Women Performers, Composers, and Impresarios from the Baroque to the Present
Author: Cecelia Hopkins Porter
Publisher: University of Illinois Press
Category: Biography & Autobiography
Representing a historical cross-section of performance and training in Western music since the seventeenth century, Five Lives in Music brings to light the private and performance lives of five remarkable women musicians and composers. Elegantly guiding readers through the Thirty Years War in central Europe, elite courts in Germany, urban salons in Paris, Nazi control of Germany and Austria, and American musical life today, as well as personal experiences of marriage, motherhood, and widowhood, Cecelia Hopkins Porter provides valuable insights into the culture in which each woman was active. Porter begins with the Duchess Sophie-Elisabeth of Braunschweig-Lueneberg, a harpsichordist who also presided over seventeenth-century North German court music as an impresario. At the forefront of French Baroque composition, composer Elisabeth-Claude Jacquet de La Guerre bridged a widening cultural gap between the Versailles nobility and the urban bourgeoisie of Paris. A century later, Josephine Lang, a prodigiously talented pianist and dedicated composer, participated at various times in the German Romantic world of lieder through her important arts salon. Lastly, the twentieth century brought forth two exceptional women: Baroness Maria Bach, a composer and pianist of twentieth-century Vienna's upper bourgeoisie and its brilliant musical milieu in the era of Gustav Mahler, Richard Strauss, Arnold Schoenberg, and Erich Korngold; and Ann Schein, a brilliant and dauntless American piano prodigy whose career, ongoing today though only partially recognized, led her to study with the legendary virtuosos Arthur Rubinstein and Myra Hess. Mining musical autographs, unpublished letters and press reviews, interviews, and music archives in the United States and Europe, Porter probes each musician's social and economic status, her education and musical training, the cultural expectations within the traditions and restrictions of each woman's society, and other factors. Throughout the lively and focused portraits of these five women, Porter finds common threads, both personal and contextual, that extend to a larger discussion of the lives and careers of female composers and performers throughout centuries of music history.
Through musical analysis of compositions written between the mid-twelfth to late nineteenth centuries, this volume celebrates the achievements of eight composers, all women: Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth Jacquet de la Guerre, Marianne Martines, Josephine Lang, Fanny Hensel, Clara Schumann, and Amy Beach. Written by outstanding music theorists and musicologists, the essays provide fascinating in-depth critical-analytic explorations of representative compositions, often linking analytical observations with questions of meaning and sociohistorical context. Each essay is introduced by a brief biographical sketch of the composer by the editors. The collection--Volume 1 in an unprecedented four-volume series of analytical studies on music by women composers--is designed to challenge and stimulate a wide range of readers. For academics, these thoughtful analytical essays can open new paths into unexplored research areas in the fields of music theory and musicology. Post-secondary instructors may be inspired by the insights offered in these essays to include new works in music theory and history courses at both graduate and upper-level undergraduate levels, or in courses on women and music. Finally, for soloists, ensembles, conductors, and music broadcasters, these detailed analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners.
This book bridges a gap in scholarship by foregrounding the contribution of women to the nineteenth-century Lied. It consolidates recent research in the genre, and develops an alternative narrative that embraces an understanding of the contributions of women. Composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a variety of analytical approaches. In addition to the focus on the history and theory of the Lied, chapters explore the cultural and sociological background, as well as engaging with gender studies, performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research and the energy it generates among scholars and performers.
Nach ›Der Klang der Zeit‹ ein großer Roman über Musik, das Rätsel der Kreativität und die fragile Geborgenheit der Familie Erzählt wird die Geschichte von Peter Els, der an der Ostküste der USA Professor für Musik ist. In den wilden Siebzigern waren seine Stücke Avantgarde. Jetzt will er der DNA ihre musikalische Struktur ablauschen und mit Molekülen komponieren. Bis die Homeland Security in sein Labor stolpert und ihn verhört, denn nach dem 11. September ist jeder verdächtig. Auf einer Fahrt quer durch die USA flüchtet Els vor dem FBI, erinnert sein Leben und sucht seine Familie – ein spannendes Roadmovie voller Emotion und funkelndem Geist, unserer Gegenwart und ihren Themen immer einen Schritt voraus.
Known principally as the father of the famous Mozart, Leopold Mozart was a distinguished musician and tutor in his own right. Though he wrote little for his own instrument, he did write the Violonschule in 1756, a work revised several time in Mozart's lifetime. It was still being published as late as 1817. This treatise followed the Italian school, and Tartani in particular, though the historical chapters are much broader in scope. Its greatest claim to fame, though, is that it provides a window into the early instruction of Leopold's famous son, Wolfgang Amadeus.