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Subject: Re: Female Composers: (was "The Mania for Inclusion")
From: Pandora Shaw <[log in to unmask]>
Reply-To:Pandora Shaw <[log in to unmask]>
Date:Fri, 9 Feb 2018 16:47:01 +0000
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (588 lines)


Pray do not attribute to me arguments I never made or sentiments I never felt. In no way did I express a belief in male superiority and I certainly never said women are incapable of creating great art. My own mother is a well known artist and a member of the National Academy. And since you dredge up the educational suppression of girls, I'll tell you that I have  three daughters, two of whom work in the world of high finance and deal with complex mathematical matters every day. Your accusations reveal your own prejudiced assumptions. My argument is a simple one. In the sense that most people regard "greatnesss," there has not yet been a truly great female composer of classical music. And yes, if Clara Schumann had composed Mahler's fourth, I would not be making this comment. But she didn't. It is fallacious to invoke Clara, or Alma Mahler, or Nannerl Mozart, or whoever, and declare that they would have been great composers if not for prejudice or temporal mores. That is completely unknowable. If they didn't do it, it doesn't count.  

    On Friday, February 9, 2018 8:53 AM, Kiwi <[log in to unmask]> wrote:
 

 You cannot convince someone who insists on being blind, deaf and dumb.

I've read these exchanges with amazement, wonder, and despair, to see 
evidence once again of how some people can be so small and so petty and so 
set in their retrograde insistence of male superiority, citing as proof 
hundreds of years of suppression of women's ability in music as indication 
they are incapable of creating great music.

Based on the apparently deeply held opinion presented by at least two of 
this list's most recalcitrant posters, I suspect that if a woman had written 
Beethoven's 9th or Mahler's 4th or Rachmaninov's Second, you would  dismiss 
them as trifles, hardly in the same class as the best of the men simply 
because they were composed by females.

Of course these works were not written by women but there is no reason why 
they could not have been, save for societal attitudes that denied them the 
opportunity.  The reason we don't have a huge catalogue of composition by 
women is not because they cannot write great music, just as not true women 
cannot write great literature or paint great art or sing great music.  The 
reason is that for generation after generation people who want to control 
and demean and belittle women prevented them from doing so, telling them 
they cannot create great works of art and when some persevere telling them 
they will not be allowed to present such works.  The result is that we have 
bits and pieces of output, some exquisite, some great, some good, some bad, 
almost all in miniature format because that was all these women were allowed 
to contribute;  that we have even such small a selection is a real tribute 
to their ability and commitment but also the result of people like you who 
cared so little about these works that they were not allowed to survive the 
passage of time.

It is the sentiments expressed in some of the comments below, written in 
either willful ignorance to imply women are genetically incapable of 
creating works of art or in malice to malign women in general, that keep 
women from achieving.  Just as our parent's parents have been proven wrong 
in keeping girls from studying math and science because they are fields 
meant for men, so too will mean-spirited nay- sayings trying to belittle 
women composers continue to be proven wrong.  And simply because you attempt 
to rationalize your position by insulting both works and posters who have 
cited works by women they like doesn't make these work invalid.

The problem, you see, isn't in the innate ability of women--or blacks or 
reds or yellows or transgenders or any other type of perceived other 
status--it's in society's continuing effort to marginalize and downplay the 
contributions.  And, may I add, also an ignorance that is based on an 
inability to see beyond prejudice.  The fact you don't know about women 
composers over the centuries or don't like what they have produced does not 
diminish their contributions.


***

Hildegard von Bingen (1098-1179)  Not only a composer of some 70 works, 
Hildegard was a writer, mystic and visionary. As a Benedictine Abbess, she 
founded two monasteries. One of her compositions, the Ordo Virtutum, is the 
oldest surviving morality play. It features melodies for the human soul and 
16 virtues, but the Devil for once doesn't get any of the best tunes – he 
has a speaking role.


Francesca Caccini (1587-1640)  Singer, lutenist, poet and teacher, Caccini 
was the daughter of the great Renaissance composer, Giulio Caccini. She 
became one of the most influential female European composers but very little 
of her music survives. Her stage work, 'La liberazione di Ruggiero', is 
considered to be the first opera by a woman


Barbara Strozzi (1619-1677)  Barbara Strozzi was said to be 'the most 
prolific composer – man or woman – of printed secular vocal music in Venice' 
in the middle of the 17th century. Her unique output only contains secular 
vocal music, with the exception of just one volume of sacred songs. The 
large majority of her works were written for soprano


Isabella Leonarda (1620-1704)  At 16, Leonarda entered a convent where she 
stayed for the rest of her life. She was one of the most productive woman 
composers of her time, as well as a teacher for the other nuns. Her 'Sonate 
da chiesa' was historic in that it was an instrumental composition rather 
than vocal.


Louise Farrenc (1804-1875)  Louise Farrenc received piano lessons from 
masters such as Ignaz Moscheles and Johann Nepomuk Hummel. Following her 
marriage, she interrupted her studies to play concerts with her husband, the 
flautist Aristide Farrenc. Despite her brilliance as a performer and 
composer, she was paid less than her male counterparts for nearly a decade. 
Only after the triumphant premiere of her Nonet for wind and strings - in 
which the violinist Joseph Joachim took part -did she demand and receive 
equal pay.


Fanny Mendelssohn (1805-1847) Sister of the composer Felix Mendelssohn, 
Fanny composed more than 460 works, including a piano trio and several books 
of piano pieces and songs. A number of her works were originally published 
under Felix's name. Her piano works are often in the style of songs and 
carry the title, ‘Song without Words.’


Clara Schumann (1819-1896)  The wife of Robert Schumann and herself one of 
the most distinguished pianists of her time, Clara enjoyed a 61-year concert 
career. Her father Friedrich Wieck taught her to compose and she wrote her 
Piano Concerto at the age of 14. She largely lost confidence in her 
composing in her mid-30s.


Teresa Carreño (1853-1917)  This Venezuelan pianist, singer and composer 
performed for Abraham Lincoln at the White House in 1863 and at several of 
Henry Wood's promenade concerts. She composed at least 40 works for piano, 
two for voice and piano, two for choir and orchestra, and two pieces of 
chamber music. Her song 'Tendeur' was a hit in her time--a crater on Venus 
is named after her.


Cécile Chaminade (1857-1944)  Chaminade was composing from an early age, 
even playing some of her music to Georges Bizet when she was eight. She 
wrote mostly pieces for piano and salon songs, which were hugely popular in 
America. She composed a Konzertstück for piano, the ballet music to 
'Callirhoé' and other orchestral works. The composer Ambroise Thomas once 
said of her, 'This is not a woman who composes, but a composer who is a 
woman.'


Amy Beach (1867-1944)  America's first successful woman composer, Amy Beach 
was an accomplished pianist who agreed, after her marriage, to limit her 
piano performances to one charity recital a year. After her husband died, 
she toured Europe as a pianist, playing her own compositions to great 
acclaim. Her music is mainly in the Romantic style, although in her later 
works she experimented with more exotic harmonies and techniques. Her most 
famous works include the Mass in E-flat major and the Gaelic Symphony


(Thanks to ClassicFM for the above list)


Meredith Monk: One of the musical pioneers of our time, Meredith Monk has 
been carving out her own channels through the artistic landscape since the 
1960s, defying categorization with work that used to be characterized as 
“dance” but now is clearly “composition.” Monk’s trademark is extended vocal 
technique, mining the voice for expressive possibilities not contained 
within the established conventions of Western notation. With evocative 
titles like “Turtle Dreams” or “Dolmen Music,” her work has the feeling of a 
myth you’ve always known, rooted in our collective historical unconscious, 
offering a sense of deja vu in pieces that take the form of dreamlike 
narratives or “operas” (“Book of Days”), or of devotionals (“Songs of 
Ascension”). Now 74, she is working in an increasingly rich, 
instrument-based idiom, but has lost none of what she has called her “sense 
of wonder.”

Caroline Shaw: When she won the Pulitzer Prize in 2013, Shaw, 35, a 
violinist and singer, didn’t even consider herself a composer per se. But 
her “Partita for 8 Voices,” composed for the vocal group Roomful of Teeth 
(of which she is a member), a sequence of riffs on Baroque dance forms with 
a wide range of unusual vocal effects, got the attention of the Pulitzer 
jury. Shaw’s distinctive, lyrical vocal writing also got notice from the 
rapper Kanye West, who has both performed and released tracks with Shaw 
(including a remix of the song “Say You Will”). Recognition hasn’t changed 
Shaw’s honest, serious approach as she explores new musical idioms and 
forms — like her first-ever piece for orchestra (with solo violin), “Lo,” 
premiered by the North Carolina Symphony at the Shift festival in Washington 
in March. “It is a strikingly original and moving work that rethinks what 
orchestral writing can be,” Simon Chin wrote in The Washington Post.

Joan Tower: A doyenne of American orchestral composers, Tower, 78, is known 
to many for her six “Fanfares for the Uncommon Woman,” a pendant to Aaron 
Copland’s ubiquitous musical prelude. However, these are relatively small 
works in a catalogue that has moved from early serialism to music that is 
impressionistic, colorful, and direct, like “Sequoia” (1981). Another 
signature piece, “Made in America” (2006), was performed in all 50 states 
before taking a Grammy award for Best Classical Composition in 2008. Tower 
has taught composition at Bard College in Upstate New York for 4½ decades, 
and co-founded the Da Capo Chamber Players in 1969 as a forum for her own 
and other contemporary works. (She left the ensemble in 1984.) In music, she 
told an interviewer in 2015, “the gender issue is nonexistent. … Now, 
outside the music, there’s all sorts of problems!”

Kaija Saariaho: The Finnish composer, 64, had a new wave of publicity when 
the Metropolitan Opera performed her “L’Amour de Loin” last season, but she 
came to international attention when the piece was first premiered at the 
Salzburg Festival in 2000. Saariaho’s music is characterized by surging, 
luminous tones and textures, large masses of sound that move and change, 
more static meditations than dramatic journeys. Saariaho got her 
international start working in Paris at IRCAM, the computer and electronic 
music center founded by Pierre Boulez, and the resulting analytic 
sensibility and ability to consider music as sound, and sound as music has 
left its traces on her acoustic scores. But her work is anything but 
abstract, tied into a range of other human experiences and perception: sight 
and space, love and motherhood. “Long after the curtain goes down, you feel 
that you are still swimming along in her sound,” the musicologist Susan 
McClary told The New Yorker in 2016.

Julia Wolfe: In 1987, three young composers, David Lang, Michael Gordon, and 
Julia Wolfe, responded to their frustrations with the academic new-music 
scene by hosting a marathon performance featuring music of every style and 
stripe — and Bang on a Can was born. The organization has since spawned an 
ensemble, a record label, and summer festival, as well as the annual 
marathon; and all three composers have become elder statesmen of what’s been 
termed alt-classical music. Wolfe, 58, won a Pulitzer Prize in 2015 for 
“Anthracite Fields,” an oratorio about life in the Pennsylvania coal mines; 
she is also a recent MacArthur Fellow. Like her fellow Bang on a Can 
composers (she is married to Gordon), she has been moving from shorter 
intense kinetic works, such as “Lick” (2009), to longer narrative ones: a 
piece about women in American labor will be premiered by the New York 
Philharmonic in 2018-19.

Sofia Gubaidulina: Like her colleague Arvo Part, Gubaidulina, 85, found 
refuge in music from the restrictions of life under the Soviet regime, 
seeing music as a link to the Divine in the face of proscription and 
blacklisting that kept her work unperformed for many years. A difference is 
that Gubaidulina's music is more conventionally dramatic: like the dark 
outbursts and suffocated solo-line outcries of the violin concerto 
“Offertorium,” which Gidon Kremer helped champion in the West. Another 
champion was Mstislav Rostropovich, for whom she wrote “Canticle of the 
 Sun,” a cello concerto with chorus. Drawing on musical traditions from both 
East and West, Gubaidulina has explored folk music and instruments like the 
bayan, a Russian accordion. In 1992, she moved to Germany, where she has 
been able to enjoy her tremendous international renown.

Missy Mazzoli: Already an established fixture on the Brooklyn scene with her 
band, Victoire, the 36-year-old Mazzoli came to the attention of a wider 
audience in 2016 with her second opera, “Breaking the Waves,” which brought 
the lyricism of Benjamin Britten through a filter of Louis Andriessen into 
the 21st century. “It’s so easy to create an idea of what my music is based 
on its labels: classical, indie-classical, post-minimal, contemporary, 
chamber-pop, opera, orchestral, etc.,” she said in a 2015 interview. “None 
of these words really tells you anything about how the music sounds or how 
you will feel about it.” She’s written for orchestras like the Los Angeles 
Philharmonic, but her signature works remain vocal: from her first, 
acclaimed opera, “Song from the Uproar,” to the pop-song like “Cathedral 
City.” Her third opera, “Proving Up,” will be premiered in January as part 
of the Washington National Opera’s American Opera Initiative.

Jennifer Higdon: One of today’s most-performed living composers, Higdon, 54, 
embodies a combination particularly appealing to American audiences: She’s 
at once a maverick and, in a certain way, a conservative. Self-taught until 
college, espousing no particular aesthetic school, she writes smart music 
that is not ashamed to be tonal, and beautiful. “Blue Cathedral,” one of the 
most-performed of all contemporary works, is a lush wash of tonalities 
throbbing through the orchestra. A teacher at the Curtis Institute, where 
she got her own graduate degree, she has formed relationships with some 
illustrious students, writing her vivid violin concerto, which won the 
Pulitzer Prize in 2010, for Hilary Hahn, and her piano concerto, which the 
National Symphony Orchestra premiered in 2009, for Yuja Wang. In 2015 her 
first opera, “Cold Mountain,” had a success in its world premiere at the 
Santa Fe Opera. “If my music is not communicating,” she said in 2012, “I 
feel it’s not doing its job.”

Lili Boulanger: Most rosters of great female composers include Nadia 
Boulanger, the composer, conductor, and influential teacher to a couple of 
generations of composers. But Nadia devoted considerable energies to keeping 
alive the memory of her sister, Lili, a child prodigy who died in 1918 at 
24, having been the first woman to win the prestigious Prix de Rome — with a 
big symphonic cantata, “Faust et Helene,” that like many Prix de 
Rome-winning pieces is a little too cumbersome and weighty to fully reveal 
the strengths of a composer whose best work is packed with color and light. 
Yannick Nezet-Seguin and the Philadelphia Orchestra gave a fine reading of 
her sun-dappled “D’un matin de printemps” when they last appeared here in 
January, though her best-known short work is probably the “Pie Jesu” — 
possibly the only surviving section of a planned Requiem she did not live to 
finish.

Germaine Tailleferre, 1892-1983:  The only female member of the group of 
French composers known as “Les Six” (which included Poulenc, Honegger, and 
Milhaud), Tailleferre was prolific throughout her lifetime but is best known 
for the work she wrote in the 1920s and 1930s when “Les Six” were most 
active. Although “Les Six” were partly conceived as a reaction against 
Wagner and the impressionism of Debussy, there is a French lightness to much 
of Tailleferre’s work. She moved between France and the United States a 
couple of times, leaving many of her manuscripts behind during the war 
years, and much of the music she wrote in the last decades of her life, when 
she taught music to children at a school in Paris, was not published until 
after her death.

Ruth Crawford Seeger, 1901-1953:  The first woman to win a Guggenheim 
fellowship (in 1930), Crawford Seeger was a hugely influential American 
modernist composer whose string quartet left its mark on Elliott Carter and 
others. She became a significant figure in American music after Henry Cowell 
put her on the board of his New Music Society in the 1920s, with a host of 
significant compositions — her Three Songs set to poems by her friend Carl 
Sandburg represented the United States at the 1933 festival of the 
International Society for Contemporary Music in Amsterdam. Yet as the 
demands of family and her involvement with preserving American folk music 
took over (she was married to the musicologist Charles Seeger; Pete Seeger 
was her stepson; and Mike and Peggy Seeger, two of her four children), she 
gradually moved away from art-music composition to more folk-oriented work, 
from collections of folk-song adaptations to pieces such as “Risselty 
Rossolty, an American fantasy for orchestra,” written for an educational 
radio series.

Du Yun:  Her second opera, “Angel’s Bone,” with its haunting use of chorus 
and electronics woven around the solo voices in a searing story, was awarded 
the 2017 Pulitzer Prize in music. Born to factory workers in China, 
initially trained as a pianist, Du Yun has parlayed degrees from Oberlin and 
Harvard into a career as a teacher and administrator — she is artistic 
director of the MATA festival, a cutting-edge event for new music — as well 
as a composer. Her piece “Dreaming of the Phoenix,” a contemporary take on 
the early Chinese-opera form kunqu, was performed at the Sackler in 2013; in 
The Washington Post, Stephen Brookes wrote that her “delicate and ethereal 
score . . . seemed to come alive with the shimmering mystery of a 
half-remembered dream.”


Anna Thorvaldsdottir:  Already boasting a Deutsche Grammophon album devoted 
entirely to her work, the Icelandic composer creates atmospheric pieces: 
physical installations, or orchestral clouds of sound, in which one can 
bathe in the textures and contemplate the unconventional techniques used in 
creating details emerging from the whole. It is intricate and meditative 
music and is getting a lot of play these days; the International 
Contemporary Ensemble performed her installation “In the Light of Air” at 
the Atlas in the District a couple of years back, and Alan Gilbert led her 
“Aeriality” in one of his final concerts as music director of the New York 
Philharmonic this season.


Lera Auerbach:  The multitalented Russian American performer-composer — who 
is also a published poet — writes emotional, heart-on-the sleeve music 
steeped in nostalgia and a deep knowledge of the canon, including 
adaptations of and homages to composers from Mozart to Shostakovich, but 
tinged with unusual colors, like a theremin. She has written for many of the 
world’s leading orchestras — the New York Philharmonic premiered her latest 
violin concerto, “NYx: Fractured Dreams” in January, and several of her 
works have been performed at the Kennedy Center over the years, including 
“Requiem for Icarus,” a reworking of the last movements of her first 
symphony. Also a pianist, Auerbach recently recorded her own 
violin-and-piano version of Shostakovich’s 24 preludes, along with her own 
sonata “Arcanum,” on ECM

Unsuk Chin:  Born and raised in Korea and resident in Berlin, Chin writes 
music that reflects neither place as much as an eclectic and sometimes 
humorous approach of her own. There’s a healthy admixture of European 
postmodernism in works like “Acrostic Wordplay” from 1991, the first piece 
that gained her wide attention after she moved to Hamburg to study with 
Ligeti and others in 1985. The 2007 opera “Alice in Wonderland,” a quirky 
piece that definitely doesn’t follow the template of children’s opera, has 
been performed around the world and will be followed by “Through the Looking 
Glass,” scheduled to be premiered in London in 2018/2019.

Laura Kaminsky:  Kaminsky has an extensive background in teaching and 
administration in addition to a long catalogue of chamber and orchestral 
works. The success of her first chamber opera, “As One” (2014), a poignant 
and effective piece about the transition of a transgender woman, has led to 
a new burst of activity for her on the chamber-opera scene; after “Some 
Light Emerges” for the Houston Grand Opera (2017), she is working on a new 
chamber piece for a consortium led by the San Francisco’s Opera Parrallele.


Melinda Wagner:  Winner of the 1999 Pulitzer Prize for her Concerto for 
Flute, Strings and Percussion, Wagner has been commissioned by a panoply of 
American orchestras, including the New York Philharmonic (her energetic 
trombone concerto was written for Joseph Alessi) and the Chicago Symphony 
(which premiered her piano concerto for Emanuel Ax). Her music is 
non-allusive but has an engaging, propulsive continuity.


Valerie Coleman:  In 1997, Coleman, unhappy with the underrepresentation of 
musicians of color in the classical music world, founded Imani Winds, a wind 
quintet whose name is the Swahili word for “hope.” The group has gone on to 
considerable success, and Coleman remains its flutist and composer in 
residence with a catalogue mainly of chamber works for her ensemble as well 
as some pieces for other instrumentations, often incorporating whiffs of 
jazz and evocative illustrations of the music of the South, such as “Red 
Clay and Mississippi Delta,” which Joan Reinthaler, in The Washington Post, 
called “a family portrait in sound,” and “terrific.”


Cécile Chaminade, 1857-1944:  Chaminade was one of those composers who were 
acclaimed during their lifetimes and neglected afterward. Her works, mainly 
piano pieces and songs, gained her a following not only in France, but also 
in England and the United States, where she toured to great success in 1908.


[Excerpted from a list by Anne Midgette)


Dobrinka Tabakova:  Originally from Bulgaria, Dobrinka Tabakova studied 
Composition at Guildhall School of Music and Drama in London. In 2014, she 
collaborated with filmmaker Ruth Paxton to create Pulse, a work commissioned 
by the Royal Philharmonic Society combining film and music in an innovative 
way. Her album String Paths was nominated for a Grammy award and features a 
work for viola, harpsichord and strings, titled Suite in Old Style. The 
piece has a dreamlike quality and conjures up a rustic folk dance, 
demonstrating how Tabakova’s music combines both eastern and western 
European styles.


Kerry Andrew:  Thousands of schoolchildren will soon become familiar with 
Kerry Andrew’s No Place Like, as it has been included as one of the works in 
the BBC’s latest Ten Pieces scheme. Being commissioned to write the a 
cappella work for Ten Pieces is just the latest feather in the cap of the 
38-year-old British composer who, in 2014, won two British Composer Awards 
for her works Woodwose: A Community Chamber Opera and Dart’s Love. Last 
year, her who we are was sung by the massed forces of the National Youth 
Choirs of Great Britain at the Royal Albert Hall






-----Original Message----- 
From: Pandora Shaw
Sent: Friday, February 09, 2018 4:00 AM
To: [log in to unmask]
Subject: Re: Female Composers: (was "The Mania for Inclusion")

If your case rests on Ronde d'amour, it is quite weak indeed. What a chirpy 
little song. Sorry to offend you, but your sound and fury does not convince.

    On Friday, February 9, 2018 2:05 AM, G. Paul Padillo 
<[log in to unmask]> wrote:


To my original post, [log in to unmask] responded:

"Yes, the Clara concerto is nice enough. I guess "great" means "different 
things to different
people. I do think though that truly great works of art tend to rise to the 
top and receive
the acclaim they are due, no matter who produced them."

* * * *

Of course "great" means different things to different people.  As to truly 
great works of art
getting their due, this is true for some, but patently untrue for many, and 
for far too many
reasons to list here.  There are always undiscovered treasures to be 
uncovered, works
thought lost, etc., and this is true of every type of art.

Additionally, does every work need to be "great" to be heard?  What's wrong 
with good.  A
good deal of what we hear in the concert hall is what I consider "good" - 
not everything is a
masterpiece, not every work is going to be the greatest thing you've ever 
heard and to
believe it so is to set oneself up for a life of disappointment (which is 
what I've read a lot of
in this forum).  It's good to have standards, it's also good to be 
realistic.

While Donald Kane responded:

"Of course "a woman could write music like that": imitative, pleasant, and 
conventional.
Would you dare to name the more frequently performed piano concertos by men 
that you
consider to be inferior?  Why can't we accept what woman do well for it's 
own inestimable
worth instead of elevating their rare attempts to compete with men.  If 
important
undiscovered women composers exist,  what evidence is there to prove that 
their output
has been deliberately suppressed?  . . . if a great female composer were to 
emerge, she
would be recognized. It is not impossible; it just hasn't happened yet."

Wow.  There is so much t o be offended by I hardly know where to begin.

Scholars have actually praised the concerto, analyzing it from start to 
finish.  What you
dismiss as "conventional" or "imitative" is, like most music, of its style. 
That it's frequently
compared to the two Chopin Concerti - (to name but two inferior concertos, 
since you asked
for specific examples) may or may not be considered praise.  What's 
interesting is that we
don't know if she'd even heard Chopin's Concerti - still new works and not 
well traveled by
the time she was 13 and  composed her concerto.  The only Chopin she may 
have known
was his variations on Mozart's "La ci darem la mano."  When Chopin finally 
heard Clara )
playing her own compositions, he wept.

As to what evidence may be used to "prove" women have been deliberately 
suppressed, we
need look no further than the composer herself who wrote that a woman should 
never wish
to become a composers- they can't and none ever has.  This statement, even 
from a
woman who was a gifted composer, speaks volumes about the attitude prevalent 
then . . .
and  to a large degree, now.

Fanny Mendelssohn's music is frequently cited as "every bit as good as her 
brothers" and
the example I provided (I doubt anyone bothered to listen to it) of her 
oratorio offers (I
believe) proof, but she was "kept" from ever writing anything outside of the 
salon or for
homebound chamber concerts because the notion of a woman composer was 
repulsive; it's
mans work.  Hell, in western history it wasn't all that long ago women 
weren't even allowed
to sing in public or act on a stage.

There is the beautiful music of Cecile Chaminade, who, again, wrote lovely 
songs and solo
works, but whose larger scale works were looked down upon and most 
historians will come
right out and say it was due to "gender politics."  A number of today's 
greatest artists have
championed her work, Ann Sophie von Otter with her songs, and the brilliant 
pianist Marc-
André Hamelin.

Here is Ms. von Otter in the delightful "Ronde d'amour - Ah! si l'amour 
prenait."

https://www.youtube.com/watch?v=9TDd4b7PTPc

And Mr. Hamelin offering as an encore her brief, but utterly charming "Theme 
and
Variations."

https://www.youtube.com/watch?v=J12Tt9mJkMg

Would more singers and pianists looked to composers such as Chaminade we'd 
be
experiencing some livelier, fresher recital programs.

Clearly I'm not going to convince anyone here otherwise, but if anyone still 
believes women
composers have been given a fair shake and that good ones simply don't exist 
. . . dream
on.

p.

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