If you’re familiar with the famous waltzes of Johann Strauss II (think “The Blue Danube”), you might be asking yourself, why on earth are we performing the overture from Die Fledermaus for a Halloween concert? It’s not creepy or spooky or scary. In fact, it’s quite the opposite – filled with sweet melodies and bouncy rhythms that act as a preview of the rest of the operetta which is filled with humorous plot twists, cases of mistaken identity, and a final chorus in honor of champagne.
Despite all that, there are 3 great reasons to perform the Die Fledermaus Overture for Halloween:
1. The opera is about a masquerade: The operetta (a term used to describe a short opera with a light or humorous theme) is centered around a masquerade ball. And what’s more Halloween than dressing up in costumes?
2. The title means “The Bat”: Die Fledermaus is German for “the bat”. The operetta’s main character, Eisenstein, left his friend Dr. Falke abandoned and drunk on the street. Dr. Falke was dressed in a bat costume and from that point on he took on the nickname of “Dr. Bat”. Interestingly, “fledermaus” does not translate to “flying mouse”. “Fleder” is an old form of “flattern” which means “flutter”. So “fledermaus” is “fluttermouse”.
3. It’s fun!: Who says Halloween music has to be creepy? After all, it is meant to be a fun holiday and what’s more fun than clapping or swaying along with the famous waltz melody of this overture once called the “pièce de resistance” of the operetta by a Viennese critic. In fact it was so well-received at its premiere that it was interrupted several times by applause.
Be sure to join us on October 27, 2017 and hear us perform this and other Halloween music at “Sounds of the Deep”
Classical music detractors might have you believe that the genre is made up of slow and boring tunes that will put you to sleep. While, sure, there are a fair number of slower tempo pieces including soft lullabies and peaceful preludes, there are also notable quick and lively selections perfect for energizing your workout, keeping you awake, and more. Here is our top 12 list of fast classical music pieces, many of which have become famous through their use in cartoons, TV ads, and more.
Glinka – Ruslan and Lyudmila Overture
The best-known music from Glinka’s opera is this overture, often described as rollicking and wickedly fast.
Chopin – Minute Waltz
The tempo marking of Chopin’s famous “Waltz in D-flat major” is molto vivace (or very lively). Its nickname, the “Minute” was actually intended to describe the piece as a “small” or “miniature” waltz. It was not intended to be played in under a minute. It’s still pretty fast, though.
Vivaldi – “Summer” from The Four Seasons
“The Four Seasons” is the best known of Vivaldi’s works and the Presto movement of Summer is definitely the fastest portion. This portion is intended to evoke images of a storm complete with thunder and hail.
Smetana – “Dance of the Comedians” from The Bartered Bride
The Dance of the Comedians is from Czech composer Smetana’s “The Bartered Bride”. You may recognize it though from the Roadrunner and Wile E Coyote cartoon “Fast and Furry-ous”.
Rimsky Korsakov – Flight of the Bumblebee
“Flight of the Bumblebee” was written as a small orchestral interlude for the opera “The Tale of Tsar Saltan” – music to entertain between acts. Today, it is far more famous as a standalone piece.
Popper – Dance of the Elves
Popper was both a cellist and a composer. His “Elfentanz” (Dance of the Elves) was written along with other short showpieces to highlight the cello’s incredible range and unique sound.
Khachaturian – Sabre Dance
The “Sabre Dance” is by far Khachaturian’s most recognizable work. It’s actually a movement in the final act of his ballet “Gayane”, but it has since been used in movies and even by ice skaters as music for their routines.
Liszt – Gnomenreigen
Part of Liszt’s “Two Concert Etudes”, Gnomenreigen (Dance of the Gnomes) is well-known among pianists for its technical difficulty and fast passages.
Vivaldi – Concerto for 2 Cellos in G Minor
Vivaldi only left one “double” concerto for cellos, but the cadenza-like opening is highly charged and often played very fast.
Paganini – Caprice No 5
You don’t have to search anywhere but Wikipedia to read why this made the list. It’s described as being “known for its incredible speed and extremely high technical difficulty”.
Corelli – Badinerie
Badinerie in French literally means jesting. In music, it generally refers to the quick, light movement in a suite. This selection by Corelli is part of his “Sarabande, Gigue, and Badinerie Suite for Strings”.
Barber – 3rd movement from his Violin Concerto
Barber’s violin concerto has three movements and it’s the last which stands out for its fast tempo. It was designed to show off the more brilliant and virtuosic nature of the violin.
In 1909 and 1910, Claude Debussy wrote a series of 12 preludes for solo piano. Among them is the mysteriously titled, “La Cathédrale engloutie” which translates to The Submerged (or The Sunken) Cathedral. A quintessential example of musical impressionism, the piece depicts the rise of a cathedral from the water and subsequent return to the depths – complete with bells chiming, priests chanting, and organ playing.
While you may know the piece, did you know that it’s based on a real legend? The ancient Breton legend of Ys.
Legend of Ys
Ys was a mythical city said to have been on the coast of Brittany (Northwest France) in the Bay of Douarnenez. It was famous throughout the region for its beautiful gardens and buildings. Run by a king named Gradlon (or Gralon) who lived in a palace of marble, cedar, and gold, it was rich in commerce and the arts. It was also very vulnerable to flooding, being situated below sea level. To protect the city, a huge dike was built around it with a single gate that opened for ships during low tide.
The exact reason why Ys became submerged in the sea varies. There are many different versions of the legend. Most depict Gradlon as a pious, devoted king and father who was the holder of the only key to the city gate. His daughter, Dahut, on the other hand is usually described as a sinful, deceitful princess. In some versions, Princess Dahut holds a secret banquet for her lover and the two, drunk with wine, steal the key from her father and open the gates, letting the waters flood in. Another version says that Dahut steals the key to let her secret lover in to the city during the night, mistakenly flooding the city.
There are also versions that involve the fight between Christianity and paganism, suggesting the cause of the city’s demise was due to everything from excessive luxury to sin and worship of pagan gods to Dahut taking the devil himself as her lover. In these versions, King Gradlon was said to have converted to Christianity. St Gwénnolé foretold of the city’s downfall and warned the king to flee. He agreed to do so, but devoted father as he was, he tried to save his daughter. A voice called out to throw his sinful daughter into the sea or he would not escape the waters that were about to overtake him. He does so and she turns into a mermaid.
All versions agree that Dahut does not escape her fate. Ys becomes submerged in the sea. King Gradlon escapes and takes refuge in Quimper which becomes the new capital. Interestingly, a statue of Gradlon still stands between the spires of the Cathedral of Saint Corentin in Quimper.
Breton folklore asserts that the bells of the churches of Ys can still be heard below the waters of the Bay of Douarnenez when it is calm, hence the inspiration for Debussy’s prelude.
A Pun For An Ending
Another related legend says that when Paris is swallowed, the city of Ys will rise again. Par-is means “like Ys” in Breton.
The opening of the piece gently brings in the cathedral, out of the water, with a melody that resembles waves. Debussy wrote in Peu à peu sortant de la brume (Emerging from the fog little by little). Then after a section marked Augmentez progressivement (Slowly growing), the cathedral emerges and the grand organ is heard with a powerful fortissimo. This is the loudest part of the piece. The cathedral then sinks back down into the ocean and the organ is heard once more, but this time from under water. Finally, it is out of sight and only the bells are heard at a distant pianissimo.
If you’ve attended orchestral performances or listened to classical music for any length of time, you’ve probably seen the terms “philharmonic”, “symphony”, and “chamber” in the names of various organizations. “Pops” is another common term (as in the Boston Pops or the Denver Pops Orchestra). The first three are used to denote different sized groups. A chamber orchestra is the smallest while “symphony” and “philharmonic” typically refer to groups large enough to play the great symphonies. “Philharmonic” is also a proper name used to distinguish orchestras in the same city.
“Pops” is another story. It refers to the type of music played by the group.
What is a pops orchestra?
Simply put, it is an orchestra that plays popular music as well as well-known classical works. They are groups that perform lighter classics, American favorites, popular music, show tunes, and film music. Many feel they are an alternative to the “highbrow” orchestras since they aren’t afraid to let their hair down a little. Of course, we here at the Parker Symphony aren’t afraid to let our hair down at times even though we don’t have the “pops” moniker.
On the classical side, you may hear Strauss waltzes and polkas, overtures from composers like Rossini, Mozart, and von Suppé, and a movement or two from a famous Beethoven or Mozart symphony. On the popular side, you might hear the music of an iconic band like The Beatles, the music from a hit Broadway show like Hamilton, and movie themes from composers like John Williams, James Horner, Hans Zimmer, and Thomas Newman.
Pops Orchestras vs. Pops Concerts
Interestingly, critics of pops orchestras suggest that the fact that they are separate organizations has removed some of these more famous classics from traditional symphony orchestras’ repertoire which has hurt attendance. They tend to “remove some music whose principal reason for existence is pure entertainment”.
To answer this, traditional orchestras have been putting on more programs in the style of pops orchestras. Philharmonic orchestras and symphony orchestras have always occasionally played a pops concert here or there, but more recently, these organizations have found success in themed concerts and even playing a film score alongside the movie.
Even we here at the Parker Symphony perform pops concerts to help draw in new and different audiences. For example, our 2016 “PSO Goes To The Movies” concert included single movements from symphonies and short classics featured in films.
The Future Of Pops
Pops orchestras and concerts will probably always have a place. After all, to quote the New York Philharmonic’s vice president of artistic planning, “Not every subscription concert, week in and week out, should be so deadly serious.” Whether pops plays more or less of a role in the future is hard to say. For now, those who want to hear serious performances, there are always programs available featuring masterful concertos, full symphonies, and choral works. For those who are looking for lighter entertainment, check out the various pops orchestras and concerts in your area.
If you’ve ever listened to baroque music (think Vivaldi, Corelli, Handel, etc.), you’ve probably seen the term Concerto Grosso and wondered, “What is that?” Well, as you can probably guess, it does not mean the concerto is gross.
Concerto grosso (or the plural concerti grossi) is Italian for “big concerto”. Unlike a solo concerto where a single solo instrument plays the melody line and is accompanied by the orchestra, in a concerto grosso, a small group of soloists passes the melody between themselves and the orchestra or a small ensemble.
The group of soloists (or soli, concertino, or principale) was often made up of two violins, a bass melody instrument such as a cello, and a harmony instrument such as a harpsichord. Wind instruments were also common. The orchestra (or tutti or ripieno) was usually a string orchestra or a small ensemble of strings, often with a few woodwinds or brass added.
Concerti grossi were very common in the Baroque era (1600-1750). Right around 1750 (just after Handel composed his Concerti Grossi, Op. 6 with 12 different concerti), the solo concerto became the more popular musical form and the concerto grosso all but disappeared. Interestingly, a few 20th century composers like Igor Stravinsky, Philip Glass, and Henry Cowell have revived the form.
Listen to Corelli’s Concerto Grosso op. 6 no. 8 below and see if you can spot the concertino vs. the ripieno.
We’ve all heard it. The jokes about classical music putting people to sleep. Sure, some pieces are great for studying, meditation, weddings, and solemn events, but that’s just the tip of the iceberg when it comes to this genre. If all classical music were soft, quiet, and relaxing, orchestra life would be pretty boring especially for the percussion and brass sections. Forte would be a rare dynamic. Fortissimo an impossibility. And audiences would be very hard to come by – unless, of course, they were trying to catch some zzz’s.
So why do people say that about classical music? Maybe it’s because they just haven’t heard the more rousing pieces. Maybe they only remember the softer side of classical because that’s all they hear at weddings. Regardless of the reason, here’s a list of badass classical music that shatters the stereotype.
Orff – Carmina Burana / “O Fortuna”
Holst – The Planets, Mars
Verdi – Requiem “Dies Irae”
Wagner – Ride of the Valkyries
Vivaldi – The Four Seasons: Summer Mvt. 3 Presto
Bizet – Carmen Overture / Les Toreadors
Mussorgsky – Night on Bald Mountain
Verdi – Il Trovatore / “Anvil Chorus”
Khachaturian – Sabre Dance
Strauss – Also Sprach Zarathustra, Prelude
Honorable Mentions (in case you want to check out more):
Tchaikovsky – 1812 Overture
Shostakovich – Symphony No 5, Mvt 4
Bruckner – Symphony No 1, Mvt 3
Grieg – In The Hall Of The Mountain King
Dvorak – Symphony No 9, Mvt 4
Mozart – Requiem in D minor, Dies Irae
Bizet – L’Arlésienne Suite No 2, Mvt 4 (Farandole)
Vltava, better known by its German name, Die Moldau (or The Moldau), is a symphonic poem that is patriotic in every sense of the word. It is one of six movements of a larger work called Má vlast which means “My Homeland” or “My Country”. In it, Czech composer Smetana combined nationalistic melodies with musical depictions of the Bohemian countryside, history, and legends. When performed, you can hear the land come alive as the music paints the scene of a proud and culturally-rich region of Europe.
The Moldau specifically was intended to evoke the sounds of one of Bohemia’s great rivers – the Vltava river. The “Moldau” name comes from the German name for the source of the river in the Bohemian mountains. In Smetana’s own words:
The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe.
The piece begins with the flutes playing a flowing tune reminiscent of two rippling springs. Violin pizzicato evokes raindrops. Soon, clarinets begin to play and continue the theme. Then one of Smetana’s most famous melodies emerges. It is an adaptation of a piece called La Mantovana and is arguably one of the most strikingly beautiful parts of the entire work. In fact, it has inspired other pieces, most notably the Israeli national anthem, Hatikvah. Later on, a horn melody representing jubilant hunters and a polka rhythm that depicts a wedding scene can be heard before the famous melody returns. The piece ends with a regal hymn that fades away until the final two loud notes.
The Moldau was written in the 1870’s, a time when Bohemians had a renewed interest in freedom from German culture. They embraced it and the rest of Má vlast as a sort of patriotic symphonic national anthem. Research suggests this was Smetana’s intent as well. Today, it has achieved the most success of all of the six movements.
When thinking of nature-inspired classical music, pieces inspired by flowers, rivers, trees, birds, seasons, and beautiful scenery definitely fit the bill. You may think of everything from Vivaldi’s The Four Seasons to Beethoven’s Symphony No. 6 “Pastoral”. But how about a piece about a cave?
Yes, there is at least one classical piece about a cave and it’s a mysterious, dramatic, and beautifully melodic work. It’s everything you’d expect from a piece about a stunning yet lonely cave surrounded by the ocean. It’s Mendelssohn’s Hebrides Overture and you can hear it performed by the Parker Symphony Orchestra live on May 5.
Learn more about this fascinating overture. Here are 9 interesting facts you should know about The Hebrides.
1. It has had several titles. When Mendelssohn completed the work in 1830, it was originally titled Die einsame Insel or The Lonely Island. He revised the score 2 years later and, at that time, renamed the work Die Hebriden (The Hebrides). It was published in 1833 with the “Hebrides” title on various orchestral parts and Fingal’s Cave on the score.
2. It was inspired by a trip to the real cave. Mendelssohn visited England in 1829 and after touring the country, proceeded to Scotland. He and his friend, Karl Klingemann, traveled to the Hebrides Island off the west coast of Scotland and later to Fingal’s Cave, a real cave on the island of Staffa. The sea cave is known for its natural acoustics which project the rumbling of the waves inside for miles. Mendelssohn tried to capture the phenomenon in his overture. The cave is also known for its hexagonal basalt columns similar to those you can find at the Giant’s Causeway in Northern Ireland.
3. It is not a traditional overture. Many overtures serve as the opening to an opera or ballet, but The Hebrides represents a new type of overture called the “concert overture”, intended to stand as a complete work. Also, unlike some pieces, it does not tell a story, but rather depicts a mood and “sets a scene”. That also makes it an early example of a musical tone poem.
4. Mendelssohn was seasick on his trip to Fingal’s Cave. The composer and his friend took a skiff to Staffa to view the cave and sat at the mouth of the awe-inspiring formation. Mendelssohn was terribly seasick during the trip, but enjoyed it nonetheless. His friend, Klingemann, wrote that he got “along better with the sea as an artist than as a human being with a stomach.”
5. The overture didn’t come easily. Mendelssohn apparently came up with the opening phrase of the overture while on his tour of Scotland. He sent it home on a postcard with a note to his sister Fanny that read, “In order to make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there.” Unfortunately, despite this stroke of genius, he completed at least 2 versions of the piece and wrote to his sister that he was still wrestling with it in 1832 because it did not savor enough of “oil and seagulls and dead fish”.
6. It was dedicated to King Frederick William IV of Prussia. He was the Crown Prince of Prussia at the time and Mendelssohn’s patron.
7. The final autograph manuscript still exists. It is held at the Bodleian Library in Oxford. Its 34 pages are full of deletions and revisions in a fine calligraphy that was characteristic of Mendelssohn.
8. It consists of two distinct themes. The opening notes state the theme Mendelssohn conceived while visiting the cave and is played by violas, cellos, and bassoons. It sets an initial scene of haunting solitude until the violins take over and the lower voices begin a pattern of sixteenth notes that represent the ebb and flow of the sea. The second theme is a soaring melody meant to convey the drama of the scene. It was once called “the greatest melody Mendelssohn ever wrote” by musicologist Sir Donald Francis Tovey. There are also recognizable crescendos and crashes that represent the often stormy tides of the area.
9. A theory claims that first draft was completed on a very important cave-related date. Scottish writer Iain Thornber pointed out that the initial draft of The Hebrides was completed on the only day of the year the cave is illuminated by the sun. The cave is only fully illuminated when the sun lies 5.6 degrees above the horizon which is generally on or about December 16. Mendelssohn completed the draft on December 16, 1830. Either this was on purpose or it’s a big coincidence.
Impressionism is a term most familiar to fans of late 19th century painters such as Monet, Renoir, Cézanne, and Degas among other notable names. In fact, the term derives from Monet’s Impression, Sunrise. In general, impressionist painters focused on using visual brush strokes to paint overall visual effects and capture light and its changing qualities rather than focusing on details. They also tended to paint en plein air rather than in the studio.
Impressionist paintings depict experiences, moods, and movement. Similarly, Impressionist music also conveys moods, scenes, and emotions rather than detailed stories. This style of classical music was written around the same time (late 19th century) and uses “color” or timbre through different textures, harmonics, and orchestrations to arouse feelings and create atmosphere.
Notable Impressionist composers include:
Ralph Vaughan Williams
Interestingly, while he is often referred to as Impressionist, Debussy rejected the label. Even Ravel was uncomfortable with the name saying it could not be accurately applied to music.
Impressionist music often has an evocative title. For example, Debussy’s Clair de lune or “Moonlight”. While it is actually the third movement of a larger work known as Suite bergamasque, the piece is more famous on its own performed in its original form by solo piano or adapted for orchestra. And when you hear its lush melodies and dramatic ebbs and flows, it’s not hard to see why it is a great example of French Impressionism in music.
Other Impressionist music titles include Debussy’s La Mer and Prelude to the Afternoon of a Faun, Sibelius’ The Swan of Tuonela, and Ravel’s Daphnis et Chloé.
Depending on the instrument you play or your passion for classical music, you may have heard the works of one or a few female composers. Pianists, for example, may know of or even have played Clara Schumann. However, the vast majority of the world has never heard of the likes of Amy Beach, Fanny Mendelssohn, or Florence Price, and that is quite unfortunate.
Women have actually made significant contributions to the classical music world. However, they remain on unequal footing with their male counterparts. So for International Women’s Day, here’s a look at some notable and some forgotten women composers throughout history.
Clara Schumann (1819-1896): Clara Schumann was not only the wife of composer Robert Schumann, but also one of the most distinguished pianists of the Romantic era. Her career began at a young age. At age 11, she went on a concert tour of various European cities and gave her first solo concert in Leipzig. Later, during her marriage to Robert, she met Johannes Brahms and not only helped encourage his career, but also was the first to perform publicly any Brahms work. She premiered several of his works during her career including the Variations and Fugue on a Theme by Handel.
She also began composing at a young age. In fact, she wrote her piano concerto when she was just fourteen and performed it at age sixteen (with Mendelssohn conducting). As she grew older and focused on other responsibilities, she found it difficult to find time to compose. Her output decreased greatly when she reached 36 years old. Her works include piano pieces, the aforementioned piano concerto, a piano trio, choral pieces, songs, and three Romances for violin and piano.
Fanny Mendelssohn (1805-1847): Like Clara Schumann, Fanny Mendelssohn was a pianist and composer. She was Felix Mendelssohn’s sister and the pair shared a deep love of music. Felix arranged to have some of Fanny’s songs published under his name, due to prevailing attitudes toward women publishing music, which actually led to an embarrassing moment. Queen Victoria received Felix at Buckingham Palace and expressed her intention of singing her favorite of his songs. He confessed it was actually by Fanny.
Fanny Mendelssohn was very prolific. She composed over 460 pieces including a piano trio, books of piano solo pieces and songs, and a cycle of pieces depicting the months of the year titled Das Jahr. This last work was written on colored sheets of paper with illustrations by her husband, Wilhelm.
Fanny passed away after suffering a stroke while rehearsing one of her brother Felix’s oratorios. Felix completed his String Quartet No. 6 in F minor in memory of her.
Louise Farrenc (1804-1875): Louise Farrenc is undoubtedly France’s first female composer. Born into a family of sculptors, she showed early talent in music and studied under such masters as Ignaz Moscheles and Johann Hummel. She married a flute student and together they gave concerts throughout France. The couple opened a publishing house together, Éditions Farrenc, which became one of France’s leading music publishers for 40 years.
Like other female composers around her time, she was a pianist from a young age and wrote many works for the instrument. However, while she wrote exclusively for piano until 1830, she expanded her range and wrote works for orchestra starting in 1834. She wrote 3 symphonies, a wind sextet, vocal works, choral works, and chamber music in addition to music for piano. Unlike Schumann and Mendelssohn, Farrenc’s works remained largely forgotten until the late 20th century during a surge in interest in women composers. In December 2013, Farrenc was the subject of the BBC Radio Three “Composer of the Week” program.
Rachel Portman (1960-present): Rachel Portman is best known as a composer of film scores and, unlike our previous composers, is still writing today. She was born in Surrey, England and became interested in music at a young age. She started composing at the age of 14 and subsequently studied music at Worcester College, Oxford. During her time in school, she started experimenting with writing music for student films and theater productions. After that, she wrote music for drama in BBC and Channel 4 films.
Since then, she has written over 100 scores for film, TV, and theater including The Legend of Bagger Vance, Mona Lisa Smile, Emma, Benny and Joon, The Lake House, Oliver Twist, and The Duchess. Her most famous soundtrack compositions are for the movies Chocolat and The Cider House Rules which was used in the Pure Michigan commercials.
Rachel Portman was the first female composer to win an Academy Award for Best Musical or Comedy Score. She won for Emma in 1996. She has also won a Primetime Emmy Award for her work on Bessie.
Florence Price (1960-present): Florence Price was not only a female composer, but also the first African American woman to be recognized as a symphonic composer and the first to have a composition played by a major orchestra. Born in Little Rock, Arkansas, her mother was a music teacher who guided her early musical training. She had her first piano performance at the age of four and published her first composition at the age of 11. After graduating high school at 14, she enrolled in the New England Conservatory of Music. She graduated with honors in 1906.
After college, she moved back to Little Rock and was married. They moved to Chicago after a series of racial incidents. It was in Chicago where Florence entered her most fulfilling period of composition. She studied composition, orchestration, and organ with leading teachers and published four pieces for piano. Unfortunately, financial struggles led to a divorce and Florence became a single mother. To pay the bills, she worked as an organist for silent films and composed songs for radio ads (under a pen name). She submitted compositions for Wanamaker Foundation Awards and won first prize with her Symphony in E minor. The Chicago Symphony Orchestra premiered the symphony in 1933, making it the first composition by an African-American woman to be played by a major orchestra.
Florence Price’s music incorporates elements of African-American spirituals, Southern themes, and inspiration from blues, African-American church music, and modern urban sounds.
Amy Beach (1867-1944): Amy Beach was also a pianist as well as a composer. She is considered the first successful American female composer of art music. She was born a prodigy, able to sing 40 songs accurately by age one. She learned to sing counter-melody to her mother’s singing at age 2 and by age 3, she was reading. She composed simple waltzes at age 5. At age 14, Amy received a year of formal training in composition.
Her performance debut was when she was 16. She played until she was married at which time she agreed to limit her performance to two public recitals per year. She devoted herself to composition. However, her husband disapproved of her studying composition with a teacher. So other than her one year of formal training at 14, she was a self-taught composer. She collected every book she could find on theory, composition, and orchestration.
Her first success as a composer came with the performance of her Mass in E-flat major by the Handel and Haydn Society orchestra. It was the first piece the group performed composed by a woman. After that, she wrote many other works including her Piano Concerto, which she premiered as soloist with the Boston Symphony, and the Gaelic Symphony. Her compositions include symphonic works, choral works, chamber music, solo piano music, and songs (of which she wrote about 150).
Cécile Chaminade (1857-1944): Cécile Chaminade was a female composer in France whose music was largely financially successful. Born in Paris, she studied music with her mother at first and then piano, violin, and music composition later with other notable names. She began composing at a young age and when she was eight years old, she played some of her music for Georges Bizet who was impressed.
Cécile wrote character pieces for piano and salon songs – all of which were published. Many of her piano compositions received good reviews from critics and were favorites in Europe and America. In fact, when she traveled to the United States in 1908, she discovered that her Scarf Dance and the Ballet No. 1 were in the music libraries of many piano music lovers. Other notable compositions include her Concertstück in C sharp minor for piano and orchestra, ballet music for Callirhoë, and her Flute Concertino in D major. The latter remains one of the most popular of her works performed today.
In 1913, she was awarded the Légion d’Honneur, a first for a female composer.
We realize there are many other women we could list here. Follow the links below for more information on these and other women composers.