Clarinet Music by Women Composers

Notes ◽  
1979 ◽  
Vol 35 (3) ◽  
pp. 751
Author(s):  
Elsa Ludewig-Verdehr
Keyword(s):  
Women Composers ◽  
Clarinet Music

The Baroque Clarinet and Chalumeau

2020 ◽  
Author(s):  
Albert R. Rice
Keyword(s):  
18Th Century ◽  
Clarinet Music ◽  
History Of ◽  
Organ Pipe

The second edition of The Baroque Clarinet (1992) is a history of the clarinet and chalumeau from antiquity to 1760 in six chapters: “Origins of the Chalumeau,” “Music for the Chalumeau,” “The Earliest Clarinets,” “Playing Techniques for the Baroque Clarinet,” “Music for the Baroque Clarinet,” and “Baroque Clarinet in Society.” There are five appendices: four checklists of extant chalumeaux, extant clarinets, chalumeau music and sources from 1694 to 1780, clarinet music and sources from about 1715 to 1760; and a fifth of chalumeau and clarinet concerts, rehearsals, and clarinets for purchase in newspaper advertisements from 1718 to 1760. The second edition has significant additions of makers, players, music, and iconography, that last in a chapter called “The Baroque Clarinet in Society.” Topics discussed include single-reed instruments in Egyptian antiquity and from the 10th through the 17th centuries; the mock trumpet; chalumeaux during the 17th and 18th centuries; Jacob Denner’s chalumeaux and clarinets; an organ pipe that sounds like a chalumeau; chalumeau players; chalumeau descriptions from the mid-18th century; later documented chalumeau makers; chalumeau reproductions; how and why Johann Christoph Denner improved the chalumeau and invented the clarinet, based on previous studies of mechanical inventions; chalumeau and clarinet music and composers; and the Baroque clarinet’s use by traveling musicians, in court and aristocratic music, church and civic music, and military music.

Cultural Meaning for Women Composers: Charlotte (“Minna”) Brandes and the Beautiful Dead in the German Enlightenment

2004 ◽  
Vol 57 (2) ◽  
pp. 231-284 ◽  
Author(s):  
Matthew Head
Keyword(s):  
Women Composers ◽  
Fund Raising ◽  
Close Friend ◽  
Cultural Meaning ◽  
Financial Loss ◽  
Cultural Meanings ◽  
German Enlightenment

This article explores the cultural meanings of female musical authorship in the late German Enlightenment through a case study of Charlotte (“Minna”) Brandes, a composer, keyboardist, and opera singer. With Minna's death in 1788 at the age of twenty-three, her father, the playwright Johann Christian Brandes, and her close friend and teacher Johann Friedrich Höönicke prepared two memorials to her memory, a biography and a collection of her music, the latter titled Musikalische Nachlass von Minna Brandes (Hamburg, 1788). These memorials situated her authorship in the contexts of pedagogy and education, the composition of occasional works for the home, and the solace offered by music amidst bereavement and illness. The principal discourse was of death itself. Minna's memorialization shared with the novels of Goethe a topos of the beautiful female dead in which the female corpse (or its representation) was exhibited as a beautiful artifact. Death turned Minna from composer into a passive, aestheticized object of male authorship. These discursive contexts contained Minna's activities as a composer within a framework of bourgeois femininity. Both Minna's father and her teacher were at pains to stress that she sought neither fame nor fortune from her compositions. However, such representations of Minna were misleading. Her collected works suggest she was working toward a published collection of strophic German songs and toward the composition of operatic music for her own performance. The idealizing tropes of the memorials are also challenged by Johann Christian's later memoirs in which his daughter's turn to composition is situated in what he described as her multiple breaches of deferential daughterly conduct. Minna's reported profligacy during her final illness may have stimulated the posthumous publication of her music, which was possibly a form of fund raising for her multiply bereaved father, a corrective to his emotional and financial loss. The healthy list of 518 subscribers indicates that youthful female death was marketable as a topos occasioning the pleasures of melancholy.

‘A SILENT AND INVISIBLE PRESSURE’: A PANEL DISCUSSION WITH EIGHT JAPANESE WOMEN COMPOSERS

Tempo ◽  
2019 ◽  
Vol 73 (290) ◽  
pp. 25-39
Author(s):  
Chikako Morishita
Keyword(s):  
Women Composers ◽  
Panel Discussion ◽  
Japanese Women ◽  
Social Business ◽  
The Social ◽  
Opening And Closing

AbstractOn 27 August 2018, the first Women Composers Meeting (中堅女性作曲家サミット vol. 1) was held at the Social Business Lab in Tokyo as part of the Project PPP Summer Composition Academy. Eight Japanese women composers in their mid-thirties to early forties were invited to speak: Noriko Koide, Yu Kuwabara, Tomoko Momiyama, Chikako Morishita (moderator), Akiko Ushijima, Ai Watanabe, Yukiko Watanabe, and Akiko Yamane. This article is a compilation drawn from their three-hour discussion as well as from the opening and closing dialogues. All conversations were held in Japanese and are here translated for publication by the author with the aid of Michiko Saiki.

scholarly journals Grażyna Bacewicz – The Polish Sappho

2019 ◽  
Vol 16 (1) ◽  
pp. 65-102
Author(s):  
Małgorzata Gąsiorowska
Keyword(s):  
String Quartet ◽  
Women Composers ◽  
The Political ◽  
String Orchestra ◽  
Limited Extent ◽  
Avant Garde ◽  
Political Transformations ◽  
New Type ◽  
Nadia Boulanger ◽  
Artistic Career

Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.

scholarly journals Time Goes One Way - Against the Classification of Arts

1970 ◽  
pp. 97-100
Author(s):  
Joelle Khoury
Keyword(s):  
Women Composers ◽  
Traditional Music ◽  
Free Expression ◽  
Individual Freedom

I was asked, on the occasion of a conference on the theme of free expression in music, as composer and performer of non-commercial/non-traditional music, and as a woman composer, to speak about the following topics: women composers and/or modernity versus tradition in Lebanon. Although both these topics are pertinent, they are mere parts of a broader topic, namely, what makesan individual, and what is the importance of individuality in art. For surely when we speak offreedom we speak of individual freedom.

Of Stars, Soldiers, Mothers, and Mourning

2019 ◽  
pp. 199-223
Author(s):  
William Brooks
Keyword(s):  
United States ◽  
World War I ◽  
Women Composers ◽  
The United States ◽  
World War ◽  
Tin Pan Alley ◽  
Kitchen Table ◽  
Participation Of Women ◽  
Gold Star ◽  
Three Components

Symbols like the service flag furthered community morale in the United States during World War I and evolved to engender memorial organizations like Gold Star Mothers. Music supported both, with three components of the industry—Tin Pan Alley, Kitchen Table publishing, and Song Sharks—differing in key respects: the participation of women composers and lyricists, the focus on mothers and loss, and the mix of ballads, waltz songs, and marches. As the war evolved, so did the responses, with the closing months and aftermath focusing increasingly on soldiers’ fatalities and the expression of grief and mourning. Postwar changes in style and dissemination marked the end of such collective expressions.

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