flat major. Manuscript writing. mood. (C-sharp minor. assez vif. common time. moderato. Scénes Enfantines (Max Eschig. In close position. La leçon de solfège. Près du ruisseau. Level: Mid/Late Intermediate. Fourteen brief character pieces for children. Valse lente. 1–2 pp. Air connu. Marche militaire. with styles ranging from mid-Romantic to early impressionistic. fragile miniature. Ballade. Eight short works describing scenes in a child’s day: Aubade. 1: Cache-Cache [Hide-and-Seek]. A tonal portrait with modal borrowing and many changes in texture. 2 pp). in easy keys and a variety of tempos. Level: Advanced.. “Fifille” sage. 6 pp). (B-flat major. and key illustrate the different sections of this musical tale. you can’t catch me!”) and plenty of dynamic contrasts make this piece almost as much fun as the game. Six Pièces Pour Le Piano (Éditions Henry Lemoine. 4 pp). Fluttering 16th-notes in the background texture are much smaller than normal-size melody tones. Miocheries: 14 scenes enfantines [Mioche=urchin. texture. Changes in tempo. Level: Late Intermediate. An exquisite early Impressionistic work. Salomé. (B major. (Max Eschig. Ronde. Cohen. Her music is variously described as eclectic but based on Classic formal principles. Tonal. you awaken] (Donemus. and arpeggio octave triplets against block-chord duplets. 1961). a well-known Dutch novelist. Oct 6/8. 1953). Marionnettes. beginning as a gentle cradle song. Stern.< previous page page_47 next page > Page 47 Nos 2–6: Gai printemps. (2/4-3/4-6/84/4. Among her compositions are a one-act opera. LISTED but not found in print: Drie dansen (Alsbach) and Sonata (Alsbach. SCB. 1943). The Hague. Strong jazz feel gives the illusion of improvisation. 1st ed. 1971 Johanna Bordewijk-Roepman began her compositional career after the age of twenty-five by writing little songs to the pictures in her children’s storybooks. In two sections. Johanna (née Suzanna Hendrina Roepman) b. S&S. but with shifting tonal centers and many accidentals. a Concerto. Ninths. berceuse/tranquillo-animato. and extremely influenced by Impressionism. The Garden of Allah. and added-note chords are used. (6/8-4/4. and L’escarpolette —see Collections: 17 Pièces Pour Piano. Thereafter. fragmented themes are more rhythmic and harmonic than melodic. conductor of the Rotterdam Philharmonic Orchestra. 12pp). Heinrich. neo-classic in style. éveille-toi [Standing up. but she was primarily selftaught. < previous page page_47 next page > . to texts by her husband. Boenke. Level: Advanced. Gordon. Strongly metric. score BORDEWIJK-ROEPMAN. Tonal. choral and carillon works from the Dutch government and various municipalities. 7 pp). 1892—d. Plato’s Dood. Aug 4. grovemusic. Mac.49 Her piano works include the Sonata. late Romantic in style and characterized by careful instrumentation. there are sequential chromatic triads. A visit to north Africa inspired her first orchestral suite. with occasional shifts of meter and beat division. In 1936–37. H&H. Laurence. Frans Bordewijk. KOM. and some incidental pieces. Impromptu voor Piano (Donemus. in Hinson’s Guide. Rotterdam. with colors and rhythms reminiscent of both Gershwin and Debussy. Bordewijk-Roepman received numerous commissions for orchestral. and an oratorio. Facsimile manuscript. SOURCES: Baker. Hinson. frequently. she took lessons in orchestration with Eduard Flipse. Level: Late Intermediate/Early Advanced. Romance sans paroles. elevenths. Meggett. The work contains ninety-one tempo changes in twelve pages. with many lateRomantic harmonies. SINGLE WORKS: Debout. then getting gradually louder and faster. with solid construction and logical development. and her Piano Sonata won a government prize in 1946. maestoso moderatoallegretto-andante-molto lento. Le moustique. Rotonde. NewGrove. moving inner voices. and piano. The harmony is chromatic but functionally tonal. Henriette Hilda b.50 After studying piano with her mother. 3/4. V. in minor keys. (F-sharp minor. with a soprano melody set above block triads. voice. Level: Advanced. 2 pp). Ghostly octaves in a triplet rhythm evoke Halloween memories of the child’s song. with a despondent melody descending an octave and a half.” Rolled chords and a lengthy fortissimo passage provide drama. 1952 Considered the most talented Dutch woman composer of her time. Rapid. Six mysterious mood pieces sharing a number of characteristics: all are short. a concert pianist who taught at the Amsterdam Conservatory. common time. but later compositions employed impressionistic and neo-Classic modernisms such as bitonality. presto ma non troppo. A wide range of the keyboard is used. Bosnians graduated from the Conservatory at seventeen. 3 1/2 pp). cantando e dolente. common time. Hinsonl. grovemusic. Spiral bound oversized manuscript. moderate assai. Level: Late Intermediate/Early Advanced. tricky scale passages on eighth note triplets might be the wind blowing in the cracks. mixed meters. 6 pp). Amsterdam. I. orchestra. allegretto. common time. (F minor. Meggett. lento assai. and triplet figures. 1952). Her early works were late Romantic in style. Level: Late Intermediate. KOM. with a decided fondness for the lowest bass register. (D minor. (E minor. a French singer. The longest and most difficult in the set. 2½ pages. parallelism. “the worms go in. (E minor. Level: Late Intermediate. Bosnians also composed a number of songs on French texts which she performed with Noemie Perugia. common time. IV. producing many pieces for cello. In this lovely arioso. and went on to an extremely successful career as a soloist and accompanist. Level: Late Intermediate. S&S. including playing for Peter Pears in his Dutch recitals. 1 1/2 pp). each soprano phrase is punctuated by a bass drone on open fifths. A perpetuo moto toccata of < previous page page_48 next page > . and Sarah Bosnians-Benedicts. II.) Like an elfin dance by Grieg. H&H. the worms go out. VI. 1895—d. Level: Late Intermediate. Amsterdam. 2 pp).< previous page page_48 next page > Page 48 SOURCES: Cohen. Jul 2. Mostly pp. Dec 5/6. Stern BOSMANS. and quartal harmony. clearly written. principal cellist for the Concertgebouw Orchestra. SINGLE WORKS: Zes Preludes Voor Piano (Donemus. She studied orchestration and composition with Cornelis Dopper and Willem Pijper. 5/4. with modal borrowing and some sliding harmonies for uneasy dissonances. (C minor. this concert pianist was the daughter of Henri Bosnians. agitato. III. sacred and secular choral music. 1950).). Laurence. Aug 21. with her cantata Faust et Hélène. In spite of sporadic lessons due to her illness. Lili’s mother. and a supportive musical family. she became the first woman to receive the Premier Grand Prix de Rome. Mac. Johnson. with impressive accomplishments due to talent. Boulanger continued to work up to the time of her death of tuberculosis at age twentyfour. was a singer who came to Paris to study with Ernest Boulanger.d. a Russian princess. variations. Boulanger studied privately with Georges Caussade. Mezy. Although Boulanger was forty years her senior. Paris. and miscellaneous pieces for piano.51 Left a semi-invalid after severe bronchial pneumonia at the age of two.52 Her more than fifty works include an unfinished opera. is reflected in her work. (C minor. Elegant and beautiful. In 1913. The ending is a hair-raising tour-de-force with octaves in both hands. Yvelines. will. 3/4. as Morceau de piano: Thème et Variations (Schott. and strong. Baker.< previous page page_49 next page > Page 49 rapidly changing scales in triplets. 1918 Lili Boulanger. had regrettably brief life. Lili (née Juliette Marie Olga) b. KOM. 10 pp). Cohen. then at the Paris Conservatoire with Paul Vidal. a professor and composer at the Conservatoire. with occasional octaves. Prepared and completed by the pianist Emile Naoumoff. Paris. Her sister Nadia said of her. etudes. and the precocious child attended classes at the Conservatory with her sister Nadia. LISTED but not found in print: Vielle Chanson 1948 (Broekmans and Van Poppel. n. imaginative. Lili was restricted by illness in all her later efforts. ed. at once childlike and wise. “the beauty of her countenance. Boenke. at the age of nineteen. some orchestral and chamber music. Her music is late Romantic and early Impressionist in style. from Hommage a Willem Pijper. S&S. younger sister of the most influential composition teacher of the twentieth century. 1893—d. songs. Selma Epstein (Chromattica USA Press. Hinson. and harp. Lili learned to play piano. Even though gravely ill. Also av. Grove. 3rd ed. lyric. and many dynamic changes. 1997). Boulanger’s largest work for piano (score preface). cited in Hinson’s Guide. < previous page page_49 next page > . SOURCES: A-Z. H&H. Stern BOULANGER.”53 SINGLE WORKS: Thème et Variations [1911–1914]. Already knowing she wished to be a composer. violin. frequent accidentals. Mar 15. Gordon. Illness and the outbreak of World War I interrupted her stay in Rome. cello. nr. Level: Late Intermediate/Early Advanced. they married and had three children. An eight-measure theme with eight variations and a Finale. and tritones. 1999). See above. 3/4. 22 Klavierstücke. 3/4. 1992). III. Hinson. a third staff is needed on the final page for pianissimo bell tones in the highest register. Level: Late Intermediate/Early Advanced. Level: Late Intermediate. mais joyeusement. Hutcheson. brambly borders. assez vite. rarely achieving cadential closure. KOM. old stonework. Kirby. Johnson. espressif. 1996). enharmonic spellings. added-note chords. hands double the melody at the octave. Vol. Cohen. ed. 3 pp). N-B. 1996).” ANTHOLOGIES: The Century of Invention. with a light but continuous accompaniment of ascending 16th note arpeggios. Stern. but the marking on the third page could serve for the entire piece: “très léger. As gay and carefree as Poulenc chanson. (B major.Hall. Trois Morceaux. Gordon. tempo and dynamics. C-sharp. 6. Jezic. Cortège [Procession] [1914]. F-sharp) form the melody. HAMW. There are many subtle contrasts in articulation. FRK. B. and Great Women Composers. Boulanger paints in muted tones. with borrowed and added-sixth sliding chords for color. 4 pp). SCB. flatted-seven chords. Pendle. MGG. D’un vieux Jardin [In an old garden]. Hinson (European American Music. Level: Late Intermediate. Baker. Women Composers: Music through the Ages. (B major. II. D’un vieux Jardin ( Trois Morceaux. Part II. this work bubbles along in four-bar phrases and parallel periods. an absence of leading tones. Grove. ed. Heinrich. series eds. 6 pp). ClagS. Laurence.Schirmer/Hal Leonard. Meggett. Gillespie. An Impressionistic tone-painting of the dried grasses. Frauen Koraponieren. 2). 9th and 11th chords. Originally composed for violin or flute and piano. SOURCES: Ammer. Attractive fragments based on four tones (G-sharp. A-Z. H&H. ed. (C-sharp minor. Glickman and Schleifer (G. and overgrown paths in an old garden. D’un Jardin Clair [In a clearing]. S&S. Rieger and Walter (Schott. pas vite. and occasional whole-tone fragments all add color. In the second half. Boenke. Magrath.K. scores < previous page page_50 next page > . I. no. 2/4. Smith (Mel Bay. Mac.< previous page page_50 next page > Page 50 Trois Morceaux pour Piano [1914] (G. achieving movement and light by avoiding functional harmony: the descending motif wanders from key to key. 1979). Baker. Gena (var. Anderson. 2. Branscombe studied conducting in New York with Warren Erb. Frank Damrosch. Goss. Somerset. her Fantasia in G Minor for piano and < previous page page_51 next page > . a women’s choir. S&S.Tenney. and was soon in widespread demand as a conductor of choirs and women’s orchestras. B&T. Mrs. twice winning the gold medal for composition. Best known for her choral music.” a group of young composers at the London Royal Academy of Music in the late 19th century. England. NewGrove. continuing to compose for commissions into her 90s. 3rd ed. Washington. Boenke. a lawyer. and an honorary M. a husband and children to love and serve brings enrichment of life to a woman. ElsonA. later. ed. one of whom died very young. from Whitman College. Heinrich. John F. was a member of “The Party. the Golden Rule Foundation. and they had four daughters.Tenney/Tenny) b. Picton. Aug 16. Fuller. After teaching at the College and at Whitman College in Walla Walla. Jul 26. an English composer and pianist.< previous page page_51 next page > Page 51 BRANSCOMBE. New York. But being a part of the world’s work in humbly serving and loving the illumined force which is music brings fulfillment. 1881—d. Elaine Keillor (Ottawa. Vol. At age fifteen. which she led for twenty years in standard works as well as compositions by herself and other women. she won a scholarship to the Chicago Musical College. 1863—d. where for seven years she studied piano with Rudolph Ganz and composition with Felix Borowski. Laurence. as well as pieces for orchestra. she founded the Branscombe Chorale. B&NB. Goss. 1983). Meggett. and around thirty short works for piano. Nov 16. H&H. chamber groups. Bright won the Potter Exhibition. Stern BRIGHT. SOURCES: Ammer. Hinson. she married John F. ClagAm. Grove Am. in Modern Music-Makers. Sheffield. 1977 Canadian/American composer and conductor Gena Branscombe began composing before she was five years old. In 1934.”54 LISTED but not found in print: Cavalcade and Valse-Caprice [1902]. quotes Branscombe: “Having a home. including the League of American Pen Women. Pendle. In 1884.A. She entered the Academy at the age of seventeen and studied piano with Walter MacFarren and composition with Ebenezer Prout. cited in Hinson’s Guide. She was active in the American Society of Women Composers and the New York State Federation of Women’s Clubs. ClagH. in The Canadian Musical Heritage: Piano Music. Wyndham Knatchbull) b. Dora Estella (Mrs. Skowronski. and Chalmers Clifton. Grove. On returning home. ClagS. she published over 150 songs. Albert Stoessel. England. Mac. Cohen. Branscombe studied composition with Humperdinck in Berlin for one year. 1951 Dora Bright. and received awards prizes from many organizations. Nov 4. Ontario. Gina. In 1951. Bright’s individual style combines careful construction with appealing melodies and lush chromatic harmonies. including a G major version. ANTHOLOGIES: Women Composers: Music through the Ages. she died at her home in London. 25 pp. London. and her later works include a dramatic song cycle. songs. score BUCKLEY.Macfarren’s (For two pianos). La Camargo and The Dancer’s Adventure are the most famous of their collaborations. SOURCES: Boenke. Variations on an Original Theme of Sir G. Level: Advanced. Cohen. H&H. Jan Ladislav Dussek. an English harpist. but continued to compose. Extant works include operas. The simple. Bright performed less frequently in public. First performed by Bright and her lifelong friend. She traveled to Paris for lessons in orchestration with Moritz Moszkowski. Romania and Scherzetto. and the only one to appear in print. was the first pianist to sit with his right side facing the audience. Bright wrote a regular column of music criticism expressing her scathing dislike for contemporary music from Britten to Stravinsky. Meggett. Ebel. series eds. Theme and six variations. S&S. and a few piano pieces: Two Sketches. Her father. ElsonA. 6.< previous page page_52 next page > Page 52 orchestra was the first orchestral work by a British woman to be performed at the conservative Philharmonic Society concerts. In 1888. Six Songs from the Jungle Book. and very well received. Laurence. grovemusic. composer of over three hundred works. Composer Sophia < previous page page_52 next page > . at the age of 88. she became the first woman to win the Lucas Medal for composition for her string quartet. G minor. ca. and writer. The most frequently performed of Bright’s two-piano variations. Vol. ballets. and a number of works for ballet created with the famous dancer Adeline Genée. and several duos. var. Brown. In later years.” and a majestic fugal finale. the duet below has been included in this catalog.A. Mac. Stern. pianist. organist. Olivia Dussek (née Dussek. 1999).K. Ethel Boyce. her personal preference being the works of the early Romantics. 1799—d.Hall. She established herself in Britain and on the continent as a pianist and composer with a series of recitals promoting historical and contemporary British composers. Fuller. composer. somber twenty-four bar theme in G minor undergoes six inventive variations. Bulkley/Bulkeley) b. a bubbling “alla polacca. Hyde. and one of the first to include pedal markings in his compositions. ca. 1847 Olivia Dussek. Glickman and Schleifer (G. After her marriage to Crimean War veteran Colonel Wyndham Knatchbull in 1892. Air and Variations . Three Pieces. Sep 29. was the daughter of two composers and a member of the illustrious Czech family of musicians. London.55 Because none of her solo piano works is currently available. Stern. Idiomatic writing for the piano. S&S. ANTHOLOGIES: Women Composers: Music Through the Ages. Mattie Harl Late 19th c. a rather common pastime in the late 1890s and early 1900s” (score preface). Tichenor (Dover. the second half. a Rondo.< previous page page_53 next page > Page 53 Corri Dussek. Hinson. ElsonA. scores BURGESS.K. B&T. Rag Alley Dream [1902]. series eds. The first ten pages are freely rhapsodic. Mac. 4 pp). Buckley and served as organist at Kensington Parish Church from 1840 until her death. Level: Late Intermediate. SINGLE WORKS: Fantasia for the Pianoforte. she married a Mr. SOURCES: Brown. (C minor/E-flat/A-flat majors. above. Fuller. Veronica Dussek Cianchettini. An excellent performer. 19 pp). (C major. American No biographical information about this ragtime composer was available. where a heavier texture prevails. appear in this catalog).Hall. Grove. ed. taught her piano and harp. Fantasia. an enjoyable exercise for the developing pianist. common time-6/8. songs and teaching pieces. sel. has a recurrent folk-like tune. with an absence of complete themes or development. Olivia’s published compositions included works for harp and piano. Olivia’s mother. GKH reprint). Meggett. Cohen. with a four-bar introduction and an eight-bar interlude between repeats of the Trio. ANTHOLOGIES: Ragtime Rediscoveries: 64 Works from the Golden Age of Rag. SOURCES: Score < previous page page_53 next page > . ClagS. allegro brilliante/allegro con piacere. Many passages are transitional or cadential in nature. Laurence. Ebel. 1979). Ursula Rempel (Hildegard. Vol. Jackson. Fetis. Glickman and Schleifer (G. The rag finishes in strutting style. and “evokes an informal cakewalk on a back street. (Both her mother and her father’s sister. with many scale passages and arpeggios and a good deal of harmonic ingenuity for the period. Five 16-bar sections made of three strains (ABACC). 2/4. H&H. 3. 1998). Level: Late Intermediate/Early Advanced. Hyde. even meandering. 1780s No information is available about the life of this late-eighteenth century English composer. 2/4. ed. Emilie. 1767—d. I: Allegro. 7 pp. she married < previous page page_54 next page > . and Two Sonatas and Six Songs and Some English Airs with Variations. for harp and accompaniment. and starred in her own operetta. Jul 31. published in 1788. actress. London. Attractive. she premiered as Gluck’s Iphigénie en Aulide. 2/4. and Legros. Two sonatas in E-flat major. Barbara Harbach (Vivace Press. In 1798. Level: Late Intermediate. then Mme Périé) b. SOURCES: Cohen. At age fifteen. a harpsichordist. Feb 4. Her two extant compositions are Two Sonatas and Three English Airs with Variations for harp or harpsichord (in modern edition below) published around 1787 in London. well-constructed additions to the Classical repertoire. writer. Charming and graceful. produced. few dynamic or articulation markings in this Urtext edition. II: Minuetto. each in two movements with regular phrase lengths. the composer Pierre Joseph Candeille. Catherine ou La belle fermière. 1787). Paris. Candeille married and divorced Louis-Nicholas Delaroche. Stern CANDEILLE. a tremendous success that remained in the Comédie Française repertoire for thirtyfive years. 12 pp. was one of a small group of women opera composers in France during the Revolution. Heinrich. H&H. and composer. and later composed. singer. Simons-Candeille. 6/8. later Mme Simons. II: Rondo. Sonata form. and standard late 18th century accompaniments. Op. perfectly acceptable on the piano. Amélie Julie (var. triadic melodies. and with Holaind. 11. Level: Late Intermediate. a military doctor. 1834 Julie Candeille. Sonata I in E-flat major. Caroline fl. COLLECTIONS: Two Sonatas for Harpsichord or Harp (ca. binary with repeats. Mme Delaroche. harpist. She studied with her father. 1999). Sonata II in E-flat major. Jackson.< previous page page_54 next page > Page 54 C CAMPBELL. a singer. I: Allegro. Paris. and songs. who gave her lessons whenever they met. In addition to four operas. as she possessed a beautiful mezzo-soprano voice. written between the ages of six and fifteen. Venezuela. Teresa (María Teresa Gertrudis de Jesus Carreño García de Sena y Toro) b. Chopin. after returning from a lengthy political asylum in England. she married the painter Hilaire-Henri Périé de Senovert. believing her a genius. helped promote her career. including the composer Eugene d’Albert. and Liszt. Rossini and Adelina Patti wanted to make a professional singer of her. and about forty descriptive piano pieces and dance tunes. as were Brahms and Anton Rubinstein. and who.” was a virtuoso pianist of fiery temperament. Set of eight variations on a Romance. chamber music. Heinrich. Gottschalk. Cohen. Meggett. N-B. Boenke. piano pieces. and she wrote novels. Jackson. ElsonA. shows the influence of the great pianist-composers of the nineteenth century. Level of difficulty: Medium Difficult. MGG. Most of her extant piano music. In 1866. and she became an acclaimed opera singer as well as a piano virtuosa and composer. SINGLE WORKS: Nouvelle Fantaisie Facile et Brilliante for Piano Op. but the thirteen-year-old refused to follow him to Rome. they separated in 1802. Caracas. where she met Rossini and Liszt. the child prodigy first studied with her father. after which she signed her works as F. an unpublished Serenade for Strings. many North American cities. Mac. the family moved to New York. Stern CARREÑO. B&T. a wealthy Belgian carriage builder. S&S. New York City. and her memoirs.SimonsCandeille.v.) and Pauline Duchambge. 1917 Teresa Carreño. Ebel. and as a ten-year-old performed at the White House for Abraham Lincoln. by Hoffman and Solié (publication notes by Calvert Johnson). ed. Liszt offered to teach her. Calvert Johnson (Vivace Press: forthcoming). Some of her salon-style piano pieces were dedicated to other women musician/composers. Laurence. 1853—d. and Cuba.” from the opera Azéline. the Venezuelan “Valkyrie of the Piano. a minister of finance ousted by revolution. dramas.56 Carreño’s compositions comprise a string quartet. towering strength. In 1862. Johnson. she studied with Matthias in Paris. SOURCES: Baker. choral works. The tempestuous Carreño married four times. whose manner of playing deeply impressed her. In 1822. Her < previous page page_55 next page > . Jun 12. Fetis. where the child took half a dozen lessons with Louis Moreau Gottschalk. and sheer talent. “A peine la douce aurore avoit rougi les côteaux. and bore seven children while continuing her career as a concert pianist. Grandniece of Simon Bolivár. Eitner. her compositions include orchestral works. who were both impressed with her talent and beauty. such as Hélène de Montgeroult (q. 13. Dec 22.< previous page page_55 next page > Page 55 Jean Simons. H&H. Carreño toured Europe. NewGrove. A quiet. common time. accompany the gentle melody. Prefatory essay by Brian Mann. 11 pp). ed. even operatic. Une Revue a Prague Opus 27. each 8 or 16 bars long. grace notes and trills. andante. COLLECTIONS: Four Piano Works (Hildegard. flat keys. 17. 1996). 1866] Op. yearning melody is accompanied by a bass countermelody and block-chord inner voices. 5 pp). Caprice Etude No. dignified work in five sections with coda. Level: Early Advanced. Le Printemps Opus 25. Gottschalk Waltz Op. triple and compound meters. Level: Late Intermediate. Plainte! First Élégie [Lamentation. (E-flat major. common time/3/4. andante religioso. and part four. as in a Schubert song. In expanded ternary form. 12 pp). Level: Mid/Late Intermediate. andante grave/lento. (E-flat major. “Plaintes au borde d’une tombe” (4ème Élégie) Opus 20. Virtuosic. spirited waltz. (C-sharp minor. < previous page page_56 next page > . 1. providing technical and musical challenges for the intermediate student. (A-flat major. andante maestoso/allegro molto. Late Romantic. (F major. and was performed by Gottschalk on his tours. 7. 3/4.Hall reprint). which could easily be a setting for an “Ave Maria. Level: Advanced.< previous page page_56 next page > Page 56 idiomatic works exhibit a fondness for lyric. emotion. and an obvious love for the piano and its possibilities. even operatic. A good selection of seven intermediate to advanced works in an easy-to-read edition. common time. part three is in D minor. Reiterated eighth note chords. Written at the age of nine. common time-12/8. Carmen Rodriguez-Peralta (Hildegard Publishing. written when the composer was about eleven. 3/4. constructed of eight repeated sections in related keys.” “Plaintes au borde d’une tombe” (5ème Élégie) Opus 21.” Teresa Carreño: Music for Piano. closing with a repeat of the first four sections and a three-page coda. (D-flat major. The work recalls Chopin and Liszt. with fives and fours in the right hand against left-hand triplets” (preface). the piece shows amazing stylistic and harmonic fluency. A sorrowful. 14 pp). 6/8 and 3/4. A polonaise with two main themes and episodic/transitional material. allegro brilliante/Presto. O. with unusual modulations and a sizzling chromatic scale in double octaves. 8 pp). Level: Late Intermediate. allegretto/allegretto grazioso. (F minor. 9 pp). a maestoso. melodies. Level: Early Advanced.K. (D-flat major. 7 pp). 11 pp). An elegant. “A dazzling technical study in the independence of hands. An imposing introduction and a dazzling coda frame the nine sections of this brilliant waltz. andantino/Presto. A 13-bar introduction with cadenza prefaces the waltz. places the melody in the bass. virtuoso octaves and leaps. nocturne-like work written after the death of her mother. dance forms. Level: Mid-Intermediate. 3/4. An introspective. 3 Op. mournful “song without words. Level: Advanced. A sparkling. Le Corbeille de Fleurs Opus 9. 5 pp). The center section. Op. 38. andante maestoso/quasi adagio. containing her string quartet and sixteen piano pieces. Oddly enough. the lyric ascending melody is supported by a descending bass. 2/4. Level: Late Intermediate. allegretto. Tremendously popular in Europe during the late 1800s. (G major. and hemiolas. Level: Late Intermediate/Early Advanced. 38. melodic anticipations. allegretto con spirito. (B minor. hops and skips in ternary form. 25. Op. 9. Op. (C major. undergoes progessive ornamentation. with dotted rhythms. now out of print but available in libraries. The B section. song texture. An appealing work dedicated to the first daughter of her second marriage. 12/8. lento/andante cantabile. (D major. a straightforward arching scale. Dramatic and sad. (F-sharp major. Great Romantic pianistic fun. In ternary form. trans. 33. bringing the theme back one last time as the gondola drifts gracefully out of the scene. foreword by Rosario Marciano. The ominous LH melody alternates 16th note runs with long appogiature. Highland. is a memory of happier times. Souvenir of Scotland. 3/4. this retrospective of Scottish hills uses the habanera rhythm. 7 pp). Op. with triads on every eighth note. allegro maestoso. 18 (segunda elegía). A rhapsody/fantaisie in extended ABA form. 1985). in the dominant. a grown-up version of Burgmüller’s Ballade. in yet another texture. common time-6/8. Un Reve en Mer: Meditation Op.< previous page page_57 next page > Page 57 Esquisses Italiennes Venise (Reverie-Barcarola) Op. Anne Drellich (Da Capo Press. First-inversion triads cascade down to three languidly strummed chords. In this dignified ode to a departed loved one. 6 pp). The theme. 6/8. 27. a long transition leads to two contrasting themes in E-flat minor and G-flat major. 17. A reprinted edition. 12 pp). Op. Level: Late Intermediate. with an occasional splash of sparkling treble scales interrupting the hypnotic motion. Alternating octaves descend in a diminished seventh chord to a return of the original theme. not Viennese: look for the characteristic seguidilla rhythm (1& 2 3) throughout the work. Level: Late Intermediate/Early Advanced. prevails throughout. 12/8. < previous page page_57 next page > . one can almost see golden light shining on the calm waves. In this elegant barcarolle. WoO) [1896]. Teresita Tagliapetra. 28 [A dream at sea]. Op. Teresa Carreno: Selected Works. above. including grace-note triads and parallel sixths. as well as sudden changes of mode. Op. 33/1. (D-flat major. Level: Late Intermediate. Level: Early Advanced. Ballada Op. In the center section. 9 pp). Pequeño Valse (same as Kleiner “Teresita” Waltz): see Music for the Piano. 15. with an E-minor center section. 4 pp). This is a Spanish waltz. Partie Op. it was transcribed for other solo instruments and ensembles. Kleiner Walzer (Teresita Waltz. with its double dotted notes and alternation of I-vi chords. reminiscent of Italian verismo opera. is really a tango. Hinson. Level: Late Intermediate. Great Women Composers. 11 pp). Dubal. S&S. Gillespie. and Chopin. The legato melody is spun from syncopated staccato chords in both hands. 34. ANTHOLOGIES: At the Piano with Women Composers. Kirby. 33: see Music for Piano. Hutcheson. Intermezzo-Scherzo Op. 34. (A major. allegretto con molto grazia. Cohen. allegretto-allegro molto.Hall.< previous page page_58 next page > Page 58 Un Bal en Rêve Op. and Op. 39 (Fantasia-Valse) Level: Early Advanced. Level: Late Intermediate/Early Advanced. 1990). La Fausse Note Op. 5 pp). a graceful. Le Sommeil de l’Enfant. allegretto quasi andante. LISTED but not found: Polonaise Op. Op. Pendle. common time-6/8. Three episodes provide intermittent contrast. 35. 6/8. Baker. with a LH alternating bass. Op.K. series eds. 35: see Selected Works. Meggett. Smith (Mel Bay. Hinson (Alfred. SOURCES: Ammer. scores < previous page page_58 next page > . (D-flat major. lilting tango. B&NB. Wide LH leaps require agility and accuracy. ed. Level: Mid-Intermediate. Opus 20. 7 pp). 3rd edition. Exuberant entertainment. 7. Op. Harmonic interest occurs as the theme modulates from F to B and back. allegretto tranquillo/scherzando. a sedate gavotte. lilting melody. 34. FRK. H&H. G&G. A playful bourrée for an opera entracte with ballerinas skittering en point . 1996). Hinson’s Guide. Level: Early Advanced. ClagS. 1999). Zestful Spanish guitar rhythms accompany a gay. Vals Gayo (unnumbered). (E-flat major. comprised of a smoothly-stepping melody over lightly touched chords and the occasional treble flourish. with a sort of calliope effect. Prefatory essay by Brian Mann. 35 (Ditson). N-B. Deux Esquisses Italiennes “Florence” (Cantilena) Op. 5 pp). Op. 28. (G major. Op. and “Le Rêve” [The Dream]. Lyrical middle section in E-flat major has challenging octaves and chordal passages. Level: Advanced. 32 [A dance in a dream]. Ebel. Laurence. 11 pp). A light-hearted carnival etude. A gentle lullaby in rondo form. allegretto grazioso. 3/4. bringing to mind Tchaikovsky. Waltz-rondo form. Two distinct dance themes alternate: “Le Sommeil” [The Sleep]. ElsonA. KOM. 5 pp). 1. An exercise in RH staccatissimo 8th-note scales and arpeggios. Vol. common time. ClagAm. (F major. Grove. 35: see Selected Works. Le Sommeil de l’Enfant (Berceuse). GroveAm. Op. Glickman and Schleifer (G. MGG. ben portando la melodia. Johnson. Opus 21: see Four Piano Works. The soothing theme arches quietly over a gently rocking descending bass. common time. Women Composers: Music Through the Ages. Op. Johann Strauss. six. (A-flat major. Grace notes on every beat make all the notes “false” in the happily chirping main theme. 3/4. ed. already performing original compositions. “This is not a woman who composes. Felix Le Couppey. dedicated to Moritz Moskowski. should be included in discussions of the late 19th c.60 Her works are strong and vigorous. and over two hundred piano pieces. A playful waltz built on ascending/descending one-octave scales by alternate hands. and she studied privately with Benjamin Godard. She composed in a wide variety of genres. an opera. Savard and others of the Paris Conservatoire faculty. and in 1908 she made a successful tour of twelve American cities from Boston to St. with charming. some believe that her ballet. 29 pp. Ambroise Thomas reportedly said of her. and six other pieces for piano and orchestra. she made her debut in Paris and went on to tour in England and France. Chaminade began to compose at the age of eight.57 In 1875. nearly all of her four hundred compositions were published in multiple editions by distinguished firms during her lifetime. Chaminade’s mastery of the elegant style of La Belle Epoque was rivalled only by such composers as Moszkowski. elegance. Monte Carlo. 3/4. is a brilliant and powerful late Romantic tone poem using < previous page page_59 next page > . Callirhoë. including orchestral suites. Louis. Apr 13. two sets of concert etudes. expressive melodies and sparkling dance rhythms. late Romantic harmony.61 SINGLE WORKS: Scherzando pour Piano Op. n. 1857—d. a Concertino for flute which remains a staple of the repertoire. 10 (Durand & Fils/Presser. One of the most prolific and successful women composers in history.Hall reprint. a ballet. Saint-Saëris. Aug 8. After hearing her play. and an emphasis on wit. two piano trios. a Concertstück. Renowned internationally as a pianist. Chaminade’s only sonata. Paris. more than 125 songs. allegro vivace. in 1913 Chaminade became the first woman to receive the title of Chevalière de la Légion d’Honneur. and d’lndy. and the choral work. traditional forms. 21 (Hildegard 02036.K. becoming an attractive figure at orchestral concerts in Paris and elsewhere.d. many Chaminade clubs were formed around 1900. In rounded binary form. Too often scornfully dismissed as a “salon” composer.). but a composer who is a woman. where she was a welcome guest of Queen Victoria. In America. Cécile Louise-Stephanie b. 6 pp). (A major. 1944 A successful concert pianist who first studied with her mother. 1999). clean textures. G. she also appeared as a conductor. Level: Advanced. Level: Late Intermediate. Chabrier. Her concert tours helped to promote music sales in America and England.”58 Named an Officer of Public Instruction by the French government in 1892. Les Amazones. her brother-in-law.59 Although most of her piano works are attractive character pieces with descriptive titles.< previous page page_59 next page > Page 59 CHAMINADE. and movement. Hector Berlioz convinced her parents to obtain the best possible education for their talented daughter. Sonata in C Minor Op. Duparc. Chaminade also composed a sonata. with the contrasting section in the subdominant. “French Renaissance” group: Franck. < previous page page_60 next page > . 76/1-6 (Masters Music. 6/8. Impromptu. The work alternates these ideas several times. 6/8. Dedicated to Mme Marie Jaëll. Broad and lyrical.). Appassionato. A-flat major). (E major. (E minor. with lovely lyric melodies and colorful harmonies like French operettas of the day. like a Mendelssohn sketch. Élévation Op.< previous page page_60 next page > Page 60 the entire range of the keyboard. soprano melody. 4. 5 pp). Six Romances sans Paroles Op. Souvenance [Keepsake] Op.d. leads to the return of the perpetual motion theme in triplet sixteenths. Six extremely attractive songswithout-words. andante con moto. Pairs of double notes. allegro vivace. 1. A surging romantic melody doubled in the tenor voice leaps to appogiaruras and descends by scale step to its starting point.v. and chords play on every eighth note. 6. with a yearning tenor melody. Level: Mid/Late Intermediate. which alternates duplets and triplets in Spanish fashion. common time. ABA form. full of character. See last movement of Sonata in C Miwor Op. Level: Late-Intermediate. Bass sextuplets underpin a graceful melody. Tarentelle. 3. n. (D major. (C minor. plaintive and lonesome. 10 pp). Same as Six Etudes de Concert Op. A sentimental melody. common time. First section: two-voice texture. has sweeping guitar flourishes and trills. III: Allegro (2/4). 6/8. creating a form of ABABA (coda). melody is in tenor. (D-flat major. Thin. 9 pp). Six Etudes de Concert Op. fits the hand well. 35 (Masters Music. Automne. n. 76/3. The center section. The lyric middle section. lush chords. 8 pp). Level: Mid-Intermediate. accompanied by an occasional rolled chord. Contrasting center section is in G minor. a concert pianist and composer (q. in two-note slurs. shared between the hands. fragile texture. 2/4. and gruff octaves descending chromatically in the bass. II: Andante (common time. Airy and vivacious. allegro. A single theme treated in contrasting ways creates very different effects. Second section: companion theme is introduced. 4 pp). 5. Idylle (Romance) Op. 76/2. 2. 21. dance up and down the keyboard.d. Two contrasting ideas in B section: a music-box motif in F-sharp major. Level: Early Advanced/Advanced.). requiring superior finger work. Scherzo. with its tender countermelody. andante. La Fileuse [The Spinner]. (C major. A brief prelude and fugue opens the extended ballade-like movement. 8 pp). pushing the music forward. I: Allegro appassionata (cut time). lento. other parts fill in the full. A dazzling perpetual motion etude in which double notes (sixths and fifths) alternate with single tones in both hands. (F major. 4 pp). in G major. allegro moderate. allegro. (B minor. 2/4. 35/4. allegro. 8 pp). (E major.). 3/8. 13 pp). 3/8. andantino. then repeats sequentially. A fast and furious perpetual motion study with both hands in repeated triplets. 76/1. An effective perpetual motion piece. In the contrasting section (D-flat major). Level: Late Intermediate. A piping little tune like an English folk song. allegretto). common time. Theme Varié Op. 89 (Masters Music. allegro risoluto. Rondeau. 77 (Masters Music. (G major. (F major. (C major. allegretto. 123 (The Well-Tempered Press/Masters Music. allegro). Level: Late Intermediate. with a soprano melody supported by lush. n.).). full of buoyant melodies and late Romantic harmony. common time.and three-note slurs. V#7) create particularly pleasant colors against the backdrop of primary triads. standard dance rhythms. In this folk-like work. 3/4. 76/6. Peaceful and hymn-like. Level: Late Elementary/Early Intermediate. A graceful bit of ballroom chiffon and lace. 3/4. allegro tranquillo). with characteristic upbeat pickups followed by delicate hops and running sixteenth note scales. 9 pp). n. (A-flat major. Level: Early Advanced. brief development sections. allegro). a charming shepherd’s tune pipes over a tonic drone.d.d. Méditation Op. A contemplative work. Intermezzo. A good-humored. rhythmic march swings breezily along. allegro vivo. Level: Early Advanced. (A minor. allegretto). 6/8. unhurried rolled chords. 76/5.” a one-line air supported by an Alberti bass. (A major. and well-crafted collection for early intermediate students. An attractive. 6/8. Added-note chords (V9. Chanson Bretonne Op.< previous page page_61 next page > Page 61 Églogue Op. (C major. Transition passages of upper register triads join statements of the theme. 5 pp). Prélude. Middle section is in F major. both hands in the treble clef two-thirds of the time. first phrase is nine bars long.d. Canzonetta. skipping jig. contrast is provided by some parallel triads and brief RH octave passages. lento. (G-flat major. (C major. Gavotte. The unpretentious melody is accompanied by “plucked” sixteenth note arpeggios. 5 pp).). < previous page page_61 next page > . the melody is doubled in tenor and alto. Deuxième Valse Op. scales in thirds and sixths occur in the second half of the theme and in transitional passages. (D minor. A forceful. thin textures in narrow ranges. 4 pp). 2/4. (A major. 3/4. each two pages long. Children’s Album First Series Op. the texture changes to staccato triads alternated with double-grace note chirps: the birds are singing happily. Twelve Schumannesque character pieces. In the sweeping final statement. moderate. A siciliano in binary dance form. chordal texture. Light and lively dance. including chromatic scales in thirds. cut time. Strophic or rounded binary forms. 76/4. 10 pp). moderate). 6/8. A distinctive dotted-note pickup is followed by sighing two. with hands close together in the middle of the keyboard. Like Schumann’s “Humming Song. Gigue. Level: Late Intermediate. rather like “When Johnny Comes Marching Home.” The solo melody is supported by strummed chords. The variation (middle section) is in the parallel minor. Mild chromaticism provides extra color. n. 3/8. Eglogue. with fuller chords in B. A breathless study in perpetual motion. In the development. A rousing story in martial rhythm with a mock-heroic theme. while borrowed chords and secondary dominants add color to the landscape.d. dotted-note figure. Drum-like LH ostinato rhythm. A triadic melody mimics the rocking of the boat. andante). In the middle section. 12/8. mouvement modéré de valse). cut time. mouvement de valse). Aubade. n. except for the final three-page waltz. allegretto très rhythmé). A wistful ode with a bittersweet quality from the capricious use of minor modes. played by LH. (A minor. At return of A. Children’s Album Second Series Op. < previous page page_62 next page > .). and LH melody in C. (D minor. Élégie. empty texture. like a pavane. 6/8. An enchantingly graceful LH melody. Orientale. spare chordal accompaniment. A dotted-note figure passed between the hands creates the conversation. Rippling 8th notes alternated between the hands evokes a summer breeze and gently undulating trees. In B. allegretto). andante sostenuto. Graceful. block chords alternate with sixteenth note scalar passages. A cadenza occurs halfway through the piece. and a brief chordal passage provides textural contrast. Vigorous dance requiring precise articulation of staccato upbeats. with interruptions between slurs and a whirling descending scalar pattern. Twelve appealing pieces are in this second. with LH melody most of the time. C is chordal. 6/8. Stately and calm. In B. slightly more advanced set. the melody is an inversion of the original.< previous page page_62 next page > Page 62 Romance. 6/8. Plenty of contrast in dynamic markings. (D major. creating a wide. Level: Mid-Intermediate. An idyllic shepherd’s poem with the characteristic rhythms and texture of a gentle pastorale. G major. moderate). Ballade. Air de Ballet. Martial dotted-note pattern alternates with goosestepping chords squarely on the beat. 2/4. allegro). 6/8. (A minor. 3/8. Scherzo-Valse. Minor modes and borrowed chords create “exotic” character. (G minor. with the tune in the soprano. Marche Russe. 3/4. including a nice ii7. Level: Early to Mid-Intermediate. Each is two pages long. Rigaudon. and accented downbeats. (F major. (A major. Refreshing borrowed chords. D minor. two-note slurs. Tarantelle. fast wide leaps in B. allegretto). Repeated descending thirds. delicate gliding by solo melody. 126 (The Well-Tempered Press/Masters Music. the melody shifts from hand to hand. and anticipations impart a Scottish folk-song flavor. RH sings above a background of tremolo 16th notes. (C major. (D major. common time. allegro moderate). 2/4. Barcarolle. vivo). Idylle. 3/4. B section has different rhythms. like an outburst of feeling in the middle of an aria. ABCBC form. (E minor. 6/8. andante tranquillo). (E major. the theme is in the relative minor. andantino. In ABCA form. grace notes. hands are two octaves farther apart than before. (A minor. n. 6 pp). brief imitation in reprise of A. Level: Mid-Intermediate. (G major. 35/2. A stern march. scale passages. (E-flat major. sonorous A section. Villanelle. ed. 3/4. allegretto moderato). In twopart dance form. 6/8. slurs. Level: Mid-Intermediate.d. Undine’s song. Level: Late Intermediate. Also av. 2/4. The chordal contrasting theme is heroic and robust. common time. andante con moto/più animato quasi allegro agitato. A four-bar interlude is constructed of ff double octaves and chords. two-note slurs. 23. before 1899]. above. 101 (Masters Music. L’Ondine Op. 106. 1995).< previous page page_63 next page > Page 63 Novelette. (E major. Picturesque character pieces. the work ends with fourteen measures of 16th note arpeggios. accents. andante. and careful articulation. Level: Late Intermediate. and dynamic contrasts. allegro vivo). allegretto). 3/4-9/8. LH tenor melody against offbeat RH chords. See Six Etudes de Concert. A jolly antique dance with short running steps on eighth note figures.Schirmer). 3/4. 2/4. Conte de Fées [Fairy tale]. 2/4. downbeat shakes in B lend a period feel. Dynamic contrasts complete the picture of dancing light and shadow. A three-section peasant dance with accents.). Level: Late Intermediate. (F major. is accompanied by delicately rippling arpeggios. Vol I [comp. Valse Mignonne. William Scharfenberg (The WellTempered Press/Master Music. n. (A major.d. with transitional eight bars of shifting harmonies between theme statements. allegretto con moto. A ballad in extended ABA form. with two related themes in each section. (G minor. allegretto. Automne Op. 6 pp). allegro. Patrouille [Patrol]. 5 pp). 3/4. with minor modes lending a Russian feel. Pierrette Op. Pièce Romantique Op. allegretto). 41: Level: Late Intermediate. (E-flat major. 9/2. as well as many rapid register changes. Expanded song form: a sustained. Expansion Op. this lively dance is full of springs and < previous page page_63 next page > . A humorous scherzino with staccatos. COLLECTIONS: Pierrette Op. 3 pp). (A minor. cadencing in the dominant. Minuetto Op. 6 pp). a water fairy. a sweet eight-measure refrain. 41 and L’Ondine Op. Two Pieces (Masters Music. 101. continually changing modes and alternating variations of two motives. Cécile Chaminade: Selected Pieces. common time. A whimsical little tale with a melody characterized by leaps of fourths and fifths. A gay and flirtatious Parisian waltz. More like a like a passepied. many with Spanish and French dance rhythms. Undine. poco animato. A flickering will-o′-the-wisp. 2 pp). Gavotte Op. allegretto). 9/1. (B minor. (B-flat major. common time. tried to achieve immortality through the love of a faithful man. Melody alternates between hands in B. Kalmus and G. and tricky flurtered-triplet rotations. livelier B section in the dominant key. (D-flat major. 3/4. RH thumb and second finger play the smoothly insinuating melody in the tenor voice. in ABABC form. (G-flat major. Arpeggiated bass tones and plucked double notes on the off-beats create a Spanish-guitar effect under the RH melody. makes one think of lushly staged Hollywood musicals. The A section has two balancing motives: the first part. while the second half skitters from key to key in a sort of development. like early works by Albéniz or Granados. A concert waltz in the Chopin tradition. with RH scale passages. 37/3: See Great Women Composers in Anthologies. and the bass < previous page page_64 next page > . Level: Advanced. allegro. Vol II. B section is a captivating serenade. Danse Pastorale Op. staccatos and accents. molto capriccioso. harmonizing thirds sound above the tune. 41. Pierrette (Air de Ballet) Op. tempo di valse. 3/4. Extremely popular in its time. Valse-Caprice Op. Level: Late Intermediate. moderato. Op. the piece ends after the third theme without returning to “A. After middle section (Fsharp minor). con eleganza. 3/8. Level: Late Intermediate/Early Advanced. 8 pp). like a ländler. airy and leaping. with main themes in the tenor. Downbeat staccatos emphasize an accented second beat. 10 pp). Oddly. 2/4. (D major. cut time. 6 pp). 50. this lyric and mellow Spanish-style work uses frequent rubati. as the RH dances above in staccato double notes. A humoresque reminiscent of Grieg’s dances. Level: Advanced. See Single Works. Pas des Amphores (Air de Ballet) Op. with a strong bass drone under the folk-like melody.d. 30. Scharfenberg (The Well-Tempered Press/Master Music. La Lisonjera [The Flatterer] Op. 5 pp). Calirrhoë Op. A twenty-five bar introduction opens this brilliant concert waltz in ternary form. ed. 37/4. The center section (E-flat) is comparatively serene. 10 pp). A characteristically French dance. An attractive country dance. RH has many double-note passages. (D major. A salon piece in Spanish style. allegro. Level: Late Intermediate. like Scarf Dance. Level: Early Advanced. 33. 29. 37/2. 41. (G major. Lolita (Caprice Espagnol) Op. n. complete with flamenco scales and thrumming guitars.” perhaps this is an incomplete edition. the introduction reappears as a ritornello before the return of A. A static melody of repeated melodic thirds emphasizes the third beat. Level: Early Advanced. Scarf Dance (Der Schärpentanz) Op. with B section in G major. 5 pp).< previous page page_64 next page > Page 64 hops. 3/4. Level: Late-Intermediate. 54. allegretto. (D-flat major.). 5 pp). (G major. 3/4. (B-flat major. moderato. 7 pp). Simple song form. which occasionally shifts from soprano to alto. above. above. A strong bass pedal sets the rhythm. in five sections with two main themes. allegretto. Center section is in G major. 3/4. allegro vivo. Sérénade Op. descending tonal scales contrast with ascending chromatic ones. Air de Ballet Op. 37/5. Cécile Chaminade: Selected Pieces. allegro. Hinson (Alfred. 41. frequent jumps in register. 1936). scales. molto rubato. ed. ANTHOLOGIES: At the Piano with Women Composers ed. A rondeau. 1977). twinkling like the sequins on a clown’s costume. (D major. ed. 6 pp). Smith (Mel Bay. showy etude. and Op. ed. Scarf Dance ( Pas des Echarpes. B is in Bflat minor. As in Saint-Saëns’s Danse Macabre. A graceful barcarolle on a sunny day. ed. LH divided chords support the RH melody in cross-rhythms (3×2. andante appassionato. scales and arpeggios in sixteenth note triplet figures. Level: Advanced. A scintillating scherzino. simple ideas are decorated with “sparkling pianistic jewelry and harmonic reinforcement. II. Opus 21 and Opus 35: see Single Works. Great Women Composers. allegretto. Sea Piece (Marine) Op. 61. (G minor. Op. below. Isidor Philipp (Dover. with a smooth tenor melody supported by delicate chords and arpeggios. 1979). moderate. A good transition piece to Advanced level Les Sylvains Op. 53. Level: Late Intermediate. 37/3: see Great Women Composers. above. 1990). Scarf Dance Op. Etude Symphonique Opus 28. occasionally echoing the melody. 67: see Selected Pieces. Many accidentals. with related themes in alternating sections (ABABA. 1992). shimmering with lightness and speed. 8 pp). lento. Pierrette Op. Level: Advanced. Level: Late Intermediate/Advanced. Frauen Komponieren. Air de Ballet and Scarf Dance. Three Piano Works (New York: Da Capo Press. (D-flat major. 2/4. Elegant. Arabesque Op. The first section has two themes. LH accompanies in a “plucked” guitar pattern. Contrasting flamenco-style sections have LH melodies. 10 pp). Everybody’s Favorite Album of Modern Piano Music (New York: Amsco Music. 6 pp).< previous page page_65 next page > Page 65 sketches in chord tones. An impressive and imaginative character piece in expanded ABA form. See Selected Pieces Vol. French Piano Music: An Anthology. 6/8. Arlequine Op. in 4. Level: Advanced. 60 [The Fauns]. 4×3). (G major. Bass chords strum gently beneath a tranquil melody. (B-flat major. 37/3 [1888]. with a transitional middle section of chromatic octaves. coda). and arpeggios. Great French Piano Works. 23. 6/8. Les Sylvains Op. 3/4. II. with carefully marked rubati in the main theme. Rieger/Walter (Schott. (A-flat major. larger-than-octave leaps. from Three Ballet Scenes ) Op. in 4. Level: Late Intermediate. allegro risoluto. common time. 1996). 67. 1990). (F major. Op. 22 Klavierstücke.”62 La Morena (Caprice Espagnol) Op. splashed by glittering 32nd notes. mouviment modere de < previous page page_65 next page > . 38. 60. 6 pp). 41 (Air de Ballet): see Selected Pieces Vol. Tucker (Warner Bros. 6 pp) A coy Spanish rondo. Level: Late Intermediate. B&NB. Florito Tomeoni helped de Charrière write her first opera. include keyboard works. scores CHARRIÈRE. Meggett. in Encores of Great Pianists.Wier (Carl Fischer. Glickman and Schleifer (G. Scarf Dance is a graceful. Utrecht. Laurence. Sonata Op. Cohen. ClagS. 6. she invited Italian musicians to visit. moderate tempo.1740—d. Johnson. Marshall of Montfort. Julien et Juliette . Magrath. Teysseire-Wuilleumier says her music “breathes the style and spirit of her times. 1987). which were usually published anonymously. Op. Oct 20. De Charrière wrote novels. nr. and Op. Vol. 1918): Op. During a stay in Paris.K. ElsonA. Boenke. Kirby. to relieve the tedium of her life. ed. and several hundred letters to such correspondents as James Boswell. Grove.63 Historical Anthology of Music by Women. and a passionate amateur musician. A brief transition. A few melancholy bars of recitative (oboe solo in the orchestrated version) introduce the middle section in C-sharp minor. played “with abandon. and the couple made their home in Colombier near Neuchatel. 37/3: see Selected Pieces and Great Women Composers. which contains four key changes and the true second theme referred to by Chaminade herself. A-Z. after spending her first thirty years at the castle in Zuylen.” and her “exquisite sonatas are very influenced by Mozart. Hyde.1805 Isabelle de Charrière. fluttering work in ternary form. songs. she married Charles Emmanuel de Charrière. Baker. Friskin.” heralds the return of the first theme. Lewenthal (G. née van Tuyll van Serooskerken) b. Hinson. Briscoe (Indiana Univ. Colombier. Later. S&S.< previous page page_66 next page > Page 66 valse. was a cultured aristocrat. Ebel. 6 pp). Faurot. 50. who stayed a year. which sold over five million copies during her lifetime. cited in Hinson’s Guide. SCB.Schirmer). brilliantly. 3rd edition. Belle van Zuylen. giving her lessons and helping her with other operas. Hutcheson. a woman of letters. Press. series eds. In 1771. LISTED but not found in print: Toccata Op. Dubal.Hall. 37/2. 87/4. Mac. Neuchatel. Sonata Op. H&H. and an opera buffon.”64 < previous page page_66 next page > . KOM. MLA. FRK. Jezic. This is the only complete version in print of Chaminade’s most popular piece. Isabella Agneta Elisabeth de (var. daughter of Diederik Jacob van Tuyll. 21—see Single Works. Hale. 2nd movement: see Single Works. 1999). 21. All other editions omit the three-page middle section. Section 1. Heinrich. Her compositions. Women Composers: Music Through the Ages. 39 and Le Prétemps-Valse de Salon (Enoch and Musica Obscura). Masterpieces of Piano Music. ed. Squire of Penthaz. ed. rapidly. nr. a waltz in A-flat. N-B. including Nicolo Zingarelli (1752–1837). Pendle. Dec 27. opera libretti. Benjamin Constant and Madame de Stael. SOURCES: Ammer. Autrefois Op. Gordon. requires sonority and rubato at a strict. Zuylen. Sophie Charrière. Albert E. Stern. L’Incognito. 8 and Six Variations on a Favorite Roman Air. and composer. Katerina Veronika Anna Rosalia Elisabeta (var. Sonata Opus 3/2: F major. Sonata Opus 2/2: C major. Her compositions are primarily for the piano. with three short sonatas in each group. Cáslav. Pio Cianchettini. Largo and Allegro. younger sister of the famous composer and pianist Jan Ladislav Dussek. Mrs. Opus 3: Sonata Opus 3/1: C major. Sonata Opus 2/3: D major. she went to London around 1795. Largo and Allegro. Clara Mayer (Kassel: Furore Verlag. Veronika Elizabeth. LISTED but not found in print: Composities van Belle van Zuylen: Vol. M. Opus 1: Sonata Opus 1/1: D major. Cianchettini was a successful and well-known pianist and teacher in London. 1769—d. Elisabetta de CIANCHETTINI. London. Mrs. 5 pp. II: Menuetten. and a son. —see GAMBARINI.v. dances. ed. Sonata Opus 1/3: C major. Allegro moderate and Andante con Variazioni. Andante and Minuetto. Mrs. ed. 10 pp. Sarah Mahler Hughes (ClarNan Editions. Each sonata is a two-movement work in Classical style. FRK. Andante and Allegro. Allegro moderate and Minuetto. Andante and Allegro. H&H. a pianist child prodigy called the “English Mozart” who later became a composer. 7 pp. Mar 8. Jan Josef Dussek. 1996). was the sister-in-law of Sophia Corri Dussek and aunt of Olivia Dussek Buckley (q. 1833 Katerina Veronica Dussek. a musician and publisher. she used favorite popular airs as the basis for movements. Opus 2: Sonata Opus 2/1: A major. and a few chamber works. 5 pp.). I. 7 pp. an organist and composer. COLLECTIONS: Sonata in G Major. A singer. 6 pp. KOM CHAZAL.< previous page page_67 next page > Page 67 COLLECTIONS: Composities van Belle van Zuylen. Bohemia. 6 pp. née Veronica Dussek/Dusíkova) b. Airs et Romances and Vol. ed. Heinrich. remaining there from 1797 on. Three sets of sonatas. 6 pp. This Finale-created < previous page page_67 next page > . variations on popular tunes. Cianchettini. She married Francesco Cianchettini. Vol. Op. pianist. and include sonatas. 1999). In at least three of her sonatas. she first studied with her father. Jackson. Sonata Opus 1/2: C major. and had a daughter.Flothuis (Donemus. 3 pp. cited in KOM.65 KOM: Komponistinnen im Musikverlag: Katalog lieferbaren Musikalien. Eitner. Andante con moto and Allegro assai. Sonata Opus 3/3: E-flat major. 1983). Allegro and Menuetto grazioso. G&F. SOURCES: Cohen. At the invitation of her brother. harpist. III: Klaviersonates. common time). RH plays alternately in treble and bass. but returns to the original meter for the coda. and a crowded look to the page. Triadic melodies. creating a duet effect. 3: In B-flat minor. Var. in extended rondo form. 5: Adagio con espressione. Sonata in F Opus 2 [1800]. A charming late Classical. shifting registers. A lively eight-bar primary theme and two slightly contrasting ideas. The first theme outlines a tonic triad with neighboring-tones (like “Ta-ra-ra. 1: LH melody. 25 pp. and Cianchettini. Originally intended for performance with violin or flute ad libitum . ANTHOLOGIES: Four Keyboard Sonatas by Early English Women Composers. in 4). sustained bass. Three movements. boom-di-ay”). ending with a nine-measure tonic trill over the joyful bass melody. and a good deal of RH crossing into the bass and playing high in the treble. andantino. Six Variations on a Favorite Roman Air. similar to a Scottish folk song. fluttering octaves. In the second theme. Highly ornamented. 3/8). 16 pp).” Var. Standard treatments include “doubling” of rhythms. over-large note heads. Level: Late Intermediate. Var. scalar runs. Level: Late Intermediate. reminiscent of Haydn and early Beethoven. is accompanied by RH in a fluttering 16th note pattern. ”66 Level: Late Intermediate. Three movements. Sally Fortino (Hildegard. Enjoyable theme and five variations on “Adeste fideles. Broken chords. including one in the parallel minor. A quick waltz in triple meter. 23 pp. 2/4). non-standard spacing between hands and systems. In sonata-allegro form. In the development. The final variation changes to 3/8 (allegro vivace). III: Rondo polacca con moto (G major. < previous page page_68 next page > . I: Allegro vivace (G major. Park. 1995). Var. 3/4). There are also several errors in pitches and accidentals. and running 8th note accompaniments create dramatic contrast. Barthélemon. 2/4. I: Allegro moderato (F major. The sedate theme undergoes six variations in G. RH adds nervous thirty-second notes after each LH eighth note. played alternately in bass and treble. Var. Sonata in G Major Op. some harmonic daring. II: Adagio sostenuto (D major. with two contrasting themes.4: RH plays a strong march melody in triads and double notes over 32nd note scales and tremolo octaves in LH. 8. 2: Thirty-second-note scales zoom up and down over the LH melody. II: Andante (B-flat major. Sonata-allegro form. triplet triads in the parallel minor warble frantically over a strong. Anthology with works by Billington. ed. (G major. and hand crossings.< previous page page_68 next page > Page 68 edition has distracting idiosyncrasies in notation: separate bar lines for bass and treble. undergoes two ornamental variations. “Adeste Fideles. A Sonata for the piano forte with or without additional keys in which is introduced the Portugueze hymn. then undergoes ornamental variations. Alberti bass. Four jolly themes based on tonic and dominant triads alternate in a loose rondo form. The theme. III: Allegro moderato (F major. in 4). S&S. fingerings included. Level: Late Intermediate. fingering. ClagS. center section is an F-minor ornamented version of the main theme. Marie Claude studied piano under Marguerite Long and Alfred Cortot at the Paris Conservatoire. chamber music.Hall. Mac. Each of these tuneful little works is less than a page long. The stately melody. Good introduction to descriptive character and dance pieces. formed of classically arched periods. A la Claire Fontaine. SOURCES: Boenke. C major.. Cohen.” With its implied melody from arpeggiated triads and regular harmonic rhythm. basic meters and rhythms. ed. II était une Bergère. France. many dynamic contrasts. Vol. Teaching arrangements of six French folk songs: Le Rat dans le Grenier. II: Andantino cantabile (F major. Sonata II. Brown. is decorated with bravura ornamentation. teacher. She composed piano pieces. and a revision of Le Couppey’s piano method. Grove. Folklore: Six Petites Pieces Très Faciles Pour Piano (Paris: Billaudot.< previous page page_69 next page > Page 69 Women Composers: Music Through the Ages. II of Two Sonatas for the Piano Forte. 3. close position in the center of the keyboard. a village dance. it would serve nicely as a preparatory piece to Bach’s Prelude in C Major. Level: Late Elementary/Early Intermediate. and all but two are in C major. harmony. Marie b. La Bonne Aventure. with an Accompaniment for Violin & Violoncello Opus 4. a march. and En Souvenir . Ursula Rempel. a hunt. They are wellconstructed and meticulously marked with dynamics. In three sections (A A1 A) with a brief coda. Glickman and Schleifer (G. Jackson. 2/4–4/8. Level: Elementary. Laurence. phrasing and articulations. COLLECTIONS: Courants d’Airs: 14 petites pièces très faciles pour Piano (Paris: Gérard Billaudot. 1971). B&T. scores CLAUDE. SOURCES: Cohen. a “cuckoo” piece. KOM < previous page page_69 next page > . 1974). including arrangements of folksongs. 3 pp). Opus 4. 1895—d. Compagnons de la Marjolaine. KOM. H&H. Aug 17. and composer. Included are a fanfare. 2nd mvmt. receiving first prize awards in piano. and pedagogical works. and rapid RH passage work in high registers.K. The last piece is entitled “Pre-Bach. 1998). and a German waltz. simplified arrangements of Handel and Burgmüller. Sonata No. series eds. and music history. two-voice texture. Meggett. H&H.? A pianist. Level: Late Intermediate/Early Advanced. after the death of her husband. 13 pp). “Miss Cobb had an affinity for writing first-rate little versions of classic-sounding sonatinas. Dallas. as well as chamber music for various instruments. using kinds of pie as mnemonics for rhythm cells: e. Apr 14. Jan 16. Final movements are cheerful allegros or allegrettos in 4/4 meter. Facsimile manuscript. C and G majors. Level: Mid-Late Elementary. in all major and relative minor keys. Sep 8. and M. but very easy to read. H&H. Reine b. Amsterdam. This album of four sonatinas is just the right level for third year students. 3–4 pp. Creative teaching studies for the piano. Level: Late Elementary/Early Intermediate. but used atonal harmonic language. 1947).g. choc-o-late= triplet. a Dutch composer. Texas. huck-le-ber-ry= four 16ths. Rhythm with Rhyme and Reason: Counting Made “Easy as Pie” (New York: Mills Music. Groesbeck. Four three-movement works. SOURCES: Anderson. 1954). Sonatina Album: Four Sonatinas for the Young Pianist (CPP/Belwin. In the 1940s and 50s. degrees from the American Conservatory in the 1920s. a set of six songs for soprano and piano. She studied with Ernest Mulder and Henk Badings.”67 Each opening movement is in rounded binary form with two themes but no development. Level: Late Elementary/Early Intermediate. and during the 1920s and 30s wrote many songs. commemorated the death of her son at Dachau prison camp. James Bastien writes. 1960). COLLECTIONS: Around the Keys and Around the Keys Again (Summy-Birchard.< previous page page_70 next page > Page 70 COBB. 1881—d. 1971 Reine Colaço Osorio-Swaab.Mus. some vocal and choral music. Amsterdam. 1987). Incipits of 22 verses are < previous page page_70 next page > . 4/4. began composing in her forties. Stern COLAÇO OSORIO-SWAAB. and teaching pieces for the piano. Her 1944 Monument. Colaço Osorio-Swaab’s music retained classical forms. The slower middle movements are in related keys. ap-ple= two 8ths. SINGLE WORKS: Jesaja 60. Cohen. 1973 American teacher and composer Hazel Cobb received her B. each. 1892—d. Jul 15. she composed ten works for narrator and instrumental accompaniment on mainly Biblical texts. Keyboard rhythm drills. A minor.Mus. (D-flat tonal center. as well as some Impressionistic and pentatonic passages. Hazel b. attracted to philosophical and religious subjects. Her compositions include two operettas. Prelude voor piano [1950] (Donemus. She taught piano at St. 1996). Rosary College in Illinois. 1996). KOM. Children’s Tale. NewGrove. At the age of 51. H&H. SINGLE WORKS: Gavotte. Scherzo. Seven brief characteristic studies: Romance without Words. Anita Smisek (Fish Creek. Oct 27. divided between the hands. Mauritius Island. Switzerland. a member of her community and the source of this biographical information. < previous page page_71 next page > . WI..E. Level: Early-Mid Intermediate (D major. with pentatonic.P. ed. Lullaby. during W. whole tone. Serenade. Clara College and Edgewood Academy in Wisconsin. and atonal effects. 6 pp). the Republic of France awarded her the rosette of Officer of the Academy of Fine Arts. daughter of a school teacher and a representative of the French government. she entered religious life as a Dominican sister in Sinsinawa.Costil. teacher. and all notes are staccato except for the slurs on the downbeat. In 1921. Seven Pieces for Children. ed. 3 pp). WI: Alliance Publications. 3/4. Cohen. a very high honor. O. 4/4. with written-out repeats. Middle section is in the dominant. While teaching in Fribourg. receiving in 1879 her Licencié and a First Medal for piano study. Anita Smisek (Alliance Publications. 1996).I. create a rippling wash of changing colors. Courtaux lived with the Sinsinawa Dominicans in a residence for American college students. S&S COURTAUX. A quarter-note melody against the triplet texture provides contrast in verses 6. 1859—d. Every phrase begins with the distinctive half-measure pickup of a gavotte. Anita Smisek (Alliance Publications.W. 12. Wisconsin. performer. she traveled to Wisconsin to take up the religious life. SOURCES: Boenke. and in 1905-06 published several works with M. Sinsinawa. andante. Mlle Courtaux began teaching and composing when still a student. dividing the work into four sections. was a highly gifted pianist. and there is skillful use of relative key relationships throughout. Continuous 16th note triplets. 1941 Marie Mathilde Courtaux. and the Villa Fougères in Switzerland until her death at the age of 81. and 15. two Barcarolles. and a Tyrolienne. She studied with LeCouppey at the Paris Conservatory. Her compositions in the Sinsinawa Dominican archives are now being published through the editorial efforts of Anita Smisek. Lively and gracious dance in ABA form. allegro giocoso. O.P. (née Marie Mathilde) Port Louis. An attractive Impressionistic piece. and there became interested in their vocation.< previous page page_71 next page > Page 71 written on the score (in Dutch). Contrast in articulation and dynamics bring this energetic ternary piece to life. Level: Early-Mid-Intermediate (A major. ed. Amanda. Apr 21. Level: Early Intermediate. at the age of 62. and composer in Paris when. < previous page page_72 next page > Page 72 Forthcoming from Alliance Publications: Priere de Ste Cecilie, piano solo; Three Piano Duets; Ave Maria, voice and piano; and Gavotte for piano 6 hands. SOURCES: Alliance Publications, scores COZAD, Irene Late 19th c. American No information is available about this Kansas City composer, except that she also composed the Affinity Rag . ANTHOLOGIES: Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Trebor Jay Tichenor (Dover, 1979), and Ragtimes für Klavier, ed. Günter Kaluza (Furore, 1994). Eatin′-Time Rag [1913]. Level: Late Intermediate/Early Advanced. (2/4, C/F major, 4 pp). Four 16-bar repeated sections (ABAC). Written late in the ragtime era, it employs more continuous RH sixteenths, a more complicated stride bass, and more octaves in both hands. An exhilarating piece with an up-tempo swing. SOURCES: Hinson, KOM, Tichenor preface CZERMAK, Wilma (Wilhelmine) b. Prague, 1845—d.? Concert pianist Wilma Czermak, the daughter of Johannes Czermak, a Prague burger, made her early studies in music with Josef Proksch at the acclaimed Piano Teaching Institute, and made extraordinary progress in four years. She then studied with the eminent pianist Alexander Dreyschock, making her Prague debut in 1860. In 1863–1864, she concertized in Germany and France to much acclaim, exciting sensation everywhere. A Prague music critic said of her, “Her playing is of an astonishing worth (and) fine grace. Wilhelmine C. lives in tones, therefore her tones live…the strength, the quiet size, the elegant lightness, the storm of passions (are) like the most tender lament of the heart."68 Her editors said, “We are pleased to be able to now introduce this interpreter as a composer. Surely not the most important work in the history of music, but worthy of notice.”69 SINGLE WORKS: Marche Solennel (Eres Edition, 1992/9). Level: Late Intermediate. (F major, in 4, allegro con fuoco, 4 pp). Introduction: eight bars of octaves in < previous page page_72 next page > < previous page page_73 next page > Page 73 funeral march rhythm. RH octaves play the theme, a symmetrical double period of arching phrases, over a broken-chord accompaniment. In AABCA form, with contrasting sections in D-flat major: B is more lyric, while C is characterized by wide leaps and LH octaves. A useful octave study for the developing pianist. SOURCES: Score D DOBYNS, Geraldine Late 19th c. American No biographical information is available about this ragtime composer. Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Tichenor (Dover, 1979). Possum Rag [1907]. Level: Late Intermediate. A-flat/D-flat majors, F minor, 2/4, “slow drag,” 5 pp). A rag in five sections, ABACD. “A quintessential example of its type: a ubiquitous style of folk-rag writing” from a publisher with branches in Little Rock, Memphis, and New Orleans who produced “some of the most syncopated, free-wheeling folk rags” in the lower Mississippi valley (score preface). Of special interest are the enharmonic temporary modulations and the F-minor Trio. SOURCES: Score DUSSEK, Olivia —see BUCKLEY, Olivia Dussek DUSSEK, Sophia Giustina (née Corri; later Moralt) b. Edinburgh, May 1, 1775—d. London, 1830 or 184770 Singer, harpist, pianist, and composer Sophia Corri Dussek was the daughter of composer/publisher Domenico Corri, who emigrated to England four years before her birth. Her father was her first teacher; others included Luigi Marchesi, Giuseppe Viganoni, and Giambattista Cimador. In 1791, she made a successful London debut singing in the Salamon-Haydn concert series, and later appeared as a soloist in the London premieres of Haydn’s The Storm and < previous page page_73 next page > < previous page page_74 next page > Page 74 Mozart’s Requiem.71 She was also a popular performer on harp and piano. In 1792, she married the famous pianist and composer Jan Ladislav Dussek, fifteen years her senior. They occasionally performed together, but their union was marred by indiscretions, if not infidelities, on both parts; rumors still abound in accounts of their lives. In 1799 or 1800, Dussek fled the country to avoid his financial obligations as partner to Sophia’s father in their failed publishing business, and there is no evidence that the couple ever saw one another again. (Olivia Dussek Buckley, their daughter, and Sophia’s sister-inlaw, Veronica Dussek Cianchettini, also appear in this volume). After Dussek’s death in 1812, Sophia married the violist/composer John Alvis Moralt, and they established a music school in Paddington. Sophia Dussek published a good many works for both harp and piano, including accompanied sonatas for piano and violin or flute. At present, however, only three pieces are in print: a Sonata for Violin (Flute) and Harpsichord (Piano) edited by Sally Fortino (Hildegard), and the two works below. SINGLE WORKS: Sonata in A Major for Piano or Harpsichord [ca. 1805], ed. Barbara Harbach. (Vivace Press, 1998). Also available ed. Rempel (Hildegard 09806, GKH reprint). Level: Late Intermediate. Two movements, 12 pp. Idiomatic and well constructed, a worthwhile addition to late Classic/early Romantic repertoire. I: Allegro (2/4). Sonata form: lively first theme, with some LH crossovers, contrasts with a lyrical “con espressione”; fairly lengthy development. II: Rondo (allegretto, 3/4). Rondo theme, dolce, and two more virtuosic episodes. ANTHOLOGIES: Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall, 1998). Prefatory essay and two works edited by Ursula Rempel. A Sonatefor the Piano Forte —see Single Works. Three Favorite Airs Arranged for the Harp: Lewie Gordon, Thy Fatal Shafts, and Queen Mary’s Lamentation. Level: Late Intermediate. Lewie Gordon (E flat major, 4/4, moderate, 2 pp); Thy Fatal Shafts (F major, 2/4, andantino, 6 pp); Queen Mary’s Lamentation (E flat major, 3/4, slowly with much expression, 5 pp). Lyrical variations of popular Scottish melodies “given a sensitive, unaffected treatment that captures the often haunting simplicity of the melodies” (preface). SOURCES: Baker, Boenke, B&T, ClagS, Cohen, Fuller, H&H, Heinrich, Jackson, Laurence, Mac, Meggett, MGG, NewGrove, S&S, Stern, scores DUSSEK, Veronika —see CIANCHETTINI, Veronika < previous page page_74 next page > < previous page page_75 next page > Page 75 E ECKHARDT-GRAMATÉ, Sophie-Carmen (var. Gramatté, Friedman-Gramatté; née Sonia de Fridman-Kochevskoy) b. Moscow, Dec 25, 1898/Jan 6, 1899—d. Stuttgart, Dec 2, 1974 Eckhardt-Gramatté, a Russian-born Canadian composer, violinist, and pianist, was a child prodigy taught first by her mother (who taught Tolstoy’s children) and then by Nicholas Rubenstein. She began composing in Paris at the age of six, studied both violin and piano at the Paris Conservatoire from 1908– 1913, and made her debut in Paris, Geneva, and Berlin on both instruments at age eleven. After her marriage to the German Expressionist painter Walter Gramatté, the couple lived in Spain for two years, where she met Igor Stravinsky and Pablo Casals, who became her mentor. When her husband died in 1929, she visited the United States the invitation of Leopold Stokowski, performing both her Piano and Violin Concertos with the Philadelphia and Chicago Symphonies. She then gave up her performing career to devote herself to composition. In 1934, she married Ferdinand Eckhardt, an art historian. From 1939– 1954, they lived in Vienna, where she co-founded the Viennese chapter of the International Society of Contemporary Music, and received an Austrian State Prize for composition. From 1954 on, they lived in Winnepeg, Canada, where she was awarded an honorary doctorate in 1970 from Brandon University (Manitoba), and became the first Canadian composer to receive the Diplôme d’honneur from the Canadian Conference of the Arts. She initiated the planning that led to the Eckhardt-Gramatté National Competition for the Performance of Canadian music, first held in 1976 as a memorial to her after her accidental death in 1974. Her compositions include orchestral and chamber music as well as works for the piano. Largely a self-taught composer, Eckhardt-Gramatté developed an eclectic and unique style. Because of her great admiration for Bach, she used an individualistic contrapuntal idiom. She also experimented with bi-tonality, neo-classicism, jazz idioms, and quartal structures, but remained essentially a Romantic. COLLECTIONS: 6 Caprices ed. Megumi Masaki (Brandon University School of Music Press, 1996; Hildegard 02021). Level: Early Advanced/Advanced. Six impressionistic, highly individual tone poems composed between 1931 and 1948. Tonal and rhythmic complexities and some virtuosic figuration, with mood and character of overriding importance. Caprice No. 1. “Portrait F.E.” (G major, 5/4, aisé [easily, comfortably], 7 pp). A portrait of Ferdinand Eckhardt (her future second husband), < previous page page_75 next page > < previous page page_76 next page > Page 76 composed in appreciation after he catalogued her late first husband’s art works. In ABA form, based on a childhood piece. The melodious and graceful opening theme contrasts with a more intense, fullertextured middle section. Caprice No. 2. Nocturne “Gute Ruh” [Rest well], (E minor, in 4, lento/molto espressivo, 10 pp). A fantasy based on the brief motif heard at the end of the work, “Gute Ruh, mein Junge,” which the composer and her husband sang to each other every night. Fleeting figures alternate with longer, sustained sounds, like impressions flitting through one’s mind while falling asleep (preface). Caprice No. 3. “Aufschrei” [Outcry]. (B-flat minor, 3/4, moderate con molto expressione, 7 pp). Based on a graphic portrayal by her first husband of the horrors of a person facing death. The harsh scream is painted in tritones, jarring chromaticisms, loud dynamics, alternating between two tempi. Caprice No. 4. “Wohin?” [Where to?] (B major, 6/4, frei und gelassen [freely and unhurried], 10 pp). Questions formed of rising thirds are given incomplete, directionless answers, but the work finishes calmly and decisively in B major. Caprice No. 5. Meeresmuschel (Nocturne) [Sea Clams]. (B major, common time, nicht zu langsam, 9 pp). In the composer’s words, “a beautiful aquarium water-colour…a present from heaven…but not for this world” (preface). Textual references to sights in the Berlin aquarium appear throughout the score. Soft layers of colors blend in broad, free gestures. Caprice No. 6. Klavierstück-Auf ein Stuck meiner Kindheit [From a piece of my childhood]. (G major, 4/4, gemässigt [moderately], 9 pp). A reworking of Letter “S”, a self-portrait composed at age six. Warm, happy, energetic, and elegant. “From My Childhood,” 14 Alphabet Pieces, Volume 1, ed. Lome Watson (Waterloo Music Company, 1980). Level: Early Intermediate to Early Advanced. Fourteen lyric miniatures, 1–3 pp. long, written when the composer was 6–10 years old. The set encompasses a variety of styles, from Romantic character pieces to portraits of admired composers, Parisian salon music, and Impressionism. They reflect the child’s sophistication, phenomenal technique and large hands, as well as the influences of music she was learning. Fingerings and pedaling are included in this edition. A. Level: Mid-Intermediate. (E-flat major, in 4, peacefully and smoothly). Sweet, narrow-range repetitive melody over an alternating bass. B. Level: Mid-Intermediate. (E-flat major, 3/4, andante). A 24-measure song in hymn texture, repeated with melodic ornamentation. C. Level: Early Intermediate. (C major, 2/4, light and lively). Dancelike staccato and short slurred phrases; perhaps a pas de bourrée or a pas de chat, with little crossing steps. < previous page page_76 next page > allegro ma non troppo). this is more accurately a chase in two-voice texture. Level: Mid-Intermediate. Contrasting articulations. 2/4. Not a fugue. Level: Early Advanced. echoed eighth note patterns and ornaments suggest the 18th century. Extensive use of the whole-tone scale. (D major. (D major. < previous page page_77 next page > . good-natured tune based on repeated sixths and fifths. common time. Hymn texture supports a serene. 14 variations. Level: Late Intermediate/Early Advanced. 3/8. Theme (prelude). (F major. cut time. vivo).” is nearly ¼ of the work. Chromatic 16th note scales ripple up and down the keyboard. (B-flat major. P: Poissard [Fisherwoman]. with running eighth notes passed from hand to hand. which are self-descriptive character pieces. Y: Etude. A gently rocking pastorale using borrowed chords for an exotic “gypsy” effect. in a singing style). The work divides into three sections: 1) an opening chorale prelude on the first seven notes of the theme. allegretto). molto moderato). Introduction and Variations on a Theme from my Childhood. Sonia’s self-portrait: swift 16th note scales and arpeggios in an early-Romantic texture. Var. Flirtatious salon style. 8. Level: Mid-Intermediate. with a lyric middle section. Level: Mid/Late Intermediate. resolute ed energico. D. very fast). 37 pp). Level: Mid-Intermediate. 3/4. common time. and a Bach-like fugue is inserted between variations 11 and 12. 2) theme and seven untitled variations. (B-flat major. quick and light). reminding one strongly of Bach’s Prelude II in C minor. (E major. and a fugue. animato) One can almost hear the vendor’s call in this broad. Level: Late Intermediate. M. or even imitative. Level: Mid-Intermediate. and nos 6 and 7 explore newer sonorities. F: Fugue. accompanied by a skeletal broken-chord bass. Level: Mid-Intermediate. Var. with many grace notes and contrasts in dynamics and articulation. The broken-chord figuration in the left hand requires a good stretch and facility at thumb-passing. zefiroso [light as a breeze]). (C major. Triplets and staccato octaves hop up the scale to land heavily on a dominant chord. 4/4. Level: Late Intermediate/Early Advanced. an energetic dance with leaps and runs. pavane-like melody with suspensions and written-out ornaments in the style of Handel. 2/4. Level: Late Intermediate. 2/4. moderate). lively but very lightly). 2 suggests a classical etude. (G major. “Flowers on a Grave. common time. in 4. Z: Ziganka. (E-flat major.< previous page page_77 next page > Page 77 E. a spare texture. (F major. (A-flat major. R. 3) seven titled variations. Level: Early/Mid-Intermediate. V: Valse Chromatique. 6/8. nos 3 and 4 imitate Baroque inventions. graceful 16th note sextuplets in an airy two-voice texture. S: Sonia. Hands are moving in parallel sixths in a rattling sixteenth note figuration. H. (C minor. LH has several chromatic passages of its own. and some chromatic cadenza-like passages. Rounded binary theme. Mademoiselle Strasbourg and Paris. Johnson. Sonata II in G major (from III Sonatas pour le Clavecin avec accompagnement d’un Violin. II. Cohen. Duplets in RH vs. 2/4). Actually in ternary form with B in the parallel minor. Rudimentary sonata-allego form: two themes. Gordon. Baker. graceful rondo (ABACA) with 2nd episode in the relative minor. score EDELMANN. Score is unnecessarily difficult to read. composer. no development. a brief development. Faurot. COLLECTIONS: Eighteenth Century French and English Music for the Harpsichord. I: Allegro ingenüement [candid. six systems/page. 2nd var. Volume II (Waterloo Music). with unconnected bass/treble staves.: RH plays interrupted 16ths over unchanged bass. 3/4). ed. Mac. International Gesellschaft für Neue Musik). I: Grazioso (G major. Level: MidIntermediate.: Music box effect with Alberti bass. Sonata-allegro form with an elegant first theme. 10 pp. “From My Childhood. SOURCES: A-Z. 11 pp. Meggett. and 6. H&H.” Character Pieces.: RH block chords. FRK. Simrock). and who went to the guillotine for the Jacobin cause. Ternary form < previous page page_78 next page > . 1998). Boenke. 1 (Sonata C. She was the sister of Johann Friederich (Jean-Frederic) Edelmann. pedestrian thematic material. and teacher who is credited with helping to make the piano fashionable in Paris. artless] (G major. c. Martha Secrest Asti (Hildegard. Grove.: chromatic scale passages passed between hands. 4. Heinrich. a renowned harpsichordist. 1996). 1783–1786). S&S. ad Libitum. A pleasant.72 Mlle Edelmann wrote several sonatas for clavecin which printed in collections with works by other composers. III: Romance (G major.< previous page page_78 next page > Page 78 Sonata Vol. Hinson. 2/4). 3rd edition. Marc-André Hamelin (Hildegard. Three movements. 1st var. cited in Hinson’s Guide. including her famous brother. 1787] (Editions Ars Femina. SINGLE WORKS: Clavier Sonata in G major [ca. four variations. Stock figurations. forthcoming). II: Minuetto con variazioni (C major. rattling 16ths in LH. More sophisticated themes and figurations than the Sonata above. continuous LH triplets. Level: Late Intermediate. cut time). Four movements. and Suite for Piano No. common time). 3rd var. EAF 40-03. late 18th century Little information is available about this Alsatian composer. 4th var. ed. in 4). 5. III: Rondo (C major. 5. Stern. no recapitulation. running 16th notes in treble. LISTED but not found in print: Klavierstück (Sonata No. II: Moderement (D major. ed. composes par Mademoiselle Edelman. included symphonic overtures. but with the harmonic language and musical expression of 19th century Paris. wife of J. (Jeanne-) Louise (née Dumont) b. she and her scholar husband Aristide Farrenc began compiling a massive anthology of early keyboard music.” F FARRENC. which she won again in 1869. and scholar Louise Farrenc. LISTED but not found in print: One sonata in Trois Sonatas pour le Clavecin ou Piano-Forte. Her compositions. Cohen and H&H. Belgium: Alamire. was a prolific composer. In 1861. Franck. IV: Menuet (G major. Sep 15. largely composed between 1825 and 1839 and published by her husband’s firm. played da capo . Also in 1861. From 1842. interrupting her studies for concert tours. and Fauré. which were widely performed. cited in Barbara Jackson’s Guide to Surviving Music. Early piano studies were with Moscheles and Hummel.Raspé in Series IV: Series in Collaboration with the Brussels Royal Conservatory of Music (Peer. May 31. as “Mme Edelmann. later prize winners included Lalo. Monsieur Dardonau & Monsieur Pin. she published the twenty-three-volume Le Trésor des Pianistes. Besides being a greatly revered teacher. the piano virtuoso. described by Maurice Hinson as “the most complete collection of keyboard music ever assembled. 1992). grovemusic. she became the first winner of the Prix Chartier Académie des Beaux-Arts for chamber music. and grand opera can all be < previous page page_79 next page > . she held the appointment of Professor of Piano at the Conservatory for over thirty years. was the sister of sculptor Auguste Dumont. Farrenc. born into a family of royal artists. and published in her lifetime. each in binary form with repeats. symphonies. the only woman so honored. 73 SOURCES: Baker. where she studied with Anton Reicha for six years. Jackson. 1804—d. Paris. Paris.”74 Farrenc’s own compositions are rooted in Classical forms and genres. and chamber music. the salon.F. poss. 1875 Pianist. but Louise Farrenc continued the work. Nine years later. like her contemporary Fanny Hensel. Farrenc entered the Paris Conservatory. Two contrasting minuets. scores. In her piano music.< previous page page_79 next page > Page 79 with repeats. composer. and in 1819. the second in parallel minor. reviewed. the symphony hall. 3/4). Her husband died in 1865. first section is in rounded binary form. Eitner. R. praised by Robert Schumann as succinct and charming studies (preface). ed. 1990) and Frauen Komponieren. allegretto. Level: Late Intermediate/Early Advanced. Native and Foreign Virtuosos: Selected Works of Zimmerman. Alkan. 17 [1835]. 2 pp). with variation sets forming the largest segment. 1993). GKH). songlike melody. 3 pp). 13 pp). quatre rondinos sur les themes favor its (Four Rondinos).76 Probably part of a teaching series of teaching pieces. (F major. as alto and tenor continue the 16th note pattern.Kallberg (Garland. Rondino Savoyard. ed. 41. ed. (G minor. Rondino Pastoral. J. Level: Early Intermediate. enjoyed critical and popular success. Level: Late Intermediate/Early Advanced.” Excellent short works for the intermediate student. (B minor. Level: Mid-Intermediate. allegretto grazioso. Includes the Opus 9 rondo-variations on a Bellini theme and three rondos. ed. Twelve Etudes of Dexterity Op. Based on the Pirate’s Chorus from an opera by Bellini.75 SINGLE WORKS: Air Russc Varié pour le Piano-Forte Op. Of Farrenc’s fifty-one numbered works. Vol.< previous page page_80 next page > Page 80 found. and a Finale. Attractive contrapuntal work like an invention. 9. (A minor. and fantasies or rondos on popular themes of the day. 1992). Franck. common time-6/8. the mode changes to the relative major. Her ambitious studies. Prelude. 2/4. Trente études dans tous les tons majeurs et mineurs. Her other keyboard works include four books of études. published ca. A strummed bass accompanies the peaceful. 11. and the texture turns into two duets: soprano and bass emphasize the triple meter. eight variations. in rounded binary form with second section twice as long as the first. Hinson (Alfred. repr. ANTHOLOGIES: At the Piano with Women Composers. 26. 3/4-2/4-12/8. 1837. Gena Raps (Hildegard. 6/8. Theme. forthcoming). One-page introduction in 4 is followed by a sparkling rondo with variations. with emphatic thudding downbeats and < previous page page_80 next page > . Op. thirty-two are for solo piano. possibly from Opus 21 Les jours heureux. as title pages include the phrase “Encouragement aux Jeunes Pianistes. moderate. Gena Raps (Hildegard. de Bellini Op. In the second part. ed. Rieger/Walter (Schott. and were adopted as required study in several European conservatories. 10 of series Piano Music of the Parisian Virtuosos 1810–1860. 3/8. This is a skillful. (G major/minor. and Contemporaries. No. 9 pp). Continuous 16th notes wander sadly upward as the soprano melody drifts down. with a miniature cadenza bringing the theme back for its final appearance. idiomatic. 3 pp). and wonderfully graceful example of early Romantic variation techniques. An energetic hornpipe. 10. allegro moderate. No. some pedagogical pieces. interesting and challenging. Impromptu. Rondeau sur un Choeur du Pirate. Level: Mid-Intermediate. and that she was completely blind. SCB. eds. COLLECTIONS: Six Sonatas for Piano or Harpsichord. H&H. printed and sold by Preston. score < previous page page_81 next page > . Music-box effect. Freer expressed her gratitude for having been given instruction in music. ed. Standard style traits of the period: two-voice continuous 16th note texture in fast movements. Laurence. Competent examples of the transition from harpsichord to piano. and C majors. Baker. 3/8. Six three-movement sonatas in G. Jezic. Kirby. comparable to early works of Haydn and Clementi. moderate. Rondino-Walse (sic). 1999). series. triadic and scalar melodies. diminished chords. 1994). Harmonies include temporary modulations. Dubal. Air Russe Varié pour le Piano-Forte. Women Composers: Music Through the Ages. Pendle. Cohen. FRK.Hall. Vol. it appears Freer was raised in the Foundling Hospital from infancy. F E. SOURCES: Hinson. London. 3rd movements are rondos with one episode in a contrasting mode. sequential development. 6. Gena Raps. ed. KOM.< previous page page_81 next page > Page 81 staccato hops on the upbeats. Level: Mid-Intermediate. This is a beautifully clear Urtext edition with a helpful ornament chart. at warehouses in the Strand. Hinson. S&S. In ternary form rather than being a true rondo. Johnson. scores FREER. Alberti. Level: Late Intermediate. at which she was able to make her living. B&T. Fetis. HAMW. 3 pp). No. gracious steps and repeated 16th note patterns. Jane fl. Boenke. Meggett. echoed in higher registers. with 1st and 2nd movements in a variety of forms. 1770s No information is available about this composer other than the few facts appearing on the title page of the sonatas included here. See Single Works. the dance has a songlike middle section in A major. E-flat. tremolo octave. 12. affirming their authorship by Jane Freer of the Foundling Hospital in London. (C major. and deceptive cadences. Not a sweeping Viennese waltz. ranging from 8–16 pp in length. Mac. Sixteenth note scales and broken chord patterns provide some lightfingered work for the right hand. Formal pattern of fast-slow-fast. Grove.K. this is more decorous and minuet-like. Glickman and Schleifer (G. From the dedicatory paragraph. Elson. Stern. with small. broken chord and arpeggio basses. D. SOURCES: A-Z. lyric 2nd movements. Barbara Harbach (Vivace Press. the style is late Romantic. and Schoenberg. RH octaves are accompanied by broken-chord triplets in changing meters. I (B minor/D major. sostenuto). she composed over twenty cadenzas for his concertos. she taught piano at the Hamburg Hochschule für Musik until 1959. and at age eighteen was one of the first to play Max Reger’s Variations and Fugue on a Theme of Bach . 1990). and arched forms are present in each. Simpler in texture and harmony than the Opus 5 group (below). No. A surging. chamber and vocal music. Acht Skizzen Op. meter could have been 6/8. The late Romantic harmonic language includes secondary dominants. (G minor. < previous page page_82 next page > . 4 (Ries & Erler. II. octaves. Triplet figures. Her compositions include a symphony. At the Cologne Conservatory. with Brahmsian textures. and piano pieces. (C major. Richard Strauss. No. and a preference for open fifths. each. Rounded binary forms. After World War II and the death of her husband in 1946. tempo energico). A passionate lover of the music of Mozart. Eight 1-pp. Level: Mid-Intermediate. and Dvorak in their use of the modes and dance forms of central European folk music. Fromm-Michaels was a champion of contemporary music. She performed as a soloist under Nikisch. and all push the boundaries of tonality. 3/4. sketches. Jan 22. she studied composition with Hans Pfitzner and Fritz Steinbach. No. as well as some of the tonal experimentation of the 20th century. SINGLE WORKS: “Vier Puppen” (Vier kleine Stücke für Klavier zu zwei Händen) Op. borrowed notes and chords. Das Puppenmädchen [girl doll]. IV. 5 (Ries & Erler. then later with Kwast and Friedberg at the Stern Conservatory. some chromaticism. animate). 6/8. Furtwängler. displaying the influence of Brahms. 1986 Virtuoso pianist and composer Use Fromm-Michaels studied piano with Bender and Van Eyken at the Berlin Hochschule für Musik. 1888—d. Germany. and Der Harliken [clown]. Dec 30. all are in simple song form. Low chords in close four-part harmony pulsate under brief dissonant phrases. 2/4. Detmold. No. romantic melody moves through shifting tonalities. with short. 3/4. but her work was circumscribed by Nazi rule because her husband was Jewish. Hamburg. (C minor.< previous page page_82 next page > Page 82 FROMM-MICHAELS. 2 pp. Der Hampelmann [puppet]. easy keys. Four miniature “doll sketches”: Der Holzsoldat [wooden soldier]. they are eclectic and post-Romantic. Stylistically. III. Level: Mid-Intermediate. not connected by a common theme but with many similarities to each other: five are in minor keys. but requiring considerable control in contrasting articulations. 1994). Use b. lento). A sweep of ascending chromatic octaves in RH is supported by bass octaves and chords. repetitive melodies and characteristic rhythms. legato. A strong. A boisterous German Ländler. and movement. very wayward in tempo]. ed. full of middle-European modes and Brahmsian figurations. sehr launisch im Zeitmass [comfortable. has a music-box naïvete that is curiously tonal after the < previous page page_83 next page > . (E minor. long. Erst leise und zurückhaltend. 5. allegro moderato). No. 8 (Ries & Erler. 6 (Ries & Erler. Senate Op. n. Walzerreigen Op. Langsamer Waltz. III: Lebhaft. Ruhig und tonvoll [calm and melodious]. V.d. common time. moderato). soprano and tenor sing a duet over a bass pedal reiterated on off-beats. Contrasting staccatos and slurs and a chromatically-descending alto line lend a playful feeling to this piece.< previous page page_83 next page > Page 83 No. with chromaticism. Sonata-allegro form. An eerie little piece with two alternating themes. Level: Advanced. VIII. The central motif. frei im Zeitmass [very slowly. 7 (Ries & Erler n. nicht zu langsam [calm. (B minor. then always exuberant]. 2.). treated rhapsodically.). a rhythmic cell of a 32nd note followed by a dotted eighth. tempi. Passionate unison octaves and full chords contrast with a dreamy intermezzo. Wild. Lyric. dann immer ausgelassener [first softly. Brahmsian. Ruhig. free in tempo] (C minor. key signatures. A lyric. 4. and waltz rhythms. ANTHOLOGIES: Frauen Komponieren. 1.d. arching melody is urged forward by chords on the off-beat. The A major middle section. No. 13 pp). aber nicht schnell [lively but not fast] (F minor. I: Markig [vigorous] (C major. Both tender and aloof. changing key every four bars or so. Rieger/Walter (Schott. (G major. 2/4).d. Gemächlich. 4 pp. (Various keys and tempi. Meters. impressive work. contrasts with triplets echoing the first movement. using the whole range of the keyboard. II: Sehr langsam. Many contrasts in harmonic colors. 4/4). 3/4. idiomatic and well constructed. VII. but not too fast]. 3/4). In three-voice texture. Level: Advanced. with two strongly contrasting themes and a full development section. n. Full but gentle chords in quarter and half notes. 3/4. with delicate articulations and grace notes. Inner voices in thirds and sixths descend the scale between static soprano and bass lines. moderate). Level: Late Intermediate. 26 pp. Level: Late Intermediate/Early Advanced. Theme and seven difficult variations. dotted-note figures. and figurations change throughout. 3 pp). (A minor/major. insistent theme. 3. A delightful waltz in five distinct but continuous sections. aber nicht zu schnell [passionate. A haunting. 1992). played high in the treble register. Variations über ein eigenes Thema Op. not too slowly]. (A major. No. 3/4. holding back. VI. The centerpiece of the work. sostenuto: espress la Melodia).). A sweet melody. descending scales. mood. Three movements. common time. < previous page page_84 next page > . the pianist and head of the Conservatory. in 1949. Meggett. In 1986. May 31. SOURCES: A-Z. 6. accompanied by downward-strummed chords in the inner voices. she married G. Singend [singingly].).? A Danish composer from a musical family. 4. KOM. L’istesso tempo. The bass walks down the scale under the soprano melody. RH melody in eighth note pairs over off-beat grace-noted chords. Kräftig markiert [strongly marked]. who also discovered her talent as a composer. with ties and suspensions. An evocative and well-crafted work.d. “Ade nun zur guten Nacht” (Tischer & Jagenberg. Var. SCB. Sperber. FRK. she and her family moved to Brazil and built a new life. Strongly reminiscent of Brahms. Var. Visconti and traveled with him to Austria. she first experienced the world premiere of her songs by the Krefelder contralto Lore Sladek. her teacher was Max von Pauer. 3. scores FUGLSANG-VISCONTI. many of her compositions were lost. Hadersleben. it is an idiomatic and enjoyable example of the genre. 1. A chorale in B-flat minor. piano suites and variations. S&S. H&H. 3/4). Johnson. chromatic passing tones add extra color. and at the age of twenty was admitted to the Musikstudium am Königlichen Württembergischen Konservatorium in Stuttgart. where she still lives today. bringing to mind a darkened stage with a lonely clown revolving in the spotlight. Interesting modulations. well-constructed variations. Huth. Use b. From 1915 until her sixtieth year. and pieces for violin and cello.Strasser. MGG. Langsam und zart [slow and sweet]. Fuglsang-Visconti first studied piano with A. Denmark. and wide. Rasch und flüchtig [quick and fleeting]. In the confusion of WW II. with tenor melody. and in 1964 she returned to Haderslev (Hadersleben’s name since 1920). as well as the production of her first and only recording. Bass octaves boom below the melody harmonized in double triads. 8 pp). An intermezzo. Var. Duet between soprano and bass. Boenke. (B-flat major. (B-flat major. Stern. soprano countermelody. n. common time. 1895—d. Fuglsang-Visconti composed well over a hundred songs. (B-flat minor. 5. 4/8). Var. In 1927.77 SINGLE WORKS: Variationen über ein Volkslied. Level: Late Intermediate. Later composition teachers were J. There. Pendle. 2. Cohen. with eleven brief. with inner voices chiming in between the beats. sustained chords. After the war.< previous page page_84 next page > Page 84 opening dissonances. A song without words. Mac.Haas and E. Var. Sehr langsam und leise [very slow and soft]. Var. A twelve-bar theme formed from a lovely old German folk song. A daughter of Bolivian parents. with humor]. Dramatic contrasts in texture and articulation. who used the William Mason method in his teaching. SOURCES: Cohen. Begins in E-flat.< previous page page_85 next page > Page 85 Var. May 23. Danville. Primary chords. Triumphant beginning with strong doubled chords and bass octaves. The music grows calmer in the second half. reminiscent of “There’s No Place Like Home. Var. fingering. A pleasant exercise in voicing. 3 pp). Rasch und bestimmt [brisk and determined]. 1895/6—d. Arpeggiated texture in eighth note triplets. White Plains. (D-flat major.” is played in thirds and block chords and supported by a broken-chord bass. and general musicianship for the right hand. Level: Late Intermediate. Gainsborg made her New York debut in Mendelssohn Hall. she was a featured pianist on the NBC radio network. 1928). Var. 1981 Little information is available concerning Lolita Gainsborg. over a reiterated bass pedal. Var. Sustained chords with some chromaticism. aber lebhaft und kräftig [somewhat slower. 4/4. and she continued to concertize until her marriage. mit Humor [lively. Ruhig [calmly]. Lebhaft. fading into a pianissimo at the end. Etwas langsamer. balanced phrases. New York. H&H. After 1924. Mac G GAINSBORG. 7. Meggett < previous page page_85 next page > . Strong rhythmic motive in the bass drives the theme forward. 10. Gainsborg studied in New York with the American pianist Edward Morris Bowman. then leads enharmonically to the final variation. 11. and simple song form prevail. but lively and strong]. An amiable theme. FRK. 8. Kehler. reading. Var. changes to F-sharp major. Kraftvoll [powerfully]. andante con moto. Lolita Cabrera b. wide bass leaps. SINGLE WORKS: Lullaby for the Right Hand Alone (Boston Music Company. SOURCES: A-Z. 9. New Jersey. At fourteen. Vol. Eight lessons. and a group of twelve English and Italian songs. Chazal. 1995). Samson.Scarlatti. conductor and composer Elisabetta de Gambarini was the daughter of Charles Gambarini. 1731—d. long. Level: Mid-Intermediate. and she may have been a student of Geminiani. Near the end of her short life. Elisabetta de (var. 3rd movements: gigue types in 12/8 or 6/8. ed. Two voice-textures. Her mother was a music teacher to the children of noblemen. and Gigue. London. including Judas Maccabeus.Bach. Chazal. long. with no added markings. Two Sicilianas. 1994). SINGLE WORKS: Six Sonatas for Harpsichord or Piano Op. she married a Mr. Eighteenth Century Women Composers for the Harpsichord or Piano. a mixed collection of songs and keyboard pieces. Opus I: Six Sets of Lessons for the Harpsichord . D minor. A.C. II. triadic and scalar melodies. Tambourin. II. and a Minuet. in B-flat. tuneful examples of the late Baroque/early Classical period in the style of D. G. each 3–4 pp. F. Handel. Level: Mid-Intermediate. Martha Asti (Hildegard. Lessons for the Harpsichord Opus II: Aria. in G. Her three volumes of published works (ca. Two sets of theme and variations: a Gavotte based on a popular aria. Mrs. and J. See Six Sonatas. Six three-movement sonatas. 1st movements: quick binary dances in duple meters.< previous page page_86 next page > Page 86 GAMBARINI. Hinson (Alfred. Andante. and D majors and G minor. 1992). G. and perhaps also a painter. I and Op. Gigue and Tambourin from Lessons for the Harpsichord Op. each 2–4 pp. I [1748]. but shorter and easier. 1990). 1765 Soprano. Lessons for the Harpsichord Opus II [ca. 2nd movements: contrasting keys. In this edition. Similar to Opus I. C majors. Barbara Harbach (Vivace Press. 1748]. the < previous page page_86 next page > . and two Gigas. Sep 7. ANTHOLOGIES: At the Piano with Women Composers. Italian counselor to the Landgrave of Hessen-Kassel. Gavotte and Variations. F. and Messiah. Her compositions include chamber music and many overtures. Caraglion. primary chords. London. Elisabetta sang in many Handel oratorios. Six one-movement “lessons” in binary dance forms: Allegro. an ornament chart is included. Pleasant. Harbach (Vivace Press. lyric and slower. De Gambarini) b. I. The gigues are particularly energetic and playful. This Urtext edition is beautifully spaced and easy to read. ed. a March. infrequent ornaments. D. Feb9. 1748–50) include a set of six harpsichord lessons. continuous sixteenth notes. ed. and a Minuet. COLLECTIONS: Lessons for Harpsichord Op. an Adagio. ed. keyboardist. Lovel. S&S. Feb 20. and St. Six Sets of Lessons for the Harpsichord Op. to aid the performer in phrasing. H&H. Gaynor wrote etudes. Vol. Women Composers: Music through the Ages. said she had “a vivid personality with a great love of children. series eds. 1914). with 16th notes. The House That Jack Built). 3. Missouri. < previous page page_87 next page > . SOURCES: Cohen. (C major. Louis Maas. (C major. Weidig.”78 In 1881. Goodrich and Frederick Grant Gleason. Pedagogically ahead of her time. 1998).79 For the piano. such as The Slumber Boat and Thanksgiving Song. II: Minuet. scores GAYNOR. Webster Groves. 1. 1914). Level: Late Elementary. Meggett.” Her daughter. Lessons for the Harpsichord Op. Tambourin. Grove. A. KOM. about fifty sacred and secular songs for adults.< previous page page_87 next page > Page 87 editor thoughtfully includes the original aria (“Love. Gaynor graduated from Pritchett College and went to Boston to study with the eminent composer. Harbach. (Elkan-Vogel/Presser. Joseph. Heinrich. Eitner. a waltz for four hands. and Allegro. Louis. she insisted on teaching ear training and theory to beginners. 1986). song collections and operettas for children (Songs of the Child’s World. A stepwise LH melody is accompanied by “plucked” double notes in the treble. 1863. other teachers were Cady. ed. 2 pp). a persistent and contagious optimism and a big capacity for work. and many teaching pieces. Jessie Love (var.K.Hall. Mac. and composed popular songs. Hinson. A teaching piece with some contrasts in dynamics. and different simultaneous articulations. a Reverie (also arranged for organ). 4/8. shifting tonalities provide a bit of interest. Louis. Sonata I.J. Laurence. Jackson. and a number of vocal quartets. Go and Calm Thy Sighs”) with text and vocal slurs. dynamic contrasts. née Smith) b.”80 SINGLE WORKS: The Guitar Serenade (John Church/Presser. her motto being “the thing before the sign. was widely known in the early part of the twentieth century for her children’s songs. a pianist and teacher from St. 2 pp). Missouri Jessie Gaynor. 1921. Gaynor taught in Chicago. Stern. St. “In this juvenile vein she has no equal among American women…(they are) more developed than one would expect to find in juvenile compositions…all poetic. articulation. Glickman and Schleifer (G. Feb 17. Dorothy Gaynor Blake. Women Composers for the Harpsichord. Louis—d. and register. St. March of the Wee Folk (John Church/Presser. A passable first etude. Level: Elementary. 2/4. Irene b. (F major. scores GILES. her family said she never stopped playing the piano. ed. ANTHOLOGIES: Ragtime Rediscoveries: 64 Works from the Golden Era of Rag. Chicken Chowder (Characteristic Two Step).4 pp). it has a rondo-like form: Intro-ABA-interlude-CA. Elson. except for the nearly continuous RH octaves. In A. Hinson. ANTHOLOGIES: Ragtime Rediscoveries: 64 Works from the Golden Age of Rag. 1985). sel. 1888—d. with a return to the B theme. KOM. comp. Cohen. 1979). Missouri. creating a call-and-response effect. Notable for its two-measure chromatic scales. Lindeman (Presser. Imogene Late 19th c. Level: Late Intermediate. Sleepy Lou: A Raggy Two-Step [1906]. Inspired by the energetic sounds of “ragging. Giblin’s first popular hit. 1994). < previous page page_88 next page > . Featuring Giblin’s distinctive chromatic melodies. 1979) and Ragtimes für Klavier. recorded for Columbia by a string group on an early 78 rpm. an ascending sixteenth note scale in both hands is answered by a slower dotted-note figure. Laurence. sel. slow and drag. Louis department store. unusually. Kaluza (Furore. Women Composers of Ragtime. and always loved ragtime music. St. 1994). SOURCES: B&NB. The A and C strains are nearinversions of each other. ClagS. ed. Heinrich. 4 pp). 2/4. Stern GIBLIN. the form for this rag is AABACB.< previous page page_88 next page > Page 88 SOURCES: Ammer. It seems likely that the rag below was published by relatives. Trebor Jay Tichenor (Dover. The rag ends. (E-flat major. Level: Late Intermediate. and intro. and Ragtimes für Klavier. Tichenor (Dover. H&H. Kaluza (Furore. Krohn.” she created nine rags of her own between 1905 and 1913. and B and C sections are in the subdominant. American No biographical information is available for this ragtime composer. Grove. Although Giblin quit composing after her marriage. 1974 The young Irene Giblin was a salesperson and song plugger-pianist who showcased new sheet music in a large St. all in the tonic key. Louis. Not difficult. 4 pp. ANTHOLOGIES: Children’s Piano Pieces by Soviet Composers (Leeds. Etude . 2/4. 1935). Level: Early Intermediate. methods books. Twelve studies are in closeposition treble clef. pianist. tempos. dynamics. Helena Fabianovna (var. and professor. and in 1895 she and her two sisters founded a music school in Moscow. 1996). The state took over the school after the Revolution. ed. Her works. The Trio has its own 4-bar intro. each only 1–2 lines long. in 1945. Book 5. Russian Music for the Young Pianist. SINGLE WORKS: Little Studies for Beginners. and all but seven are in C major.< previous page page_89 next page > Page 89 Red Peppers (Two Step) [1907]. the Order of the Red Banner for Laborers (1937). Primary harmonies are the rule. fingering. and dynamic markings. she was the sister of composer Mihail Gnesina. 2 pp). < previous page page_89 next page > . preparatory technical exercises. Jun 4. Staccatos. they progress to wider-ranging melodies with eighth and sixteenth notes. all for piano. A member of an extremely musical family. and teaching pieces. Level: Mid-Elementary/Early Intermediate. scores GNESINA. basic meters. and articulation are carefully marked. Beginning with quarter-note five-finger patterns and open fifths. Poldi Zeitlin and David Goldberger (MCA Music. a Soviet composer. 1874—d. A pleasantly old-fashioned miniature waltz in ternary form. graduating from the Moscow Conservatory in 1893 with a silver medal. C/F major/D minor. Allegro cantabile. with the center section in the subdominant. Music. In two halves. Eléna/Yelena) b. moderate tempo. Twenty-three progressive studies. a wide upward skip is followed by a step down to a long appogiatura. slurs. Rostov-on-the-Don. she received a number of awards: Artist of the Russian Soviet Federated Socialist Republic (1925. and Ferrucio Busoni. 3/4. published this “local rag of rare sensitivity and musicianship” (preface). found in many collections. parallel and contrary motion. 1946). Langer. A deputy of the Moscow City Council for eight years. studied piano with Safanov. Level: Late Intermediate. May 31. comprise several sets of miniatures. imitative passages. 1969). SOURCES: B&NB. one of many small-town publishers in the Midwest. and the Order of Lenin. Stanislawa Raube (PWM Edition. Giles Bros. Hinson. Schletzer. Gnessine/Gnessin. Moscow. Russia. KOM. the work is constructed in typical 16-bar strains with repeats: A B and Trio: C D C. In the graceful first theme. but Gnesina remained director until 1953. (A major. ed. using only two and three-voice textures. 1967 Helena Gnesina. < previous page page_90 next page > Page 90 March. Level: Mid-Intermediate (G major, 4/4, tempo di marcia, 2 pp). Lively snare drum cadences and accents. Each phrase begins with a flourish of ascending 32nd notes. Hands are close together in the treble clef and the center of keyboard most of the time. Many teaching pieces by Gnesina appear in the series Listen to Yourself, comp. Alfred Mirovitch (Leeds. Music), and 20th Century Piano Music, comp. Bernice Frost (J.Fischer & Bro.). SOURCES: Butler, Cohen, H&H, Hinson, KOM, Meggett, MGG GOODWIN, Anna Gardner b. America, October 1874—d. after 1900 Little is known about this African-American composer. According to the 1900 U.S. Census, she was a resident of Augusta, Georgia, the black wife of George Goodwin, a clergyman, and mother of a fouryear-old son, George Jr. Three of her works published in Georgia are located in the Library of Congress, including the march below commemorating the Cuban struggle for independence from Spain.81 ANTHOLOGIES: Black Women Composers: A Century of Piano Music (1893–1990), ed. Helen Walker-Hill (Hildegard, 1992). Cuba Libre: Cuban Liberty March (1897). Level: Mid-Intermediate. (B-flat/E-flat/D-flat/A-flat majors, in 4, 3 pp). ABCA form, with two contrasting eight-bar themes in each section. One can practically hear the horns and cymbals in this boisterous, Sousa-like march. Abrupt dynamic contrasts, occasional octaves and sixths, and wide bass leaps imitate changes in instrumentation as the piece moves from strain to strain. SOURCES: H&H, KOM, Walker-Hill, score GOTTSCHALK, Clara —see PETERSON, Clara Gottschalk GRAMATTE, Sonja —see ECKHARDT- GRAMATTE, Sophie < previous page page_90 next page > < previous page page_91 next page > Page 91 GUEST, Jane Mary (var. Mrs. Miles; Jeanne Marie, Jean Mary) b. Bath, England, ca. 1762—d. Blackheath, Mar 20, 1846 Jane Guest, an English pianist and composer, was a child prodigy who performed in public concerts before she was six years old. She first studied with her father Ralph Guest, a prominent organist and composer, and later with J.C. Bach in London, where she was a popular performer. Listeners praised the brilliance and expressiveness of her playing. She married Abram Allen Miles in 1789, thereafter publishing her works as “Mrs. Miles.” Unlike many women of her time, she continued to perform and compose after her marriage, and her career spanned nearly sixty years. Guest attracted the support of royalty, including George 111, and she was music instructor to Princesses Amalie and Charlotte, daughters of the Prince of Wales. Her extant works include two dozen keyboard and vocal pieces, and illustrate the changes in style during her life. In 1793, she published a group of six sonatas for keyboard with violin or flute accompaniment, and in 1803, another sonata for piano with violin ad lib . Between 1820 and 1842, she published variations and dance forms for keyboard, as well as songs. SINGLE WORKS: Divertimento for the Pianoforte [1830] (Hildegard; GKH reprint). Level: Late Intermediate. (F major, 6/8-common time, allegro and vivace, 17 pp). Miles’ last character piece. A seven-page introduction in siciliana style precedes the spirited rondo, whose primary subject is a popular catch by Henry Aldrich, “Hark the Bonny Christ Church bells.” Episodes remain in closely related keys, but Guest uses chromatically altered nonharmonic tones and secondary dominants, Neapolitan, diminished, and augmented-sixth chords for drama and color. Idiomatic and well constructed, this is light but satisfying keyboard fare. Sonata No. 4, with Violin accompaniment. A facsimile copy of the first movement, in an article by Deborah Hayes, “Some Neglected Women Composers of the Eighteenth Century and Their Music,” Current Musicology 39 (1985): 54–59. ANTHOLOGIES: Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall, 1998). Daniel M.Raessler, prefatory essay and editing of a sonata movement. Sonata for Piano with Violin accompaniment [1809]. Level: Late Intermediate. II: Adagio con molto espressione. (G minor, 3/4, 3 pp). The theme, a plaintive arioso, is based on the first two phrases of a catch by Purcell, “Under This Stone.” It is delicately set in a free variation form, with aria-like figuration and ornamentation. Very like a slow movement from a Mozart sonata, and very beautiful. < previous page page_91 next page > < previous page page_92 next page > Page 92 Divertimento for the Pianoforte [1830]. See Single Works. SOURCES: Boenke, Cohen, Ebel, Eitner, ElsonA, Fuller, Heinrich, H&H, Jackson, Laurence, Mac, Meggett, MGG, NewGrove, S&S, Stern, scores GUTIERREZ-PONCE, Maria b. 1880—d. 1951 No information about this composer is available. SINGLE WORKS: Ballade Mauresque (Editions Max Eschig, 1948). Level: Early Advanced. (Five sharps, common time3/4-5/4, 3 pp). An atonal setting of a Moorish ballad, with Spanish dance rhythms, constantly changing subdivisions of the beat, and plenty of ornaments and accidentals. The melody alternates between soprano and bass in the four-voiced homophonic texture. Impresion Andaluza: Trois pieces pour piano (Editions Max Eschig, ME 6175). Three flamenco sketches with dance rhythms and dramatic flourishes. Fiery outbursts and harsh dissonances contrast with passages of sweet contentment. No. 1. Level: Advanced. (F-sharp minor/major/B-flat, A minors, common time-3/4, più lento, 3 pp). A dramatic arioso in five short sections: introduction, ABC (each is marked “cantato”), postlude. The sensuous section A (perhaps a seguidilla ) is followed by section B, possibly a pasillo, with its dotted rhythm on beat one and ornamented third beat. No. 2. Level: Early Advanced. (A minor, common time, ben marcato, melodia ben cantata, 3 pp). A tango/habanera with characteristic dotted rhythm patterns. No. 3. Level: Early Advanced. (C minor, 3/4 and common time, rubato, 4 pp). in ternary form. A strongly rhythmic dance (a fandango, perhaps) using various beat subdivisions and some cross-rhythms (2×3, 4×3). The melodious center section in F major is marked “con sentimento e espressione.” SOURCES: KOM < previous page page_92 next page > < previous page page_93 next page > Page 93 H HAGEN, Joanetta Catherine Elizabeth van (var. Van/Von Hagen) b.? Amsterdam, 1750—d. Suffolk County, Massachusetts, 1809/10 The distinction of being the first woman in America to publish an instrumental work goes to Elizabeth van Hagen, a Dutch-American organist, pianist, and teacher, and member of a leading musical family in New York and Boston in the early 19th century. Although little is known of her earliest years, she married Peter Albrecht van Hagen, and in 1774 they emigrated to Charleston, where their son (Peter Albrecht, Jr.) was born around 1780. In 1789, they moved to New York, where they were active performers, teachers, and managers of a series, “The Old City Concerts.”82 In 1796, the family moved to Boston, changing their name from “van” to “von.” From 1799 on, Mrs. von Hagen taught piano at Mrs. Rowson’s Academy, a leading private girls’ school in Boston.83 On her husband’s death in 1803, Mrs. von Hagen succeeded him as organist at King’s Chapel. It is believed that she composed two piano concertos, a piano sonata, and the variations below. ANTHOLOGIES: American Keyboard Music Through 1865, ed. J.Bunker Clark, Vol. 3, Three Centuries of American Music: A Collection of American Sacred and Secular Music, gen. eds. Schleifer and Dennison (G.K.Hall, 1990). The Country Maid (L’Amour est un enfant trompeur) with Variations for the Pianoforte or Harpsichord [before 1810]. Level: Late Intermediate/Early Advanced. (G major, 2/4–3/8, andantino, 4 pp). Six ambitious ornamental and figural variations, which retain the key, tempo, and sixteen-bar form of the folk-like theme. The last two variations are in 3/8 meter. The facsimile score is somewhat difficult to read; for example, harmonic seconds are printed one note above the other, instead of adjacent. SOURCES: Baker, B&NB, Clark, GroveAm, Heinrich, H&H, Jackson, S&S, Tick, score HARDIN(G), Elizabeth b. England, ca. 1750—d. London, 1780 Elizabeth Hardin, “of the old Jewry,” was probably the daughter of watchmaker < previous page page_93 next page > < previous page page_94 next page > Page 94 Joseph Hardin. As a teenager, she was appointed organist of St. Peter-le-Poor in London’s Broad Street on November 29, 1764, and probably held that position until her early death in 1780. Two compositions by Hardin are extant, the song, “Would kind fate bestow a lover,” and the six Lessons (sonatas) described below.84 COLLECTIONS: Six Lessons for Harpsichord or Piano [1770], ed. Barabara Harbach (Vivace Press, 1994). Level: Mid-Intermediate. (C/A/D/E/G/B-flat majors, 6–10 pp. each). Two-movement sonatas in early Classical binary forms; engaging representatives of their period. The Allegro first movements, in common time, bustle with rhythmic energy, followed by Minuets in the same key, triple meter. Lesson IV, with three movements, contains a Siciliano and Gigg (sic) in 12/8. Charming and original themes with varied accompaniment patterns, two-voice textures, and primary chords. More ornaments may have been added in performance than appear in the score. Excellent Urtext edition, with an ornament chart in the preface. ANTHOLOGIES: Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall, 1998). Lesson VI from Six Lessons for the Harpsichord, ed. Martha Secrest Asti. See above. SOURCES: Cohen, Heinrich, H&H, Hinson, Jackson, M&A, Meggett, Stern, scores HARRISON, Susan (Susie) Frances (pseud. Seranus, Gilbert/G.R.King; née Riley) b. Toronto, Feb 24, 1859—d. Toronto, May 5, 1935 Canadian composer and writer Susie Harrison received her education at private schools in Montreal and Toronto. Considered an expert on Canadian folklore, in 1887 she edited The Canadian Birthday Book, the first anthology of Canadian English, French, and Amerindian verse. In 1884, she incorporated folk tunes in her opera, Pipandor. Wife of organist and conductor J.W.F.Harrison, she was the principal of the Rosedale Branch of the Toronto Conservatory for twenty years, and a frequent contributor to literary and musical magazines and journals, under a variety of pseudonyms. Harrison’s compositions include such songs and piano pieces as “Address of Welcome to Lord Landsdowne,” “An Old-Fashioned Love Song,” and Trois Esquisses canadiennes, piano arrangements of French-Canadian songs. Her musical style sometimes combined the modal melodies, harmonies and lyricism of folk music with chromatic progression.85 < previous page page_94 next page > gliding dotted half-notes in perfectly arched phrases.K. May 14. Hamburg. H&H. ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915. G&G. Her orchestral suite. Feb23. eds. Hecksher composed two operas. chamber and orchestral music. ed. H&H. Valse Boheme Op. Glickman. Schleifer and Dennison (G. songs. 3rd edition. Stern HECKSHER. and piano pieces. 4 pp). SOURCES: Cohen. chamber music. and staged as a ballet. 1847 Fanny Hensel. gen. SOURCES: Ammer. NewGrove.< previous page page_95 next page > Page 95 LISTED but not found in print: Chant du voyager (3rd of Trois Esquisses canadiennes ) [1887] in The Canadian Musical Heritage. Fanny Cäcilie Mendelssohn (née Fanny Zippora Mendelssohn) b. 1928 Over her parents’ objections. the older sister of Felix Mendelssohn. Similar in style to Chaminade. and over three hundred lieder. Born to a socially and intellectually prominent Jewish family in Berlin. and American Keyboard Music: 1866 through 1910. Glickman (Hildegard. Celeste Hecksher was given lessons in piano and composition. Ternary. Sara. Mac.1805—d. Laurence. S&S. composed around five hundred works.Hall. 1860—d. including piano pieces. Cited in Hinson’s Guide. the piece makes the most of the piano’s range. S&S. cantatas. ed. in composition and orchestration. KOM. Dance of the Pyrenées. Piano Music Vol. with whom she had four children. then the flirtatious melody moves nimbly on. Vol. in piano. Stern. 3/4. 2. A graceful arpeggio sweeps up to a suspended half note. with a twenty-bar introduction/ritornello. vivace. they studied < previous page page_95 next page > . Baker. and published her first songs at the age often. she married Austin Stevens Hecksher. score HENSEL. Stern. 1990). 1990). Nov 14. was played by the Philadelphia Orchestra.86 Later studies were with Zerdahal. (F minor. 10 [1896]. and Henry Albert Lang and Vassily Leps. Philadelphia. Cohen. Hinson. EMC. 4 of the series Three Centuries of American Music: A Collection of American Sacred and Secular Music. ed. After first studying with their mother. Elaine Keillor (Ottawa. In 1883. Berlin. 1983). Céleste De Longpré (née Massey) b. Philadelphia. Contrasting middle section has suave. Level: Mid-Late Intermediate. she and her renowned brother received the very best liberal education and musical training. Feb 18. Hecksher presided over the Philadelphia Operatic Society for many years. 9/8. conducted. SINGLE WORKS: Das Jahr: 12 Charakterstücke. < previous page page_96 next page > . a strong sense of drama. and scientific people of the day. presto. Liana Gavrila Serbescu und Barbara Heller [1841] (Furore. Restricted to amateur music making by the social strictures of the time. Liszt. Emotions change from pensive to tragic to regretful. in 4. Sara Rothenberg describes the work: “Epic in length yet intimate in its use of the solo form. Juli: Serenade. very few of her works were published during her lifetime. in two volumes. Level: Advanced. they strongly discouraged her from seeking publication of her works. 6/8. (A major. A festive Roman Carnival piece ends with the tolling of “clock tower” bells in low octaves. Tremolo bass in the lowest register depicts threatening rolls of thunder. literary. in 4. Das Jahr is a piano cycle of twelve descriptive character pieces. Chopin. 3 pp). An overture to the cycle. 1989). Juni: Serenade. rehearsed. ed. 2/4 and 6/8. soaring melody. as not being a suitable occupation for a young woman of her station. A gaily lilting spring song. 5 pp). as well as compositions by contemporary composers including her brother and herself. 9/8. Mozart. Florid contrapuntal passagework leads straight into Februar: Scherzo. a dream]. (F-sharp minor. Thallberg—as a member of the Romantic generation. (F-sharp major. the cumulative effect of the work is personal and original…(and) places her clearly among her innovative contemporaries—Schumann. and performed. Mai: Frühlingslied. A nocturne/barcarolle. head of the Berliner Singakademie. As a result. Fanny became an exceptional pianist. teacher. composed after the couple’s year in Italy. with an ornamented alto melody. Changeable moods and tempos illustrate April’s fickle weather.”88 Other hallmarks of Hensel’s distinctive style are harmonic innovation. and for a short time with Mme Marie Bigot de Mirogues. allegro vivace e giocoso. 4 pp). largo-andante. a love of the long-breathed. then 6/8. A stupendous work. in 4. larghetto. Although her father and brother encouraged Fanny to compose. one for each month of the year.< previous page page_96 next page > Page 96 piano with Ludwig Berger and composition with Carl Friedrich Zelter. Chorale and variations (“Christ ist erstanden”) for Lent and Easter. included music by Bach. Fanny presented weekly “Sonntagsmusiken” in their home. and a fondness for perpetuo moto textures and minor keys. The programs. 7 pp). März. motivic construction and skillful Bachian counterpoint. (D minor. agitato. April: Capriccioso. equal in talent and skill to Felix. which were attended by the most important musical. allegretto."89 Band 1: Januar: Ein Traum [January. it alternates chorale and recitative textures. quoting ideas developed in later movements. and an attachment to rich filigree of arpeggio accompaniments. unique in conception. which she programmed. and composer in Paris (q. and it is only recently that a good deal of her work has become available. adagio quasi una fantasia/presto. a famous pianist.87 Fanny Hensel composed about 130 works for the piano. 8 pp). 6 pp). 8 pp). and Handel.). (B major.v. which are described by Camill Cai as having “a Chopinesque sound. (F minor. (E major. An expanded version of the first draft. allegro/tempo di marcia/allegro assai. in 4. ed. allegro moderate. Level: Late Intermediate/Early Advanced. and pedal points. (B minor. In this depiction of a rushing river in spate with the fall rains. Lied (Lenau). larghetto. The contrasting center section (a song without words) has a lyric melody. 6/8. A strong. not unlike Felix’s Rondo Capriccioso. (E minor. (B minor. A rondo with lyric interludes. 3/8. Prélude für Klavier. September: Am Flusse [orig. andante con espressione. andante con moto. Eva Rieger (Furore. Matthew Passion. (A minor. agile passage work. Watch for numerous accidentals. 3/4-4/4-6/8. The tragic opening gives way to swift. 8 pp). Vier Lieder ohne Worte.” the opening fanfare leads to a joyous march. the winter wind. in 4–6/8. Yearning. In the second section.< previous page page_97 next page > Page 97 August (Fassung I). 1 pp). and bears a strong resemblance to the opening chorus of Bach’s St. In this “first draft. Level: Mid/Late Intermediate. and chromatic harmony combine for a powerful sound. showing Hensel’s joyful reaction to Venice. mesto/allegro con molto agitato. Nachspiel [Postlude]. note arpeggios and scales. Oktober. with a 12/16 section of arpeggios and chords inserted between the fanfare and the march. III. as Op. in 4. common time. (C minor/major. suspensions. December. in 4.” of varying moods and textures. ending with nimble 16th-note arpeggios racing up and down the keyboard. 2 pp). romantic melody is accompanied by a strong bass and < previous page page_97 next page > . Improvisational middle section treats the theme sequentially in modulations. Untitled. 7 pp). I. “Das alte Jahr vergangen ist” [The old year has gone] brings the monumental work to a close. Agitated beginning section has rapid double thirds and syncopations. suspensions. Rosario Marciano [1827] (Furore. in 4-6/8. Opus 8 [1850]. Four “songs without words. 10 pp). this work clearly shows the influence of Bach. sober piece like an organ chorale.allegro molto/andante. ed. two-handed arpeggios and some unusual beaming. (A-flat major. November. and inner voices in fluttering triplets. A happy march in dotted rhythm. long bass tones. 6 pp). Level: Late Intermediate. pub. is partnered by bass line and inner voice triplets. The introspection and resolution of Bach’s New Year’s chorale.90 Block triads over pedal tones. (D-flat major. II. 2 pp). 2/2]. Band 2: August (Fassung II). 7 pp). the mood becomes quieter with the Christmas chorale “Vom Himmel hoch” (From Heaven on high) and two variations. 9 pp). 4/4. which combines two motives. 2 pp). D major. Level: Late Intermediate. 1989). perhaps. allegro con spirituo. Like a majestic organ prelude in the north German church tradition. scale passages in bass octaves. Untitled. Soprano melody. choral. with four-voice writing. (F minor. triplet sixteenths surround the insistent alto melody in a wave-like accompaniment. (A minor/major. 1989). The repeated-note motive is developed over rather difficult broken chords in the bass. (D major. Judith Radell (Hildegard. 6 pp). Three mvmts. II. III. Dramatic contrasts in texture. andante con espressione. four-voice texture with continuous suspensions. Introduktion und Capriccio. Prelude-like. Level: Late Intermediate/EarlyAdvanced. allegretto. Contemplative. 2 pp). like a false start to the answering phrase. 4 pp). it wanders through many keys. I. common time. Largo und Allegro con fuoco. Allegro moderate. The sonata shows considerable skill in handling large forms. Barbara Heller (Furore. Level: Advanced. II: Andante con moto (E- < previous page page_98 next page > . Wanderlied. Two brief “little nothings. showing “a wealth of thematic material with unification of the Sonata based on employment throughout all movements of the small motives from which Hensel builds her melodies” (score preface). meter. 1999). and hands close together in center of keyboard all combine to make this feel like an organ improvisation. (E major. and a closing duet. con moto. an aria. and mood help depict a love duet. Level: Late Intermediate. with unusual. 2 pp). No. ed. 6/8. 1992). with a bar repeated exactly every two measures. 3/4. lyricism and pathos contrast with an agitated second theme.< previous page page_98 next page > Page 98 reiterated triads on every eighth note. then finds its way back to the tonic. A sorrowful lied written on leaving Rome. the triumphal return of the hero. 4 pp). Level: Advanced. Ponte molle [Molle Bridge in Rome]. in homophonic song texture with reiterated inner voices on every beat. Christian Lambour(Breitkopf & Härtel. 11 pp). The descending minor scale theme undergoes various textural variations. ed. fleeting dissonances. 6/8. Level: Late Intermediate. 3/4. ed. 9/8. 8 pp). a death. common time. a stepwise melody. Vier römische Klavierstücke [Four Roman Piano Pieces]. Written “for Felix in his absence” (inscription). Sonata in C minor [1824]. a fight scene. 15 pp). wild sorrow. Great pianistic fun in a ballade-scena worthy of a Bellini opera. and after a final heartfelt statement. The harmony in the middle section takes some surprising turns: the main theme returns in the dominant. A very odd little melody. COLLECTIONS: Two Piano Sonatas. 2. Lacy. (F major.” No. slips away. 2/4. Zwei Bagatellen. 1. chromatic modulations. Level: Early Advanced/Advanced. 1988). IV. Careful voice leading and a fugato in the recapitulation reflect contrapuntal training. I: Allegro moderate e con espressione (C minor. A wonderfully pianistic and showy prelude/fantasia. (B minor. presto. IV. (A minor. Ties. (G minor. 21 pp. (A-flat major. rippling triplets accompany the arching 16-bar melody formed of parallel phrases. Level: Advanced. inner voices divide the chords between the hands. finger substitutions. a fine introduction to Hensel’s early and more mature work. and virtuosic passage work” (score preface). 37 pp. 3 pp). fingering (Henle Verlag. Hans-Martin Theopold. Requires rapid hand shifts over thumb. “Romantic in its exploration of melody. contains two late intermediate and nine advanced works. Unifying motives in every movement. and inner voices in fluttering triplets. in 4. Sonatensatz [1822]. shimmering elfin dance. Level: Advanced.< previous page page_99 next page > Page 99 flat major. use of extreme registers of the instrument. The melody sighs down a minor scale. also employs the devices of Romantic pianism: octaves. Übungstück [1823]. Liana Gavrila Serbescu and Barbara Heller (Furore. Borrowed < previous page page_99 next page > . (G minor. 9 pp). Duplet and triplet textures alternate. 1986). tremolos. A lied in modified sonata-rondo form. 4 pp). The G-major second theme is different but related. 6/8. Two early works by the teenaged Fanny. mainly for the right hand.91 1. The collection. 1991). in song-without-words texture. lyrical theme. Ausgewählte Klavierwerke [Selected Piano Works]. (F minor. 3 pp). Magrath places the entire volume at Level 10. Sonata-rondo. arpeggios and scale passages. Level: Advanced. in 4. IV: Allegro moderate e con espressione (E minor. Sonate in C minor [1824]. Piano Sonata in G minor (1843). See Two Piano Sonatas. 9/8.. 3/8. (C major. Delicate. Four movements. form and harmony. Sonate c-Moll and Sonaten satz E-dur. ed. I: Allegro molto agitato (common time. An etude in rapid staccato triads and divided chords. close-figured triplets become even faster 16th note arpeggios and scales. 2. 4 pp). common time. Level: Early Advanced. 3 pp). A sonata movement using Romantic ideas in classical sonata-rondo form. frwd. and a light arm. 3. Untitled [1825]. The contrasting center section has a lyric melody. 7 pp). with inversions. A cheerful scherzo and trio with a running-sixteenth note violin figure accompanied by a waltz bass. Chord changes on first and third beats of each measure lend a folk-dance quality. accompanied by dotted-quarters in the bass. 5 pp). 6/8. 8 pp). 15 pp). III: Finale: Presto (C minor. trio uses effective tremolos in upper register. common time. Untitled [1825]. allegro moderato. Level: Late Intermediate. long bass tones. An invention-like piece with running eighth notes in two-voice texture. above. (G minor. Level: Early Advanced. Rudolf Elvers. Barcarolle with a broad. (E major. with quiet melodic lines and dramatic modulations. Level: Late Intermediate. 7 pp). III: Adagio (B minor. A exhilarating perpetual motion study. Urtext. Übungstück [1822]. allegro moderato. and a cadenza ushers in the recapitulation. allegro assai moderato. 3/4. stylistically like her virtuoso songs without words. 4. Interrelated dramatic first and lyric second themes. II: Scherzo (B minor. each movement is connected to the next by transitions and attacas. allegro molto. 7 pp). with lovely temporary modulations. o goldner Stern [O dream of youth. based on a descending scale. 7. Annagret Huber (Furore. In the second section. Abschied von Rom [Departure from Rome. Level: Late Intermediate/Early Advanced. 7 pp). Brahmsian song without words in ternary form. in 4. Clever transitions between sections. (G minor. 1996). Three song-like works. (C minor. allegro vivace. Unfilled [1846]. and dynamic level change dramatically. (D-flat major. and the theme passes through a number of keys in the development section before returning to the tonic. Andante con moto. the texture “doubles. ca. allegretto. andantino. 2/4. (B-flat major. Level: Early Advanced/Advanced. 3/4. Level: Advanced. Level: Early Advanced/Advanced. A most attractive work: the jubilant melody charges forward exuberantly. 11. andante espressivo. Level: Late Intermediate/Early Advanced. 4 pp). Notturno [1838]. 3/4. 1846]. 3 pp). andante con espressione. supported by repeated chords on every beat. 6/8. 13 pp). 2/4. 4 pp). Level: Advanced. full of Romantic feeling: an energetic melody rushes forward. Klavierstücke von Fanny Hensel: Seven Volumes (Bände) Band 1: Lyrische Klavierstücke (1836–1839). Untitled [1846]. (A major. 10. (E major. meter. O Traum der Jugend. the tonality. 6. Level: Late Intermediate/Early Advanced. Allegro molto vivace ma con sentimento. Ternary form. (A minor. romantic melody in an unending series of ascending double-note arpeggios. (F major. A Schumannesque Lied. 1840]. (D minor. A truly appealing piece. like a song by Schumann. ed. This is a through-composed work of passion and some harmonic daring. (E-flat major. Andante con espressione. An ardent melody yearns over the grand arpeggio accompaniment in this captivating and harmonically daring night song. andante cantabile. 6/8. An etude with staccato doublenotes and triads and a legato folk-like melody. 9. in the middle section. Untitled [1846]. The theme. accompanied first by repeated eighth notes. 4 pp). A lied with the technical challenge of an etude: LH accompanies the lyric. < previous page page_100 next page > . Level: Advanced. 6/8. 9/8. Untitled [1846]. then by a flutter of divided-chord sixteenths.< previous page page_100 next page > Page 100 scale tones lend piquancy to the long phrases. 4 pp). Exuberant and impassioned. Level: Early Advanced/Advanced. Level: Late Intermediate/Early Advanced.” changing from eighth notes to constant sixteenths. An etude with downwardrippling scale segments and a wonderfully tragic theme. 3/4. is alternately sad and happy at the thoughts of leaving Rome and returning home. 5. 3 pp). 5 pp). o golden star. The melody is in duplets against triplets in the bass. 8. and key. A study in one of Hensel’s favorite figures. Four etudes. Legato double-notes of all kinds sashay gracefully up and down the keyboard. (G minor. and some LH octave leaps. (C major. Allegro molto vivace e leggiero. Level: Advanced. Level: Early Advanced/Advanced. phrasing. 1996). Allegro di molto. presto. (F major. the middle section of this ternary work repeats the refrain in G major. in 4. in 4. 2/4. and ending joyously in an expanded texture. ed. in 4. Level: Early Advanced/Advanced. 6 pp). 4 pp). Level: Advanced. Annagret Huber (Furore. in 4. register shifts. 8 pp). allegro moderatissimo. 1995). Four descriptive pieces. A light-hearted dance. Allegro molto vivace. Three virtuoso etudes with plenty of melodic and musical interest. As the scene fades. (G major. 8 pp). perhaps a stylized polka. non-stop tarantella. Andante con moto. allegro agitato. possibly written as composition exercises. (B major. 1996). in 4. lift this work into the air in a sort of hirondelle (swallow’s song). in 4. (E-flat major/minor. presto. Each hand gets a turn at the light finger work and triplet-decorated scale tones. Übungsstück. A finger exercise in scales and closely turning figures.< previous page page_101 next page > Page 101 Band 2: Virtuose Klavierstücke (1838) ed. Another whirring. with a sassy ostinato rhythm. (B-flat major. in 4. < previous page page_101 next page > . 7 pp). accompanied by an alternating bass. Heft 1. Level: Advanced. This study in thumb agility. pianissimo. An exciting study in octaves and broken chords. 6/8. intent. Band 4: Übungsstücke und Etuden (1823). Allegro grazioso. Etude-Allegro con brio. all surrounded by surging arpeggios. (G minor. 8 pp). Level: Advanced. LH chases RH up and down the keyboard in a wonderful Beethovenian rumble. ed Annagret Huber (Furore. 2/4. opens with a 20-bar three-voice chorale and changes to the parallel minor. 4 pp). Anagret Huber (Furore. Level: Advanced. in 4. played fast and light. 3 pp). Level: Advanced. There are LH octaves as well. Level: Early Advanced. 6 pp). The soprano solo alternates with a bass melody in octaves. A ballade. with some difficult hand-crossings and leaps. (C major. Band 3: Charakterstücke (1846). written in two-voice counterpoint. 14 pp). Level: Advanced. the hymn is heard. 8 pp). Übungsstück. reminiscent of an operatic love duet. (D minor. Barcarolle rhythms. Level: Late Intermediate/Early Advanced. finger substitution. and accuracy in an alternating-bass accompaniment steps merrily along like a good-humored écoissaise Übungsstück. (E major. Etude. A prayerful twelve-bar hymn undergoes changes in texture. Lied: Andante espressivo. allegro molto. A lied with technical challenges: clean playing of block chords. The accompanying arpeggio figure uses double notes. tarantella-like ornamental triplets in perpetual motion. Lento ma non troppo. After the return of A. and much of the bass consists of whole-note chords. and easier than it sounds. then a variant of the theme is harmonized in triads (parallel minor) as LH varies its patterns. this time with triplets. Level: Late Intermediate. an arching twooctave arpeggio in two sets of sixteenths is followed by four 8th note hops. Six short etudes (3–4 pp. Schluss [End]. Baroque in texture. 6/8). Heft 2. (G minor. Like an organ prelude. Level: Late Intermediate. (B-flat major. Dancing along like a gavotte. Level: Late Intermediate. common time. ed. with the middle in the parallel major. Allegro ma non troppo. like a dance figure. A gloomy little exercise in sustained outer voices. using predictable scale and arpeggio patterns. 1996). Übungstück: Allegro ma non troppo. Band 6. (G minor. LH doubles the sixteenth note figure at the tenth in second section. Allegro assai moderate. 2/4). like a foreshadowing of the boogie bass. with chromatic inner voices filling in beat subdivisions. Larghetto. Level: Late Intermediate. RH performs a figure similar to LH in the previous study. (C major. In section one. The melody marches gaily down the scale. Each of these four “practice pieces” is a study of particular technical or musical skills in different figurations. Barbara Heller (Furore. hands take turns on the rapid figure. 2 pp). Another exercise in moving inner parts. (C major. RH gallops to the end in 16th notes. cut time).) exploring different textures. 1996). common time). (B minor. Übungstück: Allegro molto agitato. (D minor. ornamented arpeggio figure in 16th notes on the first half of the bar is followed by three 8th note chords. the piece is great fun.< previous page page_102 next page > Page 102 Band 5: Übungsstücke und Etuden (1823). A nimble. Level: Late Intermediate. Andantino. A gracious little work in a delicate two-voice texture. 3/4. Level: Late Intermediate. 4 pp). with double bars after each section. An exciting and euphonious study in octave technique. (C major. Each hand gets a turn. Level: Late Intermediate. at the return of A. Like an organ prelude. Frühe Klavierstücke (1823/24). Level: Late Intermediate. RH melody sings above strummed 16th note arpeggios. over a bubbly bass figure with a chromatically raised third note leading to the fourth. Formed by continuous development of the single theme. common time. Übungstück. common time). ed. Ternary. the melody moves in half-notes. in ternary form. (G major. Level: Late Intermediate. 4 pp). counterpoint. LH mirrors right in a final flourish. cadences punctuate the three sections. Übungstück: Allegretto. 4 pp). 2/4). Level: Late Intermediate. In rounded binary form. written when Fanny was eighteen. and bass line. it is more difficult for the right hand. with sustained outer voices and inner voices moving in scales and chromatic triads. A cheerful little study. Heft 1: Leichte Stücke. (E-flat minor. rather like a Bach < previous page page_102 next page > . Huber (Furore. 3/4. 6/1-4. 10 pp). (G major. Level: Advanced. Op. 15 pp). a somber five-page introduction leads to an allegro molto with RH whirling up and down in impassioned 16th-note arpeggios. 7 pp). A capriccio/scherzo with agile staccato chords darting around the keyboard. Vier Lieder für das Pianoforte Op. An exercise in close figures: broken-note scales. 1983/1987). Five character pieces. 3/4. Level: Late Intermediate/Early Advanced. and block chords in dotted rhythms. 6/8. has an ornamented third beat and is accompanied by block chords with a drone bass. skitter up and down the keys. Level: Advanced. with the effect of a musette or minuet. An energetic stepwise theme is plucked from a “lute” texture of descending broken chords. V. allegro moderate. 3/4. 2/1-4. Level: Advanced. 2 Op. Level: Late Intermediate/Early Advanced. Frübe Klavierstücke (1823/24). 4 pp) A turbulent. Full chords occur only at major cadences. A gently sighing motive is answered by a rising arpeggio figure. but encourages the player to emphasize line and phrasing rather than meter. I. the center section is in four sharps. 7 pp). Level: Advanced. Lieder für das Pianoforte (Bote & Bock. Symphonic in conception. Heft 2: Mittelschwere Stücke. 4 pp). Level: Advanced. in 4.’ Level: Advanced. ed. Toccata (einstimmig) [one voiced]. with three distinct textures: driving triplet chords and octave bass supporting a doubled melody. Barbara Heller (Furore. adagio/andante sostenuto e con espressione/allegro molto. 1996). set as hemiolas (duplet-appearing 16ths are really triplets). II. RL 40400. Allegro moderato assai. Sonata o Caphccio. Op. (E minor. A demure melody. accompanied by LH block chords. in ternary form. 4 pp). ‘Etude.< previous page page_103 next page > Page 103 invention. IV. and a development section extends the imitation through brief modulations. 1997). harmonized in thirds and sixths. one could easily set < previous page page_103 next page > . (G minor. its near inversion. 2/1. Band 7. Allegretto ma non troppo. (C minor. Rhapsodic and lengthy. III. The introductory theme returns as a coda. Klavierstücke 1843–44. (C minor. 9/8. Renate Hellwig-Unruh (Robert Lienau Musikverlag. Andante. (A minor. Level: Advanced. ed. Like a Baroque toccata/fantasia for harpsichord or organ. 3/4. Beaming across the bar lines makes it awkward to read. ornamented with neighboring seconds and thirds. (F minor. (E minor. Stylistically very like a Schumann Lied. sweeping melody. (G minor. Allegro agitato. in 4. 2/4. hands in close position share the running 8th-notes in the monophonic line. 13 pp). Allegro molto. in 4. 12 pp). 16th note arpeggios alternated between hands. The center section is a repetition of the theme in the parallel minor. Eighth notes. The first theme is a simple. A lovely legato melody in longspun lines travels through many keys. 8 pp). 4/2. (B major. Level: Advanced. Op. Andante con moto. See September in the cycle Das Jahr. operatic arioso. 6/2. Level: Advanced. Op. Level: Late Intermediate/Early Advanced. 4 pp). Andante cantabile. Inner voices. 6/3. Op. in an unchanging texture of rippling 16th-note arpeggios alternated between the hands. 6/8. leaping and spinning like a top in continuous triplet 16th notes. 7 pp). Rippling triplets surround the straightforward. 6 Op. Op. < previous page page_104 next page > . unhurriedly walking up and down scales. the original theme returns like faith restored. Level: Late Intermediate. (C-sharp minor. (A-flat major. lively melody with harp-like arpeggios. comprise the rest of the melody. A gleefully nimble tantarella. Op. Allegro molto vivace. in 4. Allegretto (“Melodie”). allegretto. (E major. Level: Early Advanced. 2/4. The contrasting section. 7 pp). Written in perfectly balanced periods of four-measure phrases. in 4. this is a sensitively crafted miniature of great delicacy and beauty. Andante espressivo. 3/4-9/8. in 4. 4 und Op. in the parallel minor and three-voice texture. 5 (Robert Lienau Musikverlag: 1993).” with the initial octave leap upward answered by a falling triad in dotted rhythm. 6/4. Allegretto grazioso. Allegro vivace. 6 pp). Op. 2 pp). Level: Early Advanced. (A major. 3/4. urge the restless. 3 pp). Triplet arpeggios in innovative harmonies accompany the poignant. 3 pp). 2/2. (A major. The melody sings a sweet and melancholy duet with the bass as inner voices lightly fill in arpeggios. fluttering agitatedly. (A-flat major. Il Saltarello Romano. 6 pp). (F-sharp major/minor. 2 pp). Vier Lieder für das Pianoforte Op. 6/1. 4/1. Level: Late Intermediate. Six Mélodies pour le Piano Op. 6/8. Level: Mid-Late Intermediate. has an urgent arpeggiated accompaniment in the tenor. After the resigned.< previous page page_104 next page > Page 104 words to the melody. 2/3. A horn call forms the opening motif in this placid “shepherd’s song. in rounded binary form. In ternary form and four-voice texture. with the inner voices on repeated triads. hopeless middle section. Op. Pastorella (WoO). in 4. questing theme forward. Like a nocturne. Level: Advanced. Allegro assai. devout lied. reiterating the chords on every 8th note. every major cadence is in a new key. allegro molto. pastorella. The main theme is characterized by the interval of a falling fifth that immediately rises by steps. Op. (A minor. Level: Late Intermediate. A rondo-ballade. (B minor. with a Schubertian lyric solo accompanied by gracefully rocking double-note arpeggios. 2/4. 6/8. Level: Late Intermediate. Vol. like the last movement of her 1824 Sonata in C minor . 1836–1837. 12/8. The key and the rapid LH crossovers require attention. 9 pp). (C minor. 7 pp). in shifting colors with some daring. (E-flat major. Allegro con espressione (Berlin. No. Allegro molto vivace. Level: Early Advanced. No. “herzvoll” piece with a heroic theme. (G major. Camilla Cai (A-R Editions. A ballade-like free form. in a spare texture of broken-chord and scalar triplets. Allegro ma non troppo (20 Februar 1826). 1824). and horn calls in the B section. with the sequential motive returning many times. but mood and figuration remain constant. 1994). The angular main theme. A fervent melody is propelled forward by reiterated chords on every 8th note. Fine part-writing. 1994). arpeggiated flourishes. 3/4. Op. A humoresque with a mocking little triplet motif running through the entire piece. Level: Early Advanced. forward-looking harmony. embodying the bittersweet quest of the Romantic.< previous page page_105 next page > Page 105 Op. two alternating textures. 3 pp). innovative harmonies. 5. Ternary form. A jolly folk-like melody is accompanied by sparkling triplets traded between the hands. Capriccio (8 Februar 1825). F minor. < previous page page_105 next page > . suspensions. Included in many anthologies. humorous and somewhat ironic. 4/8. largo ma non troppo lento. Level: Early Advanced. this was the first collection published under her own name. passionate melody propelled by the surging bass line. (C minor. More of Bach’s influence: “a freely executed double fugue. A rousing. Fingering is suggested by the editor. combines with counterpoint. Level: Early Advanced. 6/8. A nimble scherzo/etude. 12/8. lento appassionato. Level: Advanced. Andante con moto (den 12ten März 1825). 7 pp). 6 pp. (Mélodie) Level: Mid/Late-Intermediate. (B Major. 4 pp). (C minor. Level: Early Advanced/Advanced. Allegro (den 13 Nov. (E-flat major. Fugata (26 Januar 1827). 5 pp). many borrowed tones and chords in the harmony. 3/8. 22 of the series. which opens with a descending diminished 7th. this is one of Hensel’s sunnier pieces. Lento appassionato. Judith Radell (Hildegard. 5/4.” with the two themes interwoven during the final statements (score preface). and a final Picardy third to remind of Bach. ?/3. 5 pp). Allegro molto quasi Presto. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries. 8 pp). 6/8. and some startling. with a yearning. Motivic development takes the tune through many keys. (F-sharp major. Andante soave. 6/8. in 4. Songs for the Pianoforte. A minirhapsody. 2/4. A landmark in Hensel’s career. 2 pp). August 1826). ed. 6. (E major. Level: Late Intermediate/Early Advanced. ed. Level: Early Advanced. Six Piano Pieces from the 1820s (1824–1827). Written just before Fanny’s marriage to Wilhelm Hensel. A serenely confident and sweet arioso is accompanied by grand arpeggios divided between the hands. over a drone of tremolo fifths in the bass. Level: Early Advanced. in which every second beat is ornamented with a 32nd note flourish. allegro agitato. No. Prefatory essay and three untitled pieces edited by Camilla Cai. contains Hensel’s Abschied von Rom. in 4. ed. 9. A virtuoso perpetuo moto etude. 1999). 8. No. 7. see Lieder für das Pianoforte. No. in 4. 12/8. 10 pp). 10. (B major. (E minor. Level: Early Advanced. Reminiscent of Schubert songs. Like a Verdi chorus. in 4. (G major. (F major. harp-like. Women Composers: Music Through the Ages. allegro ma non troppo. heroic theme marches above the sturdy ostinato bass. Level: Early Advanced. 9 pp).2/1. support the second theme in A major. ANTHOLOGIES: At the Piano with Fanny and Felix Mendelssohn. 2. No. in 4. (F-sharp minor. the melody sings over inner-voice fluttering thirds. Capriccio. o goldener Stern. Level: Late Intermediate/Early Advanced. Notturno. Galloping hunt music in dotted rhythms. 8 pp). Level: Early Advanced. Level: Late Intermediate/Early Advanced. 3. Allegretto grazioso. Allegro con brio. Andante. the arching solo is supported by reiterated block chords. Allegro moderato. supported by bass tones. (G minor. Out of print. with LH triplets whirring in a chromatic “spinning-wheel” figure. Allegro con brio. Largo con espressione. No. Allegro con spirito. (Unnumbered). No. 13 pp). in 4. the soprano solo sings duplets against block chord triplets in the bass. 6/8. Level: Advanced. above. series eds. 6 pp). 3/4. An agitated transition leads to a section of Brahmsian texture. 4/8. 6. with block chords and octaves. 1990). A wild and melancholy gypsy melody with a driving ostinato bass. 13 pp). (B-flat major 3/4. (F minor. 7 pp). (C major. Two alternating melodies with characteristic textures: in the first theme. A calm melody sings sweetly above a guitar texture of upward-plucked broken chords. Level: Advanced. 6. 9/8. A transitional section ushers in a new key and a more agitated texture. The lyric theme sings above a guitar texture of ascending broken triads divided between the hands. and O Traum derJugend. with full chords and octaves over ascending bass arpeggios. Ascending grand arpeggios. No. No. double notes descend in sequence. < previous page page_106 next page > . (F minor.< previous page page_106 next page > Page 106 No. 5. Il saltarello romano. (C minor. Level: Advanced. Hinson (Alfred. Prestissimo. a broad.Hall. 5 pp). 5 pp). Vol. 6 pp).K. Allegro agitato. Level: Late Intermediate/Early Advanced. 1. Glickman and Schleifer (G. 4. In a melody reminiscent of a Hungarian rhapsody. See Collections. Level: Advanced. 7 pp). Published as Op. Like a Chopin prelude or a Schubert lied. No. At the Piano with Women Composers. Level: Mid-Late Intermediate. John Baron (Da Capo. Untitled Piece in A Minor. SOURCES: A-Z. 10 pp). Kirby. FRK. Sperber. Picardy-third final chord. Miss Marie (var. 1892 Elizabeth von Herzogenberg and her husband Heinrich. A Viennese-style waltz of four strains arranged in seven sections. Level: Mid-Late Intermediate. comp. (6/8. ballade-like theme is moved forward by a galloping dotted-rhythm accompaniment. ed. Elisabeth von (née von Stockhausen) b. A pastorale. andante. Jezic. S&S. avec entrain. 3 pp). Heinrich. B&T. a few months after it had successfully elected Francis T. Competent writing with good contrast between sections. H&H. Cohen. Paris. Laurence. White League Waltz [1874]. See Six Mélodies . (6/8. Frauen Komponieren. Chordal opening. KOM. MLA. 4/2. 3/4.< previous page page_107 next page > Page 107 Untitled Piece in D Minor [1825]. Level: Late Intermediate/Early Advanced. SOURCES: score HERZOGENBERG. Smith (Mel-Bay): Op. expanding into octaves and LH tremolos in second section. Johnson. allegro molto. and Great Women Composers. ed. Elizabeth contracted to study with Brahms in < previous page page_107 next page > . (3/4. Dubal. scores HERR. 1980).”92 ANTHOLOGIES: Piano Music from New Orleans. Rieger/Walter (Schott). Hinson (Alfred). members of the nobility and fine amateur pianists and composers. were close friends of Johannes Brahms. Baker. Longer and more mature. ClagS. NewGrove. San Remo. Stern. 1851–1898. 2 pp). 1874 The only available information about this composer comes from John Baron’s preface to the score below: “Mils Marie Herr was the wife of the head of the White League. Gordon. Italy. Meggett. ed. Level: Mid-Intermediate. Jan 7. 5 pp). 1847—d. 5/4. (F/C/B-flat majors. [andante]. Apr 13. Nicholls as the first post-Reconstruction governor of Louisiana. Mac. HAMW. an organization formed after civil disturbances in 1874 and disbanded in 1877. N-B. Mils Marie) fl. a modified rondo with two episodes. Hinson. In the late 1860s. Magrath. Pendle. Untitled Piece in F Minor [?1827]. America. Op. SCB. Elson. The heroic. Hyde. 3 pp). Level: Late Intermediate. 2 pp). Bingen. Brahms. slightly more daring harmonies in second section. andante. H&H. Ethyl Smyth. humorous. Rounded binary with repeats.93 In his turn. with some middle-European folk inflections. Kirby. Level: Mid-Intermediate. (A major. Ebel. Three attractive character pieces in expanded binary forms. New Grove. Drei Klavierstücke. supportive—and a wonderful Hausfrau. which was preceded by a year-long period of suffering. Joachim Draheim (Wiesbaden: Breitkopf & Härtel. the great German abbess. but Brahms felt so dangerously attracted to the beautiful blond aristocrat that he cancelled the lessons.”95 ANTHOLOGIES: Johannes Brahms und seine Freunde. 2/4. score HILDEGARD von Bingen.” which began their lifelong friendship. Elisabeth’s close friend and protégé. In 1874. 1892). Heinrich developed a crippling rheumatism which kept them from society for some years. is the < previous page page_108 next page > . from 8 Klavierstücke [Mann. Brahms dedicated his Op. Hyde. Brahmsian figurations in expanded ternary form. Sep. “After her early death. described her as charming.< previous page page_108 next page > Page 108 Vienna. SOURCES: Baker. and Elizabeth was plagued by a heart ailment which ended her life in 1892. The ardent ballade-like first section is contrasted with a polka-like peasant dance. Among them. who was somewhat jealous of the rich young noblewoman. Laurence. mystic. II. allegretto. nr. Joachim Draheim writes. Germany. 4 pp). SCB. which he subsequently dedicated to several people in their circle of friends. (F-sharp minor/A major. (F-sharp minor/D major. allegro appassionato. and other composers of the day. 1892]. plus a long coda based on main theme. in addition to Clara Schumann. Ethyl Smyth. VIII. Lily Wach. Brahms helped Heinrich get his first works published. who loved to cook special dishes for Brahms and her friends. Cohen. Simple Schumanesque melody and rocking duplet accompaniment. Stern. in 4.94 Both Heinrich and Elizabeth suffered from ill health: in 1887. 1098—d. Germany. 1983). and writer. 69 Zwei Rhapsodies to Elizabeth. ed. and opened their home to Clara Schumann. and frequently sent manuscripts to her even before sending them to Clara Schumann. enthusiastic. Heinrich convinced the Leipzig Gewandhaus to stage a “Brahms Week. b. with skillful handling of color and modulation. her husband published her 8 Piano Pieces (Mann. 17. 1179 Hildegard von Bingen. Meggett. Expanded ternary form. Saint Bemersheim. was Mendelssohn’s daughter. VI Level: Mid-Late Intermediate. 3/4. KOM. and he greatly appreciated Elizabeth’s insightful responses and profound understanding of his music. The gifted and wealthy Herzogenbergs had no children. Jezic. also a composer. Level: Late Intermediate/Early Advanced. 4/4. Aug 7. B&T. and eight keyboard pieces.96 Many of her songs were included in recitals by famous opera singers of the day. There is no evidence that she performed on or composed for keyboard instruments. < previous page page_109 next page > . Glickman. a Te Deum. ClagH. much of which she set to chants of her own composition. eds.< previous page page_109 next page > Page 109 earliest woman composer whose music is available to us today. and took a position at a girls’ seminary teaching keyboard music and singing. 1996). Faustina came to America in 1841. the arrangement below is included in this catalog. However. The Rose-Bush. 1822—d. ed. H&H. with occasional block chords. Philadelphia. including this arrangement of a chant by Hildegard. Hodges began composing in the 1850s. Cohen.K. Faustina Hasse b. ed. and the duet. Briscoe. and three of them achieved great commercial success: Dreams. SOURCES: Ammer. O Choruscans lux stellarum. score HODGES. named after the 18th century opera singer Faustina Bordoni Hasse. England. Gail Smith (Mel Bay. 4 of series Three Centuries of American Music: A Collection of American Sacred and Secular Music. gen. was the daughter of Edward Hodges. Hall. an English organist who became music director of Trinity Church in New York in 1838. 6 pp).00 copies. The more legato Trio (G-flat major) uses a fragment of the first theme in the bass. which sold over 100. ClagS. (All seven Hodges children were named after musicians: the youngest son. (A minor. common time. Schleifer and Dennison (G. Malmesbury. Pendle. medical and scientific treatises. Two-voice texture: RH plays the meditative chant as LH accompanies on broken-chord duplets. Laurence. HAMW. Grove. Marche Brilliante. A copy of the original chant in medieval notation with Latin text is included. she served as organist for two Philadelphia churches. (B-flat minor. Her literature includes recorded visions. Stern. Vol. Feb 4. rejoiced in the name of John Sebastian Bach Hodges). 1895 Organist and composer Faustina Hodges. but published most of her works. 1 pp). ANTHOLOGIES: Great Women Composers.97 ANTHOLOGIES: American Keyboard Music: 1866 through 1910. S&S. about twenty-five secular songs. which comprise a set often sacred songs. NB. tempo di marche. Suffer Little Children. Following in her father’s footsteps. after 1870. in ternary form. Later. Piano works by twelve women. Baker. A Verdi-like heroic march with an ostinato dotted-note figure. 1990). chant-like. in the interest of introducing students to this inspired woman. Level: Early Intermediate. and lyric and dramatic poetry. < previous page page_110 next page > . 1999). ed. NewGrove. is ornamented in the second half with 16th note arpeggios and occasional double note passages.< previous page page_110 next page > Page 110 American Women Composers: Piano Music from 1865–1915. occasional RH octave passages. Adele accompanied her brother on concert tours and lived with him until her death. Adele (Adelaide) b. Glickman (Hildegard. Germany. Vol. 3 pp). Level: Late Intermediate. A reprise of the introductory flourish heralds the return of the first theme. vivace brilliante. after concerts in Paris and Hamburg. Philadelphia. Vol. ClagS. andantino con moto. H&H. a piano and violin teacher in mid-19th century Philadelphia. a solo soprano set against a march bass. Glickman (G. Stern. The contrasting section (C major) has a triadic melody oddly reminiscent of the trumpet theme to Carnival in Venice .98 Known as an excellent pianist and teacher. series eds. Level: Late Intermediate/Early Advanced. ClagAm. (F major. ?—d. Brunswick. common time. B&T. the rather trite melody is accompanied by the strummed chords and reiterated bass tones typical of the genre. KOM. ed.Hall. B&N-B. Tick. The texture. eds. Dubal. Glickman and Schleifer (O. gen. and accompanied by 8th note divided chords. with a divided and broken-chord accompaniment. she included her compositions in sophisticated commencement programs. 1990). 4 pp). and a trill on high C are added for brilliance. Ebel. Siciliana: Pensée Originale. (E-flat major. Women Composers: Music through the Ages. Level: Late Intermediate/Early Intermediate. 1990). scores HOHNSTOCK. SOURCES: Ammer. Lake Shore Dream (from the three Reveries by the Waterside ). Laurence. Fuller. An introductory dominant-chord flourish leads into a sentimental twenty-bar melody formed of two contrasting periods and an extension.K. Mac. In 1848. Little May. 4 of series Three Centuries of American Music: A Collection of American Sacred and Secular Music. 6/8. January 1856 Adele Hohnstock was the sister of Carl Hohnstock. Baker. Cohen. Tempo and dynamic contrasts. Meggett. A Barcarolle in ternary form. Schleifer and Dennison. 6. Heinrich. 6/8.”99 ANTHOLOGIES: American Keyboard Music: 1866 through 1910. (E major. ElsonA. 4 pp). she emigrated to Philadelphia to join her brother. andantino. After the four-bar introduction of harp arpeggios and a descending scale in parallel thirds. Dubal. S&S. As a teacher at the Cherry Valley Seminary in New York.Hall.K. A repetitive theme based on arpeggiated parallel sixths. Level: Advanced. in ternary form. The music of Franck and Richard Wagner were dominant influences on her compositional style. with repeated notes.”100 SOURCES: B&N-B. and indeed the outstanding concert work. and virility. 2/4. and singer was a child prodigy born of Irish parents who settled in Paris. Concert polka in theme and variations form. allegro. and the French government selected her orchestral Ode triomphale en l’honneur du centaire de 1789 as a fitting celebration of the centenary of the French Revolution. a contemporary. later teachers included Hyacinthe Klosé. and sweeping octave and scale passages decorate the straightforward polka melody” (score preface). G&G. REFERENCE WORK: American Women Composers before 1870 (University of Rochester Press. drama. Elaborate. tremolos and arpeggios. (A-flat major. Jan 28. Dec 16. 1903 This strong-willed French composer. A book by Judith Tick. 3/4. and piano pieces. entitled “Augusta Holmès. Augusta (née Mary Anne Holmès. and Camille Saint-Saëns. The capricious main theme. Gillespie. Dalkeith Holmes. Ethyl Smyth. pioneer. with score facsimiles. Level: Advanced. Concert Polka with Variations.101 At age eleven. is filled with < previous page page_111 next page > . after the death of her mother. trills. father of her five children. technically demanding concert piece. H&H. ambitious variations of a lovely polka tune. Level: Advanced. dedicated an essay to her. pianist. chamber music. vivacious personality. Tick HOLMÈS. Very few of her more than two hundred works are in print today. SINGLE WORKS: Rêverie Tzigane [Gypsy reverie]. 7 [1894]. Paris. organist of Versailles Cathedrale. 7 pp). tempo di polka. (F major. Paris. 1847—d. 12 pp). repeated notes. she began her formal studies with Henri Lambert. to operas and large orchestral and choral works based on mythological subjects. Her father. César Franck. ed. “A flashy. in works ranging from songs. in the style of Thalberg and Herz. was a retired army officer. A vivid Hungarian czardas with the flamboyant gestures of a gypsy violinist. Herman Zenta) b. in alternating meters.< previous page page_111 next page > Page 111 Le Diamant: Polka Brilliante Op.”102 Reported to have been an exceptionally beautiful young woman with a mass of red-gold hair and a forceful. Holmès declined an offer of marriage from Saint-Saëns to became the longtime companion of writer Catulle Mendès. Christel Nies (Furore. Cohen.103. Described by Tick as ‘the most difficult keyboard piece published by a woman composer before 1870. Critics of the time praised her music for its strength. 1995). Masses of rapid arpeggios. 1989). pseud. Stern. Jadassohn. and “double stop” notes the length of the instrument. ElsonA. andante misterioso. NewGrove. for six years. Heinrich. Scotland. like ocean waves swelling and receding. A-Z. George Chadwick. and in Paris. S&S. concert pianist and composer. SCB. chords a tritone apart shift back and forth. ElsonL. Debussy. SOURCES: Ammer. 1935). An imaginative barcarolle in early 20th century style. En Mer [By the sea]. Pendle. Helen Hopekirk continued to compose and perform in public until the age of eighty-two. studied piano in Edinburgh with George Lichtenstein. Cambridge. and violin with Sir A. (A minor/D-flat major. she promoted music by Edward MacDowell. and over one hundred songs. A contrasting theme brings the piece to a climax. Max Hirschfield (Edward B. Hopekirk composed orchestral and chamber music. many piano pieces. ClagH. Meggett. Baker. ClagS. she premiered her Piano Concerto in D Major with the Boston Symphony. Brown. KOM. 1856—d. The barcarolle melody begins on page three ( un poco più lento. with Leschetizky and Navrátil. The contrasting section is a fierce and tragic lament in C minor.v. D-flat major). H&H.104 After successful debuts at the Leipzig Gewandhaus and London’s Crystal Palace. MGG. and d’lndy. 5 pp). Boenke. Later studies were in Vienna. Johnson. where she studied composition with Richard Mandl. a Hungarian pianist. score HOPEKIRK. 1945 Helen Hopekirk. It was there that she met and formed a lifelong friendship with the American composer. Edinburgh.).C. and the barcarolle theme returns. Fauré. she toured England. which included the other women composers Rogers. where she taught for four years. May 20. Helen b. Nov 19. Cohen. In the opening. In 1900. with the melody in the tenor. with traces of both Impressionistic harmonies and late Romantic gestures. and in 1897 accepted a teaching post offered by Chadwick at the New England Conservatory. graces.< previous page page_112 next page > Page 112 runs. Hyde. Level: Late Intermediate. B&T. and Beach (q. ed. 6/8. Lang. where she studied composition and counterpoint with Reinecke. led by Paine and Chadwick. Laurence. Mackenzie. and piano with Louis Maas. and America. An ardent supporter of women’s rights. and Richter. ANTHOLOGIES: Collection Moderne for the Piano by Contemporary Composers. MA. trills.Marks. She attended the Leipzig Conservatory for two years. arpeggios. Mac. Hopekirk is a member of Boston’s Second New England School of composition. piano. < previous page page_112 next page > . and often made use of Scottish folk tunes and neo-classical ideas. In her performances. molto moderato. slower rhythms and a rocking dividedchord bass transform the theme. Level: Late Intermediate/Early Advanced. (G major. The movement ends with bass octaves under RH chords. The repetitive melody uses pentatonic scale forms. (A minor. 3/4. V. Glickman (Hildegard. witty dance in two. 7th arpeggio. II. common time. < previous page page_113 next page > . with full chords and octaves climbing and falling in a nervous rhythm. (E minor. 1 p). solemn block chords with LH octaves in a repeated rhythm.” Trio: slightly varied repeat of the minuet. Five movements in quasi-Baroque style. 1990). Minuet. common time. ed. Stately. A pastorale/siciliano. E major) parallel sixths. Wide-rolled bass strums underlie legato chords in the opening. dedicated to the composer Arthur Foote. in a hemiola rhythm. Level: Mid-Intermediate to Late Intermediate/Early Advanced. allegretto moderato. The main section is true to its genre: a lively. (B major. as LH plays widely spaced block chords. Level: Late Intermediate/Early Advanced. 3 pp). Scottish-sounding binary dance. I. A single theme is treated in two contrasting ways to produce this strong work in rondeau form. four bars of allargando block chords. with an upbeat and staccato articulations. between soprano countermelody like a shepherd’s pipe and a drone bass drone. Level: Mid-Intermediate.< previous page page_113 next page > Page 113 SINGLE WORKS: Serenata (Suite) [1920] (Hildegard. 5 pp). (A minor. 5 pp). Archaic stylized dance in ternary form. 3/4. 6/8. 5 pp). III. (E major. Prelude. Maestoso. In ternary form. Level: Late Intermediate. Versions alternate again. Minuet: simple. IV. Arioso. 3/4. Level: Late Intermediate. In the middle section (E major) open 4ths and 5ths cavort high above sweeping LH arpeggios. In the second section ( tranquillo. A slowly spelled-out C-sharp minor triad serves as a pivot chord for the reprise of the main theme. and a triumphant A-major chord. ending in a “Scotch snap. grace notes. Sarabande. with the melody is plucked from 16th note arpeggios. ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915. dotted rhythms. Melody is in the tenor. A fantasia-prelude for piano. marcato. Level: Mid-Intermediate. 5 pp). Pedal tones under massive block chords alternate with a lute texture. 3/4. Dance [1914]. occasional triplet divisions and some rolled chords to achieve the feel of an authentic Scottish folk song. Level: Late Intermediate. The opening motive is stark and tragic. GKH reprint). allegro ma non troppo. andante. legato variant of the theme. 5 pp). and the work finishes with a five-octave dim. Rigaudon. (C minor. andantino. The contrasting section is a modal. allegro. eds. After her early training with the private teacher Herminie Seron. Mac. (B minor.Hall. was the daughter of an international lawyer. Richmond. series eds. She sang madrigal concerts with her children. Schleifer and Dennison (G. KOM. GroveAm. Level: Mid/Late Intermediate. In the opening and closing sections. Six. one ballet. she received an honorary doctorate from George Washington University. Cohen. G&G. 4 pp). An active member and officer in the National Federation of Music Clubs. Meggett. Among her compositions are over twenty orchestral works played by several leading orchestras. Skillful handling throughout of relative key relationships. Vol. Fuller. Apr 4. Sundown [1909]. ElsonAm. her brother’s law partner. Late Romantic tone painting in ternary form. H&H. 1990). Mary Alberta Bruce (née Carlisle) b. and composer. in 1925 she and Amy Beach co-founded the Society of American Women Composers. common time. ElsonA. Baker. and for a few months with Richard Burmeister in Dresden. she studied piano with Ernest Hutcheson and Harold Randolph at the Peabody Institute. 5 pp). singer. In 1912. a great deal of chamber and vocal music. unhurried chords change colors over tonic and dominant pedals. Glickman and Schleifer (G. Johnson. with a lyric middle section in D major. B&NB. SOURCES: Ammer. VA. she married Walter Bruce Howe.Hall. and they had three children. Pendle. with melodic lines and chords reminiscent of Strauss leider. (F-sharp major. Glickman. andante sostenuto. broad. 1999).K. S&S. DC. Anne Hull. Stern. B&S. and toured in duo piano programs for fifteen years with her partner. In 1961. Characteristic gavotte rhythms and articulations. ClagS. Vol. < previous page page_114 next page > . 1964 Mary Howe. and a founder of the Friends of Music at the Library of Congress. Howe and her husband also helped found the National Symphony Orchestra. In ternary form. ed. Serenata (Suite) —see Single Works. B&T. scores HOWE. Kehler. 4 of Three Centuries of American Music: A Collection of American Sacred and Secular Music. Gavotte [1885]. Grove. with phrases alternately cadencing in major and minor. performed with chamber groups. 3/4. the melody rises through a sequence of appogiaturas over richly sweeping arpeggios. 1882—d.K. Level: Late Intermediate. Washington. Brown. including the Vienna Symphony. American pianist. Sep 14. In the center section (G-flat major). Laurence. Composition studies were with Gustav Strube at the Peabody Institute and Nadia Boulanger in Paris. and some twenty-two pieces for piano and piano duo. Women Composers: Music Through the Ages. Dubal.< previous page page_114 next page > Page 114 American Keyboard Music: 1866 through 1910. but it was not until age forty that Howe received her diploma in composition from Peabody. transcribed from a work for orchestra. Sand. Elisabeth-Claude (var. B&NB. Glickman and Schleifer (G. Laurence. (D major. 1938). H&H. Paris. Anderson. A crashing sense of great rhythms is felt and then the emergence once more into the all-embracing peace and space” (score preface). Madame de Montespan. Louis XIV singled her out for special favor at the court of Versailles. A short. Meggett. Mar 17. and permitting her to dedicate works to him. 6. 5 pp).” by Dorothy Indenbaum. 3rd edition. ClagAm. Hinson. she gave a series of salon concerts in her home in Paris attended by the greatest musicians and connoisseurs of the < previous page page_115 next page > . beauty. Jun 27. score J JACQUET DE LA GUERRE. S&S. Elizabeth-Claude was a child prodigy who from the age of six sang difficult music at sight and accompanied herself and others at the harpsichord. Daughter of an organ and harpsichord builder. and space. imaginative scherzo. 1665—d. ClagS. Mac. (C major. putting her in the care of his mistress. Baker. Level: Early Advanced. By 1684. with whom she had one son. Extensive use of staccato triplet figures describes the gritty texture of grains of sand. Originally titled Mists. Jaquet. 1729 French composer and harpsichordist Elisabeth-Claude Jacquet de La Guerre was the first major female composer of instrumental music. At age eleven. Boenke. LISTED but not found in print: Solo arrangements of Stars and Whimsy (Composer’s Press. Goss. Fuller. musical works in the duo piano repertory. Elizabeth-Claude had married the organist Marin La Guerre. GroveAm. Howe described it as a “miniature tone-poem inspired by the gradually overwhelming effect of the dome of a starry night—its peace. For two pianos. La Guerre) bap. 3/4. grovemusic.K. After their deaths. Stern. “Mary Howe. Vol. arranged for solo piano in 1934. lento sonore. For two pianos. ed. Johnson. SOURCES: Ammer. and transcribed for piano duo in 1961.105 Her keyboard works are the earliest extant examples of the genre by a woman.. allegretto leggiero senza rall. Prefatory essay. 1999). but both died in 1704. Skowronski. Level: Late Intermediate/Early Advanced.Hall. 8 pp). Hinson’s Guide. Two inventive. Cohen. this was written in 1927 for orchestra. Heinrich. Stars.< previous page page_115 next page > Page 115 ANTHOLOGIES: Women Composers: Music Through the Ages. 4/4. Pendle. Courante II. in Parnasse française. 1982. the others being d’Anglebert. twovoice textures and simple rhythmic patterns. with this inscription. repetitive. tempos. articulations. and written in easy keys. After her death. such as a Tocade (the only such piece in French harpsichord literature)108.B: It is probably irrelevant and misleading to grade the harpsichord works below in terms of piano repertoire. songs. rev. However. Titon du Tillet. In the book of 1687. circle-of-fifth progressions. for fuller discussion. Her compositions include two volumes of harpsichord pieces published in 1687 and 1707. and the chaconne. these have no opening movements and only one Courante each. “With the great musicians I competed for the prize. one opera. In the two “La Flamande” allemandes. COLLECTIONS: Pieces de Clavecin [1687 and 1707 collections]. above. and fingerings all present scholarly and technical challenges. Arranged like the 1687 sets. such as chains of suspensions and seventh chords.”106 Jacquet de la Guerre was one of only four French composers to publish collections of harpsichord pieces in the seventeenth century. Three unmeasured Preludes are included. Gigue(s). traditional elements join newer ideas. she alone published collections in both centuries. she is reported to have had a special talent for extemporizing lengthy fantasias on a given tune. narrow-ranged.107 (N. Carol Henry Bates. The unadorned pieces are brief. ornaments. and use of the style brisé (writing in imitation of a lute) is prominent. Courante I. G minor. Hinson < previous page page_116 next page > . ed. and F major. awarded La Guerre a place of honor second only to Lully. As with Bach. Thurston Dart (Editions de L’Oiseau-Lyre. with fourteen pieces between them. This edition contains only the 1707 collection. the question of whether to play harpsichord works on the piano is a matter of personal taste. In the 1707 collection. or Suites. fast figurations. but this author recommends the study and performance of Jacquet de la Guerre’s works to any serious keyboard student). a monumental record of the achievements of French poets and musicians. thirty-four pieces are divided into four key groups (or suites): D minor. Level: Late Intermediate/Early Advanced. sacred and secular cantatas.109 Pièces de Clavecin. making her works important to scholars studying the changes between eras. and other works. Allemande. see the Bates edition. ed. there are two groups. 1956. Sarabande. phrasing. in D minor and G major. Of these four. Bates’ scholarly edition of both collections includes an informative preface and ornament table. and Lebègue. A minor.< previous page page_116 next page > Page 116 time. of 1938 Brunold edition). The pieces in each group follow this order: introductory movements. LXVl (66) of Le pupitre (Heugel & Cie. Also available Editions Minkoff). The musical ideas and practices are based on three hundred year-old verse and dance forms idiomatic to the lute and harpsichord. a commemorative medal was struck in her honor. Chambonniéres. and chamber sonatas. Vol. Menuets or Chaconnes. a Te Deum. descending G minor scale. the second couplet then modulates to the dominant for the return of the rondeau refrain. Glickman and Schleifer (G. ed. FRK. Five couplets in a virtuosic combination of variation and rondeau forms. 1987).” forward-looking for their time. 3rd ed.K. Chaconne. 2. 3/4. ClagH. Eitner. 2 pp).110 ANTHOLOGIES: Early French Keyboard Music. < previous page page_117 next page > . above. ClagS. Howard Ferguson (Oxford University Press. Rieger/Walter (Schott. dignified dance in binary form. 1921). La Flamande. (Editions Maurice Senart. Boenke. A witty country dance pair from Provençal. series eds. The elegant main theme is a sinuous. ed. 5 pp). to be performed ABA. from the 1707 collection. Ornaments abound in this lovely miniature. See Ferguson and Bates editions. An intense. common time. (D minor. Historical Anthology of Music by Women. Suite H in G Major. Friskin.< previous page page_117 next page > Page 117 describes them as “12 rich dance pieces of austere dignity and intricate skill. Elson. ed. LH counterpoint uses identical rhythms. 1996). SOURCES: Ammer. with dotted rhythms and poignant alternations from major to minor modes. Rigaudon. G&F. 1 pp). ed. delicate adaptations of current Italianisms. Suite II in G major [1707]: Rondeau. Rondo theme is contrasted with two “couplets” in B-flat major and in F major/D minor. Baker. Suite I in D minor. (G minor. 1707: La Flamande and Chaconne. 1998). Vol. See Smith edition. Brunold. Level: Early Advanced. H&H. Harpsichord Method. Hinson. Suite II in G major. Heinrich. there is a great deal of ornamentation. Cohen. Menuet from Pieces de Clavecin. editor’s suggestions for ornaments and performance. Sarabande. Suite I in D minor. (D major and minor. followed by a double (variation) of both sections. (D major/minor. Level: Early Advanced. See other editions. As in the music of Chambonnières and Couperin. 1966). 4 pp). Three works from two of the 1707 Suites. Great Women Composers. 1707: La Flamande. as cited in Hinson Guide. Smith (Mel Bay. Gustafson. An Anthology. 2/2. Gillespie. Level: Early Advanced.Hall. Level: Late Intermediate.” while Gillespie says they are “subtle. An elegant allemande in binary form. A-Z. cut time. 2 pp). B&T. Suite I in D minor. Two dances. 1707 collection: Sarabande andGigue. (D minor. Level: Early Advanced. Briscoe (Indiana University Press. Maria Boxall (Schott). Les Maitres Français de Clavecin des XVIIme et XVIIIme Siécles. Women Composers: Music Through the Ages. 1992). Frauen Komponieren. ed. in three. Hyde. Suite II in G major Rondeau: see Rieger/Walter. Chaconne. chamber works. Marie (var. and produced eleven books on piano pedagogy. her most famous student being Albert Schweitzer. France. songs. Her method. posture and practice methods. SCB. she gave piano recitals in Germany. performing much of the duo repertoire. she became the first French pianist to play the entire cycle of Beethoven sonatas in Paris. Jaëll-Trautmann performed all of the solo music by Liszt. Jaëll-Trautmann studied composition with Saint-Saëns and Franck. 1846—d. Stern. In 1891. she became a pupil and friend of Liszt. Aug 17. Switzerland and France at the age of nine. and over eighty pieces for the piano. Laurence. KOM. careful use of arm weight. After her husband’s death in 1881. in 1893. NewGrove. Meggett. with later works displaying some impressionistic characteristics. Fascinated by Liszt’s sensitive. and comprises wrote cello. Moscheles in Leipzig. a symphonic tone poem. N-B. violin. where she worked for many years. Carrie Minetta Jacobs JAËLL-TRAUTMANN. a famous Austrian virtuoso. Her teachers included Hamma in Stuttgart. who had a marvelous technique as well as an amazing capacity for performing large bodies of work. Mac. she programmed all of Schumann’s solo works. where at age sixteen she won the premier prix in piano. Kirby. She married Alfred Jaëll. and Herz at the Paris Conservatory. Saint-Saëns and Chabrier dedicated compositions to the gifted pianist. she was the first to study the physiological characteristics of piano technique. Jezic. Steinseltz nr Strasbourg. and choral music. also influenced by Liszt. still promoted today by the Association Marie Jaëll in Paris. Jaëll. S&S. Johnson. in 1866. Paris. and together they toured Europe and Russia. of course. composer. A child prodigy. efficient facility at the keyboard.< previous page page_118 next page > Page 118 Jackson. scores JACOBS-BOND -see BOND. as well as the importance of forming a mental image of the desired sound. and in 1901. and her piano music was. 1925 Pianist. and piano concertos.111 < previous page page_118 next page > . and teacher Marie Trautmann was born in a small village near Strasbourg. France. Pendle. emphasizes economy of movement. Her music is fundamentally late Romantic in style. spending time at Weimar each year where she performed in his musicales and acted as a secretary for him. After 1895. Jaëll-Trautmann devoted most of her time to pedagogical writing and teaching at the Paris Conservatoire. Feb 5. née Trautmann) b. from four loosely organized cycles similar to collections by Robert and Clara Schumann. No. 42 pp. 9/8. and a answering descending third or fifth. short melodies. 6/8. II: Adagio (F minor. No. The theme in the tenor voice is made of two-note slurs. and the abundance of meter changes characterize both” (score preface). syncopated fashion. Level: Advanced. 4. Four brief pieces of pastoral character. a nice recital group for the intermediate student. and similar to his works. Très décidé. The most robust of the group. ad lib. “Harmonic similarities abound…virtuosity.< previous page page_119 next page > Page 119 SINGLE WORKS: Sonata [1871]. A galloping hunting song. ed. 2 pp). Fleeting. gossamer two-voice texture. No. Vite. (G minor. No. 6/8. Lento. 6/8–3/4. thick-textured. A simple pastorale. No. 2 pp). Wistful and Chopinesque. Schumannesque. Assez animez. in three-voice counterpoint. (C major. unexpected key relationships. 3/4. Modified sonata-allegro form. 1 pp). 3/4. Sparse texture. 3/4. 1 pp). Allegro non troppo. 7 pp). Five gentle waltzes in various styles. ed. in compound meters. 1996). Moderate. (F-sharp major. sections. A joyful peasant dance. No. 1998). Valses mélancholiques. Ce qu’on entend dans l’Enfer [1884]. 5. sighing in sequence. Four movements. No. 3/4. 8 pp). (C-sharp minor. No. 10 pp). with dotted rhythms and triplets versus duplet figures. 6/8. with LH notes widely spaced. 4. 3/4. Level: Mid Intermediate. 3/4. made of two opposing figures: a questioning.2 pp). 3. IV: Allegro (C major. 1. A wistful Siciliano. a will-o′-the-wisp melody appears in interrupted. Level: Late Intermediate. 2. (G major. (C minor. Lengthy. A pastorale. (G major. 2 pp). < previous page page_119 next page > . Lea Schmidt-Rogers (Hildegard. Bagatelles [1872]. (C major. with a trill and a solo cadenza for the shepherd’s pipe. Level: Mid-Intermediate. I: Allegro ma non troppo (C major. with the character and mood of a mazurka. A subtle study in different articulations between the hands. There is some chromaticism. Dedicated to Franz Liszt. 3 pp). Lea Schmidt-Rogers (Hildegard. Pas trop lentement. COLLECTIONS: French Character Pieces. with hands generally close together in the middle of the keyboard. 2 pp). ascending ninth. Delicate two-voice texture. and the middle section is written in five sharps. 3/4. (A minor. assez animé mais très doux. 16 pp). RH theme alternates rising and falling intervals. 3/4. Character pieces suitable for the intermediate student. III: Tempo di minuetto (E major. many key and meter changes in each movement. 2 pp). Allegro. Alanguissement [Languidness]. like the first waltz in the set. 2. 1. 4. RH plays pianissimo staccato eighth notes in ornamented stepwise patterns. No. agité mais pas trop vite. No. Ennuyeux comme la pluie [Boring. (G-sharp minor. (A-flat major. No. 2 pp). 2/4. A perpetuo moto study in two voices. (A major. A murmuring. (C-sharp minor. and grace notes in the LH. LH bounces on alternating chord tones. Five brief descriptive teaching pieces. Level: Mid-Intermediate. très modéré. léger pas trop vite. Roses flétries [Faded roses]. repetitive melody is made more interesting with some chromaticism. (F major. 2 pp). Level: Mid-Late Intermediate. (A natural minor. two-voice texture and ternary form. 3/4. 3. pas trop lent. Late Romantic chromaticism. most of the interest is in the shifting chord colors. LH has some chromatic scale passages. like melancholy strains of a long-ago waltz. common time. (G major. Les Beaux Jours. 11. briefly. 3/4. mélancholique. 3/4. Level: Early Intermediate. and the alto fills in with another ostinato figure in quarter notes Promenade Matinale [Morning walk. Hands play staccato chords in close position in the treble registers. using “laughing rhythms” of accented eighth and quarter notes. No. (G major. common time. 1 pp). mais calme et espressif. 1 pp). (C-sharp minor. A gay circus waltz. 11. reportedly. LH has some tenths. très rapide. like the rain]. 4/4. (F major. No. 1 pp). 2/4. Level: Early Intermediate. pas trop lent. 2 pp). the soprano melody moves by whole notes. moderate. Use of the natural minor mode gives it a slightly unusual sound. On rêve au mauvais temps [Dreaming about bad weather]. with stepwise staccato two-note chords accompanied by an “oom-pah” bass. 3 pp). and repetitive. Assez vite. Three fast. Two teaching pieces. 1. The G minor center section is placed in high registers. Aube [Dawn]. No. soothing. Quelques gouttes de pluie [Some raindrops]. after 1878]. Quiet. Les Jours Pluvieux [Rainy days].< previous page page_120 next page > Page 120 Valses mignonnes [Sweet waltzes]. Sixteenth note pickups in the RH. A sad little piece. 6. No. 6/8. Jaëll’s hands spanned an eleventh. 3 pp). The LH melody appears twice. Mouvt. vite. No. 1 pp). 3 pp). 1. LH is a murmuring ostinato in rocking eighth notes. Très animé. 10. A giddy little piece. 2 pp). Petite pluie fine [A little light rain]. 3/4. 1894 [Pretty days]. No. spinning in tight circles. 12. très calme. (A minor. A l’abri [Sheltered]. Some early Impressionistic effects. light dances. 2. occur before each lightly-played close position chord. No. not the standard Viennese type. RH alternates two-note intervals in a rocking motion over a drone bass.112 < previous page page_120 next page > . On rit [Laughing]. Repeated one-measure motifs provide the yawns. 3/4. K. Mother’s Sacrifice. Gordon. Glickman and Schleifer (G. who premiered it with Saint-Saëns. 1999). KOM. Mac. Published in Kansas the next year. she returned to Sedalia. and the Finale. b. Louise Langhans—see LANGHANS. Kehler. four-hands). the variety of styles includes a grand waltz and a fervent Hungarian dance. Vol. Hinson. Petite pluie fine. an undertaker. VI. Level: Late Intermediate. Ebel. S&S.113 < previous page page_121 next page > . A favorite of Liszt. ElsonA. scores JAPHA. Missouri. Meggett. and for thirty-five years taught music and English in the segregated Lincoln High School. After studying harmony and choral music at Western University in Quindaro. Viola L.Hall. won the Inter-State Literary Society Original Music Contest. Cohen. a copy housed in the Library of Congress is her only extant composition. series eds. Stern. ca. III. Lyrical and lush late Romantic writing. H&H. Laurence. Kansas. Sedalia. In 1908.< previous page page_121 next page > Page 121 ANTHOLOGIES: Women Composers: Music Through the Ages. IV. Valses pour Piano à quatre mains Op. Prefatory essay and three works edited by Lea Schmidt-Rogers. (Duo. See French Character Pieces. SOURCES: Baker. 6. where she married Fred Ferguson. Louise Japha K KINNEY. her composition below. 1890—d. ? Little information is available about this African-American woman. Aube. Grove. Includes I. 8. Dubal. In ternary form.). as the right hand crosses over into the tenor register. 1. andante cantabile/moderato/vivace. 5. Engaging additions to the repertoire. 3 pp). 1894—d. presents a picture of misery and loneliness. 2. A reprise of “B” follows. Another song in hymn texture. (F major/G minor. D minor. mostly one page in length and in easy keys. In this hymn-like work. in G minor. D major. 3/8. with periods built of unsymmetrical phrases. lebhaft und zierlich (lively and graceful). n. Level: Early-Mid-lntermediate. 4. A lively polka-like dance. perhaps indicating difficulties or the striving for higher things. 1992). Mother’s Sacrifice. which hums contentedly over whole-note block chords. < previous page page_122 next page > . ed. Walker-Hill score KOCHER-KLEIN. These nine “imps” or “gnomes” are short character pieces in late Romantic style. The third section. then the theme modulates to E-flat major. G major. the music could serve as background for a silent film. a RH octave figure modulates a half step upward every two bars. A sweet song in rounded binary form with a repeated second half. ruhig (peacefully). with Schumannesque textures but more adventurous harmony. 4/4 and 3/4. with quiet motion). In the second section. Rolled chords in the introduction usher in a pleasant. and builds to fff . this fleeting piece fairly skips across the pages. and the work closes with a slightly ornamented version of the first strain. 4/8. tones are borrowed from the modes.L. if repetitive. A scherzo. 1974 Almost nothing is known about this composer.Schultheiss. phrases are unsymmetrical.d. Helen Walker-Hill (Hildegard. einfach (simply). melody. 3. gathers strength in repetition. Level: Mid-Intermediate. Germany. common time. KOM. SOURCES: H&H. In ABCBA form. other than the fact that she lived in Germany in the twentieth century. sehr rasch (very quickly). cut time. F-sharp minor. 3/4. three different themes present musical vignettes of a woman’s life in 1908. in ruhiger Bewegung (singingly. with repeats. E major. Hilda b. in rounded binary form. singend. then repeated. Two repetitions of a plagal cadence bring the story to a quiet but happy ending.< previous page page_122 next page > Page 122 ANTHOLOGIES: Black Women Composers: A Century of Piano Music (1893–1990). is followed by a slightly slower Musette. The middle section is in D major.114 SINGLE WORKS: Kobolde: 9 Klavierstücke Opus 1 (Tübingen: C. nicht zu langsam (sustained. A gentle. äusserst rasch und leicht (extremely quick and light). moderato. 3/4. D major. with three sixteen-bar sections in the first half (ABA) and two in the second (C. Vol.< previous page page_123 next page > Page 123 6. Pastoral-sounding. a la marcia. with strong melodic ideas. played pianissimo. 7. SOURCES: Boenke. the main theme is gay and lilting. SCB KONINSKY. the society leader of Darktown. 3/4. Glickman. ed. In ternary form. but not too slow).K. Cohen. and the band played: Phoebe Thompson’s Cake Walk . Glickman (Hildegard. FRK. 8. rather like a dance tune from an operetta. 9. four of the sections are repeated. 3 pp). H&H. provides a nice touch just before the end. having baked a magnificent birthday cake which she desired to present to the winner.Hall. good contrast between sections. F major. KOM. and American Women Composers: Piano Music from 1865– 1915. Broken chords shared between alternate hands give a pointillistic texture to this tricky piece. 1990). 6/8.”116 ANTHOLOGIES: American Keyboard Music 1866 through 1910. to celebrate in her honor. < previous page page_123 next page > . helping to spark a worldwide craze during the gay ‘90s.115 Written by both white and African-American composers. (2/4. such as this one included in the original publication of Phoebe Thompson’s Cakewalk: “On the occasion of the birth-day anniversary of Miss Phoebe Thompson. Sadie Late 19th century American Sadie Koninsky was a song-plugger who composed piano rags and the related 19th century genre shamefully referred to as “coon songs. E minor. sprightly piece. im walzer tempo. A charming.” In 1896. Miss Thompson proposed a cakewalk. an augmented sixth. All agreed readily. 1990). Koninsky’s Eli Green’s Cakewalk was one the first successes in the genre. C and B sections have identical rhythms and very similar tunes. C1). During the evening. Level: Mid-Intermediate. sad folk tune in chordal texture. all the colored aristocrats assembled at Lime-Kiln Hall. ed. a gentle melody in right hand chords plays over a drone bass. 3/4. Like many rags based on march forms. The contrasting center section has an extensive circle-of-fifths progression. ruhig fliessend (gently flowing). and a straightforward approach to the genre. the songs and dances often included descriptive settings. the three-strain piece divides into two distinct parts. getragen. C/F major. with the tenor moving on the inner beats. Adding octaves during the repeats. Phoebe Thompson’s Cakewalk [1899]. 4 of Three Centuries of American Music (G. D minor. Level: Mid-Intermediate. 1995). an enjoyable piece. actively performing until 1797. (2/4. 1755—d./ed. Mme Krumpholtz. Most encyclopedias relate that she ran off to London with Jan Ladislav Dussek. 1975) and Ragtime & Early Blues Piano. most of her published music was in the form of harp arrangements of well-known tunes. The only modern examples of her music are the three sets of theme and variations below.117 Regardless of discrepancies in accounts of her private life. which found an eager audience in young women of the rising middle class. and the young Sophia Corri. France. Eli Green’s Cakewalk (Characteristic March) [1898]. J. Well constructed melodies. a harp maker. with the A sections in D minor and the others in F major. 4 pp). creates color and bravura. D minor/F major. However.< previous page page_124 next page > Page 124 which may have occurred in performance. comp. Accounts differ on her birth and death dates.118 Although Krumpholtz apparently composed sonatas and other serious pieces. Metz. contemporary reviews unanimously applauded her technical prowess and great sensitivity. scores KRUMPHOLTZ. described on the title page as a “March and TwoStep. March. also published for all mandolin and guitar arrangements. sel. Dussek. One of the first cakewalk successes. causing her husband to drown himself in the Seine. ca.L. Considered by many the finest harpist in Europe. SOURCES: B&NB. Hasse. zither. full orchestra and band. and the name of the lover with whom she fled to London in 1788. London. the work is a good candidate for orchestration. née Steckler/Stekler) b. which use the standard harmonic and textural vocabularies of the period. Nov 15. She studied with the great harpist Johann Baptist Krumpholtz. 1813 Virtuosa harpist and composer Anne-Marie Krumpholtz was the daughter of Christian Steckler. Tichenor (Dover Publications. and that the long-standing rumor of the suicide is false. Anne Marie (var. and typical cakewalk syncopations. KOM. < previous page page_124 next page > . quartette. Ragtime Rarities: Complete Original Music for 63 Piano Rags. the brilliant pianist and composer. good contrast between sections. whom she married in 1783. Each set of variations is idiomatic both to the harp and keyboard. Appleby and Pickow (Amsco. Ursula Rempel believes her lover was Alexandre Gossec. she played at benefit concerts and at the Salamon concerts with Haydn. She and her husband gave numerous performances at the concerts spirituels in Paris from 1778–1788. the number of her children.” Four repeated sixteen-bar sections (ABAC). Lison Dormoit with an Introduction & Variations. and there is a presto final section. Ursula Rempel (Hildegard. Glickman and Schleifer (G. prefatory essay and edition of the three works listed above. Schonberg. where from 1908 to 1920 she was that institution’s first female teacher of theory and composition. allegretto/presto. workmanlike examples of the variation genre. 9 pp). score KRUMPHOLTZ.Hall & Co. Lize. but unfortunately disbanded because of financial problems. common time. grovemusic. Jackson. 1998). Pendle. Ursula Rempel. and the Berlin Philharmonic and numerous other German and Dutch ensembles played her works. Fanny Krumpholtz KUYPER. Lengthy introduction. Sep 13. series eds. cadenzas separate the variations. and New York. 9 pp)..K. Amsterdam. composer. Mac. Kuyper saw herself as a pioneer: in 1926. 3. resoluto/andante. Level: Mid-Intermediate. Eitner. Cohen. S&S. (G major. “For a woman. Kuyper founded and conducted four women’s orchestras in Berlin. GKH reprint). ANTHOLOGIES: Women Composers: Music Through the Ages.”119 Between 1910 and 1924. Level: Mid-Intermediate. Brown. being a pioneer in a sphere towards which my talent directed me—predestined to compose and conduct—means having to struggle and fight for every step that leads forward. 3/4. today perhaps even more than in earlier times. 1953 Dutch conductor. After receiving a piano teaching certificate in 1895. H&H. theme and three variations. Switzerland. Feb 26. Theme and four variations. (E flat major. The Hague. she said. ed. (C major. London. All were well received. From < previous page page_125 next page > . following the principle of progressive complexity. and music teacher Elisabeth Kuyper studied with Daniel de Lange and Frans Coenen at the Maatshappij tot Bevordering der Toonkunst in Amsterdam. MGG. née Lamina Johanna) b. The Favorite Air of PrayGoody Arranged for the Harp. she became the first woman to win the Mendelssohn state prize for composition. 11 pp). Vol. Fanny —see PITTAR. andante.< previous page page_125 next page > Page 125 COLLECTIONS: Three Pieces for Harp. Theme and three variations. 1877—d. Straightforward. she studied with Max Bruch at the Berlin Hochschüle fur Musik. Level: Mid-Intermediate. A Favorite Piemontois Air with Variations by Dalvimare. In 1905. Viganello. common time. SOURCES: Baker. Elisabeth (var. Originally written for orchestra. and several salon pieces for piano. cantando. Level: Late Intermediate.K. Cohen. Helen Metzelaar [1925]. Spiritoso (3/4). This popular set of variations on Thomas Moore’s song was included in four publishers’ catalogues by 1870. Tick < previous page page_126 next page > . Allegretto (2/4). Baker.” REFERENCE WORK: American Women Composers before 1870. chamber and choral music. it is a pleasant if unremarkable example of salon music in mid-19th c. Theme and five variations: Andante doloroso (2/4). and Richard Strauss. C minor/major). Laurence. A charming and inventive parlor piece. 5 pp). Dreams on the Hudson Waltz. Glickman and Schleifer (G. and Larghetto affettuoso (2/4. Mac. Much of her music displays rich harmonic coloring and daring modulations. influences on her style include Bruch. A traditional waltz with three strains. SOURCES: Clark. style. a book by Judith Tick (University of Rochester Press. A-Z. 7 pp). H&H. (C major. Schumann. Mahler. solo songs. Sperber. series eds. The variations below are reproduced in this study. Glickman. She wrote orchestral. 1999). American No further information is available about this anonymous American woman. Heinrich. grovemusic. Marcia (common time). SOURCES: Ammer. 1979/95) from Studies in Musicology.< previous page page_126 next page > Page 126 1939 until her death. who may or may not be the person referred to as “A Lady of Philadelphia. with Variations for the Piano Forte [1827]. Oft in a Stilly Night. ANTHOLOGIES: Women Composers: Music Through the Ages. S&S. 1983). Vol. Allegretto (2/4). A Early 19th c. Switzerland.Hall. 6. B&T. Jackson. Stern. ed. score L LADY. Kuyper lived in Muzzano. 3/4. Level: Mid-Intermediate. 67–71. near Lugano. H&H. in rondo form with contrasting episodes in D and D-flat majors. (G-flat major. 57 (UMI Research Press. Brahms. A stately processional with dotted rhythms. Joyous and spirited. Elisions and extensions create irregular phrase lengths. Quebec. Two-voice counterpoint. Park. It is worth noting that until Gena Branscombe (q. known today as the provinces of Ontario and Quebec. SOURCES: Jackson. ed. ANTHOLOGIES: Eighteenth Century Women Composers for the Harpsichord or Piano. with hands nearly equal partners. 2 pp). Lesson VI in D Major. Simple and gracious.< previous page page_127 next page > Page 127 LADY. II: Allegro (cut time. Elaine Keillor (Ottawa. It includes two pages of biographical information and performance notes. Reminiscent of D. binary repeated form. Creative. 18th century England No biographical information is available regarding the anonymous composer of the work below. (A-flat major. A gracious and charming salon piece in three strains. 1983). in a sort of rondo form. 3/4. ed. Level: Mid/Late Intermediate. from Six Lessons for Harpsichord. 1841 No information is available about this mid-19th century resident of Quebec. very European in style and mood. 7 pp). 1992). Urtext edition of sonatas by Gambarini. The Canadian Union Waltz [1841]. there are passages in parallel octaves and tenths. A fl. irregular phrase lengths form periods. score LADY. I: Largo (common time. Barbara Harbach (Vivace Press. Her music displays considerable talent and skill. extremely well written and idiomatic. 1 pp). Piano Music. RH 16th note scales. Inspiration for the composition was the union of the Upper and Lower Canadas. and A Lady.v. score < previous page page_127 next page > . III: Minuet (3/4. Level: Mid-Intermediate. middle section is in E-flat major. 1.Scarlatti or early Hadyn. A Canadian fl.). ANTHOLOGIES: Le Patrimoine Musical Canadien (The Canadian Musical Heritage). with a short segment in the relative minor. LH arpeggio figures. 2 pp). Vol. SOURCES: Hinson. in the style of a French overture. Canadian women published their music under pseudonyms. Elizabeth-Claude Jacquet de —see JACQUET de La Guerre. where she founded the École de Musique Ancienne.120 Merging her studies in early music with her compositional skills. A Young.Bach. (E minor. Haydn. studied piano with Kleczynski and Michalowski in Warsaw and Moszkowski in Berlin. 2/4. Eliza Crawly LA GUERRE. from Four Pieces. Landowska started performing in public on the harpsichord. her eyes were cast to the heavens. Soothing and plaintive. Wanda Alexandra b. 1879 -d. Dominant drones both in the melody and the perpetually < previous page page_128 next page > . the German occupation forced her to flee. where she also studied composition with Heinrich Urban. Aug 16. abandoning her library often thousand volumes. Lanner waltzes. she composed cadenzas for concertos by Mozart. her efforts include a book. Warsaw.C. of Charleston. Landowska’s devotion to early music was rewarded with decorations from the French and Polish governments. While interned in Berlin during World War I. and for many years continued to teach and perform. and scholar. Landowska moved to the United States. 6 pp). a leader in the twentieth-century revival of early music and period instruments. Berceuse. they moved to Paris.P.” 122 One of the most respected musicians of the century. she began teaching a harpsichord class at the Hochschule für Musik. Hinson (Alfred. a studio lamp to the left of the keyboard. touring widely to rapt audiences. S. 1959 Harpsichord virtuosa Wanda Landowska.121 In 1925. her valuable period instruments. and Mozart dances. winning both first and second prizes in the 1903/4 Musica International Competition.< previous page page_128 next page > Page 128 LADY. Handel.Bach. Level: Early Intermediate. CT. LANDOWSKA. only a few of her piano pieces are extant. and everybody realized she was in communion with J. Lakeville. andantino. teacher. 1990). Jul 5. after her husband’s death. After her marriage to Henry Lew. Poland. the stage nearly\darkened…Finally the stage door opened and The Presence approacned…Her palms were pressed together in prayer a la Dürer. —see MURDEN. In 1940. where she continued to compose songs and piano music. Musique Ancienne. getting some last-minute coaching and encouragement… It was one of the great entrances of all time. as well as piano transcriptions of Schubert Ländler. Landowska settled north of Paris.E. and many articles for musicological journals. ed. and all the manuscripts of her own compositions. and C. One description of the famous musician is particularly vivid: “…she had the stage fixed up as though it were her living room—the harpsichord dominating. A gifted performer. S. At about the same time. similar to Bartok’s Rumanian Folk Dances . an authority on Hebrew folklore. ANTHOLOGIES: At the Piano with Women Composers. An invigorating chromatic-scale study for RH.Hall. Vol. Kehler.123 At age fifteen. Glickman and Schleifer (G. Hinson. She set texts by Heine. Germany. inherited musical talent from both sides of her family. 1901]. ed. allegro. 1999).< previous page page_129 next page > Page 129 rocking bass produce a mesmerizing effect. scores LANG. series eds. which are often compared to those of her contemporaries Mendelssohn and Schumann. GroveAm. Her mother. Tübingen. 4 [Paris: Enoch. modal borrowing provides interesting color. complete with triplets and dotted notes.K. KOM. and Robert Franz all praised the efforts of the young woman. common time. pianist. MGG. < previous page page_129 next page > . H&H. sadly. Laurence. Liberation Fanfare . Theobald Lang. like a perpetuo moto or tarantella. double notes and chords on strong beats make fingering challenging. 6. Munich. this was dedicated to General DeGaulle in anticipation of his destruction of the Nazi oppressors. 6/8. 4 pp). Mendelssohn described her as “one of the loveliest creatures I have ever seen. 1815—d. The delightful mazurkas described below appear to be her only piano works currently in print. Lang’s early studies were with her mother and a Fräulein Berlinghof. Level: Mid-Intermediate. Lang’s songs. Baker. Level: Mid-Late Intermediate. a singer’s grasp of line. changes to a triumphal march. (D minor/major. who became so enamored of her talent and personality that for months he gave her free daily lessons in fugue. and teacher. her father. Written on fleeing France in 1941. as well as poems by her husband-to-be. and his father were virtuoso instrumentalists and directors. 1971). Cohen. and pianistic accompaniments independent of the melody. she met Felix Mendelssohn. The occasional borrowed tone adds a bit of piquancy to the tonic/dominant harmony. Josephine Caroline b. and Lord Byron. Heinrich. Goethe. The lovers married in 1842 and had six children. singer. Christian Reinhold Koestlin. Mac. En route Op. Stephen Heller. Scales and turning figures are in continuous triplets. Composer-Pianists (Schaum Publications. Meggett. 2 pp). LePage. Grove. LePage. S&S. three aunts.”124 Robert and Clara Schumann. a law professor and amateur poet. her husband died in 1856. with balanced periods of six-bar phrases. Ferdinand Hiller. SOURCES: A-Z. Expanded song form/rondo structure (AABACA). Stern. and theory. Denise Restout. Women Composers: Music Through the Ages. 1880 Josephine Lang. Schiller. contrasted by a chorale section in E major. Lang composed over 150 lieder and many small works for piano. counterpoint. (C minor. and maternal grandmother were professional singers. Mar 14. show considerable individuality. Dubal. composer. A rousing trumpet call to arms. and encouraged her to compose. Dec 2. and she subsequently lost three of her four sons. She has the gift of composing and singing songs in a manner I have never heard anything to match. she was the only woman represented. Sperber. (G minor/major. Level: Mid-Intermediate. one of the quicker sort of mazurkas. and violin with Louis Schmidt. ElsonA. FRK. Ebel.” in her honor. chamber. HAMW. 1972 Born in Boston in the same year as Amy Beach. Laurence. Cohen. Her compositions. 1867—d. Martha Furman Schleifer (Hildegard. 12. and over one hundred songs. and occasionally drew on folk music for her ideas. Level: Mid-Intermediate. Paine. the first section is in rounded binary. programming many early performances with his own groups and promoting her works with other conductors whenever possible. Buck. include choral. Mazurka I Op. with an extended Trio in F major/d minor. The work was her Dramatic Overture Op. B&T. Jamaica Plains. and orchestral music. 49/1. S&S. each section has two repeated strains. the Boston Symphony under Erich Leinsdorf played the Doxology. she studied orchestration with Chadwick. Stern. (F minor. and teacher. Jezic. other works were played by major orchestras and well received by the public. Margaret Lang was the first American woman to have a work performed by a major orchestra. all written before 1930. and MacDowell. H&H. The center section and the final repeat of A are in the parallel major. At an 1889 concert in Paris featuring American composers MacDowell. piano pieces. 3/4. Meggett. May 30.127 < previous page page_130 next page > . 2000). Lang lived to be 104 years old: upon the occasion of her 100th birthday. score LANG. Langhans. NewGrove. ternary form. allegretto. Airy and agile. MA. 5 pp). MGG. composed in 1893. ClagS. tranquillo. In expanded ternary form. and Lang. Mac. conductor. Boston. she explored dissonance and developed an individual treatment of harmonies. Abel. Pendle. 49/2. tuneful and inventive. SOURCES: Baker. an organist. Further studies took her to Munich. and played by the Boston Symphony under the direction of Arthur Nikusch. Benjamin Johnson Lang. 3/4. Works by Weyrauch. intro. Margaret Ruthven b.126 Though her musical style displayed a more restrained harmonic vocabulary than many of her contemporaries. and Foote. Nov 27. Mazurka II Op. After the reception accorded her Dramatic Overture. Graceful. where she worked with Dreschler. Returning to Boston. She first received acclaim as a composer of songs. “Old Hundredth. and Gluth. with works performed at gala expositions and in recitals by leading singers such as Schumann-Heink. N-B. 4 pp).125 Lang studied piano and composition with her father. Chadwick. Her father championed her music.< previous page page_130 next page > Page 130 ANTHOLOGIES: Nineteenth Century German Keyboard Music. common time. The con molto espressivo section. Borrowed chords.K. maestoso. Gavotte theme from first movement serves as introduction and transition. maestoso. (G major. LH melody in piu mosso section. RH octaves build to a ff coda. in A-flat. Monsieur le Prince. the opening Gavotte is transformed into a funeral march. 1990). 3/4. 4 pp). ed.Hall. le Prince (the Sword of the Prince). with a lyric soprano accompanied by eighth note triads in the inner voices and bass whole notes. gen. 4 pp). Petit roman pour le piano en six chapitres [1894]. ABA form. A waltz with a lengthy introduction created from theme of second movement. andante con moto. then leaps back up. 26 (1897). movements can be performed as separate character pieces. (E minor/A-flat major/E major. and F minor.< previous page page_131 next page > Page 131 SINGLE WORKS: Le Chevalier Op. 6/8. A duel: the story springs into action.” Madame la Princesse. 40) as the Chevalier “speaks of love. Glickman. (Cminor/major. common time. tremolos. 5 pp). La Mort du Chevalier (the Death of the Knight). a dignified processional wends its way through various keys and accompaniments to a final climax. 18. Rhapsody [1895]. Three Centuries of American Music: A Collection of American Sacred and Secular Music. In hymn texture. Introduction of a new character to the story. Level: Late Intermediate. which descends the E minor scale. 5 pp). allegro con fuoco. first section is a mildly flirtatious sicilienne. in the development. L’Épée de M. Meditation Op. Contains fragments and sad variants of themes from other movements. A sweeping seventh-chord arpeggio begins the theme anew. ABA form uses keys of relative major. (E major. (B major. augmented chords. Bal Chez Madame la Princesse (Ball at the Home of the Princess). A courtly dance. Glickman (Hildegard. Le Chevalier (the Knight). 3/4. andantino. waltz tempo. with a contrasting lyrical section (m. tempo di gavotta. is in song-without-words texture. 2000). (Hildegard Publishing. (G minor. ABA. vol. Schleifer and Dennison (G. A quasi-epic late Romantic ballade in six movements. 8 pp). 4 pp). 1990). swift modulation occurs through a number of keys. 4. with a through story line in French. and wide scale passages. American Women Composers: Piano Music from 1865–1915. with an eightmeasure introduction. Lyrical with dramatic contrasts. translation provided in score. Soprano and tenor voices double on the powerful opening theme. common time. 6 pp). andante. Level: Late Intermediate. Prince’s theme appears in canon. ANTHOLOGIES: American Keyboard Music 1866 through 1910. 7 pp). common time. second section provides contrast with a repeated-chord accompaniment and LH melody. eds. subdominant. Level: Late Intermediate. enharmonicism. (E minor. accented by full chords on strong beats. (E major. 2/4. and added notes < previous page page_131 next page > . with furiously accented octaves. ed. forms the coda. Meggett. Oct 13. SOURCES: Ammer. Wiesbaden. which uses < previous page page_132 next page > . 8th notes move the two-voice texture forward.”128 ANTHOLOGIES: Nineteenth Century German Keyboard Music. Tick. but they divorced in 1874. intro. Six lovely character pieces in late Romantic style. (F minor. Luise. Albumblatt Op. she married the concert violinist and composer Friedrich Wilhelm Langhans.Gross. common time. groveAm. 36/2. A quirky little piece in rounded binary form. A lyrical melody sings in dotted quarters above the constant texture of strummed 16th note chords. Praeludium Op. Feb 2. gay]. ClagH. chamber ensembles. KOM. shared between the hands. In 1858. frisch. Characteristic dotted rhythms in a gracefully swaying meter. Germany. mässig [moderately]. Humoreske Op. Sieben Klavierstücke Op. and “is usually given an honorable place in the German lists of women composers. 3/4. 1910 Louise Langhans. Laurence. Walzermässig Op. 1826—d. NewGrove. 36/3. (C minor. Fuller. Louise (var. 12/8. rounded binary form. 36/4. ElsonA. B&T. 3/4. (G major. 6/8. Pendle. H&H. Heinrich.A. and one opera. B&NB. Hamburg. 36/5 [moderate waltz]. with the second theme in the relative major. 3 pp). Martha Furman Schleifer (Hildegard. walzermässig nicht schnell. Germany. She studied under Fritz Warendorf. Siciliano Op. and in 1853 under Robert and Clara Schumann in Düsseldorf. 2 pp). Altered mediants and augmented sixths provide harmonic interest. 36/1. ruhig [peacefully]. Langhans-Japha. Level: Mid to Late Intermediate. Staccato four-voice chords alternate with offbeat triplets to create a piece of good-natured clowning. Publishing under both her maiden and married names. with occasional rolled chords on important beats. a German concert pianist. gebunden [somewhat slowly. a short reprise of the original theme. Stern. Chase. Baker. (D major. 36. Lang. and Wilhelm Grund. heiter [fresh. and Langhans. ElsonAm. ClagS. ziemlich langsam. 2 pp). Johnson. where she was believed to be one the finest pianists of her time. G&G. née Japha) b. scores LANGHANS. 2 pp). voice. A sweet portrait in quiet colors. connected] 2 pp). 2000). Mac. Cohen.< previous page page_132 next page > Page 132 provide Romantic color. G. (F major. Works by Weyrauch. in the parallel major and pianissimo. was held in particular esteem in Paris. with a stepwise melody doubled at the sixth or tenth. S&S. Langhans composed works for keyboard. The eighth note theme. Her most successful genres are considered to be choral music and smaller pieces in strophic or dance forms. 7. She produced her first compositions at age fifteen and debuted as a pianist three years later in Baden. Le Beau composed two operas. Liszt. 4 pp). common time. Luise Adolpha (var. Laurence. Baden-Baden. harmonies and use of tonic and dominant pedal. and first received instruction in violin. They finally moved to Baden-Baden. piano. thirty-five of her sixty-six works were published. strict sonata structure. but from 1874 studied with chiefly with Joseph Rheinberger in Munich. and in the larger works. H&H. sanft bewegt [gently moving]. Reminiscent of Schumann and Wolf lieder. 1927 Luise Le Beau. composer. Bauerntanz Op. Louisa/Louise) b. During this period. orchestral and chamber works. 36 No. Rastatt. ElsonA. SOURCES: Baker. After the 1880s. pianist. and was regarded by major critics as the first woman successfully to compose large orchestral and vocal works. 1850—d. Apr 25. well-constructed themes. she was briefly a pupil of Clara Schumann. Stern. 36 No. Meggett. with some use of non-functional harmonies and leitmotifs. voice. New Grove. Mac.129 Le Beau also made extensive concert tours during which she met Brahms. the contrasting section is in A minor. (E major. score LE BEAU. and Hanslick. consists of five. winning composition prizes and favorable reviews. possibly because of her opposition to the pro-Wagner contingent. A lovely cantabile melody. common time. Cohen. legato and lyric. choral music. characterized by leaping open fifths in the bass and a two-beat pickup to the theme. and works of hers were performed at the Chicago World’s < previous page page_133 next page > . and music critic. made hesitant by eighth note rests between. The up-beat phrase openings must be handled carefully to avoid undue accents. Ebel. or shorter Brahms pieces. and pieces for piano. Her family moved to Wiesbaden and then to Berlin in search of a more favorable reception for Le Beau’s works. was born into a Baden officer’s family. she wrote many of her best works. A trill signals the return of the first theme. Boisterous.< previous page page_133 next page > Page 133 chromatic borrowed tones. Encouraged in her work by Hans von Bülow. is accompanied by half notes in the bass and inner-voice chords on the off-beats. In ABA form. lebhaft [lively]. lieder and vocal music with instruments. Germany. and performed chamber music. 6 [Farmer’s dance] (C major. motivic and through composed. soprano solo is accompanied in close position by bass and alto drone and the tenor countermelody. Lied Op. with some attractive late 19th c. Her music is distinguished by strong. energetic dance. 2 pp). and theory in Karlsruhe. where she worked as a critic.and eleven-note slurs. taught. she had difficulty arranging hearings of her works in Munich. this eight-measure march theme is played four times. playful texture. (D major. Munter [cheerful. 2 pp). cut time. Mit grazie [with grace]. merry]. (D-flat major. 3/4.131 SINGLE WORKS: Acht Praeludien für Clavier Op. (B minor. and melodically ornamented. 12/3. Stepwise arched melodies. harmonized. while between them the alto murmurs on eighth notes. right and left hands alternate on inward-rocking pairs of sixteenth notes. 2 pp). conjunct and symmetrical. (A-flat major. Lebenserinnerungen einer Komponistin (“Reminiscences of a Woman Composer”). In this rustling. Level: Late Intermediate. 12/1. Sixteenth note arpeggio figures and trills seem to describe a mild. with the melody moving smoothly in symmetrical arched phrases over a supporting bass in similar rhythm. Op. (G minor. Op. pastoral melody. 2 pp). 2 pp). common time. she published her autobiography. common time. Mässig bewegt [moderately lively]. with motion]. martial rhythm are followed by a flourish of sixty-fourth notes. Eight brief character pieces in mid-Romantic style. 2/4. Op. 12 (Ries & Erler. 2/4. 2 pp).” plays under the supple. 1997). In this duet between soprano and bass. 2 pp). Ziemlich ruhig [rather calmly]. Like the old virelai form. Mässig bewegt [moderately lively]. common time. 1 p). in this harp-like etude. 12/8. plainly]. 12/2. Op. Op. (F-sharp minor. Another piece in three-voice counterpoint.130 In 1910. hums smoothly over a counterpoint bass. Op. written in simple ternary or song forms. < previous page page_134 next page > . set in the subdominant key. (F minor. A rising bass triplet figure. 12/4. with slight variations: doubled at the octave. symmetrical phrases. Triads ripple downward in triplets. 12/5. sunny day with birds singing. right hand and then left. Op. Einfach [simply. 3 pp). A folk-like tune. Op. with an extended arpeggio in G major for the final chord. and unrelated in theme or key. An opening march in rounded binary form. Bewegt [animated. and three-voice textures predominate. Rhythmic motives and harmonies are reminiscent of short works by Schumann. 12/6. (B-flat major. continual eighth notes in the alto move the piece along. Set in absolutely symmetrical periods. the alto and tenor fill in the chord on the after-beats. the syncopated melody is formed from the top (initial) right hand notes. Short phrases of block chords in a dotted. cut time. 12/7. like Schubert’s “Trout.< previous page page_134 next page > Page 134 Fair. Two-handed arpeggios roll upward in “A” (LH crosses over for final notes) and downward in the center “B" section. discussing the obstacles confronting a female composer and championing equal opportunities for women in all aspects of music. Munter und leicht [cheerful and light]. pairs of repeated phrases (aa bb cc dd aa) form the tune. Stern. Designed to be played straight through without interruption. common time. Boenke. Long conjunct phrases arch up and back. S&S. avec délicatesse et souplesse). The texture is in two voices throughout. Mac. Register changes. I. Baker. with simple. IV. Vite! Vite! Vite! [Hurry!]. H&H. modéré). Level: Early/Mid-Intermediate. The left hand fills in empty beats with two-note slurs. 4/4. these one-page character pieces portray various activities and emotions of a young child’s day. growing longer. KOM. Ebel. animé). Pendle. 2/4. Mama. avec tendresse). II. Johnson. Like Schumann’s Album for the Young. Staccato eighth notes hop up to tumbling sixteenth notes in a lively dance. with hands often in close position.< previous page page_135 next page > Page 135 SOURCES: A-Z. (G major. 2/4.132 She studied under Vincent d’lndy. maman. Metronome markings are included. Written as a free canon. Comme il fait bon respirer l’air pur du matin! [How good to breathe the pure morning air!]. VI. Tempo and dynamic changes add drama. 14 pp. The hands are nearly two octaves apart in this airy concoction. J’ai l’âme légère [I have a light heart!]. and her compositions include a Sonata in G for violin and piano. A melodic fragment is hummed repeatedly. higher and louder. Laurence. Cohen. ElsonA. The melody gallops up and down two and a half octaves in a Rossini-like motive consisting of an eighth. using sweet stretches of sixths and thirds to appogiaturas. (G major.and two sixteenth notes. 2/4. grace notes chirp gaily before each of the eighth notes in the melody. modéré. France. ElsonL. III. animé. score LEFÉVRE LEBOUT. a three-octave arpeggio rolls down the keyboard at the end. Meggett. mes chéris! [Papa. Je m’éveille avec le jour! [I wake up with the day!]. Sperber. inhaling and exhaling.133 SINGLE WORKS: Ames d’Enfants: Douze petite pieces pour Piano [Children’s sentiments: 12 little pieces] (Durand&Cie. doux. 1963). tempo fluctuations. SCB. V. Jeanne b. this is a lyric song of family love. cut time. Je suis heureux! [I’m happy!] (G minor. gaîment). < previous page page_135 next page > . Papa. N-B. published by Senart and reportedly strongly influenced by César Franck. and expressive markings place them as transitional works from Early to Mid-Intermediate grades. FRK. B&T. (B-flat major. (D major. they are through-composed in easy keys. ?) Almost no information is available about this early twentieth-century composer. repetitive ideas and short phrases. 1886-d. my dears!] (A-flat major. calme). Henri Classens (Editions L. pensive]). Mac LELEU. these are not professional dancers. XII. Vol. (B-flat major. dansons! [Let’s dance!] (G major. scalar line. ANTHOLOGIES: Musique et Musiciens d’Aujour’hui. common time. assez lent. aussi vite qui possible). Leleu became a professor at the Conservatoire teaching sight-reading and harmony. and in 1923 won the Prix de Rome for her cantata Béatrix. Je marche avec mon ombre! [I march with my shadow!] (C major. 6 pièces pour piano. Phrases are of uneven length. began studying at the Paris Conservatoire at age nine.< previous page page_136 next page > Page 136 VII. au travail! [Hurry to work!] (C major. A dominant-tonic figure emphatically answers “unh-unh!” to every little staccato question. a triadic motive with grace-notes followed by an arching. ed. A soporific rocking movement changes to high. Her style does not belong to any particular school of composition. KOM. with appropriate changes in dynamics and tempo. SOURCES: Cohen. X. 29. and Charles-Marie Widor. She composed for orchestra. mouvment de valse). sweet dreams as the piece slows and fades to an end. An amusing little piece in ternary form. 4/4). fresh. piano. animé. 1898—d. with teachers Marguerite Long. As the story progresses. Meuse. Monsieur Badin badine [Mr. Alors. Je suis têtu! [I am stubborn!] (C minor. showing a clown’s two faces. Later. modéré. 2 pp). Saint-Mihiel. modéré 9rêveur) [dreamy. Scurrying sixteenth note scales imitate busy people on their way to work. clearly. 3/8. witty. VIII. she won the Georges Bizet and Monbinne prizes and was honored by the Institut de France. Je m’endors avec la nuit! [I fall asleep with the night!] (D-flat major. Dec. Hands share the treble-clef octave. 3/4.Philippo. berceusecalme). 3: Humor. ballet and stage. She won first prizes for piano and composition. The tune walks calmly down the scale with the barest of accompaniments by the left hand on empty beats. H&H. lourdement détaché [strongly detached]). Mar 11. IX. Level: Mid-Intermediate. 4/4. and adventurous harmonically. 1979. XI. the melody is fragmented. Alfred Cortot. Vite. avec délicatesse et precaution. animé. Jester jests]. 2/4. rhythmically alive. Raconte encore! [Tell it again!] (F major. France. Paris. In 1947. 1954). 3/4 and cut time. < previous page page_136 next page > . A turning bass figure supports the melody. born to a bandmaster father and a piano teacher mother. Quarter-note steps up and down the tetrachord are echoed (“shadowed”) an octave below on off-beats. and voice. French composer and pianist Jeanne Leleu. and has been described as clear. Jeanne b. and Ferdinand Ries. Friederic Wieck referred to her as a “Komponistin aus Berlin. < previous page page_137 next page > .K. Johann Gurrlich. 3/4. SINGLE WORKS: Grande Sonata for the Pianoforte Op. III: Rondo alla Polacca (G minor. she composed under her married name. where she continued to compose and publish until at least 1819. KOM.” Published in Berlin in 1806. rather wistful balancing act. 15. a pupil of Beethoven. chamber music such as the (extant) Op. 11 Grand Sonata for Cello and Piano. against two-note slurs and descending staccato chromatic scales in the RH. H&H. 3. 6 pp). Her works include sonatas and shorter works for the piano. See Grande Sonata for the Pianoforte Op. In sonata-allegro form.< previous page page_137 next page > Page 137 The first theme. including a setting of Goethe’s “Kennst du das Land. Glickman and Schleifer (G. the LH plucks wide arpeggios upward. played rather slowly. I: Allegro agitato (G minor. Vol. The Liebmanns moved to London around 1816. passionate. was a child prodigy who performed on the piano to an admiring public by the age often. series eds. a popular theory and composition teacher in Berlin. is in a dotted rhythm with hands three and a half octaves apart. 1796—d. the cello sonata is an amazing work for a ten-year old child. The final movement is a set of seven variations on “La ci darem la mano. Eve R. after 1835 Hélène Riese. SCB. 9 pp). After Riese’s marriage in 1813– 1814 to Herr Liebmann (his given name and occupation are unknown). II: Minuet and Trio (C major. in a carefully nonchalant.” the famous duet from Don Giovanni. ANTHOLOGIES: Women Composers: Music Through the Ages. and wrote and published her first sonatas before the age of fifteen. S&S. born to a well-to-do Berlin family. reprint GKH). A charming.Hall. and a number of Lieder. In 1835. A late Classical-early Romantic work in three movements. SOURCES: Cohen.Meyer (Hildegard. Berlin. played twice as fast as the first theme. 4/4. In the hectically center section. quiet interlude between the two outer movements. NewGrove. Hélène (née Riese) b. 1998).”134 Although Liebmann was a contemporary of Beethoven. a virtuoso pianist who also taught Meyerbeer. 3/4. A robust polonaise. Stern LIEBMANN. particularly noteworthy for equality between piano and cello. MGG. She received an excellent musical education from teachers Franz Lauska. and was himself a student of Clementi. 13 pp). with rubato rhythm and a Mozartean second subject. 15. Level: Early Advanced. her music is more Mozartean in style. ed. Marta Linz von Kriegner) b. Licoshin. Her compositions include chamber. Level: Late Intermediate. (B minor. Caprice.< previous page page_138 next page > Page 138 SOURCES: A-Z. Stern. 1922). Jackson. Flesch. During the 1930s. Ekaterina (var. she became the first woman accepted as a conducting pupil at the Berlin Hochschule für Musik. Meggett < previous page page_138 next page > . Dedicated to Dohnányi. a few piano pieces. A study in rapid staccato triads. 3rd edition. Fetis. Capricetto. and musicologist. Linz married Dr. Martha (var. and Koessler. A playful work with accents and staccatos. S&S. Lubimow (Heinrichshofen. SCB. Kalman von Krieger. scores LIKOSHIN. and dynamics. H&H. common time. Meggett. Cohen. philologist. St. Ebel. allegro. Mac. Budapest. ed. 1780–1820. like a pizzicato string choir. in Hinson’s Guide.135 LISTED but not found: Polonaise in a minor.136 In 1924. SINGLE WORKS: Caprice und Capricetto (Breitkopf & Härtel. ElsonA. Jozef Kozlowski. (D major/B minor. 2 pp). she traveled with the Berlin Philharmonic and the Guerzenich Orchestras of Cologne as a violinist and conductor. like those of her contemporary. Hungary. Petersburg. Mac. conductor. Later conducting studies were with von Weingartner in Basle and Krauss in Salzburg. FRK. Russia A Russian pianist and composer of numerous short sets of piano pieces. and violin-piano arrangements of Dvorak pieces. Level: Early Advanced. ? A Hungarian violinist. 2 pp). Laurence. Dedicated to Walter Gieseking. SOURCES: Cohen. S&S LINZ. played jointly by the hands in close position. a jurist. Catherine de-) fl. chromatic borrowed tones. in Russische Klaviermusik. Likoshchina. Likoshin may have been in the service of Count Uvarov. Thomas. Her polonaises are based on themes from Russian folksongs. and composer. her composition studies were with Zoltan Kodaly. rapid hand-crossing and alternation. Dec 21. presto. 1983). 1800–1810. 2/4. Linz studied violin in Budapest with Hubay. FRK. Jackson. and a fickle melody with frequent and abrupt changes in direction. tempo. 1898—d. SOURCES: Hinson. H&H. orchestral and vocal works. register. Time and Time Again. Florida. (E minor. and she also appeared as a singer in some light opera productions. chamber pieces. moderato esspressivo. such as Galli-Curci. Alternation of major and minor modes. Continuous figuration. the work is throughcomposed with strong cadences dividing it into three parts. 184/16. and a good sense of line and movement. and private papers are housed in the Albert Pick Music Library at the University of Miami in Coral Gables. 5 pp). Level: Mid/Late Intermediate. singer. GKH reprint). (D-flat major.< previous page page_139 next page > Page 139 M MANA-ZUCCA (née Gisella/Augusta Zuckermann. vivace. as in an etude or toccata: hands alternate on eighth note duplets (octaves and divided chords). A A1 form. Dec 25. including My Musical Calendar with 366 pieces (one for each day of a Leap year). 4 pp). Honey Lamb. were performed by some of the most famous singers of the 1920s and 30s. idiomatic piano figurations. 1981 Mana-Zucca. was a child prodigy who performed with symphony orchestras in New York before the age often. and gracefully rising and falling broken-chord < previous page page_139 next page > . and patroness. nearly two hundred songs. Although accounts differ. Her piano teachers included Alexander Lambert in New York and Busoni and Godowsky in Berlin. In 1940. 12/8. perhaps with the violinist Juan (Joan?) Manen. common time. Mar 8. Rency Étude Op. New York. Irwin Cassel) b. Lawrence Tibbett. she appears to have toured in Europe. Miami Beach. pianist. allegro. The Big Brown Bear. 188. A private catalogue of her published works lists around 390 undated titles. Late Romantic harmonies. 4 pp). COLLECTIONS: Four Piano Works (Hildegard. The most popular of these. Prelude Op. Very few of her huge number of compositions are currently in print. Interlude Op. There’s Joy in My Heart. Level: Late Intermediate. including two operas. This amazingly prolific composer claimed to have published eleven hundred compositions and written a thousand more. 73. the Cassels settled in Florida. neo-Impressionist harmonies. she studied composition with Hermann Spielter. Level: Early Advanced. manuscripts. Mrs. 1884—d. and Nelson Eddy. Mana-Zucca wrote many songs to her husband’s lyrics. and a great many of her compositions. A gifted tunesmith. composer. Based on a two-measure motif that outlines and resolves a seventh chord. common time. and many piano pieces. In London. and I Love Life. Very chromatic. (C-sharp minor. piano concertos. creating hemiolas in the 12/8 meter. K. by the 1760s Martinez was writing large sacred works. B&NB. common time. Nicola Porpora. Vol. 1995). seventh chord arpeggios and presto alternating octaves with LH a half-step below RH. Marianna/Maria Anna. 1999). Heinrich. H&H. The Martinez family lived on different floors of the same large house with the Dowager Esterhazy. Anderson.Hasse. Acclaimed for her singing and harpsichord playing. HinSup. Dec 13. Martinez was the daughter of the master-ofceremonies to the papal nuncio in Vienna. The third theme (D major/F-sharp minor) is built on quarter and half notes and emphasizes the interval of a sixth. its main theme is based on the alternation of I and vi chords. 1744—d.< previous page page_140 next page > Page 140 figuration in RH over a steady. A waltz in rondo form. Baker. ClagS. with chromatic passing tones in the alto voice. and composition with Haydn. Women Composers: Music Through the Ages.Hall. 20. The lyric second section. Valse Brilliante. In A A1 form. See Four Piano Works. David Dubal (International Music. Marianne von (var. and possibly J. 3/4. 1812 Born into a Spanish-Neapolitan family of minor nobility. Glickman and Schleifer (G. allegro. Stern. Vienna. this is the most difficult of the collection. is marked meno mosso. In the coda. with continuous repeated 16th notes for the alto (thumb). Johnson. née Anna Katharina) b. ed. she was elected to honorary membership in the Accademia Filarmonica of Bologna. Étude d’hommage Op. Martines. in D major. 26. Dubal. ANTHOLOGIES: Album of American Piano Music: From the Civil War through World War I. (F-sharp major. and Metastasio. May 4. the court poet and renowned opera librettist. Dedicated to Josef Hofmann. Op. 6 pp). (C major. syncopated bass figure. RH plays the melody in sixths throughout. Mac. Level: Late Intermediate/Early Advanced. LH has wide stretches in arpeggios and wide leaps in the bravura ending. using a broad arched form with plenty of chromatic scale passages. ClagAm. piano. Laurence. the young Haydn. Cohen. 11 pp).137 Under Metastasio’s guidance. Although she was < previous page page_140 next page > . and in 1772 Charles Burney praised both her singing and composition highly. and then to the tonic. bring the work to a brilliant finish. a signal honor involving rigorous scrutiny of set compositions. Meggett. series eds. Martinez studied singing. Grove. One final enharmonic spelling of the mediant gives us a ending with two B-flat major chords leading to a V#7 chord. Giuseppe Bonno. S&S. Vienna. with harmonic changes in the repeat leading to a coda of block chords alternated rapidly between the hands. tempo di valzer. Level: Early Advanced.A. SOURCES: Ammer. 6. scores MARTINEZ.138 In 1773. Rounded binary. two keyboard concertos and a number of sonatas. Binary dance forms predominate. the brief development begins with primary theme in the dominant.Bach. Like a perky gavotte. Scarlatti. SINGLE WORKS: Sonata da Cimbalo G-dur. COLLECTIONS: Three Sonatas for Keyboard. II: Andante (A major. with more complex transitions. III: Allegro (3/4.< previous page page_141 next page > Page 141 an active performer. which produced many fine professional singers. virtuosic and fluid. and G majors. with typical rococo features: motivic themes punctated with rests. including Haydn and Mozart. Sally Fortino (Furore. A dignified movement in sonata-allegro/rounded binary form. A. Harmonic language includes secondary dominants. simple harmonies. arias. with both sections repeated. 1994). 4 pp).P. Sonatas in E.139 Stylistically. are similar to works by C. as in the operatic arias of the day. Her more than two hundred compositions include oratorios. marked by syncopated. developments. Two-voice textures alternate accompanied eighth note melodies and broken chords. probably because of her social position. and augmented sixths. composed ca. heavily edited. ed. 5 pp). hands frequently exchange rhythms and functions. 3 pp). < previous page page_141 next page > . 4 pp). In early sonataallegro form. III: Allegro assai (G major. Written in 1769.E. Martinez opened a singing school. 4 pp). it is the latest of the three available sonatas by Martinez. II: Andante (G minor. with a brief development section beginning in B-flat major. 1992). reiterated tonic notes over a descending bass. In 1796. Two-voice texture. 1763–1765. an overture. 3/4. Early Classical style. with a highly embellished melody supported by block triads. Sonataallegro form. common time. Shirley Bean (Hildegard. I: Allegro brilliante (G major. Level: Late Intermediate. and Haydn. 2/4. with headlong scales and arpeggios charging up and down the keyboard. 3/4. The first two. secular cantatas. and the primary means of development is through sequences. ed. 5 pp). and she began to hold weekly musicales with distinguished guests and performers. while an occasional figuration change to lilting triplets adds to the general gaiety. An ebullient jig with repeated eighth note triplets in both theme and accompaniment. her music is typical of the early Classic period in Vienna: Italianate. Mozart wrote and played four-hand sonatas with her. and harmonies. masses. the family inherited a large fortune. An arioso. I: Allegro (2/4. Martinez never held a professional appointment. diminished sevenths. shared between the hands. On Metastasio’s death in 1782. and melodies highly embellished. Sonata in E Major. then outlines the tonic triad. the theme begins with an ornamented upbeat. Level: Late Intermediate. Rests between sections help delineate the structure. 1996) and Women Composers for the Harpsichord. 1990).< previous page page_142 next page > Page 142 Sonata in A Major. III: Minuetto (A major. ed. Grove. LISTED but not found: Sonate E-Dur. 4 pp). Sonata in A Major. Hinson (Alfred. At the Piano with Women Composers. the same publisher as listed below. 1992). Meggett. ClagS. Historical Anthology of Music by Women. 1996). Sonata in A Major: Allegro (I).” were published in 1848 and 1849 by Firth. Heinrich. Martial theme. II: Adagio (A minor. Jackson. rounded binary/sonata-allegro form. Level: Early Advanced. Smith (Mel Bay. Hinson. See Three Sonatas. Frauen Komponieren: 22 Klavierstücke. 1983) and Great Women Composers. Cohen. 5 pp). Sonata in E Major: Allegro (I). 3/4. below.). Sonata de Cimbalo (G major). above. Sweet Companion” and “Oh. See Three Sonatas. ed. ClagH. Smith (Mel Bay. ed. ed. 5 pp). See Three Sonatas. H&H. Harbach (Vivace Press. Kirby. Jahrhunderts. Fetis.Pauer (Breitkopf & Härtel. See Single Works. Sperber. scores MARY Mid-19th century American No biographical information is presently available about this composer. Rieger & Walter (Schott. n. Pond & Co. SOURCES: A-Z. common time. B&T. cited in Jackson. Mac. Two songs by “Mary” with lyrics by Eliza Hurley. Sonata No. II. MGG. ed. ed. Triplet and quadruplet beat divisions alternate in this sweet and graceful closing movement. with ornate embellishments. 449. N-B. above. lists three other published works composed by “Mary. “Adieu. ed. S&S. Judith Tick. < previous page page_142 next page > . ed. ANTHOLOGIES: Alte Meister: Sammlung wervoller Klavierstücke des 17. Vol. Gordon. Pendle. SCB. E. 3/4. 3 in E Major and Sonata in A Major. I: Allegro (A major.d. Laurence. Traud Kloft (Edition Donna. ed. Die Cembalo Musik der Maria Anna Martinez. 1987). wcmta4. Sperber. Eighteenth Century Women Composers for the Harpsichord or Piano. FRK. Baker. Harbach (Elkan-Vogel. KOM.” but it is not clear whether all four works were composed by the same woman. See Three Sonatas. Stern. und 18. above. Vol. James Briscoe (Bloomington: Indiana University Press. 6.. Sonate A-Dur. Leave Me Not in Sorrow. Quadruple and triple subdivisions of the beat. 1986). rounded binary. A lyrical Italianate arioso. Eitner. Great Women Composers. 1989). full of graceful pathos. Glichnan. 2. Hans von Bülow. Carl Tausig. composed and arranged for the Pianoforte [Firth. medals from Denmark and Sweden. In 1883. Three brilliant works. a concert work for piano and orchestra attributed to her. Stockdorf. she lived at the Schloss Ittel in the Tyrol near Munich until her death. ABA structure. honorary membership in the London Philharmonic Society. 1846—d. Triumphant ff ending of alternating chords and octaves. Tick MENTER.< previous page page_143 next page > Page 143 REFERENCE WORK: American Women Composers before 1870.” and her concerts “got a type of reception normally reserved for prima donnas. GKH reprint). Rosebud Quick Step. Friedrich Niest. SOURCES: B&NB.”140 Daughter of cellist Josef Menter and singer Wilhelmine Diepold Menter. Petersburg Conservatory. (D minor. Martha Furman Schleifer (Hildegard. Her technical execution baffles description. 1918 One of the greatest piano virtuosi of her time. and Liszt. who described her as “my only legitimate piano daughter. Feb 23. the fifteen-year old Sophie made her debut playing Weber’s Konzertstück in Munich. Menter married the famous cellist David Popper in 1872 but they divorced in 1886. Munich. 3/46 pp). tenderness and warmth of expression. nr Munich. Étude en Sixtes. Level: Late Intermediate. may have been composed by Liszt. The Ungarische Zigeunerweisen.E. After her second marriage. Sophie b. Contemporary accounts of her playing praised both her dazzling virtuosity and elegant taste in the highest possible terms. and the title “Camera Virtuosa” in Munich. however. A charming example of the many functional dance pieces for the parlor written in mid-19th century America.Schultze. 1979/95). < previous page page_143 next page > .143 COLLECTIONS: Mazurka. Mazurka. Pond & Co. Characteristic rhythms and figures. with dynamic contrasts used for whimsical effect. B section is more difficult. published in Philadelphia in 1888. and then embarked on the first of many extensive tours throughout Europe. a book by Judith Tick (University of Rochester Press. but left in 1887 to continue her touring career. and Etude en la bémol majeur ed. Leonhard. In Copenhagen the students unharnessed her horses and drew her coach through the streets.”141 Liszt himself admired her “singing hand. Written in regular eight-bar phrases. Menter composed a number of attractive works for piano. with sixteenth and thirty-second note flourishes. she was appointed piano professor at the St. to Captain O. Sophie Menter studied with J. 1848]. Ernst Pauer lauded her “nobility of feeling. the piece was later included in The Folio of Music No.. Jul 29.”142 Menter’s numerous awards included appointments as Court Pianist to the Prince of Hohenzollern and the Emperor of Austria. S&S. Third variation uses an ascending 32nd note scale on each first beat.K. Eitner. H&H. RH plays a sixteenth note pattern of broken chords with repeated notes throughout. A musical setting of RH parallel sixths. (G minor. Sep 2. Three pieces ed. many metric shifts. Mar 29. bar lines between treble and bass are not connected. Schonberg. winning a gold medal for piano and the Nicolai prize for composition. ANTHOLOGIES: Women Composers: Music Through the Ages. common time.Hall. in the final variation. a French composer. 3/4. Étude en la bémol majeur Op. Level: Advanced. Martha Furman. 6. 1800 Mlle Merelle. and is known through these compositions: ‘New and Complete Instruction for the Pedal Harp in 2 Books’ and ‘2 Drucke von Piecen und Variationen für die Harfe. In this edition. with LH on chords and octaves. SOURCES: Cohen. Vol. above. for harp] (Editions Ars Femina. 1997). Kehler. also. An enjoyable example of the late 18th c. Amsterdam. upper notes of each arpeggio create a lyric melody. Level: Advanced. con anima. Java. 1887—d. 6 pp). 1999). 8 pp). Level: Mid-Intermediate. Mesritz-van Velthuisen) b. variation form: ostinato bass theme and five progressively complex variations in alternating tempi.’“144 SINGLE WORKS: “Les Folies d’Espagne” Variations for harpsichord or fortepiano [1800. “lived in Grenze in the 18th century. 9. Stern MERELLE. (C-sharp minor.< previous page page_144 next page > Page 144 Étude en Sixtes Op. with broken-chord and arpeggiated figures typical of harp music. Gordon. Pendle. Laurence. series eds. She went on to study with Arthur < previous page page_144 next page > . Jackson. 5 pp). Salatiga. making it a bit difficult to read. Mademoiselle fl. Cohen. France. Glickman and Schleifer (G. Mac. 8. SOURCES: Baker. watch for occasional errors. Dubal. Annie (var. (A-flat major. and probably in London as a harpist. fourth employs broken octaves in alternate hands. Meggett. very chromatic. common time. allegro vivace. 1965 Dutch composer and pianist Annie Mesritz van Velthuysen studied piano and composition at the Royal Conservatory in the Hague. Hutcheson. grovemusic. Hyde. Stern MESRITZ VAN VELTHUYSEN. H&H. She was married twice. H&H.L. I. each two to four pages long. She also wrote chamber music.< previous page page_145 next page > Page 145 de Greef in Brussels and Dohnányi in Berlin. songs and piano pieces. Hélène de Nervo de (Countess de Charnay/du Charnage) b. where she taught for several years. she was condemned to death on the guillotine. and six nocturnes for voice and piano. Cohen. led by the President of the Tribunal. Highly chromatic mid-20th century composition.146 As an aristocrat. composed late 1930s/40s). COLLECTIONS: Sonatas for Piano. She then taught privately until 1830. whom she divorced. and J. KOM MONTGEROULT. an observer at the tribunal. Level: Advanced. 1994). the Pièce discussed below. written for her students and containing 972 exercises and 114 progressive etudes. ed. and then toured as a concert pianist. and later studied with Anton Reicha. but returned two years later as one of the highest-ranking professors at the Conservatoire. Lyons. n. Andante misterioso (3/4). SOURCES: A-Z. The facsimile copy is not easy to read. A harpsichord was brought into the proceedings. and Vivace-Chinoiserie (2/4). with tonal centers. Florence.d. Montgeroult’s late Classical works are similar in style to the other composer/pianists of her time. 1764—d. Allegretto giocoso (6/8). but spared when Bernard Sarette.145 Some of her orchestra compositions were performed by the Concertgebouw orchestra. Dussek. but repays study. on which she played the Marsellaise with such fervor that “all present impulsively joined in singing. A comprehensive piano method. Mme Montgeroult received her training from Hüllmandel. Andantino (3/4). Vol. Facs.Dussek. Six preludes. three fantasies. Other published works include six more sonatas. Allegro energico (common time). and her home became an important musical salon. Her three Opus I sonatas were published by the Conservatoire in 1795. Clementi. SINGLE WORKS: 6 Preludes voor piano (Donemus. clear melodic shapes. and Cramer. playing her own works in Europe and Indonesia. was ranked by Fetis with those of Clementi. and finally to the Count du Charnage. 1836 A virtuoso pianist and composer. Mar 2. first to the aristocrat Marquis de Montgeroult. insisted the National Institute of Music (predecessor of the Paris Conservatoire) needed her teaching and performing skills. idiomatic writing for the instrument. May 20.”147 She fled to Germany after her release. Calvert Johnson (Vivace Press. and flowing movement. of autograph manuscript. < previous page page_145 next page > . and after his death to Charles-Hyacinte His. Allegro appassionato (common time). LISTED but not found: Etude de vélocité pour le piano (No. Fetis. I: Allegro con moto (cut time). Passionate early Romantic effects. A pair of lengthy two-movement works. Agitato. grovemusic. also. Dynamic and textural contrasts create dramatic effects in this worthy piece. Jan 1. RH scales in thirds. A lengthy late Classical work. Level: Late Intermediate/Early Advanced. and Trois Sonates pour le piano-forte oeuvre 5 (Minkoff. Pièce pour le Forte Piano Opus 3. Maryland.< previous page page_146 next page > Page 146 Sonata I Opus 1. 2). RH scales in parallel thirds. I: Allegro con spirito (F major.. 30 pp). Eliza (pseud: A Lady of Charleston. Meggett. ElsonA. Sonata-allegro form with an arching. 1929). II: Allegro agitato (cut time). née Crawly/Crawley) b. Introduzione. 22 pp. arching theme. with both movements in the tonic key. including the syncopated echoing of theme one 16th note later. Sonata II Opus 1 in E-flat major. and the young Beethoven. Jackson. and LH octaves. (E-flat major. Stern. Isidore Philipp. which (like a French overture) consists of a slow introduction followed by a fast movement. Level: Late Intermediate/Early Advanced. common time). Eitner. in Cours Complete pour 1’Enseignment du FortePiano (vol. Lyric second theme is accompanied by a pedal tone and murmuring thirds. Laurence. A march-like first theme in dotted rhythms. Level: Late Intermediate. II: Allegro vivace (2/4). Vol. 1783—d. Baltimore. Briskly running 16th note figures. ed. A stately theme similar to “Adeste fideles” is accompanied by block chords with a tenor countermelody. KOM. Worthy and welcome additions to the late Classical/early Romantic repertoire. Sonata III Opus 1 in F minor. II. SCB. Two movements. 12/8). Sonatas for Piano. similar in some respects to clementi and early Beethoven. Charleston. octaves and judicious ornamentation lend an orchestral. Beethoven-like appearance to the work. Ebel. ed. 1847 Eliza Crawly Murden. 20 pp. 1983). Pantheon des Pianistes (Henry Lemoine. and a cadenza complete with trill and octaves closes the section. 53). triadic. poet. a teacher. Level: Late Intermediate/Early Advanced. II: Prestissimo (F major. with similarities to Clementi. Calvert Johnson (Vivace Press. H&H. ca. scores MURDEN. Cited in Jackson. S. Hinson. common time. Fiery second movement. heroic themes with broken octave and Alberti accompaniments. South Carolina. with RH echoing LH on single notes. was the “Young Lady of < previous page page_146 next page > . A gay. Strong. with triplet figures. brilliant tour-de-force in jig time. Dussek. 1994). 450. SOURCES: B&T. Cramer. Mac. and composer. in two-voice texture. I: Maestoso con espressione (4/4).C. 26 pp. S&S. score N NIEBERGALL.148 Born in Baltimore. not surprisingly. J. Niebergall was a friend of May Aufderheide (q.C. Niebergall married and divorced early. (C major/minor. Justly popular.v. Oct 19. SOURCES: Clark. G&G. C. The march below was evidently a popular work: four editions were printed between 1814 and 1825.Willig’s Musical Magazine around 1815. 1968 Unlike many women who composed ragtime music. serving as many as five generations of Charleston families. 2/4. An independent woman for her time. She accompanied silent movies and played for dance and physical education classes in local schools and colleges. and occasional ornaments provide interest and a degree of challenge for the intermediate player. March (composed for and dedicated to the United States Marine Corps by a Young Lady of Charleston. and had one son and four daughters. Jackson. Marches were important and popular forms in the early republic. ) [1815?]. Indianapolis. and maintained her own home until her death at the ripe age of eighty-two. which remained in existence. 1886-d. until just before World War I. and it was reprinted as late as 1867 by a Cincinnati publisher (preface to score). 3 pp). ANTHOLOGIES: Anthology of Early American Keyboard Music 1787–1830. brief RH passages in thirds. < previous page page_147 next page > . pianist Julia Niebergall maintained a career as a musician all her life. spirited and capable. ed. married Jeremiah Murden. Tick. operated by her granddaughters. being frequently written to honor public figures or organizations. Bunker Clark (A-R Editions. many marches were also arranged as parlor music for the piano. Level: Mid-Intermediate. whose father published two of Julia’s later works. Indianapolis. She and her eldest daughter founded a seminary for girls in 1828. she resided in Charleston from childhood. Part 1.< previous page page_147 next page > Page 147 Charleston. a merchant. One of the leaders in Indianapolis ragtime. it appeared in G. well-constructed work with rousing themes. as much for their political uses as their musical value. Although intended for performance by bands.). Feb 15. Her music is. Julia Lee b. In ternary form with two strains in each section. this is a charming. and seems to have been one of those lucky and justly popular pianists able to play and harmonize songs by ear. scale flourishes.” author of a volume of poems and the march included here. became one of the first women in Indianapolis to own a car. H&H. 1977). it is well suited for the keyboard. LH octaves. S. S. 3 pp). comp. A fine melody in octaves alternates 8th notes with syncopated 16 note figures. 1971).Hall. Spain. Level: Mid-Late Intermediate. Carmen Hernandez. Ragtime Rediscoveries. to Puerto Rico. Ana Hernandez b. Hasse. and Ragtimes für Klavier. comp. 1861—d. SOURCES: B&NB. sel. In 1890. 2/4. Appleby and Pickow (Amsco. Ragtime & Early Blues Piano. Glickman (G. 2/4. Caroline Orger OTERO. Kaluza (Furore. 1985). Chromatic sixths and borrowed chords lend interesting color. BA. ed. Puerto Rico.< previous page page_148 next page > Page 148 ANTHOLOGIES: American Women Composers. The trio. with repeated 8th notes and descending scales. the work ends with a repeat of A in the original key. Cohen. traditional syncopated rhythms and a spare bass line. MLA. 1979). Jasen. (B-flat/E-flat majors. Venezuela. and Women Composers of Ragtime. KOM. Hinson. In 1887. not too fast. C. Concepcion Gadea. The music bubbles merrily along with a chromatic melody in smooth thirds. a craftsman. scores O ORGER. Humacao. and music teacher. Horseshoe Rag [1911]. ed. 3 pp). ed. Unusually. “An apt title for an Indiana rag. Otero continued her studies in Paris with Alexis Fissot and M. Lindeman (Presser. 1990). but the melody is inverted and played in a lower register. and Ramón Tinajero. who first went to Caracas. in 1836. Jul 24. Level: Mid-Late Intermediate. in B-flat. San Juan. was the fifth of eight children born to Ignacio Otero. 1905 Ana Otero. and then.”149 A cheerful work with three themes in four sections (AA. making it surprisingly sweet. Tichenor (Dover. Giants of Ragtime (Marks Music. H&H.Teaudon. 1994). (F major. she returned to Puerto Rico. Ana’s early music teachers included her father. Glickman (Hildegard. making her formal debut at the Salle Pleyel in 1889 to excellent reviews. Apr 4./ed. Hoosier Rag: March Two Step [1907]. her mother. < previous page page_148 next page > . 1990). journalist. 1995).K. Otero and his brothers Antonio and Rafael were émigrés from Cadiz. The second section is more sedate. uses the same rhythm as the first section. and one of the best. American Keyboard Music 1866 Through 1910. a fine pianist and the first woman composer in Puerto Rico. Caroline —see REINAGLE. moderato. B). Level: Early-Mid Intermediate. a good many accidentals. where. 1 pp). Pastorale (F major. Four melodic strains in five sections. 6/8. with typical dotted rhythms. Colombia. New York. Gentle country dance. Je suis punie (E minor. 1 pp). Children’s Piano Recital 2nd Vol. 2 pp). and Boston on the official roster of Chickering artists. Five attractive. 6/8. Level: Mid-Intermediate. Philadelphia.151 COLLECTIONS: Children’s Piano Recital 1st Vol. Otero taught in New York for the next two years. well-written examples of early 20th c. (D major and related keys. Chopinesque with a Spanish feel. in 4. un peu melancolique. 1966). < previous page page_149 next page > . Madeleine Baillot?) b.Hall. SOURCES: Thompson. 1966).150 ANTHOLOGIES: Women Composers: Music Through the Ages. A charming example of the 19th century stylized salon waltz. Costa Rica.< previous page page_149 next page > Page 149 and during 1891/92 toured extensively in Venezuela. 1. she founded an Academy of Music for girls. 2/4. ABCDA in form. Le petit ruisseau chant (D major. then returned home to San Juan. Level: Early-Mid Intermediate. doux et triste. 1998). France. 2 pp. with hands close together in center of keyboard. neoclassic or neo-Romantic in style. Berceuse pour Anneleine (C major.) Slow and regretful. with sighing two-note slurs. Première Pemée Valse Sentimentale Op. Vol. Magdeleine (var. 6 pp). doux and rapide. below. 1893-d. French writing for children. doubled at the sixth. 3/4. with government support.? Almost no information is available about this French composer. The only surviving example of Otero’s few compositions is her Opus 1 Waltz. 2 pp). dedicated to her father. A snappy little etude in 8th notes. 12/8. series eds. (Editions MusicalesTransatlantiques. prefatory essay in score P PANZERA. (Editions MusicalesTransatlantiques. A sweet cradle song. 6.K. Characteristic repeated rhythm patterns and drone bass. Glickman and Schleifer (O. Five more characteristic pieces. Sicilienne (D minor. “shepherd’s pipe” solo in center section. which were then transcribed by a copyist. moderate. 2 pp). A sad hymn to a broken toy. Paradis played in Switzerland. Berlin. and Salieri all composed concertos for her. 2 pp). include five operas. 4/4. 1824 Maria Paradis was named for the Empress Maria Theresa. Hinsonl. sonatas. a pioneering Parisian educator for the blind who was greatly interested in methods used in her education. Matsushita (Hildegard. she amazed the Viennese public with her prowess as a singer and pianist. 2/4. duplets against triplets. Her friend Johann Riedinger. in 4. more precise. playing at least sixty sonatas and concertos from memory. gai. and Prague. singing with Righini and Salieri. then continued on to Brussels. Hamburg. Amsterdam. Friberth. 21 pp). A contemporary Parisian reviewer said. Salzburg (where she visited Mozart). Paradis opened a music school for both blind and sighted students. 2 pp). Maria Theresia von (var. After Maria became blind at age three. H&H. May 15. and composition with Salieri. Her compositions. producing many fine pianists and singers. and a piano trio. SINGLE WORKS: Fantasie pour le piano forte [1807]. A lengthy work in six sections. and then went on to Paris. Characteristic tango rhythm in the bass. Joyful celebration of vacation time. F-sharp minor. During this lengthy tour she began composing for solo piano as well as voice. (G major. rather like a dance suite: Adagio. 1759—d. 1 pp). Haydn. “this gifted player is truly astonishing…More faultless. Vienna. February 1. Bells chime fast and high in the treble register. a prelude. vif. 2 pp). in 4.154 In 1808. B-flat major. She studied piano with Kozeluch. Mon beau jouet s’est brisé (A minor. with brilliant scales. assez lent et très expressif. Vienna. By age sixteen. more polished playing is not known. A march with occasional sprightly triplets on pickup beats. developed a pegboard system for her to notate her works. GKH reprint). three large cantatas. most of which are unfortunately lost. SOURCES: Cohen. songs. Carillon (E major. Voici les vacances! (G major. and Vogler. Level: Late Intermediate/Early Advanced.” 153 She next went to England. ed. Habanera (A major. a librettist. triste et doux. for whom her father was imperial secretary. Frankfurt and other German cities. two piano concertos. in 4. where she met Valentin Haüy. NewGrove PARADIS. C minor. < previous page page_150 next page > . KOM. Allegro. Mozart.< previous page page_150 next page > Page 150 Promenons-nous (E major. where she played for George III. Paradies) b.152 During a two-and-a half-year concert tour of Europe. the Empress provided her with an annual stipend which helped pay for her musical education. G Major. Andante. Smith (Mel Bay. Her extant compositions span twentyfive years and show her to have been a competent and professional composer. Fantaise pour le pianoforte. 1813 English composer. B. Andante grazioso. Pendle. ClagS. The ornamented melody. SCB. Rearranged a third higher than the Dushkin version. Allegro assai. and arranged it for pianoviolin/cello duo and solo piano. and gave lessons to members of the aristocracy. (E-flat Major.< previous page page_151 next page > Page 151 Andante. arr. Laurence. Grove. gavotte-like. arranged in repeated phrase pairs. above. Historical Anthology of Music by Women. Dushkin claims to have found a copy in the library of a German publisher. Glickman and Schleifer (G. Eitner. Ebel. Of dubious authenticity. ed. S&S. 1996). Maria Hester (var. Women Composers: Music Through the Ages.155 The lyric. Fetis. née Reynolds) b. 2 pp. Sperber.K. She was happily married to Thomas Park. with modal shifts between major and minor chords. Samuel Dushkin (Schott. Hampstead.Hall. Jackson. HAMW. 2 pp). Level: Mid-Intermediate. Johnson. and Presto. H&H. B&T. preceded by a Neapolitan-sixth chord. Briscoe (Indiana University Press. 1931). ElsonA. Reynolds. A ends in the relative minor. Sicilienne. 1998). while modulations to remote keys show the influence of Abbé Vogler (score preface). Stern. Cohen. N-B. Jezic. Heinrich. Contains Alberti bass and other figurations of the time. expanded by two deceptive cadences. with RH melody and LH block chords in sicilienne rhythm. Baker. M. Sep 29. 1987). and teacher Maria Hester Reynolds Park played harpsichord and piano in public concerts. a minuet. In rounded binary form. a poet and antiquarian. has unexpected chromatic inflections. Meggett. FRK. a bravura jig in 6/8. Parke.H. sentimental melody is accompanied by block chords in the standard pastorale rhythm of alternating quarter and eighth notes. Sicilienne. 6/8. Sicilienne: a transcription for flute and piano by Pierre Paubon. ANTHOLOGIES: Great Women Composers. Loesser. begins and ends in the original tonality. SOURCES: A-Z. Dubal. Vol. neither the original manuscript nor any eighteenth-century editions exist. They < previous page page_151 next page > . with whom she had five children. pianist. see Single Works. ed. Mac. 1760—d. and song texture. more scales and octaves. Jun 7. scores PARK(E). 3. series eds. See above. Two alternating textures: RH block chords over a scanty broken-chord bass. and there are some unusual phrase extensions. Level: Mid-Intermediate. 6/8. who was the daughter of oboist John Parke and married John Beardmore. Three two-movement works. sonatas with violin accompaniment. with a contrasting second theme. Opuses 1 and 2 were published under her maiden name. ed.< previous page page_152 next page > Page 152 include solo keyboard sonatas. “A fascinating addition in the study of women keyboard composers of the eighteenth century” (score preface). II: Allegro (2/4). 2/3). and LH crossings (score preface). I: Allegretto (common time). a keyboard concerto with strings. Sonata II in F Major (Op. and a divertimento for piano and violin. A through-composed arioso with graceful ornaments. 1790]. 12 pp. I: Allegretto (in 4). tremolo accompaniment. 1996). I. dedicated to the Duchess of Devonshire. II: Spiritoso (in 4). Sonata form. short choral pieces. Sonata III in C Major (Op. short development opens with bravura thirtysecond notes. I: Allegretto (common time). Sonata form. Level: Late Intermediate. I: Allegro (common time). Level: Late Intermediate. 1993). a singer. Five-part rondo. 11 pp. 2/1). with both movements in same key. scalar transitions.Parke. second episode is in C minor with driving sextuplets. Her later works are often mistakenly attributed to composer Maria F. 17pp. 1: Andante cantabile e sostenuto (3/4). Repeated binary form.156 Maria Hester Park’s works display vitality. ed. pianist. Sonata I in F Major Opus 4/1. Vol. competence. Barbara Harbach (Vivace Press. Sonata I in E-flat (op. 2/2). Barbara Harbach (Vivace Press. String parts available. ed. Folk song-like main theme with continuous 16th note motion. A two-movement work in early Classical style. Sonata form. Three-movement galant work. II: Presto (6/8) A gigue in sonata form. COLLECTIONS. II: Andante e cantabile (3/4). The < previous page page_152 next page > . Octave melody. Level: Early Advanced. 1992). Sonata form with two contrasting themes. Harbach (Vivace Press. regular phrase structures with much phrase repetition. Reynolds. triple cross-rhythms and LH octave tremolo. 14 pp. and composer also active in late eighteenth century London. SINGLE WORKS: Maria Hester Park: Concerto for the Piano Forte or Harpsichord in E-flat Major. ANTHOLOGIES: Eighteenth Century Women Composers for the Harpsichord or Piano. Maria Hester Park: Sonata in E-flat Major for Piano or Harpsichord Opus 4/2 [ca. First episode has duple vs. 12 pp. use of sequences and Neapolitan Sixth chords. Harbach (Vivace Press. Maria Hester Reynolds: Three Sonatas for Harpsichord or Piano Opus 2. III: Rondo (2/4). Lyrical with some chromaticism and unexpected harmonies. and a thorough knowledge of keyboard styles and technique. 1999). Level: Early Advanced. ed. Opus VI. Glickman. Sonata II. SOURCES: Cohen. accompanied by a cross-over waltz bass pattern. (C major/minor. 1992). with continuous scales and broken chord figures. Johnson. 6 pp). H&H. An energetic and typical late Classical work in three movements. Meggett. ed. begins with a three-octave C major scale. graceful minuet with balanced phrases and periods flanks the more agitated trio in the parallel minor. Sonata in C Major Op. Gordon. Level: Advanced. ElsonA. May Breeze: Variations Brilliante [1864]. Harbach (Vivace Press. Stern. Grove. VI [ca. Four Keyboard Sonatas by Early English Women Composers.< previous page page_153 next page > Page 153 theme alternates a half/quarter note motif with 16th note scales. 3/4).Hall. Two-voice texture occasionally changes to staccato triads under running sixteenth notes. Three etude-like variations follow: rapid repeated notes. Opus 4/2. See Single Works. Eliza 19th century American Little biographical information is available about this virtuoso pianist and music teacher. wcmta5. Fuller. 3/4-6/8. 4 of Three Centuries of American Music: A Collection of American Sacred and Secular Music. 1796]. S. and chromatic scales. KOM. Laurence. III: Rondo allegramente (6/8). A calm.common time and 2/4. Fortino (Hildegard. contains broken chord and Alberti basses and simple ornaments. ascending arpeggios. American Women Composers: Piano Music from 1865–1915. ed.” or progressively faster textural variations. ed. II: Minuet and trio (3/4). 1990). Ms. Grand National Medley with Variations [1885]. Hinson. Level: Late Intermediate. Level: Early Advanced. (C major. eds. and bravura octaves. Eighteenth Century Women Composers for the Harpsichord or Piano. An exhilarating five-part rondo in jig time. allegro/allegretto/tempo di < previous page page_153 next page > . ANTHOLOGIES: American Keyboard Music 1866 through 1910. Episode 2 is in the relative minor. Pattiani resided in Chicago and often performed her own works in concert. II. I: Allegro spirito (common time). 1990). Schleifer and Dennison (G. Jackson. MGG. Eitner. andante con espressione/brilliante/vivo allegretto. Heinrich. Two measures of arpeggios introduce the sentimental theme. S&S. Ebel. II: Larghetto (G major. Vol. ed. A two-measure cadenza of 32nd notes ushers in the last repetition.K. scores PATTIANI. Sylvia Glickman (Hildegard. Vol. Sonata-allegro form. A theme and “doubles. 1995). Episode 1 has a short passage in the parallel minor. 13 pp. From Blumenleben Op. and Kaiser. Dora gave birth to their son. ed. 1885—d.” SOURCES: KOM. lyrical melody. Tick. Ternary form begins with an Adagio section. 6/4. Junek. Upward-wafting arpeggios enhance a gracious. 19/5 [1904–5]. descendant of Bosnian aristocracy and daughter of a Hungarian baroness and a Croatian count. (E major. In January of 1923.” and “Yankee Doodle. and the Adagio returns after a dramatic transition with ff descending octaves. and she is now credited with laying the foundation for modern Croatian chamber and concert music. Rose Op. and Tchaikovsky were her models. most of Pejacevic’s compositions were unpublished and her influence was unknown. the faster Agitato has many dynamic contrasts. 6/4. but in 1972 her family donated her entire collection of manuscripts and papers to the Croatian Music Institute. GKH reprint). Pejacevic composed for voice.” “Home Sweet Home. 19. Budapest. After her marriage in 1921 to Ottomar von Lumbe. Grieg. studied piano. Countess (var. forty-nine are for piano solo. but she contracted sepsis and died six weeks later. she developed her talents and style through contact with other artists in the cultural centers of Budapest. piano with orchestra. a number of her works have been published. Two lovely additions to the late Romantic repertoire. a set of eight pieces named after flowers. 1923 Dora Pejacevic. Sep 10. Sondra Wieland Howe (Hildegard. Of her fifty-seven extant opus numbers. Until recently. Susanna. scores PEJACEVIC. 14 for piano was performed at her funeral service. they lived in Dresden and Munich. m. von Lumbe) b. orchestra. Munich. and establishing high standards of professionalism and new opportunities for Croatian composers.” “The Marsellaise. A challenging set of the popular variations form. Her Marcia funèbre Op. Impromptu Op.158 SINGLE WORKS: Impromptu and Rose. Dora von. adagio/agitato con passione. 32b [1912]. moderate con moto. For the most part a self-taught composer. Vienna. 6 pp). (B major. Level: Late Intermediate. 6 pp). Level: Late Intermediate. Since that time. and piano. and Prague. chamber ensembles.< previous page page_154 next page > Page 154 marcia/presto.157 Schumann. “The wide range of dynamics reinforces the beautiful and complex impressionistic harmonies” (score preface). < previous page page_154 next page > . During her travels. Brahmsian. Pejacsevich. Mar 5. with occasional impressionist colors. Tunes include “Oh. Munich. 4 pp). violin and composition at the Croatian Music Institute in Zagreb under Huml. Brahms. she studied briefly with Sherwood and Petri in Berlin and Courvoisier in Munich. or chamber works with piano. and her harmonic idiom is late Romantic. A jaunty. SOURCES: Cohen. Mac. H&H.Hall. 6. and hops up to play alternate 16th notes in the descending melodic figure. Clara Gottschalk (var. Sylvia Glickman. Gottschalk) b. Pittar. 1990). Laurence. the entire rondo theme is played staccato. Impromptu and Rose. the rondo rhythm becomes pomposo with full triads on every beat. ?) Little is known of Clara Peterson.Hall. vivace.). A brief passage in G minor is marked con melancholia. October 4.< previous page page_155 next page > Page 155 ANTHOLOGIES. grovemusic. Fanny’s date and place of birth as well as her parentage are uncertain: she may have been born in France between 1784–1788. Vol. as the irrepressible theme returns. LH plays a standard oom-pah bass pattern. SOURCES: A-Z. ? England. clever little piece in five-part rondo form. after 1823 English harpist and composer Fanny Pittar was the elder of two daughters born to the famous harpist and composer Anne-Marie Krumpholtz (q. Level: Mid-Intermediate.159 ANTHOLOGIES: American Women Composers Piano Music from 1865–1915. 1990). vol. but the title below appears to be her only extant work. H&H. 4 pp). Glickman (Hildegard. series eds. 16th note scales in RH bring the dance to a flourishing finish. America. 1999). besides the fact that she was a younger sister of Louis Moreau Gottschalk and a stalwart defender of his works. London. ed. during an apparent hiatus in her < previous page page_155 next page > . 1837—d.v. triadic melody accompanied by staccato bass chords. 4 of Three Centuries of American Music (G. Glickman and Schleifer (G. 2/4. 1784/8—d. She is reported to have produced a great deal of music for piano. score PITTAR.K. and American Keyboard Music 1866 Through 1910. but the sadness is short-lived.K. ca. Meggett. then the second episode (Eflat). In the first episode. scores PETERSON. née Krumpholtz) b. KOM. ed. Fanny Krumpholtz (var. with a lyrical. A shortened version of A appears. see Single Works. Women Composers: Music Through the Ages. Staccato Polka [1909]. Cohen. S&S. (G major. FRK. The seven-measure introduction establishes the main rhythmic motif. Mrs. Ursula Rempel (Hildegard. sixths. and composer Simone Plé studied piano at the Paris Conservatoire with Alfred Cortot and composition with Georges Caussade. teacher. series eds. she became a professor of harmony and counterpoint at the Conservatoire. Arranged with Variations for the Harp [ca. Martial dotted rhythms. or after her mother’s elopement and relocation to London in 1788. “Fanny Krumpholtz’s Manuscript Book of Her Own Compositions for the Harp. H&H. Aug 6. with such students as Gilbert Amy and Betsy < previous page page_156 next page > . Further. ANTHOLOGIES: Women Composers: Music Through the Ages. A quick-march Allegretto in rounded binary form closes the work. rather than her mother’s husband. France. and LH crossovers all add to the interest. SINGLE WORKS: Two Works for the Harp. andante/piu lento espressivo/vivace. 1811. Aug 14. 3. (E-flat major. scores PLÉ-CAUSSADE. in 4 and 6/8. Jackson. two of the three extant works published between 1810 and 1817 are described below. a diamond merchant. Glickman and Schleifer (G. “Dedans mon petit Reduit. passages in thirds. Vol. a marriage settlement made to her by the Earl of Hardwicke suggests that he may have been her father. 8 pp). Bagnères-de-Bigorre. whom she later married. A Military Divertimento for the Harp or Piano Forte [1817]. Five pieces in the collection are designated as suitable for either harp or piano. Level: Late Intermediate. The two works described above. (F major. In 1828. ed. 1998). A lengthy introduction is followed by the Divertimento.K.< previous page page_156 next page > Page 156 mother’s career. Paris. 1897—d. Level: MidIntermediate.” Air. largo/maestoso/allegretto.” an autograph manuscript collection housed in the British Library. S&S. in 1814. 1985 French pianist. Miss Krumpholtz married Isaac Pittar. and the special guitar effect known as pres de la table are characteristic of the domestic music popular at the time for both piano and harp.160 In any case. a well-known air is succeeded by increasingly elaborate variations. Theme and three variations dedicated to the memory of her mother. rolled chords and arpeggio passages.Hall. 4 pp). Grove. GKH reprint). 1815]. and unlike her famous mother pursued music in the domestic spheres of teaching and salon performances. Frequent and dramatic dynamic contrasts. includes twenty-one complete works largely based on dance forms. and tenths. Simone (née Plé) b. the Parisian harpist/composer Jean-Baptiste Krumpholtz. arpeggio flourishes. as well as a set of seventeen preludes probably intended as progressive teaching pieces. SOURCES: Cohen. Following the prevailing practice. in 4. 1. and moods. F. Précieuse. Twenty-five attractive. dynamics. and A major keys. COLLECTIONS: Les Chants et Les Jeux (Éditions Henry Lemoine. La forêt enchantée. open fifths. Henri Classens (Editions L. orchestra. 1931). Twenty descriptive “songs and games” of progressive difficulty. many less than a page in length. the wise professor of music. Plé-Caussade’s works for organ. easiest works begin with five-finger melodies played in octaves. birdlings sing joyous trills and arpeggios under the direction of M. 1967). Level: Late Elementary to Early Intermediate. in C. (Paris: Éditions Henry Lemoine. Level: MidIntermediate. Vol. In use: a variety of tempos. Heinrich. Concert à l’O. Nostalgique. rhythms use 8ths and 16ths in simple meters. 2. 161 ANTHOLOGIES. Mid-Late Elementary. both hands in the treble clef. D. registers. Cakewalk rhythms. Rustique. Les Chants de Mon Moulin (Éditions Henry Lemoine. neo-Renaissance air. Butler. dissonant bitonal writing. SOURCES: Baker. KOM. Pittoresque. Early Intermediate. nos. nos. Three charming two-page teaching pieces in three volumes: Vol. 1983). Languissante. and repetitive rhythms. Nos XIII-XX. descriptive pieces for children. Meggett < previous page page_157 next page > . 13–25. and one each using whole tone and pentatonic scales. Level: Late Elementary-Early Intermediate. Scènes de cirque. G. Humour. antique. Le petit Jockey nègre. piano. carefully crafted musical vignettes of people and landscapes. Joyeuse. cited in Butler’s Guide to Contemporary Music. textures. through use of church modes. Mid-Intermediate. articulation. The pieces in the second half are appropriate for Early Intermediate students. 3. Musique et Musiciens d’Aujourd’hui Series. Some interesting modes and textures occur. and chamber ensembles are described as Impressionistic in style. Philippo). H&H.T. Dans le Nid merveilleux (The wonderful nest). LISTED but not found in print: Fleur d’Eau (Henry Lemoine: 1958). with a few modal pieces. The baby acrobat makes many mistakes (lots of “wrong” accidentals) but keeps his balance.Merle. 1957). ed. Mac.< previous page page_157 next page > Page 157 Jolas. DUETS: Six danses pour piano 4 mains (Éditions Henry Lemoine. as well as incidental chromaticism and register shifts. Vol. Level: Elementary to Early Intermediate. much like the first set. 1–12. Level: Nos I-VII. Thirty tuneful. R. Danse de Baby l’Acrobate. The works described below are skillfully written teaching pieces using early twentieth-century techniques. Perched high in the tallest tree. The first. F. Price married Thomas Price. with hands alternating a good deal to accent the short bursts of melody. and for her Symphony in E minor. A prolific composer. they are written in a homophonic texture. She graduated with honors. Florence Beatrice (née Smith) b. premiered in 1933 by the Chicago Symphony Orchestra at the Century of Progress Exposition. Her Songs to a Dark Virgin.”162 A practical musician and prolific composer. are the only piano works currently in print. Shamefully. St. choral music. very few of Price’s over three hundred works are currently available. Florence Smith Price studied composition and counterpoint with Benjamin Cutter and Frederick Converse at the New England Conservatory. performed by many of the most famous singers of her time. receiving a Teacher’s Diploma and an Artist’s Diploma in organ. Arkansas. a setting of Langston Hughes poetry.163 SINGLE WORKS: Dances in the Canebrakes (Affiliated Musicians. with whom she had three children. but many of her excellent teaching pieces are available in public and university libraries. Price continued her studies at Chicago Musical College and the American Conservatory of Music. and writing and arranging commercial music for the radio. and returned to the South. Much of her music is descriptive and programmatic. including three piano concertos and one violin concerto. Price was denied membership to the Arkansas Music Teachers Association because of her race. The Sonata in E minor and the Fantasy Negre. these wonderfully good-humored dances are as American as cornbread and greens. she won two Wanamaker Foundation awards. Jun 3. Chicago. an attorney. including Marian Anderson. Although widely performed during her lifetime. for her Piano Sonata. and in 1927 the family moved to Chicago. < previous page page_158 next page > . Price is remembered best for her art songs and spirituals. organ and piano pieces. she often used aspects of its rhythms and tunes: Mildred Denby Green said Price “spoke the language of the black musical idiom with authority and blended it with the logic of traditional European music. playing theater organ. she remained active all her life as a teacher and performer. Based on lively syncopated rhythms and big.1887/8—d. Georgia.< previous page page_158 next page > Page 158 PRICE. Level: Late Intermediate. Little Rock. and Leontyne Price. In 1932. though she did not quote African-American music directly in her compositions. Apr 9. and more than sixty works for orchestra and solo instrument. where she taught at colleges in Arkansas and Atlanta. below. and her arrangement of the spiritual “My Soul’s Been Anchored in the Lord” achieved great success. satisfying handfuls of chords. Today. Blanche Thebom. 1953. Solidly crafted and idiomatic. hoping for an improved racial climate. 1953 The first African-American woman to be recognized for her symphonic compositions. giving private lessons. Louis Public Library). four symphonies. and privately with George Chadwick. Price wrote art songs and arrangements of spirituals. Three movements. A wonderfully idiomatic theme and variations on the yearning. ed. The Butterfly (Carl Fischer). Ticklin’ Toes. andantino. with a sultry calypso beat. The Old Boatman. (F Major.” composed for Price’s pupil Margaret Bonds. augmented sixth chords provide particularly nice effects. Fantasie Negre [1929/1932]. in tandem with a perky sequential melody in syncopated sixteenths. toe-tapping rhythms. (E major. I: Andante-allegro (in 4/cut time). second theme is more lyrical. staccatos. technically challenging (score preface). irresistible. and Rabbit Foot (Theo.< previous page page_159 next page > Page 159 Offbeat triads and rocking 16th note figures provide the setting. it begins with a stately chordal introduction in dotted rhythms. Rae Linda Brown (G. Hoe Cake. tenths. through-composed with contrasting episodes. large chords. A jaunty walking bass steps down the scale. A Morning Sunbeam. with a lyrical main theme and two contrasting episodes. Silk Hat and Walking Cane.164 < previous page page_159 next page > . A wide range of the keyboard is used. The Gnat and the Bee. ed. Helen Walker-Hill (Hildegard. (A major. 1992). Levee Dance. III: Scherzo-allegro (6/8). Bubbling through the whole fabric are irrepressible.Schirmer). ANTHOLOGIES: Black Women Composers: A Century of Piano Music (1893–1990). 4/8. In sonata form. allegro. II: Andante (4/8). catchy bass patterns. “Sinner. Level: Advanced. Press).” with LH octaves. 4 pp). dense texture. Sonata in E Minor [1932]. Cotton Dance (Oxford Univ. Bright Eyes. sorrowful spiritual. The Sea Swallow. a light touch as well as a hand big enough for full chords. who became a respected composer herself. 27 pp. Please Don’t Let This Harvest Pass. and judicious jazz harmonies add local color and personality. The Rose. Presser).Schirmer. Moderate. the pianist needs. 3 pp). Ternary form. 4/8. Level: Early Advanced. At the Cotton Gin (G. careful dynamic markings. and polyrhythms. Characteristic cakewalk rhythm. 2/4. The Goblin and the Mosquito (Clayton F. Summy). Nimble Feet. a series of sliding half-diminished sevenths hails the return of the main theme. Some fun occurs with modal borrowing for a “Moorish” effect in the D minor center section. First theme is confident and spiritual-like. expansive work in the Romantic tradition. A rondo. Dances in the Canebrakes (Mills Music). A virtuosic and rhapsodic close. The contrasting middle section is a brief habanera in D minor. Set over a tonic pedal. 1997). Tropical Noon. 4 pp). rich harmonies and an ostinato rhythm. “A large-scale. Triadic motives with added seconds suggest balmy breezes through palm leaves. CHECK LIBRARIES for: Cabin Song. ternary form. their mother died. Walker-Hill. 2/4). 1998). In 1775.K. continued performing and composing despite her duties as a wife and mother. KOM. Bernhardine Juliane Benda was the youngest of the six children of Franziska and Franz Benda. Boenke. May 9. Juliane Reichardt gave birth to three children: Friedrich Wilhelm. concertmaster to Frederick the Great. Vol. A-Z. Baker. May 14. Linda Moot (Hildegard. IDBC. B&NB. who had already published a number of works. H&H. Sonata ed. she published Lieder und Klaviersonaten. a promising collection of seventeen songs and two piano sonatas. Stern. 3. Berlin. series eds. the young composer Johann Friedrich Reichardt came to Berlin as Kapellmeister. Mac. GKH reprint). Benda) b. by Moot. Meggett.”165 The pair were married in less than a year. Very brief interlude between the outer movements. Fuller. ed. she became an unusually expressive singer. He “heard Juliane Benda sing and play the piano and fell in love with her. in rounded binary form with repeats. Glickman and Schleifer (G. II: Alla polacca (E minor. Hinson. Juliane Reichardt died shortly after the birth of her third child in 1783. The longest and most elaborate movement. Pendle. Green. and Wilhelmine Juliane. Heinrich. A toccata-like piece with bravura arpeggio passages and figurations (score preface). 1752—d. ClagS. Anderson. Under the tutelage of her father. Johnson. Level: Late Intermediate/Early Advanced. 11 pp. ANTHOLOGIES: Women Composers: Music Through the Ages. (Bernhardine) Juliane Benda (var. Laurence. and was buried on her thirty-first birthday. < previous page page_160 next page > . III: Rondeau (vivace. Southern. it emphasizes polonaise rhythm.Hall. A three-movement work in early Classical style with frequent ornaments. 1783 Born to a large and illustrious Bohemian family of musicians. and Juliane. S&S. During their seven years of marriage. 3/4). ClagAm. In 1782. SINGLE WORKS: Klaviersonata.Reich.< previous page page_160 next page > Page 160 SOURCES: Ammer. who became a celebrated lieder composer in the next century. scores R REICHARDT. Potsdam/Berlin. When Juliane was only six years old. I: Allegro (2/4). Louise. Kirby. B&T. above. Prefatory essay by Nancy B. teacher. Orger) b. B&T. SOURCES: Baker. Tiverton. This work is one of the earliest piano concertos written by a nineteenth century Englishwoman. Cohen. score REINAGLE. In 1846. well written. Caroline Orger (var. ed. it is in ABAB form. 1892 Caroline Orger. 15 pp). Maria Hester —see PARK. H&H. Brown.166 The Society of British Musicians performed a number of her chamber works. B&T. 1998). grovemusic. presto. Eitner. this is a difficult and well-structured fourmovement work. Schubertian and massive. Devon. Laurence.< previous page page_161 next page > Page 161 SOURCES: Baker. an Oxford organist. cultured mind…characterized by unremitting psychological power. with two themes in each section constructed in balanced parallel periods. pianist. Stern. Nigel Burton describes Orger’s music as ‘the product of an original. Meggett.168 Tarantella for Solo Piano Opus 4. Stern. London. Hyde. English composer. breath less perpetuo moto example of the tarantella genre. and in 1855 produced a pedagogical treatise entitled A Few Words on Pianoforte Playing . was the daughter of the famous actress and dramatic writer Mary Ann Orger. Preceded by a Lento introduction in 3/4. S&S. common time). H&H. 1999). and in 1843 performed her Piano Concerto at Hanover Square Rooms. Level: Advanced. Caroline Orger married Alexander Robert Reinagle. and composer. Level: Late Intermediate/Early Advanced (E minor. scores REYNOLDS. Fetis. Laurence. Pendle. Fuller. An unusual and welcome addition to 19th century sonatas. Little is known of her early musical training. The long Allegro moderate (6/8) is followed by a spirited Scherzo (3/4. Jackson. ElsonA. A scintillating. She taught piano and continued to compose many songs and piano pieces. 55 pp. Maria Hester < previous page page_161 next page > . Interesting. Mac. C major) and a tuneful Andante (A minor. Harbach (Vivace Press. Meggett. Ebel. and fun to play and to hear. and writer. ending with an intricate Allegro capriccioso (common time). Jezic. NewGrove. but Miss Orger began giving recitals in 1840. but unfortunately. ed. 6/8. Harbach (Vivace Press. Cohen. 1818—d. S&S. none has survived. Mar 11.”167 SINGLE WORKS: Sonata in A Major for Piano Opus 6. 1931 Singer. b. which supposedly helped break down the barrier against women at the Leipzig Conservatory. and married Henry M. Active in the Boston music community. and in 1902 was appointed Professor of Voice at the New England Conservatory.Mosell referred to her as a composer in The Work of the Afro-American Woman (Philadelphia. KOM. a composer of operas and songs.? Almost nothing is known of this African-American woman. allegretto.169 ANTHOLOGIES: Black Women Composers: A Century of Piano Music (1893–1990).Rogers. The tunes are unexceptional. Cheltenham. where she studied piano with Moscheles. daughter of the cellist Robert Lindley. a Boston lawyer. Scalar patterns predominate. Hélène Riese ROGERS. Making her professional debut in Italy as an operatic soprano under the name Clara Doria. She entered the Leipzig Conservatory at age twelve. three-chord bass: I. Pennsylvania. she continued her concert career in England and America.< previous page page_162 next page > Page 162 RICKETTS. Jan 14. Clara Kathleen (née Barnett. Rogers founded a Bach Club and gave weekly musicales at her home. is from the Library of Congress collection. score RIESE. In 1873. Hélène —see LIEBMANN. Walker-Hill (Hildegard. and her father. Estelle D. stage name Clara Doria) b. Mar 8. 1894). but only after she had gone on to become famous. Rickert’s only extant work.Rickets. Boston. 3 pp). A dance in many brief sections. harmony with E. She wrote extensively on the art of singing and teaching. Walker-Hill. John Barnett. Among her chamber works is a fine string quartet written at the age of fourteen. and Hans von Bülow. American. Clara settled in Boston to compose and teach. ii. consisting of simple variations over an unvarying four-measure. but the movement is graceful. Plaidy.F. and is the earliest known solo piano piece by a black woman. N. SOURCES: H&H. England. ed. and singing with Hermann Goetz.F. < previous page page_162 next page > .Richter. (G major. Rippling Spring Waltz [1893]. Mrs. the waltz below. V7. I. black” and living with her parents and younger brother in Darby. Jul 1871—d. Level: Early Intermediate. listed in the 1900 national census as “Stella D. but was barred from attending composition classes because of her gender. frequented by such musical luminaries as Edward MacDowell. teacher and writer Clara Barnett first studied music with her mother. 1844—d. composer. 3/4. 1992). Romanza Op. G&G. The Eight O’Clock Rush Rag. sel. Level: Mid-Late Intermediate (G/C majors.K. Women Composers: Music through the Ages. A late Romantic character piece. 3/8. series eds. Burning Rags. Among her compositions are these rag-time marches and two-steps. Fuller. S&S. 1990). B&T. Louis ragtime pianist and composer. Glickman (Hildegard. Level: Mid/Late Intermediate. ElsonL. “An intriguing descriptive rag (whose) eccentric syncopations and bass rumblings suggest the sounds of the hectic early morning hours” (score preface). Vol. 3 pp). Cohen. Polka Dot.Hall. Pendle. and American Keyboard Music 1866 Through 1910. RH 16th note figures are accompanied by a divided-chord bass. published from 1900 to 1912 in Chicago and St. KOM. Hinson. 3/4. Glickman and Schleifer (G. 31 [1894]. larghetto. 6. 9 pp). Bess E. H&H. Judith Radell and Delight Malitsky (Hildegard. 1990). 4 of Three Centuries of American Music (G. ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915. cover shows a crowded streetcar under a clock. with each section in rounded binary. Late 19th century American Bess Rudisill was a St. 1979) and Ragtimes für Klavier. The Eight O’Clock Rush.< previous page page_163 next page > Page 163 George Chadwick. Rogers composed about one hundred songs.Hall. B&NB. Don Bestor [1911]. score RUDISILL. 1994). Vol. Bright Eyes. Baker. SOURCES: Hasse. score < previous page page_163 next page > . Benjamin Lang. Lyric. allegro giocoso. Lively theme consists of descending staccato triads and a dotted-note figure. ed. in extended rondo form. ClagS. Kaluza (Furore.170 ANTHOLOGIES: Ragtime Rediscoveries: 64 Works from the Golden Age of Rag. and Arthur Foote. 32 [1882]. 31—see Single Works. KOM. (F minor.K. Tichenor (Dover. Sylvia Glickman. SINGLE WORKS: Romanza Op. tempo di Rag. Level: Mid-Intermediate. GKH reprint). 1999). SOURCES: Ammer. Scherzo in D Op. ed. inventive and idiomatic. Laurence. ed. 2/4. ed. Louis: Ain’t I Lucky. but only a few works for piano. Stern. ClagAm. Delightful work. In the Trio (B minor/D major). Mac. and punctuated by frolicsome leaps to higher grace-noted tones. Standard scherzo and trio form. arr. (D major. and Way Down East. 4 pp). a Gentleman-in-Ordinary in the Chapel Royal. Ornaments and figurations show the influence of Liszt and Chopin.”172 Savage composed popular keyboard music. Nov 9. songs. and predominantly binary forms. ed. H&H. B-flat majors. C. as “Six Easy Lessons for Harpsichord or Piano Forte”]. Marguerite Elie achieved recognition in the United States as a virtuoso pianist and teacher. ANTHOLOGIES: Piano Music from New Orleans. Stern. each). “a respectable merchant of Mincing Lane.Samuel” after her marriage. late 19th c. Worthy additions to the repertoire of the period: six three-movement sonatas (No. America. SINGLE WORKS: Six Sonatas for Piano or Harpsichord. 1851–1898. and a cantata setting of poems by her mother. and according to the title page of her Opus 2 sonatas. 1996). 2 [1783. IV has only two) (G. signing her compositions as “Mme L. Harbach (Vivace. fl. moderate. John Baron (Da Capo. Jane b. comp. 3/4. 5 pp). Level: Late Intermediate (D-flat/G-flat majors. 5–7 pp. Madame L. 1752/3—d. with two-voice textures. 1824171 Jane Savage was the daughter (and probably student) of William Savage. F. Vers le Soir (Twilight). score SAVAGE. energetic rhythms and constant 16th note figures. Written in typical galant style. ? London. Paris. Poésie Musicale [1878]. Panzeri. Camberwell. She was a virtuoso keyboard player and composer in the galant style of the late 18th century.< previous page page_164 next page > Page 164 S SAMUEL. Movements 1 and 3 are in duple meter. 1980). < previous page page_164 next page > . ornamented triadic and scalar melodies. (née Marguerite Elie) b. Her compositions date from before her 1793 marriage to Robert Rolleston. Op. Level: Late Intermediate. “Organist of the Asylum” (score preface). London. SOURCES: Cohen. A charming and graceful salon piece in ternary form. Strephan and Flavia . broken-chord and Alberti basses. 4 pp). (F major. Two-voice texture with simple but skillful counterpoint. SOURCES: Jackson < previous page page_165 next page > . No information is available about this composer. Plaintive quality with sighing appogiaturas and chromaticism.Hall. Jackson. common time. series eds. 3/4. Glickman and Schleifer (G. ANTHOLOGIES: Musikalisches Allerley von verschiedene Tonkunstlem. Grazioso. RH is written in C-clef. Stern. 4 pp). GKH reprint). 1997). Meggett. but no fingerings and few dynamic or articulation markings. Rondos I.< previous page page_165 next page > Page 165 the middle movements generally use triple meter and the relative minor. ed. 3. 1761]. Heinrich. Mademoiselle German. 3. Harmony consists of primary triads with occasional secondary dominants. 149. making it a good transposition exercise for today’s student. A contredanse with rondo theme and three episodes in related keys. 1ste Sammlung (Alamire. SOURCES: Brown. Rondo V. Andantino. 119. III. KOM. “Dreamy and floating” (preface). Eitner. Rondos I. vol. NewYork: OMI Facsimile Editions). ANTHOLOGIES: Women Composers: Music Through the Ages. with intriguing surprises within the Classical homophonic texture” (score preface). Level: Early Intermediate (D major. Rondo I. S&S. score SCH-L-N. mid-18th c. see above. and V. fl. Two melodious minuets in standard binary dance form. Cohen. ornaments at cadences. “Attractive and subtly expressive. 4 pp). 2 Menuets [Berlin: Birnstiel. common time. 2/4. Level: Mid-Intermediate. MGG. one page each). Amoroso. 1992. H&H. ed. Rondo III. III. Hinson. (G major. This Urtext edition contains suggested metronome settings. Deborah Hayes. Deborah Hayes (Hildegard. and V from Six Sonatas for Harpsichord or Pianoforte Op. (C major.K. grovemusic. divorced Friedrich Wieck. and a strong sense of structure. Considered the peer of such pianists as Liszt. and her music displays a great joyfulness. Intrinsically pianistic. her performing career and the magnitude of her repertoire may be unequaled. In her use of bold harmonies and rhythmic freedom. Robert and Clara were wed after a bitter legal battle with Clara’s father. < previous page page_166 next page > . composing. Clara subsequently bore eight children. and Anton Rubenstein. she displayed some of the more advanced tendencies of her day. a few orchestral and chamber pieces. counterpoint and fugue. She was as influential a teacher as a performer. Schumann also wrote cadenzas to Mozart and Beethoven concertos. as well as ensuring her systematic exposure to concerts and operas. a real gift for melody. Frankfurt. and Clara’s earnings were the sole support of her children and grandchildren during most of her life. Although Clara Schumann believed her compositions to be inferior to those of her husband and other male composers. and provided her with the best teachers available in composition. a singer and pianist from a family of professional musicians. Schubert. Thalberg. Clara Schumann is credited with being one of the first to present an entire evening of solo piano music. and Brahms.173 Renowned throughout Europe for her brilliant technique and musical sensitivity. in 1838 she became the first foreigner honored by the Viennese Empress with the title Kammermusikerin. phrase elisions.< previous page page_166 next page > Page 166 SCHUMANN. Leipzig. 1896 Clara Wieck Schumann. and many lovely lieder. one of the greatest pianists of the nineteenth century. but continued concertizing. Clara made her formal debut in the Leipzig Gewandhaus at the age of eleven. Robert died young. voice. May 20. but also programmed serious music by Bach. Indeed. and of playing a program from memory. Mendelssohn and Beethoven. holding from 1878–1892 the position of principal piano teacher of the Frankfurt Hochschen Conservatory. was a child prodigy both as pianist and composer. violin. and she was a staunch supporter of Chopin. Robert Schumann. and pursued an extremely successful career as a concert pianist for over sixty years. 1819—d. He himself taught her piano. and comprise around fifty solo works in sixteen opus numbers for piano. extra-musical associations. Scarlatti. they lie beautifully under the hand and are a delight to play. and teaching. instrumentation. and melodic ornamentation found in Mendelssohn and Chopin. her closest friend for the last forty years of her life. virtuosic works popular at the time. Clara Josephine (née Wieck) b. are available in modern editions. she loved to compose. performed in Paris at twelve. Sep 13. widely published in her lifetime. a music teacher and businessman. as well as the intimate expression. Clara’s mother. when Clara was five years old. Schumann played the showy.174 In 1840. Many of Schumann’s compositions. Her father retained custody of Clara and supervised every aspect of her education and early career. con delicatezza. forthright polonaise sections. strong downbeats. one RH crossover of seven bars. Staccato alto theme. A-flat Trio. has chirping grace notes on every tone. con grazia). Babette Hierholzer (Ries & Erler. with two repeated parts to each section. LH bass octaves on alternating chord tones support RH interrupted theme. Level: Mid. and Hofmeister. Draheim & Nauhaus). A foreshadowing of Johann Strauss: a gay melody with turns. Op. graceful melodies. ed. including a RH cross-over leap of four octaves. 2/3. resolves by step. played by thumb and second finger. ed. Level: Late Intermediate. 2/1-9 [1831–2]. grace notes and scalar passages and a contrasting Trio. Level: Mid-Intermediate. Joachim Draheim and Gerd Nauhaus (Leipzig: Hofmeister Musikverlag. The trios.to Late Intermediate. Op. C major Opus 1/2. A “noodling” melody in dotted-eighths moves around the tonic by neighboring half and whole steps. C Major Opus 1/4. Gay. Op. Longest of the group. The melodies contain athletic leaps. Each dance is two pages long and in triple meter. Caprices en forme de Valse pour le Piano Op. and occasional triplet figures. Both hands have some octave eighth note passages. < previous page page_167 next page > . occasional ornaments. con fuoco). An ascending alto scale followed by hops to chord tones. E-flat Major Opus 1/1. 1996). Nine brief (1–3 pp) and spirited waltzes written during Clara’s first major concert tour. Level: Late Intermediate. In the vivace trio. 1987. are generally more delicate than the robust. allegro moderato. D Major Opus 1/3. Polonaise theme: ascending tonic arpeggio to an appogiatura is perfectly balanced by a descending dominant arpeggio to another appogiatura. A perky hop on beat one lands with a thump on the accented second beat. andantino). 1/1-4. 1996. with the characteristic polonaise rhythms: the ostinato accompaniment (1 &a 2& 3&). LH melody in “B.” coda fades away gracefully. A gracious little theme: a dotted-note sequence rises to an appogiatura. giving the effect of violin double-stops. 2/2. 2/1. (C major. (D major. delicato. and some brilliant arpeggios and scale passages. Four brief and joyous examples of the dance written by the nine-year-old Clara. allegro moderato. scherzo-like. a clear understanding of structural harmony and ternary form. (E-flat major. Level: Late Intermediate. The trio melody is as lovely as a Chopin nocturne or a Bellini aria.< previous page page_167 next page > Page 167 SINGLE WORKS: Quatre Polonaises pour le Pianoforte Op. in standard compound ternary form: polonaise-trio-polonaise. Also Carl Fischer. ed. an ascending staccato scale is followed by an abrupt drop of an octave. Octave passages in both hands. with two related themes in each section. 1987. with contrasting keys and themes. like Parisian opera tunes. is framed by a waltz bass and repeated soprano chord tones. Shorter than the others (16-bar sections). Double octaves outline a C-minor triad. (A-flat major. F. 2/4. allegretto. and G. 4 [1838]. (D-flat major. Romance Opus 5/3. and key make this a miniature ballad for the dance. 3/4. allegro furioso. allegretto). 3/4. marcato). Level: Late Intermediate. with rapid repeated notes. hands doubling twonote slurs and grace-noted octaves. Eight measures of fanfare begin this flashy little work. Level: Early Advanced. contemplative motif contrasts with a more urgent.” Op. Op. (C major. 2/9. allegro. 3/8. like a sectional ballroom piece. ed. 11 pp). (B-flat major. Level: Mid-Intermediate. and plenty of accents and dynamic contrast. allegro risoluto. 1996). risoluto). 5 pp). Op. A rising alto melody. Level: Late Intermediate. Center section is in D major. (B major/minor. (A minor. Level: Late Intermediate. and then runs back down in eighth notes to a resolution in F minor. Quatre Pièces Caractéristiques pour le Pianoforte Op. The figure is inverted. Rapid contrasts in dynamics. register. Level: Early Advanced. (C major. accents. Rushing sixteenth notes in a chromatic turning figure leap up to rolled octaves. Chopinesque brilliance. Level: Mid-Intermediate. Op. scalar one. with repeated octaves. closing in B minor. Reminiscent of Beethoven. the mood changes at the end. Repeated notes. a static. The strong opening theme rises in a series of appogiaturas for four measures. Included in many anthologies. 3/8. fiery coda. the mood then lightens up with double grace notes and parallel sixths over a standard waltz bass. while the bass plays wide arpeggios. grace notes. (E minor/major. grace notes. < previous page page_168 next page > . Joachim Draheim and Gerd Nauhaus (Leipzig: Hofmeister. presto. Level: Late Intermediate. for a double-stop effect. and rolled chords on downbeats suggest a fiery Spanish dance. Continuous short dances joined together. B-flat. 2 pp). Level: Level: Late Intermediate. Level: Early Advanced. Less than a page long. Draheim and Nauhaus (Leipzig: Friedrich Hofmeister. 2/8. A “grotesque” also known as Hexentanz [Witch’s Dance]. espressivo). tempo. 3/4.< previous page page_168 next page > Page 168 Op. allegro ma non troppo). arched theme. allegro assai). staccatos and graceful slurs. Valses romantiques pour le Pianoforte Op. 2/7. and a repeated-note passage increase the level of brilliance. inner-voice eighth notes provide movement. (A-flat major. and a dazzling. Homophonic texture. A-flat. some parallel sixths and thirds.” sobbing grace notes ornament a descending F minor scale. with strains in C. In “B. ABA form. 3/4. Impromptu: Le Sabbat Opus 5/1. andante con sentimento. Op. A miniature ballade. 3/8. 199). Caprice à la Boleros Opus 5/2. and the left hand takes the melody in the first half of “B. 2/5. legato e dolce. ed. (E-flat major. 2/6. allegro. 5/1-4 [1836]. Anticipatory grace-note chirps on chord tones contrast with a swirling. 9 pp). similar to Field or Chopin. Ballade Op. accents. common time-2/4. Center section (G major) is a shepherd’s pastorale. Also ed. pedal points. with the characteristic dotted rhythm on beat three accompanied by a waltz bass. 2 pp). common time. 1996. “pizzicato” scales. ornamented melodies. (B minor/G major. chromatic runs. (F major. with rich harmonies and rousing martial themes. FL: Masters Music. sweet. 3 pp). ed. larghetto. among Clara Schumann’s best-known works. with a sequential. non troppo allegro. An etude in broken double notes. Rich. (G major. with a rousing dotted-note pickup followed by triplets on the downbeat. sforzando. 6/1. 5 pp). A lovely work in song-without-words texture. Ternary. (A minor/major. complete with drone bass. Mazurka Op. brings “A” back. Robert Schumann said they contain “a wealth of unconventional resources. Plaintive theme. (D minor.” with LH octaves. (A minor/major. melancholy. and fast passages in thirds and sixths. and graceful. “B” section (E major) is more lyric. “A” returns with double-stop grace notes.” Toccatina Op. Heroic theme. Mazurka Op. 6/8. 6/5. Variations de Concert Op. 6 pp). 3/4. con moto. a tempo. with contrasting halves in each section. Hildegard. Draheim and Nauhaus (Hofmeister. Level: Late Intermediate-Early Advanced. 3/4. common time. leggiero outer sections flanking a lyric center. and dramatic contrasts. Glickman. 6/3. andante con moto. with fleeting. con dolore e legato. n. Quatre Pieces Fugitives Op. 1996). “spooky” themes. Level: Early Advanced. Notturno Op. (G minor. diminuendo. A five-bar trill.d. A lyric song without words. full of nationalistic fervor. and borrowed chords accompany as the bass descends by half-step and the melody climbs to a fermata. then closing with a flourish. Level: Late Intermediate. Ternary form.). Imaginative character pieces in the style of Mendelssohn and Chopin. Polonaise Op. Level: Late Intermediate. and rapid chordal leaps. 6 pp). wide leaps. Level: Late Intermediate/Early Advanced. skittering up and down the keyboard. 15/1-4. 5 pp). ed. 6/1-6 [1835–6]. 8 [1837] (Boca Raton. Four character pieces dedicated to Clara’s half-sister. Level: Mid-Late Intermediate. Level: Advanced. with brilliant flourishes. Another “grotesque. Level: Late Intermediate. 6 pp). dying away to a pianissimo flatted-H chord. presto. Characteristic polonaise rhythm. M 2580. 6/4. yearning melody < previous page page_169 next page > .< previous page page_169 next page > Page 169 Scène fantastique: Le Ballet des Revenants [Ghost ballet] Opus 5/4. staccatos. Varied bass figurations in this ternary work include an ostinato chord progression. (F major. 3/4. 6/2. all in ornamented parallel thirds. 3/4. Soirées Musicales pour le Pianoforte Op. Joachim Draheim (Wiesbaden: Breitkopf & Härtel. sweet double note figures. arpeggios. The piece then folds back on itself. 6/6. 4 pp). Marie Wieck. andante con moto. warm harmonies. A bravura crowd pleaser. 1993). Opus 15/1. Level: Early Advanced. with a short development. occasional secondary dominants and a Neapolitan II provide harmonic interest. n. and then steps down. Fugue (common time. 3 pp). B-flat Major Opus 16/2. half-notes. 3 v. ed. and the two conflicting themes are resolved in the twelve-measure coda. Opus 15/4. G Minor Opus 16/1. with each section in repeated binary form. Opus 15/3. un poco agitato. Glickman. At the close. 16/1-3 [1847]. Hildegard. “A” returns. After another brief cadenza. Pedaling with bass tones provides lush harmonic texture. Prelude (3/4. (A minor. Fugue (3/4.). also Masters Music. D Minor Opus 16/3. 3/4. allegro vivace. 4 v. arching opening theme begins with a leap of a fourth. 6 pp). Contains a development section. 1994. sempre legato. with a sturdy theme formed of two ascending fourths followed by a descending minor third to an altered tone. Level: Late Intermediate/Early Advanced. A dreamy melody in ABA form. also ed. suspended over ascending eighth note arpeggios. (G major. Level: Late Intermediate/Early Advanced. 6 pp): A poignant.). 1997. Subject opens with a single quarter note on the dominant. Level: Late Intermediate. 6 pp). andante. andante espressivo. Level: Late Intermediate.). hesitant melody over a slow-moving and a countermelody in the tenor. Preludes and Fugues for Piano. Rounded binary form. Level: Late Intermediate. (D major. A four-square. Tenor theme gallops up the scale in staccato triplets.< previous page page_170 next page > Page 170 reaching up to appoggiature. Transition and cadenza lead to a fretful middle section (F-sharp minor. A lively little scherzo and trio. The final entrances and the stretto are marked by tonic and dominant pedal tones. reaches up another fourth. allegretto. poco animato) with delayed resolutions and anxious sixteenth note figures echoed between the hands. The more sedate Trio is in the relative minor. 3 pp). and suspensions giving it the look of an organ prelude in 2/2. Prelude (3/4.). Level: Late Intermediate. Harbach (Vivace. a diminished-seventh chord over a tonic pedal resolves to a tonic chord with added sixth for a lovely effect. The fugue theme has a similar shape and rhythm. scherzo. 9/8. and then a stream of eighth notes. ties. 3 pp). 3/4. Level: Late Intermediate. North German work. andante. < previous page page_170 next page > . Op. but opens with a third and then climbs higher and faster. Three well-crafted preludes and fugues composed during the Schumann’s joint study of counterpoint. The long-breathed. ending on the leading-tone a sixth below its starting point. followed by three vigorous measures of running sixteenth notes. 4 v. fine legato studies. A serene chorale. andante con moto. the driving triplets continue in both melody and accompaniment.d. Fugue (3/4. Opening theme is a serene. Opus 15/2. gently arching hymn in balanced periods. Good Romantic examples of the Baroque form. andante. with fragmented motive and modulations. Prelude (common time. II. 3/4. (A-flat major. 4 pp). more lyric. Gerd Nauhaus (Breitkopf & Härtel. Level: Early Advanced. Level: Late Intermediate. 21/2. 8 pp). andante. since it goes very fast. sehr zart zu spielen). scherzo con passione. Clara said: “It is not too long. moderato. is in the parallel major. agitato. Rhapsodic gypsy violins in a Brahmsian texture. (F major. some LH crossovers. Scherzo Opus 10 [1838]. Drei Romanzen. Embodies romantic longing. Süddeutscher). ed. I: Allegro (common time). fingering by Hans-Martin Theopold (Henle Verlag. Listed as a single work in Hinson’s Guide. ed. I believe. 3rd edition. 1986). and pianistically demanding piece. andante/allegro passionate. 21/1. ed. dedicated to Robert Schumann the year before their marriage. 3/4. Another attractive group. Really a rondo/scherzo with two contrasting trios (episodes). Level: Early Advanced. Romanze Op. con espressione e ben legato). Affecting. “A singularly attractive. Level: Early Advanced. Level: Advanced. Level: Early Advanced. Janina Klassen. Besides Weber and Schubert. Main theme contains restless chromatic scale figures. Op. 2/4. I. popular with Parisian audiences. Theme: a harmonized scale climbs a ninth and returns. In five-part rondo form (ABACA). Sonate in g-moll [1841–2]. Romanze Op. III. (G minor. 21/3.’ I like the final repetition of the theme to the end of the piece best…but don’t cut the misterioso as this is the most beautiful part of the entire piece” (score preface). common time. IV: Rondo (2/4). 11/2. 11/1. (G minor. 24 pp. Op. cheerful melody is reminiscent of Mendelssohn. allegretto. 11/1-3 [1839]. ‘appassionato que possible. development moves through four key centers. above. 3/4. 21: see Single Works. andante. Drei Romanzen Op. over a tonic pedal. 4. Aus Soirèes musicales Op 6/1. common time. 21/1-3 [1853]. 2. 3/8.< previous page page_171 next page > Page 171 Variations on a Theme by Robert Schumann Op. and serves as a prelude to the other two. Airy and delicate detaché chords. Op. Joachim Draheim (Wiesbaden: Breitkopf & Härtel. Romanze Op. interspersed with sixteenth-rests. 1996). COLLECTIONS: Clara Wieck Schumann: Ausgewählte Klavierwerke. Urtext. (A minor. second is a “wrong note” scherzo in D-flat < previous page page_171 next page > . III: Scherzo (and Trio) (G major. harmonically captivating. Quatre Pieces Caractéristiques Op. A satisfying group of miniature character pieces. 3/4. II: Adagio (E-flat major. 10 pp). full of rubato. Ternary. slower center section. Level: Late Intermediate. 5/1-4. Four movements. 4 pp). See Collections: Ausgewählte Klavierwerke. 11/3. 3/4. 5 pp). and the coda has a fully-diminished seventh chord. Dramatic and showy work. the work’s ‘godfathers’ should also include Chopin and Robert Schumann” (score preface). (E-flat minor. 1991). 5. Op. Trois Romances Op. First episode is a wistful little waltz in F minor. The tender. leggieramente/einfach). which does full honor to its composer. 20 (Alfred 1200. Level: Advanced. 7 pp). (D minor. Op. Op. 3/4. W. 16/1–3: see Single Works. Vol. 10 pp). 1845. eleven Preludes). Praeludien. Scherzo II Op. Op. “A” returns and dissolves into a coda.Reich (Dover. (Seven Exercises. Level: Advanced. Level: Late Intermediate. is a restless motive in thirds. 1967). like a gypsy duet./intro Nancy B. Prelude and Fugue in F-sharp Minor [1845]. Op. interesting rhythms. Op. 5/1. Preludes are examples of her improvised introductions and interludes to short serious pieces by Chopin. 5/3. I. over a tonic pedal. “Flowing melodies. 3 pp). (E-flat major/E major/G minor. con fuoco. Op. Level: Early Advanced. common time-3/4. Franzpeter Goebels (Bärenreiter. The opening theme. 2000). over a Brahmsian triplet accompaniment. 11/1-3: see Ausgewählte KlavierWerke . Op. 8. Clara Schumann: Piano Music. ed. 4/4-4/2-3/4. with a contrasting lyrical transition. Op. Its innate charm and fine construction make it an ideal work for a recital program. 3/4. 3. Clara Schumann began her daily practice by playing the exercises before her scales. Variationen Op. Op. Op. Exercises and Fugues. (F-sharp minor. Op. Scherzo Op. 16 and Op. 10. 3–5 pp). Three Fugues on Themes of Sebastian Bach [1845]. 21/1: see Ausgewählte Klavierwerke. and some beautiful pedal effects. 14. 20: see Ausgewählte Klavierwerke. Level: Mid-Late Intermediate. with late-resolving appogiature and a jerky. Romantische Piano Music. 21/3: see Single Works.T. and Bach. ed. Thirteen of Schumann’s most popular works. Mendelssohn. perhaps intended as framework for improvised preludes. Einfach Praeludien für Schüler [Simple preludes for students]. 5/1-4. vivid harmonies. preface by Susskind (repr. Three interesting and extremely capable four-voice fugues on Bach subjects from Book II. 20. Vol.”175 Romanze ohne Opuszahl [1853]. Two brief harmonic progressions in C and A-flat major. sel. compound ternary form (scherzo < previous page page_172 next page > . Op. Exhilarating and heartfelt melodies. ziemlich langsam. all available in other editions. 15/1-4: see Single Works. Clara Schumann: Preludes. Goebels (Bärenreiter.C. 8 pp). 6/1-6. Op. from his Bunte Blätter Op. Broad center section (A major) has longer phrases in a smoothly arching melody. (F-sharp minor. 99. Level: Early Advanced. 1979). 2001). ed. 1976). 11/2. II. off-beat bass. (C minor. 7 pp). edition: Da Capo Press. Clara’s seven ambitious variations on a theme by Robert Schumann. Op. Romantische Piano Music. Op. 20 [1853]. Op. Valeric Woodring Goertzen (Hildegard. 15/1-4. 21/1-3: see Ausgewählte Klavierwerke. 16/1-3: see Single Works. (A minor. 11/1–3. Op. 2/4. Clara Wieck Schumann: Selected Piano Music. Ternary form. Op.< previous page page_172 next page > Page 172 major. Given to Robert Schumann on his birthday. ed. Op. 20: see Ausgewählte Klavierwerke. MLA. middle section is a tranquil chorale in the relative major. ElsonL. n. Johnson. Rieger/Walter (Schott. Andante con sentimento: see Quatres Pièces Caractéristiques Opus 5/3. is accompanied by a lacy texture of broken duplets. Ebel ElsonA. cited in Hinson’s Guide. Rich romantic harmonies. 6/5.Hall. Sperber. ed. ANTHOLOGIES: At the Piano with Robert and Clara Schumann. Hinson (Alfred. Kirby. Faurot. Marciano (Doblinger). Meggett. Präludium II: see Preludes and Fugues Op. Op. Level: Early Advanced. Johannes Brahms und Seine Freude. LISTED but not found in print: Three Kleine Klavierstücke. Op. Schonberg. (B minor. Larghetto (Vier flüchtige Stücke) Op. Laurence. Romanze in h-moll (WoO) [Christmas 1856]. SCB. and Souvenir de Vienne Op. descending motif of sad longing. 9 [1837–38] (Diabelli). Ternary form. Variations on a Theme by Robert Schumann Op.K. Gillespie. Jezic. Dubal. scores < previous page page_173 next page > . Maurice Hinson (Alfred. KOM. N-B. ed. Opening theme. Exercises and Fugues. 4 pp). Hinson. Smith (Mel Bay. B&T. Contemporaries of Schumann.Draheim (Wiesbaden: Breitkopf & Härtel. Op. FRK. Andante con sentimento: see Quatres Pièces Caractéristiques Opus 5/3.). Drei Romanzen Op. 1990). S&S. See Collections: Preludes. Great Women Composers. 1988). 1999). Hyde. Glickman and Schleifer (G. Hutcheson. 15/1: see Single Works. J. ClagS. 1987). Repeated triplet chords increase the urgency in the G-major middle section. At the Piano with Women Composers. 16/2. 20: see Ausgewählte Klavierwerke. James Briscoe (Indiana University Press. Mazurka Op. a syncopated. ed.d. MGG. 15/1. with two themes in each section. Opening arpeggiated theme sweeps from hand to hand. Grove. Pendle. containing Two Romances [1885–86] and Andante con sentimento [1838]. Op. 6/1 and 3. ed. langsam. 1992). Baker. Kenneson. 1996). sel/ed. 2/4. Frauen Komponieren. Kehler. Gordon. SOURCES: Ammer. Women Composers: Music Through the Ages. 3rd ed. ed. ed. H&H. A-Z. ed. Magrath. Historical Anthology of Music by Women.< previous page page_173 next page > Page 173 and trio). Stern. series eds. 6/5: see Single Works. Mac. 5/3. 1983). Vol. 16/2: see Single Works. 21/1-3: see Single Works. Kurt Hermann (Hinrichsen. Mazurka: see Soirées Musicales Op. Goertzen. Cohen. 6. < previous page page_174 next page > Page 174 SCOTT, Clara H.Jones b. Elk Grove, Illinois, Dec 3, 1841—d. Dubuque, Iowa, Jun 21, 1897 Clara Jones Scott, composer and hymnist, attended C.M.Cady’s Musical Institute in Chicago, and at the age of eighteen began teaching music at the Ladies’ Seminary in Lyons, Iowa. In 1861, she married Henry Clay Scott, and in 1882 became the first woman to publish a collection of anthems, the Royal Anthem Book. Her well-loved hymn, “Open my eyes, that I may see Glimpses of truth thou hast for me,” still appears in many hymnals. Scott wrote sacred and secular vocal and choral music, as well as a number of pieces for piano. On a visit to Dubuque in 1897, she was thrown from a buggy by a runaway horse and killed. ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990), and American Keyboard Music 1866 Through 1910, ed. Glickman, Vol. 4 of Three Centuries of American Music (G. K.Hall, 1990). Twilight Fancies (1875). Level: Late Intermediate. (D-flat major, 6/8, andante cantabile, 6 pp). Attractive writing distinguishes this sentimental salon piece with four contrasting strains. The symmetrical opening theme gracefully stretches up and then returns on descending triads. The second theme (A-flat major) has graceful treble scales and bass arpeggios. Theme 3 (piu mosso) is a conversation in B-flat minor: RH plays two measures in the soprano, then crosses into the bass for the answer, as LH murmurs on repeated triads. Theme 4 returns to tonic key, with the melody in rolled harp-like chords and a double waltz bass in each bar; then the first section is repeated. SOURCES: ClagH, ClagS, Cohen, H&H, KOM, Laurence, Stern, score SENFTER, Johanna b. Oppenheim am Rhein, Nov 27, 1879—d Oppenheim, Aug 11, 1961 Johanna Senfter, a member of the wealthy bourgeoisie, was educated at a private girls’ school in Frankfurt and studied music from an early age. When only sixteen, she became a student at the prestigious Hoch Conservatory in Frankfurt, where she studied piano, violin, organ, and composition with, respectively, Carl Friedberg, Adolf Rebner, Heinrich Gelhaar, and Iwan Knorr. After eight years of training in the conservative Romantic school, Senfter went to the Royal Conservatory in Leipzig, where she studied with Max Reger from 1908–1910, receiving the Arthur Nikisch prize in 1910 for best student composition. Reger’s < previous page page_174 next page > < previous page page_175 next page > Page 175 style of combining Bach’s polyphony with Brahms’ sonorities and motivic treatments was a significant influence on Senfter. Her extensive output of 134 individual works includes nine symphonies, concertos for piano, violin, viola and cello, a large amount of chamber and choral music, and a great many pieces for piano. At age 81, Senfter died in Oppenheim, her home town. SINGLE WORKS: Drei Stücke für Klavier Op. 77 (Heinrichshofen’s Verlag, 1987). Level: Early Advanced. Written rather late in the composer’s life, these works explore the boundaries of tonality and show the influence of Brahms and Reger. I: Geschwind (C-sharp minor/major, 3/8, 8 pp). A playful scherzo. II: Ruhig (F major, common time, 6 pp). A gentle, heart-felt love song, extremely lyric. III: Lustig. (D-flat major, 3/4, 6 pp). A cheerful Ländler. Vogelweise (Bird Song), ed. Christiane Maier (Schott, 1999). Level: Late Intermediate. (G minor, 2/4, allegretto, 5pp). Written during Senfter’s student years, this is a descriptive character piece in late Romantic style, perhaps inspired by actual bird calls. The theme consists of five repeated tones followed by a twittering cluster of 32nd notes. A good study in close hand position work and subdivisions of the beat. COLLECTIONS: Ausgewählte Werke (Selected Works), ed. Christine Maier (Schott, 1997). A collection showing the range and development of Senfter’s technique as a composer, from technically simpler, romantic character pieces to more complex writing exploring the limits of tonality (score preface). Klavierstudie [1898]. Level: Late Intermediate. (E minor, common time, allegro, 4 pp). Reminiscent of Chopin etudes, with a cantabile bass melody and RH double note figures. Sechs kleine Stücke für Anfänger. Level: Mid-Intermediate. (E/D major, D/A/B minor, simple meters, 1–2 pp). Early character pieces for students. Wiegenliedchen [Cradle song], Morgenspaziergang [Morning walk], Erster Schmerz [First hurt], Im Kahn [On the river barge], Lustige Begehenheit [Merry happenings], Ernste Gedanken [Grave thoughts]. Berceuse (C-sharp minor, 2/4, 4 pp), Mazurka (F minor, 3/4, 3 pp), Vogelweise (G minor, 2/4, 5 pp), and Scherzo (D minor, common time, 9 pp). Level: Late Intermediate/Early Advanced. Four descriptive character pieces written during her student years. Late Romantic style song forms, periodic construction, smooth melodies, clear-cut rhythms and harmonies. The Scherzo is in rondo form. Three Passacaglias (Nos 5, 7, 8) and three Fugues (Nos 4, 5, 7). Level: Advanced. From her two cycles, Neun Passacaglien and Sieben Fugen für Klavier, probably written when Senfter was studying with Max < previous page page_175 next page > < previous page page_176 next page > Page 176 Reger. Remarkable polyphonic technique, with a wealth of melodic, harmonic, and rhythmic ideas, broad cantabile themes, and inventive counterpoint. Drei Klavierstücke Op. 83 [1937–38]. Level: Late Intermediate/Early Advanced. Orchestral quality, with octave doublings, expressive harmonization, polyphonic writing and unison passages, wide melodic leaps, complex rhythms, subtle phrasing and dynamics. I: Gemächlich [comfortably] (F major, 3/4, 4 pp). II: Ziemlich ruhig [rather peaceful] (B major, common time, 4 pp). III: Wiegend [rocking] (G major, 3/4,4 PP). Zwei Klavierstücke Op. 129 [1957]. Level: Late Intermediate/Early Advanced. Composed at the age of 78. Mature, expressive writing, with melodic and harmonic invention, expressive chromaticism. I: Ruhig [restfully] (F major, 3/4, 4 pp). II: Lebhaft [lively] (A minor, 3/8, 6 pp). A scherzo. SOURCES: A-Z, Boenke, Cohen, H&H, KOM, Mac, SCB, S&S, Sperber, scores SHEPHERD, Adaline (var. Adeline) b. Algona, Iowa, Aug 19, 1883—d. Milwaukee, Wisconsin, Mar 12, 1950 Born in Iowa, ragtime composer Adaline Shepherd lived in Milwaukee most of her life. She began composing in her early twenties, and although she lived to be sixty-seven, wrote most of her music before she was thirty-five. In 1908, William Jennings Bryan used her immensely popular Pickles and Peppers Rag as his campaign song. Wireless Rag (1909) and Live Wires (1910) reflected the new technology of the time. In 1910, Shepherd married an insurance company executive, Fred Sherman Olson. They had three children, and were comfortably well off. After her publication of Victory March in 1917, she apparently gave up composing, but continued to play the piano in spite of arthritis. ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990) and At the Piano with Women Composers, ed. Hinson (Alfred, 1990). Wireless Rag [1909]. Level: Late-Intermediate (E-flat major, 2/4, not too fast, 3 pp). This unusual rag is a theme and three melodic variations over an ostinato bass, with a closing section in the subdominant key. In variation 1, octaves with grace notes replace block chords. Next, the syncopated sixteenths. Finally, the theme sounds an octave lower with simpler voicing and even more syncopation. In the final section, full block chords on every eighth note accelerate to the end. < previous page page_176 next page > < previous page page_177 next page > Page 177 Ragtime & Early Blues Piano, comp./ed. Appleby and Pickow (Amsco, 1995) and Women Composers of Ragtime, comp. Lindeman (Theodore Presser, 1985). Pickles and Peppers. A Rag Oddity. [1906]. Level: Mid-Intermediate (A-flat major, 2/4, not too fast, 5 pp). In 1908 alone, this immensely popular rag sold 200,000 copies, and continued selling through 1913; at least one piano roll and four recordings were made of it. It contains three strains; in the altered repeat of C, the genteel 8th note motif becomes a rowdy, syncopated sixteenth note figure, changing the cakewalk to a stomp. Wireless Rag [1909]. See above. American Keyboard Music 1866 Through 1910, ed. Sylvia Glickman, Vol. 4 of Three Centuries of American Music (G.K.Hall, 1990). Pickles and Peppers. SOURCES: B&NB, Hasse, J&T, KOM, MLA, scores SLOMAN, Jane (var. Torry, Sloman Torry) b. England, 1824—d. United States, after 1866 In 1839, Jane Sloman emigrated from England with her parents, becoming one of the first female piano virtuosi to perform in the United States. A prodigy who played opera overtures at age five, she studied in England with Madame Dulcken, pianist to Queen Victoria. Her New York debut concert in 1841 marked the beginning of ten years of extremely successful concertizing. Contemporary reviewers noted her extraordinary talent and ease of execution, as well as her “grace, sentiment, expression, and pathos.”176 As a composer, Sloman appears to have been entirely self-taught. After 1850, she published her compositions under the name Sloman Torry, and they appeared in print until 1902. Extant works include nine hymns in The Melodist, a song collection described on its title page as “selected gems from celebrated composers arranged for the use of female seminaries.”177 Twenty-two other songs written in a cultivated, full-blown Romantic style are in existence, including Titania, Barbara Fritchie, Queen of the Night, Take Back the Ring, and The Maiden’s Farewell . Four keyboard works have been located, including the only one in modern print, below. ANTHOLOGIES: American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990), and American Keyboard Music 1866 Through 1910, ed. Glickman, Vol. 4 of Three Centuries of American Music (G. K.Hall, 1990). < previous page page_177 next page > < previous page page_178 next page > Page 178 La Favorite: Etude Mazurka [1866]. Level: Early Advanced (F/B-flat/E-flat majors, 2/4, allegro marcato, 4 pp). In mazurka form, an enjoyable etude in right hand octaves with inner thirds. The introduction is formed of three ascending chromatic scales and some graceful twitters, while the main theme would not be out of place in Verdi’s La Traviata . Two contrasting sections are followed by a repeat of the opening idea. SOURCES: Ammer, B&NB, Cohen, H&H, KOM, Laurence, Mac, Pendle, Stern, Tick, score STIRLING, Elizabeth b. Greenwich, England, Feb 26, 1819—d. London, Mar 25, 1895 Organist Elizabeth Stirling studied piano, organ, and composition at the Royal Academy of Music in London with W.B.Wilson, Edward Holmes, George MacFarren, and J.A.Hamilton. In 1837, when only eighteen years old, she gave a lengthy and remarkable organ recital of Bach’s works, including five preludes and fugues and three trios. All the pieces required extensive use of the pedals, unusual for that period of English organ playing; Meggett credits her with introducing the pedal board in England.178 At age twenty, Stirling embarked on a successful forty-year career as a church organist and recitalist, with well-paid positions in two prominent London churches (All Saints’, Poplar, and St. Andrew’s, Undershaft). In 1856, her Psalm 130 for five-part chorus and orchestra passed the examination for the Music Baccalaureate at Oxford, but the university refused to grant the degree, declaring that women were not eligible.179 In 1863, Sterling married Frederick Bridge, bass soloist and choirmaster at St. Andrew’s, and twenty-two years her junior. Sterling wrote many organ works, including arrangements of Handel, Bach, and Mozart pieces, over fifty part-songs, an unpublished opera, and a few pieces for piano. Some of Sterling’s organ works have been reprinted, but none of her piano pieces is available in modern edition. AVAILABLE ORGAN WORKS: English Romantic Classics for Organ, ed. Barbara Owen (Belwin-Mills, 1984). Air with Variations Romantic Pieces for Organ, ed. Barbara Harbach (Vivace Press, 1996). Six Fugues for Organ, ed. Harbach (Vivace Press, 1997). Six Pedal Fugues, ed. Owen (Belwin-Mills, 1984). Women Composers: Music through the Ages, Vol. 6, series eds. Glickrnan and Schleifer (G.K.Hall, 1999). Moderate and Maestoso, ed. Barbara Owen. SOURCES: Baker, Brown, B&T, ClagH, ClagS, Cohen, Ebel, ElsonA, Fuller, grovemusic, H&H, Heinrich, Hyde, Laurence, Mac, Meggett, S&S, Stern, score < previous page page_178 next page > SINGLE WORKS: 25 Mazurkas [1820]. according to some sources. Cherubini. and represent some of her finest work. she ceased touring and settled in St. Szymanowska’s music embodies two early Romantic ideals: an emphasis on the individual. with Elsner. with no tempo indications. in her use of folk melodies and dances. Petersburg. based on the bel canto singing style of the day. Gremm. each dance is one page long. the first Polish pianist to gain a European reputation. with sectional movement governed by tonic-dominant relationships. and. Field. constructed in symmetrical eight-bar periods. Sixteen are in ternary form. All except two remain in their major keys. Irene Poniatowska (Hildegard Publishing.180 In 1810. Warsaw. variations. and later. In 1828. Impressively. she became ill with cholera one afternoon. where she kept a brilliant salon for musical and literary cognoscenti and Polish expatriates. Hummel. Her cantabile playing. Hummel. She composed more than one hundred works. Petersburg. In July of 1831. and Russia. was widely hailed as a brilliant innovation. seven binary. Petersburg. Maria Agata (née Wolowska) b. < previous page page_179 next page > .181 Credited with being one of the first to write concert music based on Polish dance forms. John Field. irregular accents on beats two and three. caprices. fantasies. she left him after ten years of marriage. taking her children with her and supporting them by concertizing widely to great acclaim. 1993). and her command of dynamics was especially renowned. waltzes. including some songs and chamber music and nearly ninety compositions for the piano: nocturnes. 1789—d. preludes. and one has only a single section. but because he objected to her career. evident in her virtuoso works. the Tzar of Russia appointed “the female Field” court pianist in St.< previous page page_179 next page > Page 179 SZYMANOWSKA. and Cherubini all dedicated works to her. ed. and she continued touring the continent. Dec 14. and died the following morning. They had three children together. In 1822. she made debuts in both Warsaw and Paris. Level: Mid-Intermediate. and etudes. Poland. Jul 24. Szymanowska was of enormous influence on the young Chopin. most of her works were published during her lifetime by the major publishers in Europe and Russia. one in five parts. Szymanowska’s twenty-five mazurkas retain the simplicity and lively character of the original dance. and Lessel in Warsaw. 1831 Maria Szymanowska. received a fine musical education with Lisowski. and Schumann praised her twelve Concert Etudes. and all employ primary chords in simple accompaniment patterns. as well as mazurkas and polonaises. St. and leaps to appogiaturas. Russia. England. Folkloric patterns include characteristic rhythmic figures. and patriotism. All are in 3/8. Unlike Chopin’s later stylized examples of the genre. and married the landowner Josef Szymanowski. 7. in ternary form. with accents. full of melodic embellishment and improvisational effects. allegro ma non troppo. An invigorating study in RH arpeggio sequences. ornamented melodic writing. (3/4. risoluto. From Vingt exercises et preludes pour le pianoforte. 17 in B-flat Major. Cinq Danses. Level: Mid Intermediate. Polonaise and Trio in C major. Valse in A major. This collection contains No. Valse in F major. vivace. Nos 9. 3 pp). 6. Level: Late Intermediate. 12 in E-flat Major. Cinq Danses pour Piano. 1. for soprano and alto voices. with legato outer voices supported by fluttering alto and tenor. occasional LH octaves. A study in balance and endurance. second trio has a harp-like accompaniment. and the melody is in octaves in second half. and pedal markings. ed. No. Menuet in E major. Sylvia Glickman (Hildegard. Anglaises in E-flat. Except for the first 2-page work. 8. Russia created a market for Szymanowska’s compositions. A study in changing-note melody over static repeated chords. Level: Late Intermediate. This edition includes fingerings. (6/8. Etude No. 11 pp). Legato fingering in continually shifting hand positions. metronome indications. 5. Etude in C major. (6/8. B-flat. GKH reprint). 3 pp). which supported by primary chords in basic accompaniment patterns. An imaginative study based on French opera themes. Five tuneful. Maria Szymanowska: Music for Piano. LH octaves support the opening stepwise melody played in thirds. Three Etudes ed. See Single Works. Anne Swartz (Hildegard. 8 pp). Level: Late Intermediate/Early Advanced. First trio has an arching melody accompanied by block chords. 6/8. Level: Advanced. (3/8. Etude in F major. Contradanse in A flat major.< previous page page_180 next page > Page 180 Caprice sur la Romance de Joconde pour le Pianoforte [1819] (Hildegard. This unusual minuet has two trios. Etude in D minor. Level: Mid-Intermediate. Rapid parallel thirds and sixths in scales and chromatically altered passages. 4 pp). 12. Level: Late Intermediate. GKH reprint). brief and lively dances of the period. each is one page long. < previous page page_180 next page > . and the following from Dix-huit Danses: No. Court dances popular in early 19th c. (E major. No. 10. 1991). Turns and grace notes ornament the melodies. GKH reprint). Level: Early Advanced. No. 6 in C major. 1985). and A-flat Major. Etude No. COLLECTIONS: Character Pieces (Hildegard. 2 in B-flat major from Six Menuets pour le Pianoforte. Valse in E-flat Major. No. Etude No. Bravura divided chords in contrary motion. vivace. Valse for three hands in B-flat Major. all are in a quick 2/4 except for the final “Quadrille” in 3/8. ed. Regina Smendzianka (PWM. 11. Women Composers: Music Through the Ages. Vingt-quatre Mazurkas: Nos 1. See Single Works. Gordon. ed. Cohen. Fervently nationalistic dance in compound ternary form. d. In rondo/variation form. E-flat. E-flat). Song Setting. series eds. E. Ebel. Frauen Komponiereo. 1992). atmospheric pedal points. rev. 1987). 3. Contents: Polonaise f. two Anglaises. Menuet E. Dubal. Johnson. The impassioned melody. full of fire and romance and lying well under the hand. SCB. Listed in Hinson’s Guide. Kirby. Mac. KOM. Caprice sur la Romance de Joconde pour le Pianoforte. 18. 13. Level: Late Intermediate. harmonized in thirds and sixths. ANTHOLOGIES: At the Piano with Women Composers. with a harp-like accompaniment. Contents: Vingt Exercices et Preludes: Nos 1. V. scores < previous page page_181 next page > . ed. and accompanied by thrumming octaves and divided chords. H&H. Briscoe (Indiana University Press. 1953). ed. (3/4. MGG. Fantaisie in F Major.Hall. Turns. Schonberg. 1990). Six Menuets I. Sowinski. Character Pieces. SOURCES: A-Z. and Historical Anthology of Music by Women. Laurence. Hinson (Alfred. ed. 14. Magrath. Glickman and Schleifer (G. 3rd ed. Hinson. ElsonA. Maria Szymanowska: Album per pianoforte. 1999). 2. arpeggiation. moderate. The accompaniment undergoes figural variations with patterns and harmonies much more sophisticated and imaginative than in earlier works. Contrasting episodes provides contrast. 1996).< previous page page_181 next page > Page 181 Polonez in F minor. Jackson. Published posthumously in 1852. ed. Great Women Composers. MLA. (B-flat major. 8. Similar to but more elaborate than Field’s nocturnes. 3. 459. aiming to evoke an epoch (score preface). 3 pp). is characterized by modal scales and sudden octave leaps. La Murmure: Nocturne. 763. Four Valses for Three Hands (for two people). Boenke. three Valses. and Three Etudes. and the final reprise of the opening theme is in RH octaves for the right hand.K. 12. Josef and Maria Mirsy (PWM. Vol. 7 Etudes (F. Danse Polonaise. 9. Meggett. LISTED but not found in print: Album of Piano Music: Maria Szymanowska. d. Smith (Mel Bay. evoking the spirit of a gypsy orchestra. S&S. and the gracefully ornamented melody foreshadow Chopin. above. C. The Trio (D-flat major) is calmer and more lyric. ed. Interesting pieces from Szymanowska’s rich and varied output. Grove. 8. Rieger/Walter (Schott. 12/8. Maria Szmyd-Dormus (PWM. Le Murmure. 6 pp). moderate. 1990). trills and alternating 16th notes add to the brilliance. 15. Baker. 17. Dix-huit Danses: One Polonaise. and Jackson. Nocturne [1828/31].. Level: Late Intermediate/Early Advanced. 20. A truly delightful and unpretentious work. 19. Pendle. FRK. Honegger. she had. she grew to admire French composers of the eighteenth century. and the Prix Montaigne. and joyfully musical. Paris. 1983 Germaine Tailleferre. ballets. Because her father refused to support her. Nov 6. the small teaching pieces are as appealing. the only female member of “Les Six. displays some of the conciseness and qualities of movement found in Couperin and D. works for orchestra and wind band. and piano pieces. counterpoint. where she proceeded to win first prizes for solfege.Scarlatti. the Prix Italia. Estyle.” and Alfred Cortot played her piano music at concerts in London. Tailleferre lived in the United States. many film and television scores. (Marcelle) Germaine (née Taillefesse) b. her more than three hundred works include operas. choral music and songs. natural musicianship. they remained in close contact during the 1920s. Fauré. which she was far too apt to denigrate. her future cohorts in “Les Six. 1892—d.” and received among other awards the Grande Medaille d’Argent de la Ville de Paris. 1924–1927). but she returned to France. Tailleferre outlived all the other members of “Les Six.< previous page page_182 next page > Page 182 T TAILLEFERRE. and accompaniment. As the editor of six volumes of eighteenth-century French and Italian arias (in Les Maitres du Chant. harmony. which retained its spontaneity and freshness throughout her life. and her last position was professor of accompaniment at the Schola Cantorum from 1970 to 1972. with whom she studied orchestration. calling her his “musical daughter. In Georges Caussade’s 1913 counterpoint class. Occasionally using extended tertian sonorities and some mild polytonality. the Officier de la Légion d’Honneur. she studied with Eva Sautereau-Meyer. the Grand Prix Musicale. incidental theater and radio music. the GrandCroix de l’Ordre du Mérite. she met Auric. charming. Parc-St-Maur-des-Fossés nr. is modernistic. and especially Ravel. A piano prodigy. pastel hues and simple lines. as the larger works. Erik Satie praised her work. and her unique style. and Milhaud. < previous page page_182 next page > . the young girl gave music lessons to pay her professors and support herself. A prolific and practical composer who worked to commission. Paris.” the group of diverse French composers united in their dislike of Wagner and Impressionism. and Dallier. the hallmarks of Tailleferre’s works are a gift for soaring melody. Her music. Widor.” entered the Paris Conservatoire against her father’s will in 1904. and solid craftsmanship. During World War II. a lifetime of financial hardship. with as much integrity of workmanship. in fact. Other influences on Tailleferre’s style include Stravinsky. Apr 19. In this charming musical nosegay. Larghetto. Level: Late Elementary/Early Intermediate. 6/8. gay colors. to a minor seventh chord. a rocking rhythm. c. Suggested fingerings. alla Siciliana). Valse Lente. serene picture. in ternary form. each is a fresh. 1997). Danse des bonnes femmes (jig). and grace notes make a charming. Level: Early Intermediate. Fleurs de France: Pieces Faciles pour Piano (Éditions Henry Lemoine. Repeated notes. Berceuse. < previous page page_183 next page > . Level: Early Intermediate. Sautillé. Enfantines pour piano [1975–78] (Henry Lemoine. Scarlatina (perhaps a tarantella). 1962). common time. with a continual 8th note murmur under a conjunct double-note melody. The melody is played in thirds by the right hand. Close position hands frequently share treble clef. In typical Sicilian rhythm. folk-dance rhythms and melodies. (C-sharp minor/E major. Adage. andantino. aa. The use of modes and repeated phrase pairs creates an air of the Renaissance. 3 pp each). Also arranged by the composer for two pianos (elementary). dry scent. rounded binary forms. Two brief. 6/8. Four-part chords in the middle are reminiscent of Ravel’s Sonatine: a major chord drops a fourth. Three short movements in each charming work. spare 3.< previous page page_183 next page > Page 183 SINGLE WORKS: 3 Sonatines pour Piano [1975–78 ?] (Editions Henry Lemoine. allegro brilliante). 2/4. Gentle movement and sparse texture is not unlike Satie’s third Gymnopédie. Poursuite. and simple accompaniments. (G minor. Modal with chromatic borrowings. Thirteen brief character pieces composed for pupils of the École Alsacienne in Paris. eight vignettes depict the flowers in different regions of France. Jasmin de Provence. Only one or two pages long. and neo-classical forms. in easy keys. Enfantines. tinted with Impressionist colors. repetitive melodies in narrow ranges. painted in bright. Berceuse du menerou. Gavotte. but no pedaling and few dynamic or articulation indications. E minor. bb. 1993). (G minor. Some altered dominants appear in the transition section. Pastourelle. quintessentially French works reminiscent of Satie and Poulenc. Course. Coquelicot de Guyenne. Level: Late Elementary/Early Intermediate (15 pp). simple meters. Valse. aa. Improvisational “prelude” effect. 1993). and dance patterns. simple meters. simple. Rose d’Anjou. with modal borrowing. delicate miniature in two-voice textures. 3/4. sparse textures. with accents on the second beat and chords on beat one. andantino tranquillo). Galop. Hands are in close position in the upper middle register. the form is a perfect arch of four-measure phrases: aa. The gentle old-fashioned melody in Aeolian and Dorian modes seems to give off a faint. 2 pp). A corn poppy. (C-sharp minor.and 4-voice texture. (D major. Deux Pieces pour Piano (Henry Lemoine. 4 pp). (C/F major. moderato/allegro. 6. this portrait of a convolvulus uses major and mixolydian modes in slowly turning spirals. Vol. 1 Dans la Clairière [In the forest glade]. Au Pavilion d’Alsace [1937]. free feeling permeates this final vignette. piquant harmony. Ternary form. cornflower.Hall. (A-flat major. andante cantabile). Gracefully rocking pairs of eighth notes form both melody and accompaniment. allegramente). 2/4. 3/4–3/8. alternating with piano seventh chords in hymn texture. Level: Late Elementary/Early Intermediate. Sauguet. ed. 1996).Deiss (Broude Bros. French composers: Auric. 5/8-6/8. Poulenc. cheerful strokes. accompanied by murmuring eighth notes in a spinning-wheel pattern. Henri Classens (Philippo. (G major. a staccato melody. (E minor. The only piece in triple meter. 1937). Lavendin de Haute-Provence. Level: Late Elementary/Early Intermediate.K. Fragmented motive is used in a long transition back to the original theme. followed by a quicker passepied. and Tailleferre. 2/4. spirited binary dance. half-diminished 7th chords in the block chords at bridge and ending. Bleuet de Picardie. A L’Exposition. (D major. moderato. Level: Late Intermediate. with hands doubling two octaves apart. dotted rhythms over a tonic drone are reminiscent of a pastoral minuet or musette. ed. Vol. 2/4. Glickman and Schleifer (G. Major and Phrygian modes provide color. 4/4. this enjoyable and chromatically adventurous work has distinctive metrical alternations. 1953). characterized by wider intervals and rolling rhythms. allegretto grazioso). (C major. 3/4. 5 pp). (F major. Level: Late Intermediate. ed. 2: Valse pour le Funambule [Tightrope dancer’s waltz]. Janelle Gelfand. 1999).. A fresh. (B-flat major. and a running sixteenth note accompaniment. 1953). Delannoy. Musique et Musiciens d’Aujourd’hui. written in three staves throughout. A breezy. Pastorale en la flat. (D minor. Pastorale [1919]. Schmitt. A truly gratifying piece with two of < previous page page_184 next page > . Blue-bottle.< previous page page_184 next page > Page 184 Tournesol de Languedoc. 5/8. Two descriptive teaching pieces. ANTHOLOGIES: Album des Six: Six Pieces for Solo Piano (Masters Music. 2/4. allegro grazioso). Ibert. enjoué [jovial]. The brazen sunflower is painted in bold. Vol. Milhaud. or bachelor-button. Dedicated to Milhaud. Level: Early Advanced. andantino). this grows wild on the American prairie and roadside as well as in Picardy. Six-bar theme constructed of two motifs. appealing teaching piece: entrancing melody. close two-voice texture in upper registers. 2 pp). beautifully crafted. Seule dans la forêt [Alone in the woods] (G. series eds. 2 pp). Cheerful. Anthémis du Rousillon.Billaudot. (G-flat/B major. 10 pp). A collection of works by eight early 20th c. R. allegro. AAB. Volubilis du Béam. Women Composers: Music Through the Ages. 5th. Good introduction to the art of counterpoint. Level: Early to Mid-Intermediate. DUETS: Deux Valses and Image (Lemoine. rhythms are progressively complex. Magrath. flowing movement.). Grove. S&S. SINGLE WORKS: 50 Polyphonic Pieces for Piano (Broekmans & van Poppel. a suite for violin and piano. 2nd. lyricist. ? Dutch organist. Muzikale Bouwstenen: 30 Studies for piano. Jul 11. and augmentation.< previous page page_185 next page > Page 185 Tailleferre’s favorite devices: a smoothly arching melody in 5/8. harmonized in parallel sixths over a tonic pedal. canon at the octave. n. Maria Elizabeth Gerlings. the Netherlands. N-B. Hutcheson. and later with Jean Baptiste de Pauw and Steven van Groningen. Suite Burlesque (Lemoine. n. mirror-writing. Maria Elizabeth van Ebbenhorst (var. contrary motion. hemiolas. Stern. with many indications of mood as well. FRK. 3rd. Frequent meter changes.d. Hinson. textural inversion. Gillespie. SCB. and non-legato. and some early 20th c. H&H. More studies for beginners: Bedenkseltjez aan de Piano. and teacher Maria Tengbergen first studied with her aunt. MGG. A-Z. Hoorn. she composed an operetta. H&H. Cohen. Pendle. SOURCES: Cohen. and 6th. Articulations include legato. Kirby. SOURCES: Ammer. Gordon. KOM. ClagS. Laurence. Meggett. using a wide variety of contrapuntal techniques: imitation. Fifty progressive tonal studies in two-voice counterpoint. modal borrowing. all published by Broekmans & Van Poppel. 1927). Johnson. but in simple meters and a variety of tempos. Jeux de Plein Air and Premières Prouesses (Jobert. She studied harmony with Sem Dresden and counterpoint with Wilhelmina ter Huppen in Amsterdam. two-note slurs. each two lines long and deceptively easylooking. bitonality. ambiguities: parallel fourths and fifths. 1885—d. Friskin. Besides writing many children’s songs to her own lyrics. Close-position hands frequently share the treble register. and Oude Wysjes voor Jonge Handen. accents. pastel colors. KOM < previous page page_185 next page > .d). Baker. staccato. scores TENGBERGEN. Ebbenhorst-Tengbergen) b. Klimmen en Dalen. copious dynamic markings range from piano to forte. Mac. and teaching pieces for piano. Boenke. 1980). HAMW. Tempos are rapid and ornaments are frequent.? Dutch pianist and composer Bertha Wijers first studied with her mother and sister. and piano pieces. predominantly continuous 16th notes in scale and arpeggio patterns. Beautifully clear Urtext edition. except that she published sacred choral music and song settings of English poetry in popular magazines in 1750s London. chamber music. but chromatically adventurous. Gordon. Six late Baroque/Rococo sonatas for harpsichord. with standard accompaniments. allegretto. London. Zutphen. 1887—d. Bertha (née Wijers. The harpsichord lessons below were published as “A collection of [19] songs with symphonies and a thorough bass. KOM TURNER. Level: Late Intermediate/Early Advanced. (G/D/B-flat/A/F majors. Level: Late Intermediate/Early Advanced.< previous page page_186 next page > Page 186 TIDEMAN-WIJERS. (C minor. Texture is two-voice. ed. Jackson. but returned to her native Holland in 1929. score < previous page page_186 next page > . G minor. Netherlands. with dance figures. some duple vs. 6/8. Heinrich. each). Tonal. The three-movement works are predominantly in binary dance forms. Hinson. Albertha Wilhelmina) b. Barbara Harbach (Vivace Press. SINGLE WORKS: “Oostersche Impressie” [1920] (Donemus. with six lessons for the harpsichord. 1980). 1750s–1780s Very little is known about Elizabeth Turner. triple effects. with eight systems per page. Elizabeth fl. she studied with Max Loewengard and Wilhelm Klatte. with slower middle movements in the parallel minor. 1993). all published before 1952. Tideman-Wijers lived in the Dutch East Indies for seventeen years. 9–12 pp. Jan 8. H&H. 4 pp). As a teenager at the Stern Conservatory in Berlin. rather difficult to read.” COLLECTIONS: Six Lessons for Harpsichord or Piano [1756]. Facsimile of the autograph score. Her compositions include songs. SOURCES: Cohen. A pleasing ostinato rhythm. and Ernst von Dohnányi and Richard Roessler were her teachers at the Berlin Hochschule für Musik. H&H. SOURCES: Cohen. ed. 1. Judging by their subscription lists. New Grove. Calvert Johnson (ClarNan Editions. Triplet figures provide melodic and rhythmic contrast during the episodes. Jan 11. Margaret’s Church. and instrument seller. Lucie (née Weiler) b. ElsonA. 1762. Cohen. teacher. Stern. a post she held nearly fifty years. An energetic and enjoyable work for harpsichord or piano. 1762—d. Ebel.Hall. which included chamber and keyboard music. Mac. Dec 23. Oct 13. and composer. Leicester. Meggett. common time. Generally in two-voice texture. her compositions. 3. Monny Musk. and harmony and composition with Paul Miry and Joseph Jongen. She had a career as a pharmacist. Brown. composer.K. Vol. Level: MidIntermediate. the lively dance tune consists of a continuous dotted “Scotch” rhythm with an ornamented beat in every measure. she was appointed organist at St. Ann was the daughter of Tabitha and John Valentine 11. Ann b. In 1785. a member of a prominent family of musicians in Leicester. were popular works of the time. ed. Deborah Hayes. later musical studies were violin with Emile Chaumont. Glickman and Schleifer (O. Arranged as a Rondo for the Piano Forte [1798]. Laurence. Oct 12. Vellère studied piano and solfege with her father. Jackson. Heinrich. described below. 1994). and the variously named Monny Musk (Money musk. S&S. was an organist. A standard five-section rondo based on a popular Scottish tune. 1966 As a child. (F major. England. MGG. and Leicester’s principal musician. SOURCES: Boenke. series eds. score preface VELLÈRE. 1896—d. Christened on March 15. H&H.< previous page page_187 next page > Page 187 V VALENTINE. Monny Music). music-seller. Brussels. Leicester. Ann made her harpsichord debut at a family concert in Rugby. allegro assai. 6 pp). Two publications from 1798 are currently available in modern editions: Ten Sonatas for the Piano Forte or Harpsichord with an Accompaniment for the Violin or German-Flute Op. instead of < previous page page_187 next page > . Brussels. Leicester. 1842 Ann Valentine.182 ANTHOLOGIES: Women Composers: Music Through the Ages. 1998). primitive rhythms.183 Her music received several awards. S&S. 3/4 valse lente. Zaimont < previous page page_188 next page > . (D minor [modal]. she won the only prize awarded by the American section of the International Council for Women. 6/8–4/8–3/8. Dotted half-notes accompany a stepwise melody set in shifting meters and unsymmetrical phrases. and her writing is marked by cleverness and taste. Three movements. Level: Late Intermediate/Early Advanced. Sonatine (CeBeDeM. modérément animé. II.< previous page page_188 next page > Page 188 following the usual path for composers. Level: Late Intermediate/Early Advanced.). A markedly rhythmic waltz with shifting meters and tonal centers. Two-voice imitative texture with occasional triads or octave. In rounded binary form with two contrasting rhythmic motives. II. Bacchante [Orgiastic dance]. shared between the hands. (A-flat major. tonicdominant relationships exist. In 1957. modal and chromatic harmonies. (E minor. 1960). La Porteuse d’Offrandes [The portress of offerings]. exciting accelerando to the end. and thin textures. 4 pp). 6/8. SINGLE WORKS: Deux Danses (CeBeDeM. shifting meters. good contrasts of dynamics and register. K800. Three dance portraits. but the key center is perpetually shifting. but belonged to no particular school of composition. cadences are marked by hemiolas. 4 pp).d. Impressionist influences can be traced in her modal and sometimes atonal harmonic language. and in 1937. Her compositions include music for orchestra. (A-flat/E major [modal]. Ternary form.). Facsimile manuscript is difficult to read. 3 pp). Trois Tanagra [1918] (Editions Musicales de L’Art Belge. gracieusement sans presser. Neo-classic in style. n. many vocal and chamber works. as in Renaissance courantes. including the 1935 first prize from the National Committee for the Promotion of Belgian Music. melody in RH octaves. Sweet melody in a simple arpeggiated texture. I. 2/4. Cohen. with an exciting middle section. I. Johnson. H&H. 4 pp). SOURCES: Boenke. in three beats instead of two. très calme. III. and piano pieces. Driving. Level: Late Intermediate/Early Advanced.d. FRK. n. the Brabant Prize. Danseuse [Female dancer]. modal harmony is modal with many borrowed chords. Dance rhythms. 4 pp). 14 pp. Vellère composed more than one hundred works over a span of forty-five years. vif. Staccatos alternate with short slurs in this vivacious dance. 2/4. (A minor. with Air de Syrinx for a capella choir. II: Andantino (D major/minor. after that giving concerts and advanced courses for teachers in Sweden.< previous page page_189 next page > Page 189 VTLLEBLANCHE. Madame de (née Dreux) late 18th century France Nothing is known about this composer. Ternary form. A jig. and tremolo octaves. SOURCES: G&F. after studying piano with Max Pauer and Wilhelm Kempf and composition with Joseph Hass. Vienna. Sonate II in B-flat Major. and continuous subdivided rhythms. II: Menuetto and trio (F major. Beautifully clear Urtext edition with no editorial intrusions. with scalar and triadic melodies. and Turkey. Sonate I in C Minor. broken-chord. and teacher Käthe Volkart-Schlager graduated from the Stuttgart Music Academy in 1917. III: Allegro (B-flat major. Volkart-Schlager composed chamber and vocal works and teaching pieces for the piano. From 1947 to 1969. except that after her untimely death at age twenty-four. Binary form. 9 pp. composer. 6/8). Finland. 6/8). Hinson. I: Allegro (cut time). cut time). Sonate III in C Major. Phrases are short. Pitre-Michel Villeblanche. ed. 1993). score VOLKART-SCHLAGER. I: Allegro maestoso (2/4). 14 pp. who dedicated his Opus 6 to her. Calvert Johnson (Vivace Press. and the sonata-allegro form is in its developmental stage. III: Presto (C minor. Jackson. her husband published her sonatas as a memorial. with parallel thirds in the right hand. she taught composition and improvisation in Stuttgart. Feb 7. and became the head of the music teaching department. II: Andante (C major. 16 pp. I: Allegro (2/4). Composers Armand de Villeblanche. COLLECTIONS: Four Sonatas for Piano or Harpsichord [1782]. excellent prefatory material includes a discussion of ornaments. two-voice textures. 2/4). 2/4). 16 pp. Late galant or early Classical works. I: Allegro moderato (3/4). < previous page page_189 next page > . Accompaniment patterns include Alberti bass. but it is unclear if any relationships exist with this composer. Käthe b. ? Austrian concert pianist. Sonate IV in D Major. II: Andante (E-flat major. 2/2). She continued her studies until 1929. Level: Late Intermediate/Early Advanced. 1897-d. III: Presto (C major. 3/4). She may have studied piano or composition with Nicholas Hüllmandel. and Zoï Villeblanche were all active in the eighteenth and nineteenth centuries. in two-voice textures and many keys. Amsterdam.< previous page page_190 next page > Page 190 SINGLE WORKS: Für Kleine Leute [For little people] (Willy Müller Süddeutscher Musikverlag. 1888—d. May 27. Her first compositions were songs and choral works. and then returned to Amsterdam in 1937. Messiaen. Honegger. where she spent World War II in hiding. She spent a year each in Vienna and the USA.d. and studied briefly with Aubert. as well as conducting the Jewish women’s chorus of the Religieus Socialistisch Verbond in Amsterdam. she lived in Paris from 1929–1935. Caroline —see WUIET. with theoretician Paul Pisk as the first dedicatee. 1938). she taught piano and solfège and directed choirs. Among the many composers who gathered in her home in Paris were Elsa Barraine. and Ravel. H&H. In simple ternary form. Heinrich.). As an instructor at the Amsterdam Muzieklyceum. as well as a few pieces for piano. Stravinsky. Level: Late Intermediate/Early Advanced. Laren. melodic motives of descending tetrachords. < previous page page_190 next page > . the Netherlands. Rosy b. chamber and choral music. Cohen. Each of these six interesting pieces is dedicated to a different person. She then studied harmony and counterpoint with Bernard Zweers and Sem Dresden. FRK. Attracted by music of Debussy. they use chromaticism and shifting modal harmonies. her earliest compositions were for chorus. Her works include orchestral. Ibert. Grete von VUIET. and unsymmetrical phrases. conducted a children’s chorus. SINGLE WORKS: 6 Morceaux de Piano (Amsterdam: Broekmans & van Poppel. Caroline W WERTHEIM. KOM. Wertheim gave piano lessons to poor children. and Jolivet. SOURCES: A-Z. SCB VON ZIERITZ. characteristic repeated rhythms. n. Thirty brief progressive pieces for beginners. and supported a number of families herself. Grete —see ZIERITZ. Feb 19. Concerned about the plight of the poor. 1949 Dutch composer Rosy Wertheim earned a piano teaching certificate in 1912 from the Koninklijke Nederlandse Toonkunstenaars Vereniging. < previous page page_191 next page > . LH plays a second. 2 pp). and the harmony is full of modal borrowing. Dotted rhythms and triplets. Martha Furman Schleifer (Hildegard). Anna Julie) Early 19th century German In 1794. In the brief development section. 3. allegro energico. 2. (E-flat minor. Jeu d’Enfants. is like children humming as they play.< previous page page_191 next page > Page 191 1. Fetis. grovemusic. 3/4. The middle section suggests the international taunting tune. Works by Lang. in a mad sprint across the pages. Stern WEYRAUCH. with RH tweaking seconds on the offbeats. the melody is made up of repeated phrase pairs. Etude. the enharmonic spelling of the leading-tone. In any case. H&H. 4 pp). leggiero. KOM. Dissonant triads are played by hands sharing the same position on alternating sixteenth notes. allegretto. 2 pp). Von Weyrauch. and de Weyrauch. broader motive. intro. The work gradually fades into the distance. molto cantando. a wide arpeggiated bass is rocking underneath the melody. In this delicate piece. the composer wrote three etudes and a number of dances for pianoforte. ANTHOLOGIES. Hands play close together in this pert country dance. Contrasting articulations suggest nods and bows. a Madame de Weyrauch was the “First Singer” in the ducal Hoftheater at Weimar. It is unclear whether this was Anna Julie or Sophie Auguste von Weyrauch. SOURCES: A-Z. 2 pp). (Common time. marked più animato. The simple theme. but uses fourths and fifths. a sketchy waltz bass of open fifths supports the flirtatious conjunct melody. (E-flat. In this Slavic lullaby. 4. and lots of chromaticism. (2/4. harmonized in parallel triads. moderato. (F major. Berceuse Slav. and the right hand plays a rippling sixteenth note pattern. 5. Langhans. moderato. Cohen. 4/4. created from a descending tetrachord. 4 pp). 3/4. ornamented with grace notes. some homophony. Meters change frequently. Marche. steps and skips. Danse champêtre. S&S. De Weyrauch’s etudes are worthy musical additions to the early Romantic repertoire. Anne de (var. 3/4. two-voice counterpoint. 3 pp). Petite Valse. 6. (E major. Some quartal harmony and sudden dynamic changes are used. Nineteenth Century German Keyboard Music. In the center section. the themes appear in E-flat. the key changes to B major. an organist. 6/8. No. Stella (var. and subsequently became an honorary member of the French Academy. Wuiet was arrested during the Revolution. the march proper and its E-flat Trio each have two repeated strains. Eitner. SOURCES: Cohen. common time. late 19th century No information is available about this composer. ANTHOLOGIES: Piano Music from New Orleans. 1835 Child prodigy Caroline Wuiet first studied with her father. Auffdiener. SOURCES: score WUIET. Whitehurst) fl. m. No. she studied music with Grétry. (B-flat/E-flat majors. H&H. like a nocturne. comp. France. In two sections. Vuyet. ornamented melody. No. Vuiet.< previous page page_192 next page > Page 192 Three Études. Constructed in compound ternary form (aba-cdc-aba). 1766—d. andante grazioso. returning to Paris society afterward. 8 pp). 1980). Jackson. score WHITEHURST. 1 (A-flat major. lived with him for a time in < previous page page_192 next page > . “Rex. common time. this march was probably written for use in Mardi Gras parades. changes to a fluttering ballatella with rapidly alternating octaves and double notes for the right hand. 3/4-6/8. 5 pp). adding up to a thoroughly enjoyable piece of Americana. Paris. After obtaining the patronage of Marie Antoinette. literature with Beaumarchais. The main march theme is similar to “A Bicycle Built for Two. A serene. Level: Mid-Intermediate. andantino con sentimento/piu animate. allegro giusto. 2 (E major. tempo di marcia.” while the Trio is very Sousaesque. John Baron (Da Capo. She married a Colonel Auffdiener.” March-Two-Step (Souvenir de Carnival) [1897]. 1851–1898. pseud. with second strains in the relative minor keys. 3 (A major. 5 pp): A tour-de-force in double notes for the right hand. but fled to Holland and England. and art with Greuze. New Orleans. Dedicated to the King of the Carnival and his Krewe. Wulet. Rambouillet. Caroline (var. 3 pp): Hands in triplet parallel tenths. Level: Early Advanced. Donna Elidora) b. with twentieth-century harmonies. Her substantial volume of work includes chamber music. Stern Z ZIERITZ. Mac. In her own words. Von Zieritz frequently performed her distinctive compositions during extensive tours of Germany and other countries. ANTHOLOGIES: Marie-Emmanuelle Bayon and Caroline Wuiet: Operatic Transcriptions for Keyboard. NewGrove. forthcoming). Ebel. and tonal. choral and solo vocal pieces. she received the Austrian Ehrenkreuz für Wissenschaft und Kunst. In 1921. Laurence. and from 1919 to 1921 was herself a teacher at the Sternschen Conservatory there. Jackson. SOURCES: Cohen. Vienna. and that caused me a lot of problems over the years. S&S. vivid colors. the Austrian composer and pianist Grete von Zieritz studied at the Styrian Conservatory in Graz with Hugo Kroemer and Roderich Mojsisovics. Her writings include comedies and operas. Transcribed for pianoforte with ad libitum violin accompaniment by the composer. ed. she received both the Mendelssohn Prize in composition and the Schubert Grant from the Columbia Phonograph Company. and then returned to France. bestowed upon her in 1958 by the Austrian president. where she continued to compose and write fiction for the theater. From 1926 to 1931. whom she credits with allowing her to follow her inner voice and develop her individual style. Von Zieritz’ music is strongly individual and picturesque. she studied with Franz Shreker at the Berlin Hochschüle für Musik. and she composed works for keyboard and chamber ensembles. orchestral. Fetis. (Notes on publication by Calvert Johnson). Mar 10. and the Verdienstkreuz am Bande der Bundesrepublik Deutschland. Grete von (var. as well as compositions for piano and other solo instruments. her Japanese songs for soprano and piano attracted attention. In 1928. Von Zieritz) b. Ouverture de l’heureux Stratagême.’ that time and again placed obstacles in my way. 1899-d? From 1912 to 1917. and after 1945 the prevalence of the ‘New Music. 1 always remained deaf and blind to fashionable trends because I followed my inner voice. H&H. Her prestigious awards include the title of Honorary Professor. “Before 1945 it was male composers’ claim to dominance. Level of difficulty: Medium. Calvert Johnson (Vivace Press. G&F. She continued her education in Berlin with Martin Krause and Rudolf Maria Breithaupt. In the late 1970s. she was the first woman to receive that honor. von Zieritz said.< previous page page_193 next page > Page 193 Lisbon.”184 < previous page page_193 next page > . using clear forms. Pendle. MacAuslan. 4/2-2/2-4/4 and 3/4. rieserler online. A tremendously clever. and the original theme returns. This grows excited. alternate with strong thick chords. followed by a pair of ascending 3rds and a descending major 7th . grovemusic. S&S. and skillfully written twentieth century work. Isabella de < previous page page_194 next page > . The angular four-voice Fugue theme opens with an upward leap of a minor 9th. finishing in ff octaves. repeated a third lower.< previous page page_194 next page > Page 194 SINGLE WORKS: Präludium und Fugue (Ries & Erler. turning into doubled chromatic octaves. doubled at the seventh. Stern ZUYLEN. Triplets usher in a metric feel and a surprisingly sweet. 1926). romantic passage. KOM. Heinrich. maestoso/ruhiger and allegro energico. a processional with an ostinato rhythm. Mac. 9 pp). interesting. enhancing the improvisatory effect. changes meter and tonal centers frequently. in ternary form. SOURCES: A-Z. Level: Early Advanced. Kehler. The imposing Prelude. Cohen. Belle van —see CHARRIÈRE. SCB. Sperber. (C minor. then a more peaceful section enters in the relative major. H&H. Bitonal scales. Boenke. 142–143. in Sadie & Samuel’s Norton/Grove Dictionary. Malcolm Brown. Lobanova. 465–466. Music by Black Women Composers: A Bibliography of Available Scores (Chicago: Center for Black Music Research. The Sonata in the Classic Era (Chapel Hill: The University of North Carolina Press. 1987).Lobanova. For works housed in special library collections.Hall. For a more extensive biography.. see Sophie Fuller.” vol. 5. see Helen Walker-Hill. Brown. 6. 1963).Odoevskij. claims the composer adopted the pseudonym on the advice of Prince V. ibid. 1995). 2. 3 of Women Composers: Music through the Ages. Antje Olivier and Karin Weingartz. 3. 36–37. 1994). (Düsseldorf: Frauenmusik-Vertrieb. 3. eds. The Pandora Guide to Women Composers: Britain and the United States 1629-Present (London: Harper Collins Publishers. 1949–1968.Norton & Co. series eds. 8. repr. Glickman gives Aug.< previous page page_195 next page > Page 195 Notes 1. 97. 1998). 1994).. in Die Musik in Geschichte und Gegenwart (Kassel: Bärenreiter. 25. 1995). Also in question is the publication date of the < previous page page_195 next page > . in The Norton/Grove Dictionary of Women Composers.W. 4. William Newman.K.. claims the pseudonym was derived from the kettledrum part in Glinka’s opera Ruslan and Lyudmila (A-D-A). 1782 as a possible date of death in “Marianna von Auenbrugger. n. Sylvia Glickman and Martha Furman Schleifer (New York: G. Julie Ann Sadie and Rhian Samuel (New York: W. Other sources believe she died in 1786. Frauen als Komponistinnen: Eine Bestandsaufnahme. ed. 97. 8. 3. M. 7. 2nd ed. 4. However. “Cecilia Maria Barthelemon. John Edward Hasse.” in Women & Music. 1985). Baker’s Biographical Dictionary of Musicians. Iverson. lists it as ca.Wiley Hitchcock and Stanley Sadie (London: Macmillan. 9.” by Max Morath. 149. 17. 154–165. see “May Aufderheide and the Ragtime Women. Judging from their titles and Iverson’s evaluation of technical requirements. 1992). ibid. Rags and Ragtime. H. Unfortunately. dances.R. 1781. appendices. 13 Harold C. Deborah Hayes. see Aaron Cohen’s International Encyclopedia of Women Composers (New York: R.Jasen and Trebor Jay Tichenor. 1993). 14. 336.L. 18. 1993). 1991).. A History. Calvert Johnson (ClarNan Editions. see Jane M. believes the twenty works in Opus 30 and Opus 33. 16. 12. For an extensive list of Badarzewska’s piano works. 90. this author was unable to locate copies in print by time of writing.. rev. they appear to be very similar to the Fantasistykker discussed in this volume.. Glickman and Schleifer (New York: G. comprise some of Backer-Grøndahl’s most important pedagogic work. “Piano Music of Agathe Bäcker-Grondahl” (D. 26. Slonimsky (New York: Schirmer.Bowker Co. The New Grove Dictionary of American Music. Karin Pendle (Bloomington: Indiana University Press. Composers.Schonberg. 19. David A. Marcia Citron. based on Norwegian folk songs. < previous page page_196 next page > . 8th ed. 90–91. “European Composers and Musicians.Iverson. 1986). 213. ed. The Great Pianists from Mozart to the Present (New York: Simon and Schuster. ed.K. 1880–1918.Hall. 20. from John Edward Hasse’s Ragtime: Its History. 1. ed. 15. vol 3. and Music (New York: Schirmer Books.” vol. For a complete listing of the published and unpublished piano works of Bäcker-Grondahl. 1978). 11. Jasen and Tichenor. Rags and Ragtime (New York: Seabury Press. For a more complete biography. University of Northern Colorado. 1998).< previous page page_196 next page > Page 196 sonata: Harbach. 148. “May Aufderheide. 10. in the preface to Women Composers for the Harpsichord (Elkan-Vogel. and stories. 1963). 130. 1981). A modern edition of the accompanied sonatas is available: Cecilia Maria Barthélemon: Accompanied Keyboard Sonatas.” Women Composers: Music through the Ages. dissertation.A. series eds. 1986). Conn. eds. 212. For a complete catalog of her solo piano works. David Dubal. A Short History of the Opera. Music for the Piano (New York: Dover. diss. 124. 36. Unsung. 1995). 1990).” in College Music Symposium 30. score preface. International Encyclopedia.. 3rd edition (New York: Columbia University Press. James Friskin and Irwin Freundlich. Ibid.< previous page page_197 next page > Page 197 21. Vol. eds. Amy Beach Piano Music. see Nancy Stewart. J. (New York: Dover. Later Madame Louis. in “Mlle Benaut. Edith Borroff.” in Women Composers.: Alfred Publishing Co. A History of Women in American Music (Westport. 348–353. 33. University of Cincinnati. 1 (1990): 17. Cohen. 1989). 48. ed. Album of American Piano Music from the Civil War through World War I (New York: International.Ripley. 26. ed. 2001). score preface. 25.. < previous page page_197 next page > . All biographical information is from the prefatory essay by the composer’s daughter. Maurice Hinson. 29. 2000). D. 123. 201– 202. “Modern Music in the Americas. 253.. Adrienne Fried Block. 81. 35. David Dubal. Amy Beach and Her Chamber Music: Biography.” in Women & Music. Christine Ammer. 6. 31.” vol. 1994). ed. Block. Pendle. Literature. 30. 27. 1988). “The Solo Music of Marion Bauer” (Ph. 28. 1995). 87–215. 1973). Glickman and Schleifer. Calif.: Greenwood Press. 24. 1980). The Art of the Piano: Its Performers. “Marie Christine Bergersen. Deborah Hayes. 428. 384. Guide to the Pianist’s Repertoire. 498–501. 22. Amy Beach Piano Music. 34. For lists of teaching pieces and thorough analyses of Bauer’s solo piano works in chronological order. Documents. The Pianist’s Guide to Standard Teaching and Performance Literature (Van Nuys. 32. and Music in Late EighteenthCentury France.. Donald Jay Grout.Michele Edwards. 3rd edition (Bloomington: Indiana University Press. N. and Recordings (New York: Summit Books. The complete opus may contain eight works: see Jane Magrath. 23. no. Glickman and Schleifer. Style (Metuchen. 3.J. score preface. “Marie-Emmanuelle Bayon. Women Composers. Colette S. see Jeanell Wise Brown.: Scarecrow Press. Calvert Johnson.o. 82. Diane Peacock Jezic. Adrienne Fried Block. 48. 1981). 76. “Johanna (Magdalena) Beyer. Ammer. d. 2000). eds. eds. Respectively.Kennedy. 16–18. 3. Keyboard Music by Women Composers: A Catalog and Bibliography (Westport. 1994). 46.d.: Vivace Press. eds. Pendle.: Vivace Press. Norton/Grove Dictionary. 141. (New York: Feminist Press. Stanley Sadie.b.: Greenwood Press. Freia Hoffman in Grovemusic (online New Grove) lists d. “Marianne Martinez. Pendle. University of Washington. as 15 Nov 1809.” in Women & Music. 47. Soon-Bok Lee. 1994).” in Vol. Elizabeth Billington: Six Sonatas. 52. 43.. 2. 75. 2nd ed. in Women Composers: The Lost Tradition Found. 1992). Marcia J. ed. Conn. vol. Sadie and Samuel. diss. 159. and Maria Szymanowska: An Examination of Selected Keyboard Works in Historical Perspective” (D. New Grove. Marie Bigot. 2. Women Composers. Marie Kiene Bigot de Morogues (Pullman.” The Norton/Grove Dictionary. 39. 42. 70. Glickman and Schleifer. Cohen. (London: Macmillan.Polansky and J.” Women Composers. Stanley Sadie. 330–331. Cited in Meggett. Unlike all other sources. Helen Metzelaar.A.” in Pendle. < previous page page_198 next page > .. Wash. 705–6.” in Women & Music. 51. believes Boulanger had Crohn’s disease. 4. The New Grove Dictionary of Music and Musicians. Vol. 1995). 47. 45. “Jeanne Beijerman-Walraven. reports she died of tuberculosis. 1800–1900. Helen Metzelaar. 134. 44. Op. Sally Fortino.. Wash. “Gertrude van den Bergh. 48.Citron. “European Composers and Musicians. Glickman and Schleifer. “Anna Bon. score preface. 131. ed. 55–56. 3rd ed. (Pullman.” grovemusic (online New Grove Dictionary. 50. score preface. Marcia Citron. L. 41. Barbara Harbach. in Unsung.< previous page page_198 next page > Page 198 37. 2001). 110–111. 1:45. 1800–1918. 40. 53. Sadie and Samuel. Sadie & Samuel.M. 38. and Joan Meggett.o. 17 Jan 1885. “Women in American Music. ed. 49. “European Composers and Musicians. Modern Music-Makers: Contemporary American Composers (Westport. Selected Pieces (Boca Raton. 1908]: 759. Ibid. 6. Cited by C. Conn. Jerrould. Schweizer Komponisten. score preface. 111.d. “Dora Bright.” Vol. 145. 1995). 1990). “Piano Music of Chaminade. For charming photographs of the young mother with her children. 57. Sonata No. 1964?). For a classified list of works. Appendix 11. eds. 65. 87. 60. 59. James W.Leonard-Stuart.” American Music Teacher 37. At the Piano with Women Composers (Van Nuys.< previous page page_199 next page > Page 199 54. 56. see Marcia J. 322.” 22–23. 3 pour clavecin by de Charrière. 1988). 64. 7 (Switzerland: Communauté de travail pour la diffusion de la musique suisse. of her sister-in-law’s work. Etude 26 [Dec. Conn. Concerto Op.263. refers to a set of variations on “Adeste fideles” by Sophia Corri Dussek. ed.: Alfred Publishing. with Germaine Vaucher-Clerc on harpsichord. Hélène Teysseire-Wuilleumier. or perhaps both women wrote variations on the popular tune. Glickman and Schleifer.Citron. 66. 1940). Fla: Well-Tempered Press. Reprint of Schirmer 1899 edition).: Greenwood Press. Calif. 1970). in the 1820s. Madeleine Goss. see his “Piano Music of Cécile Chaminade. Chaminade.S. 55. perhaps this work was composed by Sophia Dussek. John Jerrould claims she also studied with Bizet and Saint-Saëns.Bastien. possibly that is actually the 2nd mvmt. as cited by Hinson. liner notes to recording. Teresa Carreño: “by the grace of God” (New Haven: Yale University Press.: Greenwood Press. The “additional keys” in the title refer to ottava treble notes on the newer pianos of the period. in The Dawning of American Keyboard Music (New York: Greenwood Press. 3 (January 1988): 46. 1988). < previous page page_199 next page > . see the sympathetic biography by Marta Milinowski. Jezic. n. 210–215. 61. Cécile Chaminade: A Bio-Bibliography (Westport. J. no. Conversely. Clara Mayer (Kassel: Furore Verlag. 149. Women Composers. How to Teach Piano Successfully (San Diego: General Words and Music Company. 67. score preface. pub.Bunker Clark. KOM: Komponistinnen im Musikverlag: Katalog lieferbaren Musikalien. 134. 63. 8–9. 1996). 58. in the U. Sophie Fuller. 62. 1980). 34. the composer’s daughter and herself a composer. 111–117. 858. as cited in preface to Marche Solennel (Bremen: Eres Edition. score preface. Editors. 81. Louis C. 1992). Guide. 84.000 Women Composers Born Before 1900 (New York: Richards Rosen Press. ed. 66. Hinson. 143. 80. 441. “Elizabeth Hardin. 1870–1879). Judith Tick. Women Composers. Grovemusic online..” and the rest of the references claim she lived until 1847. score preface. eds. 1995). 1988). 79. Several sources state she died around 1830. Bea Friedland.Krohn’s Missouri Music (New York: Da Capo Press. 207. 125. Helen Walker-Hill. 1804–1875: Composer. (Hildegard. Martha Secrest Asti. Louise Farrenc. Scholar (Ann Arbor. Baker 8th edition says “after 1828. 74.: UMI Research Press. Antje Olivier and Karin Wiengartz-Perschel. 1998). Musikal. 1915). February 2001. Dorothy Gaynor Blake. cover of Marche solennel. Jackson. American Women Composers before 1870 (University of Rochester Press. (Berlin-New York. Trans. 109–110. 3. ed. 71. Hermann Mendel und August Reissman. 1978). Julie Ann Sadie. Sadie & Samuel’s Norton/Grove Dictionary. 70. 82. 20. Translation by this author. Glickman and Schleifer. Martha Secrest Asti. 72. 3rd edition. 1971). Black Women Composers: A Century of Piano Music (1893–1990) (Hildegard.Elson. 77.. Md. 11 Bde. There is confusion concerning the date of her death. Mich. 73. 83. 76. The History of American Music. 78. 1996). Conversationslexikon. Komponistinnen von A-Z (Düsseldorf: Tokkata Verlag. by this author. < previous page page_200 next page > . Gene Claghorn. 307. Jezic. New York: Macmillan Company. Women of Notes: 1.< previous page page_200 next page > Page 200 68. Women Composers and Songwriters: A Concise Biographical Dictionary (Lanham. 79. Performer. Eighteenth Century French and English Music for the Harpsichord. Anya Laurence. 69.: Scarecrow Press. 1992). by this author.” Vol. trans. 75. in Ernst C. The variant spelling of her name may have been a misreading of the German double ess. 135. 151.” in Vol. Victoria Ressmeyer Sirota. in Sadie. xxviii. American Keyboard Music. ed. 1983). A Bibliography of Nineteenth-Century American Piano Music with Location Sources and Composer Biography-Index. 91. diss. “The Life and Works of Fanny Mendelssohn Hensel” (D.Millet Company. Music Reference Collection. 1984). For a copy of Dreams. 98. New York: Rebot Corporation/Arabesque Recordings. 154. Johannes Brahms und seine Freunde (Wiesbaden: Breitkoph & Härtet. 86. 126. 96. 89. Philip Hale. 1985). 88. 92. 164. Citron. Malcolm MacDonald. 130. 101. Glickman. The Pianist’s Guide. 97. 266. 87. Vol.: Cornell University Press.. “Fanny Mendelssohn Hensel. ed. 95. Joachim Draheim. 679. Glickman and Schleifer. Trans. 6. 11.. Clara Schumann: The Artist and the Woman (Ithaca. Olivier and Wiengartz-Perschel. gen..M. Komponistinnen von A-Z. 21–27. 1996. American Keyboard Music 1866 through 1910. 4 of the series Three Centuries of American Music: A Collection of American Sacred and Secular Music. Holmès became a naturalized French citizen in March 1879. see Marcia J. 206. eds. Hall. Women Composers.Y. Sarah Rothenberg.B.A. Famous Composers and Their Works (Boston: J.: Greenwood Press. 90. Magrath. xxviii. John Gillespie and Anna Gillespie. 237. Glickman. 1987). Conn. 1990). Camilla Cai. Tick. 1981). New Grove.K. 100. N. by this author. 1993). Sylvia Glickman. For an index to Hensel’s published and unpublished works.Reich. 94. CD liner notes for Das Jahr. score preface. 99. 93. Schleifer and Dennison (Boston: O. (Westport. see Tick. 1906). eds. Nancy B. Elaine Keillor.. 4 . The Letters of Fanny Hensel to Felix Mendelssohn (New York: Pendragon Press. American Keyboard Music. xvi. Vol. 102. < previous page page_201 next page > . 189. Boston University.< previous page page_201 next page > Page 201 85. 68. American Women. Number 2. ed. Brahms (New York: Schirmer Books. Vol. ed. 115. 109. “Helen Hopekirk. 1766. may have been Fanny’s younger sister.< previous page page_202 next page > Page 202 103. John Gillespie. 1998). 91. 62. 112. 117. in Neuls-Bates. 65. Sylvia Glickman. 107. 1975). ed. “Marie Jaëll.” Vol. Edith Borroff. ed. Borroff.. Rêverie Tzigane (Kassel: Furore Edition. eds. Lea Schmidt-Rogers says the Association Marie Jaëll of Paris has reissued Le toucher (the threevolume method book) and Sept pieces facile for solo piano. Five Centuries of Keyboard Music (New York: Dover Publications. Carol NeulsBates (Boston: Northeastern University Press. 4. Black Women Composers (Hildegard. 105.” in Vol. Women Composers. while many sources claim she died after 1824. six of Women Composers. 106. ed.” in Women in Music: An Anthology of Source Readings from the Middle Ages to the Present. Fanny. 10. Trebor Jay Tichenor. American Women Composers: Piano Music from 1865–1915 (Hildegard. 148. Jacquet de La Guerre: Pieces de Clavecin. Schmidt-Rogers (Hildegard.. Hinson. see the preface to the score French Character Pieces..” in Women Composers. Carol Henry Bates. score preface. in Le pupitre. Lea Schmidt-Roger. Ibid. Guide. 110. 1982). score. 108 Bates. 1989). score preface. see Sadie & Samuel. 27. the elder. 114. “Elisabeth-Claude Jacquet de la Guerre: Composer and Harpsichordist. 1992).).. 55. 1990). Glickman and Schleifer. score preface. 1996). was also a harp composer (q. 111. score preface. Martha Furman Schleifer. eds. Anne-Marie had two daughters. 3rd edition. Glickman and Schleifer. Ragtime Rarities: Complete Original Music for 63 Piano Rags (New York: Dover Publications. “Madame Krumpholtz. Christel Nies. Grovemusic (online) gives her birthdate as Aug.Krumpholtz. Glickman and Schleifer. 116. 63–64. xii.v. ed. 104. score preface. 286. 113. while V. ed. 362. Ixvi (Paris: Heugel & Cie. Encyclopedic accounts of Krumpholtz’s life vary considerably. 1965). Vol. 3. ed. Helen Walker-Hill. six. xiii. < previous page page_202 next page > . Dates are from Mayer’s Komponistinnen. who published harp music in London in the 1820s. Ursula Rempel. 255. For a list of piano works. Glickman and Schleifer. 896. < previous page page_203 next page > . Woman’s Work in Music (Boston: L. Vol. ed. 129. 170. 3rd ed. Janvier 1995). For a list of works including cadenzas and realizations.. For a complete chronological listing of Lang’s works. as cited by Arthur Elson. Hinson gives her dates as ca.: Greenwood Press. 167. Washington University. 120. See Sadie and Samuel. Woman’s Work. ed. eds. Eve R. Neuls-Bates. Glickman and Schleifer. 290. 131. 130. Page). C. 68. Conn. 254. Elson. Macmillan Encyclopedia of Music and Musicians. Birthdate was obtained from the Catalogue Musique pour piano (Paris: Editions Durand. Adel Heinrich. Schonberg. page_203 next page > 203 She may have performed as late as 1803. 39. ed. 1013. 1938). 382–386. 1988). 397.” Women Composers. Roswitha Sperber. 133. vol.. 125. Flute Music by Women Composers: An Annotated Catalog (Westport. 121.Meyer. 122. 126.. 1780–1840. Albert E. 119. 132. Ammer.< previous page Page 118. 136. 3. 1996). Or Frau Berlinghof-Wagner. 123. 135. see Judith Ann Cline. 127. 88. 134. as one of Linz’s teachers. in his Guide. 166.Wier. 6. Mendelssohn. not Thomas. 86. “Wanda Landowska./ed.. Macmillan Encyclopedia of Music and Musicians (New York: Macmillan Company. 24. Heide Boenke. Organ and Harpsichord music by Women Composers (New York: Greenwood Press. 124. “Margaret Ruthven Lang: Her Life and Songs” (Ph. in Macmillan Encyclopedia. Women in Music. 1993). “Hélène Riese Liebmann.D. dissertation. see Denise Restout. 1033. lists Thomán.Wier. Ammer. comp. see Albert E. 128. Wier. 1061. 1991). 155–172. 340.” in Women Composers. Women Composers in Germany (Bonn: Inter Nationes. Neuls-Bates. 167. See Jackson. 140. 474. Rev. “Montgeroult. 144. see “Marianne von Martinez: Composer and Singer. Cohen. < previous page page_204 next page > .” vol. and Tilden Foundations. 141. University of Kanasas. 1801–1825: A Bibliography. ed. Biographisch-Bibliographisches Quellen Lexikon der Musiker und Musikgelehrten christlicher Zietrechnung bis Mitte des neunzehnten Jahrhunderts. 240.. A bibliography of Austrian music written sixty-five years after Martinez’ death states she wrote thirty-one sonatas. by this author. “Ana Otero. 474. 151. 220. Calvert Johnson. Sonatas for Piano (Pullman. 45. Robert. 2nd ed. 142.D.” New Grove (grovemusic online. by this author. trans.” by Richard J. Cohen. 146. “Musical Women of the Seventeenth and Eighteenth Centuries. 6. Astor. It is possible that she is the talented pianist referred to as Madeleine Baillot. 179. 150. ed. 414. See Karen Lynn Fremar.C. 145. ed. Dubal. Jasen and Tichenor.” in Women & Music. Dubal.: Vivace Press. dissertation. Murden was identified as “Lady of Charleston. 198: Mozart composed his B-flat Concerto K. Eitner. score preface.” (Ph. 1964). 143.Wolfe in Secular Music in America. Graz: Akademisch Druck-und Verlagsanstalt. Glickman and Schleifer. 311. 148. 149. Olivier and Weingartz-Perschel. S. Schonberg. 3 vols. 11 vols (Leipzig: 1900–04.< previous page page_204 next page > Page 204 137. ed. 1/24/01). Women Composers. 162. 1959–60). Neuls-Bates. 152. Barbara Garvey Jackson. with supplement. 86. 139. see his entry in Sadie’s New Grove 2000. 456 for Paradis. 442. 49. 1994). Hélène Montgeroult. Lennor. Wash. Julie Ann Sadie. For Charles Burney’s account. wife of Swiss/French baritone Charles Panzéra (1896–1976). A-Z. Sylvia Lamoutte de Iglesias. 1983). 246.. 80–85. eds. Pendle. 138. “The Life and Selected Works of Marianna Marlines (1744–1812).” in Women in Music.. 147. (New York: New York Public Library. trans. Hélène. 1785. < previous page page_205 next page > .” Mercure de France. ed. Guide to the Best in Contemporary Piano Music: An Annotated List of Graded Solo Piano Music Published Since 1950. 24. 168. score preface. Much of Price’s music is housed in a Special Collection at the University of Arkansas Library in Fayetteville. 1997).: Scarecrow Press. N. Helen Walker-Hill. 156. (Metuchen. 355. as cited in Women in Music. Sadie and Samuel. in Pendle..” in Sadie & Samuel. Cohen suggests that Fanny may be the same person as Charlotte Esprit. Sondra Wieland Howe. Glickman and Schleifer. “Spectacles: Concert Spirituel. 1983). 84. New Found Voices: Women in Nineteenth Century English Music. born Feb. 164. 431–433. “Florence Price Music as Teaching Pieces. ed. January 1995. Glickman and Schleifer. Mildred Denby Green. 263. 157. Black Women Composers: A Genesis (Boston: G.” Sadie and Samuel. see Walker-Hill.” in Women Composers.. Laurence. No. 165. Fuller. Stanley Butler. Vol. 161. 158. 53. For succinct descriptions of these intermediate-level teaching pieces. Black Women Composers. Olivier and Weingartz. 85–86. 20. 88–89. 176–77. see Kim Nagy.J. “Orger. Ursula Rempel. 6. ed.K.” in Women & Music. 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Amy Marcy Cheney (Mrs. 1888–1944 Beyerman-Walraven. 1799–1847 Burgess. Agathe. 1767–1834 Carreño. 1887–1955 Bayon. 1893–1918 Branscombe. Campbell. Marie-Emmanuelle. 1811–1887 Bolen. Maria. Marie Léopoldine. 1793–1840 Beyer. 1863–1951 Buckley. Anna. Elizabeth Weichsell. O. Marie Christine. 1857–1944 Charrière.< previous page Page 217 Composer Indexes I.P.. 1895–1952 Boulanger. fl. 1887–1987 Blahetka. Cécile.A. Lili. Ella Georgiyevna. May Frances. ca. 1859–1941 < previous page page_217 next page > . Marion Eugenie. 1785-? Bauer. Marianna von. 1853–1917 Chaminade. 1720–1795 Aldridge. 1895-? Cobb. 1739-after 1767 Bond. Katerina. Dora. 1769–1833 Claude. Amanda Ira. Jeanne. Caroline. 1881–1977 Bright. 1740–1805 Cianchettini. 1892–1973 Colaço Osorio-Swaab. Yvonne. Bon di Venezia. 1894–1989 Bergh. 1746–1825 Beach. 1780s Candeille. late 19th c. 1756–1820 Aufderheide. 1888–1972 page_217 next page > Backer-Grøndahl. Hanna. late 19th c. Thekla. Teresa. Isabella Sophie (Belle van Zuylen). H. Mademoiselle. 1889–1980 Benaut. Johanna Magdalena. (Amélie) Julie Simons. 1847–1907 Badarzewska. Katerina Veronika Dussek. Reine. –1781/1786 Auernhammer.H. Mélanie. Grace M. 1846–1926 Adair. 1878–1969 Bigot de Morogues. 1862–1946 Bonis. Olivia Dussek. Gertrude van den. 1867–1944 Beekhuis. 1856–1945 Howe. Mary Carlisle. Jane. 1846–1925 Kinney. Joanetta van. 1886-? Leleu. Gnesina. Use. 1874 Herzogenberg. 1750–1780 Harrison. 1804–1875 Freer. Helena Fabianovna. late 19th c. Jessie Love. 1775–1830/1847 Eckhardt-Gramatté. Miles). 1822–1895 Hohnstock. A (of Philadelphia). Louise Dumont. fl. Dussek. Sophie. Lady. 1750–1809 Harding. 1895/6–1981 Gambarini. ca. 1731–1765 Gaynor. 1888–1986 Fuglsang-Visconti. 1805–1847 Herr. 1815–1880 Lang. Céleste de Longpré. 1847–1903 Hopekirk. Augusta. ca. Lolita Cabrera. 1859–1935 Hecksher. fl. Elizabeth. Imogene. Chazal). Jeanne. Josephine Caroline. 1877–1953 Lady. Fanny Mendelssohn. Margaret Ruthven. Luise Adolpha. 1826–1910 Le Beau. 1874-after1900 Guest. ca. late 19th c.. Louise. 1860–1928 Hensel. Elisabeth-Claude. Elisabeth von. Czermak. early 19th c Lady. 1847–1892 Hildegard von Bingen. Saint. late 19th c. 1841 Landowska. Irene. 1874–1967 Goodwin. Irene. 1879–1959 Lang. Helen. 1845-? Dohyns. ca. 1665–1729 Jaëll-Trautmann. 1863–1921 Giblin. Miss Marie. 1894–1974 Koninsky. Farrenc. 1850–1927 Lefevre Lebout. Use. late 18th c. Faustina Hasse. Jeanne. 1898–1974 Edelmann. fl. 1755–1813 Kuyper. 1762–1846 Gutierrez-Ponce. 1890-? Kocher-Klein. Krumpholtz. Sadie. 1867–1972 Langhans-Japha. Adele. 1882–1964 Jacquet de La Guerre. Jane Mary (Mrs. 1098–1179 Hodges. Wilma. Anne Marie Steckler. Elisabeth. 1895-? page_218 next page > Gainsborg. Marie. Viola L. late 19th c. 18th c. Sophia Corri. Mademoiselle. A. Geraldine. Wanda. A Canadian. Holmès. Anna Gardner.< previous page Page 218 Cozad. 1770s Fromm-Michaels. Elisabettade (Mrs. 19th c. Susie Frances. 1880–1915 Hagen. 1898–1979 . Hilda. 1888–1974 Giles. Maria. Estelle D. Simone. 1800–1810 Linz.. Magdeleine. 1783–1847 Niebergall. Martha. Menten Sophie. 1764–1836 Murden. Mademoiselle. 1784–1823 Plé-Caussade. Caroline Orger. 1846–1918 Merelle.C. 1884–1981 Martinez. 1744–1812 Mary. Pejacevic. 1760–1813 Pattiani. Eliza Crawly. 19th c. ca. fl. Juliane Benda. 1897–1985 Price. Fanny Krumpholtz. Julia. 1893-? Paradis. 1861–1905 Panzera. fl. 19th c. 1885–1923 Peterson. Hélène Riese. (A Young Lady of Charleston. 1818–1892 Ricketts. Maria Theresia von. 1837 Pittar. 1752–1783 Reinagle. 1887–1953 Reichardt. Ana Hernandez. 1759–1824 Park. 1886–1968 Otero. Eliza. 1796-after 1835 Likoshin. Maria Hester Reynolds. Annie. 1887–1965 Montgeroult. Marianne von. Dora von. S.). 1800 Mesritz Van Velthuysen. Hélène de. 1898-? Mana-Zucca. Florence. 1871-? < previous page page_218 next page > .Liebmann. Clara Gottschalk. Ekaterina. Marie Leopoldine Cianchettini. Marianna Auernhammer. Lucie. 1762–1842 Vellere. Melanie Boulanger. 1789–1831 Tailleferre. Josepha Blahetka. 1750s-1780s Valentine. Clara Wieck. 1899-? II. Schumann. 1824–1866 Stirling. Samuel. Marie Bonis. Grete von. 1819–1896 Scott. Käthe Zieritz. Clara Kathleen. 1819–1895 Szymanowska. Wilma Linz.Jones. Maria van. Marie-Emmanuelle Benaut. Elizabeth. late 19th c. Elizabeth. fl. Katerina Veronika Czermak. late 19th c. fl. fl. late 19th c. Ann. 1752–1824 Sch-L-N. Tideman-Wijers. 1766–1835 Zieritz. Rosy.< previous page Page 219 Rogers. Madame de. Agathe Fuglsang-Visconti. Mademoiselle. 1892–1983 Tengbergen-Ebbenhorst. 1888–1949 Weyrauch. 1844–1931 Rudisill.. Johanna. 1879–1961 Shepherd. 1897-? Wertheim. Madame L. Maria Theresia von Pejacevic. mid-18th c. late 18th c. Bertha. Wuiet. Käthe. Grete von Branscombe. Adaline.. Anna Julie von. Susie Frances Denmark/Norway Backer-Grøndahl. 1883–1950 Sloman Torry. Jane. Stella. Mlle Bigot De Mirogues. Jane. Bess E. 1887-? Turner. Julie page_219 next page > . Use France Bayon. Marta Martinez. Marianne von Paradis. fl. Lili Candeille. early 19th c. 1896–1966 Villeblanche. Whitehurst. Dora von Volkart-Schlager. Savage. Couotry of Origin Austria/Czechoslovakia/Hungary Auenbrugger. 1841–1897 Senfter. Gina Harrison. 1885-?. Volkart-Schlager. Maria. Clara H. Caroline. Germaine. Josephine Langhans. Mme L. Hilda Lang. Elizabeth von Hildegard von Bingen Kocher-Klein. Jeanne Leleu. Fanny Mendelssohn Herzogenberg. Mlle Montgeroult. Use Hensel.Chaminade. Luise < previous page page_219 next page > . Mlle Farrenc. Marie Courtaux. Tailleferre. Magdeleine Plé-Caussade. Hélene Panzera. Caroline Germany Bauer. Augusta Jacquet de la Guerre. Amanda Edelmann. Germaine Villeblanche. Anne Marie Lefevre-Lebout. Elizabeth-Claude Jaëll-Trautmann. Simone Samuel. Jeanne Merelle. Louise Le Beau. Johanna Fromm-Michaels. Cécile Claude. Louise Holmès. Katerina Beyer. Marie Krumpholtz. Mme de Wuiet. Elizabeth Valentine. Hélène Menter.) Park. Caroline Dussek. Fanny Krumpholtz Reinagle. Henriette Charrière. Sophia Corri Freer. Gertrude Van Den Beyerman-Walraven. Elizabeth Hodges. Bertha Vellere. Anna von Great Britain Adair. Annie Tideman-Wijers. Elisabeth Tengbergen. Olivia Dussek Campbell. Clara Savage. Puerto Rico Carreño. Jcanne Boredewijk-Roepman. Sophie Reichardt. Mexico. Clara Senfter. Elizabeth Turner. Jane Gambarini. Ana Italy Agnesi-Pinottini. Jane Harding. Caroline Orger Rogers. Maria Ebbenhorst Mesritz van Velthuysen. Lucie page_220 next page > . Cecilia Billington. Yvonne Aldridge. Elizabeth Bright. Hanna Bergh. Jane Stirling. Marie Otero. A (18th c.< previous page Page 220 Liebmann. Jane Sloman. Dora Buckley. Maria Hester Pittar. Teresa Gutierrez-Ponce. Johanna Weyrauch. Isabella (Belle Van Zuylen) Colaço Osorio-Swaab Hagen. Faustina Hopekirk. Anne Hispanic: Venezuela. Maria Bon Di Venezia. Juliane Benda Sch-l-n. Helen Lady. Elisabetta de Guest. Joanetta Catherine van Kuyper. Anna Netherlands/Belgium Beekhuis. Mlle Schumann. Amanda Barthélemon. Johanna Bosnians. Wanda Szymanowska. Mary Edward Bolen. Maria Russia Adaiëwsky. Irene Dobyns. May Bauer. Carrie Jacobs Burgess. Ekaterina United States Aufderheide. Mattie Cobb. Thekla Landowska. Miss Marie Hohnstock. Gramatté. Hazel Cozad. Irene Giles. Marion Beach. Lolita Gaynor. Mary Kinney. Amy Bergersen. Grace Bond. Helena Likoshin. Marie Blackwell. Celeste Herr. Ella Georgiyevna Eckhardt. Geraldine Gainsborg. Anna Hecksher. Eliza Niebergall. Imogene Goodwin. Sadie A Lady of Philadelphia A Young Lady of Charleston Lang. Jessie Giblin. Rosy Poland Badarzewska. Margaret Ruthven Mana-Zucca Mary Murden. Adele Howe. Julia < previous page page_220 next page > . Viola Koninsky. Sophie-Carmen Gnesina.Wertheim. Gertrude van den Bigot de Morogues. Estelle Rudisill. Marianna von Auernhammer. Mademoiselle Turner. Musical Eras/Styles Medieval and Baroque Hildegard von Bingen. Louise Dumont page_221 next page > . Cecilia Bauer. Adaline Whitehurst. Madame de Wuiet. Anna Campbell. Julie Simons Charrière. Eliza Peterson. Maria Auenbrugg[er]. Marie Léopoldine Buckley. Clara Shepherd. Marie Blahetka. Veronika Dussek Dussek. Marianne von Merelle. Elisabeth-Claude Classical Agnesi-Pinottini. Jane Gambarini. A Likoshin. Maria Theresia von Park. Ann Villeblanche. Hélene de Paradis. Maria Hester Reynolds Reichardt. Catherine Elizabeth van Hardin(g). Katerina Bayon. Saint Jacquet de La Guerre. Josepha von Barthélemon. Mademoiselle Billington. Juliane Benda Savage. Thekla Bergh. Elisabetta de Guest. Sophia Corri Edelmann. Caroline Candeille. Ekaterina Martinez.< previous page Page 221 Pattiani. Marie-Emmanuelle Benaut. Mademoiselle Freer. Caroline Romantic Badarzewska. Stella III. Miles Hagen. Elizabeth Krumpholtz. Isabella Sophie Cianchettini. Elizabeth Valentine. Clara Gottschalk Price. Bess Scott. Jane Sch-l-n. Mademoiselle Montgeroult. Elizabeth Weichsell Bon di Venezia. Anne Marie Lady. Olivia Dussek Farrenc. Florence Ricketts. Jane (Mrs. A (of Philadelphia Lady. Maria Weyrauch.C Peterson.Hensel. Adele Lady. Fanny Krumpholtz Reinagle. Eliza Crawly. Jane Stirling. Faustina Hasse Hohnstock. Hélène Riese Mary Murden. Clara Wieck Sloman Torry. Josephine Caroline Liebmann. Caroline Orger Rogers. (A Young Lady of Charleston. Clara Gottschalk Pittar. A Canadian Lang. Clara Kathleen Schumann. Elizabeth Szymanowska. Anna Julie von < previous page page_221 next page > . S. Fanny Mendelssohn Hodges. Cécile Courtaux.Jones Senfter. Adair. Amy Marcy Cheney Bond. O. Marie Kinney. Dora Carreño. Johanna Bosmans. Kuyper. Marie Cobb. Louise Le Beau. Mélanie Branscombe. Sophie Otero. Eliza Pejacevic. Mme L. Elisabeth von Holmès. Susie Frances Hecksher. Anna Gardner Gutierrez-Ponce. Hazel page_222 next page > . Jessie Love Good win. Elisabeth Landowska. Henriëtte Hilda Beyer. Lolita Cabrera Gaynor. Marie Christine Bordewijk-Roepman. Johanna Wertheim. Scott. Dora von Ricketts. Clara H. Jeanne Blackwell.P Czermak. Wanda Lang. Amanda Ira Backer-Grøndahl. Amy (later works) Beekhuis. Amanda. Ana Hernandez Pattiani. Maria Harrison. Ella Georgiyevna Aldridge. Samuel. Rosy Whitehurst. Margaret Ruthven Langhans-Japha. Luise Adolpha Mana-Zucca Menter. Helen Jaëll-Trautmann. Marion Eugenic Beach. Lili Beyerman-Walraven. Teresa Chaminade. Augusta Hopekirk. Viola L. Gena Claude. Hanna Bergersen. Carrie Jacobs Bright. Stella Impressionist and Early 20thc. Yvonne Bauer. Mary Edward Bonis. Johanna Magdalena Boulanger. Agathe Beach. Céleste de Longpré Herr. Miss Marie Herzogenberg. Estelle D. Wilma Gainsborg.< previous page Page 222 Late Romantic Adaiëwsky. Maria van Ebbenhorst Tideman-Wijers. Käthe Zieritz. Grace M Burgess. Adaline < previous page page_222 next page > .Colaço Osorio-Swaab. Bertha Vellere. Sophie Fromm-Michaels. Shepherd. Geraldine Giblin. Sadie Niebergall. Bess E. Julia Rudisill. Annie Panzera. Martha Mesritz van Velthuysen. Helena Fabianovna Howe. Germaine Tengbergen. Florence Tailleferre. Simone Price. Grete von Ragtime Aufderheide. Irene Giles. Mattie Harl Cozad. Jeanne Leleu. Lucie Volkart-Schlager. Imogene Koninsky. Reine Eckhardt-Gramatté. Use Gnesina. Mary Carlisle Kocher-Klein. Hilda Lefevre-Lebout. Magdeleine Plé-Caussade. Jeanne Linz. May Frances Bolen. Use Fuglsang-Visconti. Irene Dobyns. class voice.< previous page page_223 Page 223 About the Author PAMELA YOUNGDAHL DEES is an Associate Professor in the Department of Fine and Performing Arts at Saint Louis University. where she teaches studio piano. and the history of women composers. opera history. She also serves as vocal coach and musical director for university and community theater productions. music theory. < previous page page_223 .