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composer

Featured composer: Amy Beach

July 1, 2018 By Nora Miller Rubinoff Leave a Comment

Amy Beach 01Amy Marcy Cheney Beach (September 5, 1867 – December 27, 1944) was an American composer and pianist. She was the first successful American female composer, and is also known as the first female composer to have her symphony performed by a major orchestra. Additionally, Amy Beach was the first classical U.S. composer to achieve success without the aid of European study.

Amy lived in a time where women musicians fell into one of two categories: amateur (playing within the home only) and professional (performing in public and paid to do so). Professional women musicians typically had parents who were musicians and performers. Respectable upper-class and middle-class women musicians didn’t perform in public because of the American doctrine of domestic feminism. Women were taught that marriage, home and family were their only domains.

Amy’s mother Clara was a singer and pianist, and had a sister, Emma, that displayed similar talents. Musical skill was clearly present in Amy’s family. At age one, young Amy could already sing 40 songs. She further exhibited her prodigious skills by teaching herself to read at age 3, and writing three waltzes for piano by the age of 4. At the time, highly talented musical students were often sent to Europe for further musical training to pursue a career in music. Amy’s parents did not support the pursuit of European study and for quite some time, Amy was instructed solely by her mother.

At age 9, Amy began studying piano with German-trained Ernst Perabo, who was regarded as one of Boston’s finest pianists and instructors. Perabo taught both privately and at the New England Conservatory. Perabo believed that “the development of the mind requires slow growth, assisted by the warm sun of affection, and guided by conservative teachers with honest and ideal conceptions who understand how to so load its precious cargo, that it may not shift during life’s tempestuous vicissitudes.”

– “Amy Beach, Passionate Victorian: the Life and Work of an American Composer, 1867-1944.” Amy Beach, Passionate Victorian: the Life and Work of an American Composer, 1867-1944, by Adrienne Fried. Block, Oxford University Press, 2000, pp. 23–23.

At age 16 (in 1883), Amy debuted at a “Promenade Concert” in Boston’s Music Hall, playing Chopin’s Rondo in E-flat and was piano soloist in Moscheles’s Piano concerto No. 3 in G minor. She was enthusiastically received.

Amy was married in 1885 at the young age of 18 to Boston surgeon Dr. Henry Harris Aubrey Beach. Henry was 24 years older than Amy. Dr. Beach required his wife stop her public performance. In conformity with his wishes, she stopped performing except for one performance yearly whose proceeds were donated to charity and focused only on composition. Amy Cheney Beach agreed “to live according to his status, that is, function as a society matron and patron of the arts,” and to never teach piano.

Early Amy Beach songs

  • The Blackbird, as set by Amy Beach (1889)
  • Dark is the night, as set by Amy Beach (1890)

…

op. 1. Four Songs (1887)

  • Die vier Brüder (poem by F. von Schiller)
  • Jeune fille et jeune fleur (poem by F.R. Chateaubriand)

Self study in composition

As mentioned previously, Amy’s husband, Dr. Henry Beach, forbade her to perform. While she focused on composition, he did not want her taking formal instruction. From wikipedia.org:

Her self-guided education in composition was also necessitated by Dr. Beach, who disapproved of his wife studying with a tutor. Restrictions like these were typical for middle- and upper-class women of the time: as it was explained to a European counterpart, Fanny Mendelssohn, “Music will perhaps become his [Fanny’s brother Felix Mendelssohn‘s] profession, while for you it can and must be only an ornament.”

Amy Cheney Beach’s compositions blazed new territory for women in the Victorian Era. The Mass in E♭, Op. 5, was her first acclaimed success. A 75-minute work for chorus, quartet, organ, and orchestra, it was performed in 1892 by the Handel and Haydn Society orchestra. The orchestra had never, since its inception, performed a work by a woman. In 1896, her Gaelic Symphony was performed by the Boston Symphony Orchestra. The Gaelic Symphony was the first symphony composed and published by an American woman.

Antonin Dvorak, in 1892, remarked that women in music did not have creative power. From the New York Times:

Here all the ladies play,” Dvorak said. “It is well; it is nice. But I am afraid the ladies cannot help us much. They have not the creative power.”

From our collection, op. 51. Four Songs (1903), as set by Amy Cheney Beach:

  • Ich sagte nicht
  • Je demande à l’oiseau
  • Juni
  • Wir drei

Amy Cheney Beach was most well-known for her songs. She wrote about 150 songs over the course of her life and career. Mostly, the words for her songs came from other poets, although she and her husband, H. H. A. Beach, wrote the text for about 5 of her songs. “The Year’s At the Spring” from Three Browning Songs, Op. 44 is perhaps Beach’s best-known work.

From our collection, two texts from op. 44, Three Browning Songs (1900), as set by Amy Cheney Beach:

  • Ah, Love, But a Day
  • The Year’s at the Spring

Widowhood, Europe and a return to performance

Amy’s husband died in 1910. Amy felt unable to work, and decided to travel to Europe. It was at this time that she changed her name to Amy Beach. In late 1912, she resumed performing. In late 1913, Amy Beach’s Gaelic Symphony was also performed in Hamburg and Leipzig. From wikipedia.org:

She was greeted as the first American woman “able to compose music of a European quality of excellence.”

op. 73. Two Songs (1914), as set by Amy Beach

  • Der Totenkranz
  • Großmütterchen

When Amy Cheney Beach died, she left more than 300 published works. More of her music has been published in recent decades. After her death in 1944, her music was largely forgotten, but has begun to show a resurgence as of the late 20th century.

View our complete collection of Amy Cheney Beach songs at https://www.ipasource.com/composer/b/beach-amy-marcy-1867-1944.html.

 

Filed Under: Composers Tagged With: Amy Beach, composer, composers, female composers, women composers

Clara Schumann, distinguished pianist and composer

January 1, 2018 By Nora Miller Rubinoff Leave a Comment

Clara Schumann 1878
Clara Schumann

Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German pianist and composer, and one of the most distinguished figures of the Romantic Era.

One of the most soulful and famous pianists of the day.”

– Edvard Grieg

During her time, great female musicians were rare. Womens’ “careers” were defined as and expected to be wives and mothers, not musicians, composers, and performers. Over the course of Clara’s 61-year career, she changed the format and repertoire of the piano recital and the tastes of the listening public, while at the same time caring for her husband, children, grandchildren, organizing many of her concert tours, teaching and composing.

Clara’s parents divorced in 1824 and at age 5, her mother remarried and Clara remained with her father, Friederich Wieck. Clara began studying piano at a very early age. She was a child prodigy whose training was micromanaged by her father. Her practice at the time was based on the teaching methods that Wieck developed.

At the age of eight, Clara met Robert Schumann, who was 9 years older than her. They were both performing piano at a musical event in a prominent physician’s home. Schumann later rented a room in Friedrich Wieck’s home so that he could take lessons from Wieck.

Clara Wieck im Alter von 15 JahrenClara traveled to Paris and some other European cities in 1830, performing in a concert tour. When she was 18, she performed recitals in Vienna. Franz Grillparzer, Austria’s leading dramatic poet, wrote a poem entitled “Clara Wieck and Beethoven” after hearing Wieck perform the Appassionata sonata during one of these recitals.

The appearance of this artist can be regarded as epoch-making…. In her creative hands, the most ordinary passage, the most routine motive acquires a significant meaning, a colour, which only those with the most consummate artistry can give.”

– An anonymous music critic, writing of Clara Wieck’s 1837–1838 Vienna recitals

Over time, Robert Schumann and Clara became friends and fell in love. Ultimately, Schumann asked Friederich Wieck for permission to marry Clara. At the time, German law required the permission of the bride’s father in order to marry. Wieck felt that since Clara was such a successful and well-known prodigy and Robert Schumann still an unknown that he was “beneath” Clara. Schumann and Clara fought her father, ultimately going to the court system to gain permission to marry. Robert Schumann and Clara Wieck were married on September 12, 1840, one day before Clara turned 21. Four years later, Schumann had a serious breakdown – the first in what was a long-term fight with mental health issues.

Clara was key in changing the kinds of programs expected of concert pianists. Initially, she performed pieces that showcased the artist’s technique, including, as was customary, at least one of her works in each program. As her independence as an artist grew, her repertoire mainly contained music by leading composers.

Clara and Robert had eight children together. As her husband’s mental health state deteriorated, she increasingly became the main breadwinner of her family, and also largely ran her household and finances, as well as most of the organizing of her own concert tours. Four of her eight children and her husband Robert proceeded her in death with Robert and one of their sons ending their lives in insane asylums. When her daughter Julie died, she raised Julie’s two young children.

From our collection: Liebst du um Schönheit

Text: https://www.ipasource.com/catalog/product/view/id/12136/category/1164/

Listen to Christiane Karg: https://youtu.be/2zFXdaTd5Lk

After Robert’s death in 1856, when she was 37 years old, Clara resumed her concert tours and focused on publishing and promoting her late husband’s works.  Clara and Franz Liszt were the only notable figures playing Robert’s work until after Clara’s death. Clara’s composing was all but stopped after her husband’s death. Her compositions remained relatively unknown until interest in her creative output developed in the 1870s.

Clara’s influence teaching inspired students to carry her teaching elsewhere throughout Europe. Her student Carl Friedberg carried the tradition to the Juilliard School the USA.

Clara was the first to publicly perform any work by Johannes Brahms. She later premiered some other Brahms works, notably the Variations and Fugue on a Theme by Handel.

Clara was named a Königliche und Kaiserliche Kammervirtuosin (“Royal and Imperial Chamber Virtuoso”), Austria’s highest musical honor. She was featured on the 100 Deutsche Marks banknote from January 2, 1989 until the adoption of the Euro on January 1, 2002.

Also from our collection:

op. 12. Zwölf Gedichte aus Friedrich Rückerts Liebesfrühling

Text: https://www.ipasource.com/composer/s/schumann-clara-wieck-1819-1896.html?search=op-12-zwolf-gedichte-aus-friedrich-ruckerts-liebesfruhling#op-12-zwolf-gedichte-aus-friedrich-ruckerts-liebesfruhling

 

Der Wanderer – Die Straßen, die ich gehe 

Text: https://www.ipasource.com/der-wanderer-die-strassen-die-ich-gehe.html

 

Geheimes Flüstern hier und dort

Text: https://www.ipasource.com/geheimes-flustern-hier-und-dort-7667.html

 

View our complete collection of Clara Wieck Schumann texts:
https://www.ipasource.com/composer/s/schumann-clara-wieck-1819-1896.html

 

Filed Under: Composers, Featured Tagged With: child prodigy, Clara Schumann, Clara Wieck Schumann, composer, female composer, German, pianist, Robert Schumann, Romantic Era

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