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‎Women Composers in New Perspectives, 1800-1950. Genres, Contexts and Repertoire‎

‎, Brepols, 2023 Hardback, 362 pages, Size:210 x 270 mm, Illustrations:6 b/w, 34 musical examples, Languages: English, French, Italian. ISBN 9782503606309.‎

‎Summary This volume offers new scholarship on women composers of the past two centuries, covering a wide range of repertoire, institutions and locations, with chapters focusing on such varied topics as women writing opera in early nineteenth-century Paris; the intertextual relationship between works by Fanny Hensel and Felix Mendelssohn; women composers writing for instruments not usually associated with them in their time - specifically horn, and organ; and the subversive musical activity of female prisoners in Spain under the Franco regime. In two introductory chapters the editors present their broad perspective on women composers both in history and in modern scholarship, with particular reference to socio-historical and pedagogical aspects, and arguing the case for continued efforts to promote women's music. The 14 chapters that follow are arranged in two parts, divided between nineteenth- and twentieth-century topics. Their authors draw on a variety of sources, including archival documents, letters, diaries, and memoirs, to illuminate the musical works produced by women during the period and the contexts in which they were written, performed, and disseminated. Collectively the chapters demonstrate the richness inherent in this area of study; in reflecting some of the directions being explored in current scholarship, they provide impetus for further research. TABLE OF CONTENTS Mariateresa Storino - Susan Wollenberg Preface Susan Wollenberg (Why) Do We Need 'Women Composers'? Mariateresa Storino «She is not a woman composer - yet a composer, and also a woman»: La creatività femminile 'oltre' il genere Part I: Nineteenth-Century Music Chapter One: Florence Launay She is the first, she is the only one of her sex who has vanquished on the operatic stage»: The Career of Sophie Gail at the Théâtre de l'Opéra-Comique, 1813-1818 Chapter Two: Maria Stratigou Louise Farrenc's Piano Études: Dates, Purpose, Reception, and Function Chapter Three: Siegwart Reichwald Hensel the Progressive: Narrative Strategies in Fanny Hensel's Piano Trio, Op. 11 and Felix Mendelssohn's String Quartet, Op. 80 Chapter Four: Anja Bunzel Countess Elise von Schlik (Eli?ka ?liková): Salonnière, Patroness, Composer Chapter Five: Christine Fischer A Swiss Woman in Italy: Fanny Hünerwadel on Her Study Trip 1853-1854 Chapter Six: Fauve Bougard L'ascension des femmes vers les classes de composition: le cas du Conservatoire royal de Bruxelles au xixe siècle Chapter Seven: Steven Young Les Organistes oubliées: Forgotten Female Organist-Composers of France Part II: Twentieth-Century Music Chapter Eight: Orietta Caianiello The Emancipation of Female Musical Writing in Post-Victorian England. From Song-Cycles to Phantasies: The Society of Women Musicians Chapter Nine: Rhiannon Mathias Grace Williams and Welsh Music: Triads, Orchestral Music and New Beginnings Chapter Ten: Amy E. Zigler «Perhaps what men call a sin?»: An Examination of Ethel Smyth's The Prison Chapter Eleven: Elisabeth Kappel The Compositional oeuvre of Two Viennese 'Higher Daughters': Else Réthi and Vilma Webenau (c. 1900-1950) Chapter Twelve: Peter Asimov Yvonne Loriod, Ultramodernist: Preliminary Glimpses at a Compositional Legacy Chapter Thirteen: Daniel Lienhard Chamber Music and Concertos for Horn/s by Women Composers - A Survey Chapter Fourteen: Elsa Calero-Carramolino «You lack men's creativity»: Music and Women in Prisons under Franco (1938-1948) Abstracts and Biographies Index of Names‎