Unsung Composers

Here is an index to the women composers that I have posted information about on this forum.

Amersfoordt-Dyk (Dijk) Hermina Maria  1821 - 1892
Arkwright,  Marian Ursula 1863-1922
Barns,  Ethel  1874-1948
Le Beau,  Louise Adolpha  1850-1927
Bianchini,  Emma  1891-1929
Blahetka,  Leopoldine Anne Marie   1811-1887
Bottini, Marianna 1802-1858
Bright,  Dora Estella  1862-1951
Bronsart,  Ingeborg von (nee Starck)  1840-1913
Bruchshaw,  Kathleen  1877-1921 (Catherine Mary)
Dixon,  Harriett Claiborne  1880-1928
Eggar,  Katherine Emily  1874-1961
Ellicott  Rosalind Francis  1887-1924
Erhart,  Dorothy  1894-1971
Faltis,  Evelyn  1877-1937
Fischer,  Emma Gabriele Marie Freiin von  1878-1964
Folville, Eugenie-Emilie Juliette  1891-1929
Foster, Cicely  1903-2001
Halacsy, Irma von  1889 - 1953
Hopekirk,  Helen  1856-1945
Horrocks,  Amy Elise  1867-1916
Hundt,  Aline  1849-1872
Ingleton Evelyn  1879-1952
Jaell,  Marie (Trautmann-Jaell)  1846-1925
Kapralova,  Vitezslava  1915-1940
Korn,  Clara Anna  1866-1940
de Lara,  Adelina  1872-1961
Leginska,  Ethel  1886-1970
Loder,  Kate Fanny  1828-1904
More,  Margaret Elizabeth  1903-1966
Mueller-Hermann,  Johanna  1868-1919
Owen. Morfydd  1891-1918
Prescott,  Oliviera Louisa  1842-1919
Reinagle,  Caroline  (nee Orger)  1818-1892
Ruta,  Gilda Teresa Emelina  1853-1932
Scarborough,  Frances Ethel  1880-1956
Sohy  Charlotte 1887-1958
Spain-Dunk,  Susan  1880-1962
Swepstone,  Edith Mary  1862-1942
Troup, Emily Josephine[/b]  1853-1912
Tyrrell,  Agnes  1846-1883
Verne-Bredt,  Alice Barbara  1868-1958
Wurm,  Mary (Marie) Josephine Agnes  1860-1938

I plead ignorance to many of them.
Tom :)

So do I.

Should Johanna Mueller-Hermann's birth year not be listed as 1868 – as I suggested in the thread on her, based among other things on the fact that she was married in 1893.

A friend of mine recorded this a few years ago.http://www.amazon.com/Works-Violin-Piano-Ethel-Barns/dp/B000ARTMX4/ref=sr_1_1?s=music&ie=UTF8&qid=1427120772&sr=1-1&keywords=ethel+barns (http://www.amazon.com/Works-Violin-Piano-Ethel-Barns/dp/B000ARTMX4/ref=sr_1_1?s=music&ie=UTF8&qid=1427120772&sr=1-1&keywords=ethel+barns)

Vítězslava Kaprálová died on June 16th 1940 in Montpellier, France (St Eloi Hospital).
Not in Paris as specified in the topic dedicated to her (archive).
It's my home town.

Claude

Odd how some names fall out of fashion; Dora, Ethel, Vitezslava...

Most names do eventually, don't they?

I don't think Kathleen has ever lost it's popularity. On the other hand the only Dora I've ever met was Dicken's Miss Spenlow...

One can almost determine the era by the persons first name. Will have a listen to the Barns composition.
Tom :)

Jrma von Halácsy (Austrian/Hungarian, 1880-1953) composed, in 1909, an opera ("Antinoos") about the love between the Emperor Hadrian and Antinous, of which only excerpts have been performed once in concert. I am struggling for this score since over 20 years and cannot find any funds helping me to edit it. It's rather Wagnerian in style.
Fortunately enough, the role of the young lover is for a tenor (optionally a soprano). The composer wrote her own libretto (of which I have an original print).
She composed 6 operas, among which "Salambo"
Irma is listed (without life dates) in:
A large list of women composers
http://www.archiv-frau-musik.de/Komponistinnenh.htm
see also another interesting list:
http://www.women-in-music.com/extrainformation.html

I'm missing Amy Beach on this list. Have seen her name come by quite frequently during the last years in (usually chamber) concert listings.

Name - born - died
Andrée, Elfrida   1841   1929
Arkwright, Marian   1863   1922
Aulin, Laura Valborg   1860   1928
Barns, Ethel   1880   1948
Bauer, Marion Eugenie   1882   1955
Beach, Amy   1867   1944
Blahetka, Leopoldine   1809   1885
Bonis, Melanie (Mel)   1858   1937
Bordewijk-Roepman, Johanna   1892   1971
Boulanger, Lili   1893   1918
Bright, Dora   1862   1951
Bruckshaw, Kathleen   1877   1921
Buchholtz, Helen   1877   1953
Carreno, Teresa   1853   1917
Chamberlayne, Elizabeth Amelia   1869   1919
Chaminade, Cecile   1857   1944
Clarke, Rebecca   1886   1979
Dalberg, Nancy   1881   1949
Eggar, Katherine   1874   1961
Ellicott, Rosalind Francis   1857   1924
Faisst, Clara   1872   1948
Faltis, Evelyn   1887   1937
Farrenc, Louise   1804   1875
Howe, Mary   1882   1964
Howell, Dorothy   1898   1982
Jaell, Marie   1846   1925
Kralik, Mathilde   1857   1944
Landowska, Wanda   1879   1959
Lang, Josephine   1815   1880
Lara, Adelina de   1872   1961
Lawrence, Emily   1854   1894
Le Beau, Luise Adolpha   1850   1927
Levina, Zara   1906   1976
Loder, Kate   1825   1904
Mahler, Alma   1879   1964
Mayer, Emilie   1812   1883
Mendelssohn (Hensel), Fanny   1805   1847
Menter, Sophie   1846   1918
Moore, Mary   1873   1957
Muller-Hermann, Johanna   1868   1941
Netzel, Laura Constance   1839   1927
Paradies, Maria Theresa   1759   1824
Pejacevic, Dora   1885   1923
Price, Florence   1887   1953
Prieto, Maria Teresa   1896   1982
Rimskaja-Korsakowa, Nadesha   1848   1919
Rogers, Clara Kathleen   1844   1931
Rontgen-Maier, Amanda   1853   1894
Schumann, Clara   1819   1896
Sehested, Hilda   1858   1936
Smith, Alice Mary   1839   1884
Smyth, Ethel   1858   1944
Swepstone, Edith   1885   1930
Szymanowska, Maria   1789   1831
Tailleferre, Germaine   1892   1983
Tegner, Alice   1864   1943
Teichmuller, Anna   1861   1940
Tyrrell, Agnes   1846   1883
Vellere, Lucie   1896   1966
Viardot, Louise Heritte-   1841   1918
Viardot, Pauline   1821   1910
Warren, Elinor   1900   1991
Weigl, Vally   1894   1982
Wertheim, Rosy   1888   1949
Williams, Grace   1906   1977
Wurm, Mary   1860   1938
Zimmermann, Agnes   1847   1925


The one's I particularly like are in blue.

I recently came across a CD called "Kammermusik aus dem Baltikum" which had recordings by a Russian lady composer called Ella Adaiewsky (can also be spelt Adayevskaya,  Adaïewsky, etc) - her dates are 1846-1926.  She is a new one on me completely! 

Photo here - https://ru.wikipedia.org/wiki/Адаевская,_Элла_Георгиевна (https://ru.wikipedia.org/wiki/%D0%90%D0%B4%D0%B0%D0%B5%D0%B2%D1%81%D0%BA%D0%B0%D1%8F,_%D0%AD%D0%BB%D0%BB%D0%B0_%D0%93%D0%B5%D0%BE%D1%80%D0%B3%D0%B8%D0%B5%D0%B2%D0%BD%D0%B0)

Wikipedia says of her (https://en.wikipedia.org/wiki/Ella_Adayevskaya (https://en.wikipedia.org/wiki/Ella_Adayevskaya)):

Ella Georgiyevna Adayevskaya (Russian: Елла (Елизавета) Георгиевна Адаевская; 22 February 1846 [O.S. 10 February] – 26 July 1926) was a Russian composer, pianist, and ethnomusicologist. Adayevskaya was a pseudonym; the composer derived it from the notes A, D, and A, played by the kettledrum in Mikhail Glinka's opera Ruslan and Ludmila. She was also known as Elisabeth (von) Schultz-Adaïewsky, as well as by the pseudonym Bertramin.

Adaïewsky wrote piano concertos, vocal music (including choral settings of the Russian Orthodox liturgy), and two operas. She also edited a collection of Italian dance songs and published her writings on folk music and the music of ancient Greece.
Born in St. Petersburg on 22 February 1846 as Elizaveta von Schultz, Adayevskaya began taking piano lessons with Adolf von Henselt at the age of eight, and also studied with Nicolas von Martinoff. From 1862 until 1866 she continued her studies with Anton Rubinstein and Alexander Dreyschock at the St. Petersburg Conservatory. Her other teachers included Alexander Famintsyn, Nikolai Zaremba, and Ignaz Vojácek.

She also studied composition with Zaremba and Famintsyn, and in about 1870 began writing music for the Imperial Chapel Choir. Two operas soon followed. The first, titled variously Neprigozhaya (The Homely Girl) and Doch' boyarina (The Boyar's Daughter), was a one-act piece produced in 1873. The more ambitious Zarya svobody (The Dawn of Freedom) followed in 1877; this four-act work was dedicated by the composer to Tsar Alexander II, but was rejected by the censor because it depicted a scene of a peasant uprising. Adayevskaya wrote one more opera, the comic Solomonida Saburova, but this remained in manuscript. Later, she embarked on several solo concert tours of Europe and settled in Venice in 1882. In 1881, she composed her Greek Sonata for clarinet and piano. This piece, which used quarter tones, was inspired by the composer's study of the music of ancient Greece, the Greek Orthodox Church and Slavic folk music.

In 1882 she went to Italy, collected national songs (among others waltz songs of the Resianer (Rhaetians) in 5-4 time).[1]

On the invitation of Franziska von Loë, she moved to Neuwied, on the Rhine, in 1909. Together they joined the more liberal-minded artistic circle formed around the poet Carmen Sylva. Adayevskaya's musical pursuits eventually came to be dominated by folk music research, which resulted in a substantial output of publications on the subject.

Adayevksaya died in Bonn in 1926. She was buried in the Alter Friedhof, Bonn.
Works:
Operas

    Neprigozhaya (The Homely Girl)/Doch' boyarina (The Boyar's Daughter), 1873
    Zarya svobodï (The Dawn of Freedom), 1877
    Solomonida Saburova, unperformed

Vocal music

    Yolka (The Fir Tree), cantata, c. 1870; also

other choral works, songs
Chamber music

    Svabednï khor (Wedding Chorus) overture, c. 1870
    Greek Sonata for clarinet and piano, 1881
    piano pieces

The pieces on the CD I mentioned are Berceuse Estonienne, Dieu! Qu'il la fait bon regarder, Le temps a laissé son manteau and Allez-vous en, allez, allez.

if you're interested in Mathilde Kralik, her Piano Trio in F is here:

https://www.youtube.com/watch?v=4kUi5KE42Tg (https://www.youtube.com/watch?v=4kUi5KE42Tg)

Jerry

@Balapoel

Quote
....
Esposito, Michele   1855   1929
....

This Italian / Irish composer was male !

Thanks! Duly amended.

So was Robert Meredith Willson......

amended again - not sure how that got in there...

Re Faltys, I've seen birth years of 1887 and 1890 but not so early as 1877...
(you list Johanna Mueller-Hermann twice, with different birthyears, I see.)

One can find some others in the IMSLP category here - http://imslp.org/wiki/Category:Women_composers (http://imslp.org/wiki/Category:Women_composers).
(E.g. Tekla Bądarzewska-Baranowska (1834-61), Agathe Backer-Grøndahl (1847-1907), Carrie Williams Krogmann (1863-1943) (I have some music of hers, arr. for piano duet, purchased at a book store iirc), Emma Dahl (1819-96) (song composer (mainly?)) , also though not @IMSLP and (like several composers in Balapoel's list, not "of the Romantic Period", either... e.g. Zara Levina (1906-76), whose music can be found with that of Nina Makarova (1908-76 - married Aram Khachaturian, btw...) on a Russian Disc CD)-- Johanna Senfter (1879-1961, Reger student, symphonist (her 4th symphony is @YouTube, I think...))

Hrm. Senfter, CK Rogers, Maier, Valborg Aulin, (and Amy Beach, Schumann, Mendelssohn-Hensel, Smyth, Andrée, Tailleferre, & Farrenc) - and also Susan Spain-Dunk (1880-1962) were among those (though not the only ones, of course... ) in the list to be born between- 1800?- and 1900, who contributed very notably, in my opinion, to chamber and/or orchestral music (or "large forms" in general). (Actually, unless one makes "notably" a rather higher bar than we generally do, that list is going to grow rather longer- understandably...) (And also of course Holmès. ... We didn't forget Augusta Holmès? Gah, _definitely!!_ not forgetting Holmès...)

On the subject of Bądarzewska-Baranowska, has anything of hers even been recorded outside of A Maiden's Prayer? There's a bunch of stuff on IMSLP.

And don't forget Elsa Olivieri Sangiacomo Respighi (1894-1996), Ottorino's wife! She was a 15 years younger pupil in Respighi's master composer class and a former pupil of Sgambati. They married in 1919. At that time, a woman composer was quite a scandal - besides the fact that her father had been in prison for political reasons. She wrote two operas, two cantatas, orchestral pieces and various songs. During her marriage years she had decided not to compose, she took over again only in the 1940s. In 1942 she participated to a competition for a one-act opera (Il dono di Alcesti"), the winner of which would have been premiered at the Scala - and she got the first prize. After it had been revealed who was behind her psedonym, the press announced: "Now, the Fascist's widow has got the prize". Elsa immediately refused this honour and withdraw herself from Italy's official musical life. We became friends in 1977; she had actually become the most important woman in my life.

I had thought of doing a posting about Else Sangiacomo but realised that I did not have a list of her works. Perhaps you could provide a short biography, plus list please. 

Balapoel, The list in blue of those you particularly like are well documented elsewhere.  My purpose was to shine a little light on the unsungs.

No worries, Giles. I'm just a sucker for comprehensive lists - you never know when you may find an interesting name to research...

I once heard a program that was to present lady composers and they listed Karen Kachaturian, that was many years ago, barely in the 70s do I remember some work in which the music world was beginning to look at the many female composers. The earliest I remember learning about in my own "career" of learning about and collecting classical music (in a most non-musicological way) were Marianne Martinez, Amy Beach and Sophie-Carmen Eckhardt-Gramatte. Also CRI records was beginning to give American composers some attention, and Melodiya and Supraphon were way ahead in producing works by women, even then.
If you haven't run across a huge work by Aaron I. Cohen called "International Encyclopedia of Women Composers" it contains references to probably 5000 composers and has appendices of eras in which they lived, nationalities, types of compositions, even about 250 pictures of them. Aaron I. Cohen was not a musicologist but a town-planner, yet this was his huge labor of love. Under each composers name there are short biographies, bibliographies and lists of work. I don't think this is considered a definitive work, but certainly an extremely interesting one to anyone becoming aware of the importance of woman composers throughout the ages. Actually, the book is out of print but remainders still appear to be available at Berkshire Records for $35, two volumes about 1800 pages. I have enjoyed mine for many years, and have gradually collected a lot of music I first saw mentioned in it.

http://www.berkshirerecordoutlet.com/search.php?row=0&brocode=&stocknum=&text=encyclopedia&filter=all&book=1&submit=Search

I don't work for Berkshire but if this work interests you and it's not in your library, here is the page for it.

I have always wanted to hear something by Elsa Respighi, it must have been wonderful for you to actually know her, Adriano. I only recently got to hear works by Gubitosi and Giuranna.

This is the reference work that suggests Louise Farrenc wrote a piano concerto, but if she really did it hasn't been  found to my knowledge. If it is, it will probably be very good.
Things are looking up, I finally got to hear Marie Grandvaal's oboe concerto on CD, the Konzertstuck by Clara Schumann, etc.

Best wishes, Jim

By the way, some of the orchestral works listed by Respighi are: Serenata di maschere, Danza orgiastica, Danza sacra, Danza triste, operas Alcesti, Fior de neve, Samurai, but I think one of the shortcomings is that as earlier mentioned this encyclopedia is not always complete or definitive.
Another thought brought up by this thread was of the wives of male composers who also composed, such as Respighi, Schumann, Alma Mahler, Nina Makarova, et al, can't remember any others just now. And lots of sisters, too I think, Fanny Hensel of course.

Karen Surenovich Kchachaturian is a (male) nephew of Aram Kahachaturian!

Here is a (tentatively) complete catalogue of Elsa Respighi's works, also including her books:

ELSA OLIVIERI SANGIACOMO RESPIGHI
(March 24, 1984 – March 17, 1996)

COMPOSITIONS

Stati d'animo
(Three songs for voice and orchestra, 1916)
Unpublished

Tre canzoni spagnole
(Three Spanish songs with piano accompaniment, 1920)
1. La muerte del Payador
2. Momento
3. Duermete mi alma
Edizioni Ricordi

Quattro brevi liriche dai "Rubayat" di Omar Khayam
(Three short songs for voice and piano, 1920)
Edizione Ricordi

Due liriche su testo francese
(Two songs on French texts for voice and piano, 1920)
1. Berceuse bretonne
2. Je n'ai rien
Edizioni Ricordi

Serenata per maschere
(Symphonic poem for orchestra, 1918)
Unpublished

Suite di danze
(For orchestra, unfinished, undated)
1. Danza triste
2. Danza sacra
3. Danza orgiastica

Fior die Neve
(Musical fairy tale for puppets – unfinished, undated)

La mamma povera
(Song for voice and piano, 1938)
Edizioni Ricordi
First recording: Gramophone HMV AV 46 (1941)
LP reissue: Adriano Records ADR E5 (1979)

Cantare campagnolo
(Song for mezzo-soprano and piano, 1939)
Edizioni Ricordi

Pianto de la Madonna (Lauda drammatica umbra)
(Cantata for soprano, tenor and orchestra, dates pending)
Edizioni Ricordi

Trio per arpa, violino e pianoforte
(Undated, unpublished)

Cantata su Santa Caterina
(For mezzo-soprano and chamber orchestra, undated, unpublished)

La ballata delle rose
(For small chorus and chamber orchestra, or voice and chamber orchestra, undated, unpublished)

Il dono di Alcesti
(Opera in one act, 1941, unpublished)

Samurai
(Opera in 3 acts, 1943?, unpublished)


BOOKS

Ottorino Respighi
(Biography, 1954)
1. Original Italian version (1954)
2. German translation by Arthur Scherle (1962, abridged)
3. English translation by Gwyn Morris (1962, abridged)
Edizioni Ricordi

Il teatro di Respighi – Opere, balli e balletti
(In collaboration with Leonardo Bragaglia, 1978)
Bulzoni Editore

Cinquant'anni di vita nella musica
(Memoirs 1905-1955)
1. Original Italian version (Rebellato Editore 1985)
2. English translation by Giovanni Fontecchio and Roger Johnson (The Edwin Mellen Press, 1994)

Venti lettere a Mary Webs (a novel)
Casa Editrice Ceschina (1957)

Via con gli uomini (a collection of short stories)
Trevi Editore (1975)

(This is my old list of 1996. No time for the moment for further researching, neither for writing a short biography)

Read also 2 of my conversations with Elsa on:
http://www.adrianomusic.com/resources/1977-1978-Elsa.pdf

Not knowing that e.g. Michele is (often? always?) a male Italian name and Karen a male Armenian name (though the latter is female in other languages) - e.g., e.g., etc. etc. ! - and making assumptions about names like Lindsay (not to mention pseudonymous composers such as the songwriter Mary Earl, born Robert Keiser, used a number of other pseudonyms e.g. Robert King) - can cause a bit of a problem here without a doubt...

The Italian version of Michael is Michele for a male and Michela for a female. Michaela is the German female.

Thanks, Adriano for the list. I found references for a few other? compositions that may link with your list.

3 canti corali for chorus (1939)
3 Canzone spagnole for soprano and orchestra (1917) (arrangements of the songs for soprano and piano?)
Intermezzo romantico for viola, flute, harp, and orchestra (1942) - maybe an arrangement of part of the Piano Trio you mention?

One as yet unlisted female composer whose work I've enjoyed much is Lūcija Garūta (https://en.wikipedia.org/wiki/Lūcija_Garūta (https://en.wikipedia.org/wiki/L%C5%ABcija_Gar%C5%ABta)), a Latvian (1902-1977) who mainly wrote pieces for the piano, but also cantatas, chamber music and a fine piano concerto (https://www.youtube.com/watch?v=I0iaMpJ8-iI (https://www.youtube.com/watch?v=I0iaMpJ8-iI)).

Thanks, Balapoel.
Cannot find the time for further research this year; I am in the midst vocal score and orchestral score editings and other preparations with my next Fritz Brun CD and of a Fritz Brun video documentary, but will certaily look after all this.

Although not of the romantic period, but definately of the romantic genre is Miriam Hyde with her Racmaninovian piano concertos.

I think she was discussed here a long time ago.

Thal

Uh-oh Ilja, get ready for a slap-down...!

She (and others) were in my original list, but rather than incur the wrath of the sentinels, I erred on the side of extra caution.

There's no problem with Hyde.
Signed:  A. Sentinel

Nina Makarova -- contemporary with Zena Levina, who is already on your list. In fact, this CD has works by both of these women composers.
http://www.amazon.com/Nina-Makarova-Symphony-Concerto-Russian/dp/B000001LPH/ref=sr_1_1?s=music&ie=UTF8&qid=1427637845&sr=1-1&keywords=Zara+Levina (http://www.amazon.com/Nina-Makarova-Symphony-Concerto-Russian/dp/B000001LPH/ref=sr_1_1?s=music&ie=UTF8&qid=1427637845&sr=1-1&keywords=Zara+Levina)

She was a student of Myaskovsky and married to Aram Khachaturian. I put together information regarding her works for the Soviet Composers website here -- http://home.online.nl/ovar/makarova.htm (http://home.online.nl/ovar/makarova.htm)

    http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Brussel                  (http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Brussel)

Josephine Clasine van Brussel 1808-1851

Once briefly mentioned here. Wrote a Kalkbrennerish set of variations that was almost in my repertoire.

Thal

Seems worthy of investigation for those interested in vocal music (which I am, as well as other things...): Kate (Letitia Katherine) Vannah (1855-1933). (Not much biographical material I can find, but an 1897 biography is reproduced here (http://www.patheos.com/blogs/mcnamarasblog/2011/07/kate-vannah-1855-1933-poet-and-composer.html).) A song of hers, along with C.K. Rogers' violin sonata in D minor and other works by women (Beach, Chaminade, Mary Knight Wood, Maude Valerie White, and others) that were performed at the 1893 Chicago World's Fair, could once be found on a 1991 Koch International Classics CD ("Women at an exposition".) Haven't heard this myself yet, but I think a nearby college (Ithaca College, practically next door- well, not exactly; but relatively!) has a copy, so maybe...

Nina Makarova's Symphony is a very valuable work. It was composed in 1962 and recorded by Melodiya in 1967. This is the version re-issued on Russian Disc. A CD with music by Marakova and her husband is Russian Disc RCDC 000517 (produced in 1999), featuring Nina's Two pieces for Violin and Orchestra, Two pieces for Cello and Piano and Two Pieces for Harp - coupled with her husband's Violin Concerto. Nina was a very attractive woman and a pupils of Myaskovsky; in fact it was at the time of her Conservatory classes she met with Aram. She graduated in 1936, two years later than the latter.

Since Hadrianus has extended "Women Composers of the Romantic Period" to include women of a later period who compose(d) in the romantic style, I simply can't resist an opportunity to encourage members to explore the music of my favourite female composer, the Ukrainian, Alla Pavlova - all available on superb Naxos CDs. Although widely described as neo-romantic, it is rather like film music and probably outside the remit of UC, but I hope Mark and Alan will forgive this brief 'heads up'!  :D

Well semloh, by including Elsa Respighi I just compared her lifedates with most of the ones of the initial list of this thread :-) Then I reacted to the entry on Karen Khachaturian. I am not the principal "guilty guy" :-) So this once more brings up the theme "what exactly is Romantic?", "Romantic period" or "late Romantic?"...

We're not going down this route again - sorry. Let's return to the topic, which is clear enough if you consult UC's definition of 'romantic', i.e. WW1 is our normal terminus ad quem, with the exception of composers who wrote/write in a similar style after that.

Also maybe Leokadiya Kashperova (1872-1940) (that she was an early teacher of Stravinsky does not make her un-Romantic); her Op.1 cello sonatas came out around 1890;
Régine Wieniawska "Poldowski" (1879-1932), composer of a violin sonata, an opera, a piano concertante work, and etc.; Jeanne Minsmer (1887-1957) (violin sonata, 1919)...

Nina Makarova's Symphony is very much on the outer limits of our remit: let's remember this, please. In the end, if the incidence of dissonance is too high, it's moving beyond romanticism to what we call 'modern tonal'.

A book has been published in Danish about five women composers, none of whom seems to have been mentioned here: Cora Nyegaard, Emma Hartmann (wife of J. P. E. Hartmann), Frederikke Løvenskiold (mother of Herman Løvenskiold, composer of the ballet "La sylphide" recorded by both Chandos and cpo), Ida d'Fonseca and Henriette Wienecke . They were all active in Denmark in the 19th century. However, since they all composed only songs and piano pieces, they are probably of limited interest to readers here. But I think their stories, especially that of Cora Nyegaard, shed light on the problems facing a musically talented girl in the 19th century.

As long as she was a child and a young girl, Nyegaard could develop her talent without opposition. But when she expressed a wish to study music at a higher, even professional level, her father ruled it out completely. Several of her letters are reproduced in the book where her frustration is obvious: "I feel I have so much to say but I don't know how to do it". After much pestering, she persuaded her father to show some of her compositions to the composer C. E. F. Weyse, but even though his verdict was positive, old Nyegaard still refused to let his daughter study music, claiming that study would "destroy the individuality of her music". Instead, she ended up in an unhappy marriage to a vicar who, according to the book, was her intellectual inferior, and whom she grew to detest. Marriage also put a definitive end to her composing career. However, she did manage to have some hymn tunes published, one of which is actually still sung regularly in Danish churches.

It seems to me that a lot of talent was wasted because of situations like this.

OK, sorry again Alan; I forgot the exact title of this thread - but suppose for the rest of the subjects, more modern or modern composers are still allowed to be discussed in this website?

Sorry, Adriano, they're not. Our remit applies to all threads at UC.

OK, but in this case the website should be called "Unsung Composers of the Romantic and Post-Romantic Period"  ;)

That's too long a name. In any case the definition of our remit makes this perfectly clear...
http://www.unsungcomposers.com/forum/index.php/topic,3681.0.html (http://www.unsungcomposers.com/forum/index.php/topic,3681.0.html)
...and we've been over this ground time and again. So, back to the thread topic, please...

I started this thread in the hope that browsers would be able to add further information about the women listed.  I make a plea to keep to this.  If there are other women considered to be suitable topics, then please start a new thread.

While I find the restriction of period imposed by this forum regrettable, there are some reasonably content-filled places to discuss unsung music of other eras, especially if a person has e.g. a Facebook account or somesuch...

Also Hélène Liebmann (née Riese).
About her piano trio uploaded (as mentioned, one of three) awhile back did anyone catch the movement headings? I'm thinking of trying to interloan a modern edition thereof, that I noticed was available, the better to do something about the under-informative "I" "II" "III" "IV" stuffs... :D
Eric

I've put in an interloan request for a (modern) published edition of the Liebmann trio; don't know if anyone else is interested but may have more information about it (such as can't be determined exactly by just listening to it) soon.

Ok, as earlier threatened, I mean, promised, here are the movement headers from Ambache's edition (for the Hildegard Publishing Company) of Liebmann's Op.11 piano trio (published by CF Peters ca.1816). (Middlebury College library copy; ©2003 edition.) Ambache's notes only mention two piano trios, not the three we believe exist- she claims Opp.11 and 13 may be the same work published under different opus numbers (at least that some confusion may exist as Op.11 was also used for a cello sonata, published by Breitkopf around 1815). (The other trio besides Op.11, mentioned in a Heidelbergische Jahrbücher der Literatur. -Heidelberg, Mohr & Zimmer issue in 1816, would be Op.12. A violin sonata and piano quartet are also mentioned, and a sonata op.15.)

(Also, too few people still understand, I think, that publishers had more to do with opus numbers, speaking very generally, than did composers, at that (ca.1816) time and for a good while after; not unusual e.g. for the same opus number to be assigned by different publishers to different works by the same composer depending on what they themselves brought out...)

I. Allegro (A major, 222 bars)
II. Andante (D major, 68 bars + pickup)
III. Polonoise (A major, 201 bars) (with D major middle section) (base tempo probably set at the discretion of the pianist?? - I may be mistaken - but in other case only "Polonoise" is given here.)