a guide to piano music by women composers volume i composers born before 1900 music reference...

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title: A Guide to Piano Music By Women Composers. Volume I,Composers Born Before 1900 Music Reference Collection0736-7740 ; No. 84

author: Dees, Pamela Youngdahl.publisher: Greenwood Publishing Group

isbn10 | asin: 0313319898print isbn13: 9780313319891

ebook isbn13: 9780313017032language: English

subject Piano music--Bibliography, Music by women composers--Bio-bibliography.

publication date: 2002lcc: ML102.P5D44eb vol. 1

ddc: 016.78620263subject: Piano music--Bibliography, Music by women composers--

Bio-bibliography.

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Page iA Guide to Piano Music by Women Composers

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Page iiRecent Titles in the Music Reference CollectionAton Rubinstein: An Annotated Catalog of Piano Works and BiographyLarry SitskyAn Index to African-American Spirituals for the Solo VoiceKathleen A.Abromeit, compilerSinatra: An Annotated Bibliography, 1939–1998Leonard MustazzaOpera Singers in Recital, Concert, and Feature FilmSharon G.Almquist, compilerAppraisals of Original Wind Music: A Survey and GuideDavid Lindscy ClarkPopular Singers of the Twentieth Century: A Bibliography of Biographical MaterialsRobert H.CowdenThe Printed Elvis: The Complete Guide to Books about the KingSteven OpdykeOne Handed: A Guide to Piano Music for One HandDonald L.Patterson, compilerBrainard’s Biographies of American MusiciansE.Douglas Bomberger, editorThe Mozart-Da Ponte Operas: An Annotated BibliographyMary Du MontA Dictionary-Catalog of Modern British ComposersAlan PaultonSongs of the Vietnam ConflictJames Perone

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Page iiiA Guide to Piano Music by Women ComposersVolume I Composers Born Before 1900Pamela Youngdahl DeesMusic Reference Collection, Number 84 Donald L.Hixon, Series Adviser

GREENWOOD PRESS Westport, Connecticut • London

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Page ivLibrary of Congress Cataloging-in-Publication DataDees, Pamela Youngdahl, 1948-A guide to piano music by women composers/Pamela Youngdahl Dees, p. cm.—(Music Reference Collection, ISSN: 0736–7740: no. 84) Includes bibliographical references and index. Contents: v. 1. Composers born before 1900. ISBN: 0-313-31989-8 (alk. paper) 1. Piano music—Bibliography. 2. Music by women composers—Bio-bibliography I. Title. ML102.P5D44 2002 016.7862′0263—dc21 2001058623British Library Cataloguing in Publication Data is available.Copyright © 2002 by Pamela Youngdahl DeesAll rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher.Library of Congress Catalog Card Number: 2001058623ISBN: 0-313-31989-8ISSN: 0736-7740First published in 2002Greenwood Press, 88 Post Road West, Westport, CT 06881An imprint of Greenwood Publishing Group, Inc. www.greenwood.comPrinted in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984).10 9 8 7 6 5 4 3 2

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Page vTo the talented and courageous women who composed this music, and to the editors and publishers,women and men, who had the wisdom, energy, and integrity to preserve this heritage for us all.

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Page viiContents Preface ix Using the Guide Sample Entry xi Grade Levels xii Abbreviations xiv Bio-Bibliographical Sources xv Music Publishers and Agents xix Women Composers: Biographies and Available Music for Solo Piano xxi Notes 195 Selected Bibliography 207 Composer Indexes I. Composers and Dates 217 II. Country of Origin 219 III. Musical Eras/Styles 221

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Page ixPrefaceA Guide to Piano Music by Women Composers, Volume I, is an annotated catalogue of the solo pianomusic in print composed by 144 women born before 1900, from Ella Adaiëwsky to Grete von Zieritz. It isalso a bio-bibliographical reference work containing short biographies of each composer compiled frommany secondary musicological sources. Designed as a practical reference volume for pianists and pianoteachers, the biographies incorporate the pertinent facts about the personal lives, training, career, andcompositions of each woman, and include a list of sources consulted. The music is described in terms ofgrade level, genre, mood, style characteristics, and technical requirements, and ranges in difficulty fromlate elementary to virtuoso concert repertoire.A survey of keyboard reference materials disclosed a need for an index of available piano music writtenby women composers, in order to encourage inclusion of their works in the standard teaching andperformance repertoire. Far too many students, teachers, professional artists, and audiences are stillunaware of the contributions made by women in music, and of the beauty and merit of their specificcompositions. The music incorporated here is as worthy of performance as any in the standardrepertoire, and it is sincerely hoped that this volume will make it easier for teachers and pianists to findand perform music written by women.The study contains only music readily available at time of writing from music publishers and distributors.It consists of single works, music in collections and anthologies, and music in reference series. Notranscriptions or arrangements of music for other instruments are included, with the exception of GailSmith’s arrangement of a plainchant by Hildegard von Bingen. Only music

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Page xwritten for solo piano has been included in this book, with two exceptions: Howe (duo piano) andStirling (organ), found in the keyboard volumes of the monumental series-in-progress, WomenComposers: Music Through the Ages, edited by Sylvia Glickman and Martha Furman Schleifer. Inaddition, three composers appear here (Branscombe, Harrison, and Likoshin) whose music was listed inother catalogues but not found by this author; further search is indicated.To find the music for this book, a variety of sources were consulted: publishers’ catalogs (both hardcopy and online), music dictionaries and bio-bibliographical volumes, dissertations and biographies ofcomposers, and published listings of music in print. Composers and titles were then submitted to musicdistributors for overseas searches; the music was ordered, received, played, and analyzed. Sadly, agreat deal of music was found to be permanently out of print, excluding at least as many composers asare found here. Much worthy music is languishing on dusty shelves in libraries and publishers’warehouses, waiting to be rediscovered; the stellar work of far too many women has been forgotten orignored. If readers know of music in print inadvertently omitted from the current work, the author wouldbe most grateful for the information, which will be included in a supplemental chapter at the end of theprojected Volume II (music by twentieth-century composers).Acknowledgements for support with this project are due here. The author is deeply grateful to theUniversity of Miami in Coral Gables, Florida, for the Graduate Research Fellowship award that enabledthe initial research and writing on which this volume is based. Special thanks are due to Dr. PaulPosnak, for his support of my work as a teaching assistant and his untiring attempts to help me hearand play better; to Dr. Frank Cooper, for his enthusiastic and inspiring lectures on Romantic music andpiano repertoire; and to Dr. Kenon Renfrow, for his suggestion of the topic and his kind and thoughtfulmentoring in the Keyboard Performance and Pedagogy program.Thanks must also be given to Saint Louis University for providing the time, facilities, and assistanceneeded to complete this project, with special thanks going to Dr. Cynthia Stollhans, Chair of the Fineand Performing Arts Department, for her enthusiasm and support of this project.Finally, thanks are due to my family: to my grandmother and mother, two strong-minded women whobelieved in hard work, truth and beauty; and to my daughter Jennifer and husband William, for theirunflagging belief in my abilities.Pamela Youngdahl Dees Saint Louis University

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Page xiUsing the GuideSAMPLE ENTRY:LAST NAME, First Middle/Maiden Names(variant spellings and names found in citations; pseudonyms)Birthplace, date—Place of death, dateComposer’s name is listed as it appears on the music cited. A question mark indicates uncertainty ofdate or place; when several sources disagree, alternative dates are listed with a slash between, e.g.,1785/1786.Biography: pertinent information about family, training, career, awards, compositional genres, majorworks, style characteristics.Available piano music in print by each composer is sorted into SINGLE WORKS, COLLECTIONS (selectedworks by one composer), and ANTHOLOGIES (several composers). Works are listed alphabetically or, ifknown, by opus number.Work Title Op. # [translation, date composed or originally published], editor (Publisher, date). Level:technical grade level. (Key, meter, tempo, page length). Bold case indicates selling title; italics indicatesingle works in collections/anthologies. Annotated bibliography format, with hanging indent, sentencefragments, and abbreviations. Genre, mood and effect, stylistic characteristics, technical needsdescribed. Upper case Roman numerals indicate sonata movements; Arabic numerals indicate opusnumbers and separate pieces in a suite or group.LISTED but not found in print: Works cited in other catalogues of piano music but not found by thisauthor.SOURCES: Acronyms of biographical and musical reference works consulted.

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Page xiiGRADE LEVELS:Benchmark RepertoireWorks in this catalog are sorted into five levels of technical difficulty, illustrated by well-known“benchmark” pieces in the excellent repertoire guides by Jane Magrath and Maurice Hinson.1Late Elementary Magrath Levels 1, 2: Mikrokosmos Vol. 1, Turk Pieces for Beginners Hinson “Easy”: Leopold Mozart Notebook for WolfgangEarly Intermediate Magrath Levels 3, 4, 5: Kabalevsky Pieces for Young People, A.M.B. Notebook Hinson “Easy”: Schumann Album for the YoungMid-Intermediate Magrath Levels 6, 7: Clementi Sonatinas Op. 36, Bach Little Preludes Hinson “Int.”: Beethoven Ecoissaises, Bartok Rumanian Folk DancesLate Intermediate Magrath Levels 8, 9: Bach Two-Part Inventions, Field Nocturnes, Mendelssohn Songs Without Words, easier Chopin Mazurkas Hinson “M-D”: Bach French and English Suites, Mozart SonatasEarly Advanced Magrath Level 10: Bach Three-Part Inventions, Chopin Nocturnes, Beethoven Sonatas Op. 49, 79 Hinson “M-D”: Bach Partitas, Debussy La Soiree dans Granade, Brahms Rhapsody Op. 79/2.Advanced Virtuoso concert repertoire Hinson: “D”: Barber Sonata, Beethoven Sonata Op. 57, Chopin EtudesEarly, Mid- and Late Intermediate LevelsThe following summaries were used for further clarification of technical requirements at the threeintermediate levels. These guidelines were developed by Mary K.Scanlan in her exemplary dissertationon the assessment of intermediate repertoire.2

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Page xiiiEarly Intermediate LevelClose hand shifts, ample time to move. Frequent repetition, range of octave or less, dynamics p to f. Noparallel intervals by one hand, figures change direction infrequently. Hand extensions no greater than anoctave, hand contractions and finger substitutions rare. Consistent texture, key, articulation, pedaling,and tempo throughout. Chordal textures distributed between hands; one hand rarely plays both melodyand harmony. Slow harmonic rhythm, mostly diatonic triads and seventh chords. Simple, symmetricstructures, short pieces. Limited pedal, infrequent simple ornaments.Mid-Intermediate LevelQuicker, more frequent hand shifts but rarely greater than an octave. Melody, figuration may span 2–3octaves, more frequent, faster changes in direction, skips of an octave, more non-harmonic tones.Parallel intervals in one hand, octave hand extensions, hand contractions, and finger substitutions.Contrasting textures and articulations, accompaniment and melody in same hand. Modulation, greaterrange of tempos, faster harmonic rhythm, larger harmonic vocabulary. Cross-rhythms and syncopations,wider range of dynamics. Longer structures, more damper pedal, occasional una corda, more frequentornamentation.Late Intermediate LevelRapid, frequent hand shifts 1–2 octaves, four-octave range of melody and figuration, frequent changesof direction and figuration. Melodies of skips and steps, with longer passages of parallel intervals,extensive elaboration. Hand extensions greater than an octave, frequent hand contractions and fingersubstitutions. Frequent use of contrasting textures, longer works; harmony and melody parts in onehand. Independent inner voices, frequent diverse articulation in one hand. Fast harmonic rhythm,frequent secondary, borrowed, altered and embellishing chords, modulation to distant keys. Changingrhythm patterns, more cross-rhythms and syncopations; mixed or changing meters and hemiolas. Widetempo ranges, many fluctuations. Different pedaling styles required; dynamics range ppp to fff, frequentsudden contrasts, accents. Longer extended forms, frequently asymmetric. Frequent, longer, moredifficult ornamentation.1. Jane Magrath, The Pianist’s Guide to Standard Teaching and Performance Literature (Van Nuys, Calif:

Alfred Publishing, 1995), preface. Maurice Hinson, Guide to the Pianist’s Repertoire, 2nd ed.(Bloomington: Indiana University Press), preface.

2. Mary Kathryn Scanlan, “The Development of Guidelines to Assess the Relative Difficulty ofIntermediate-Level Piano Repertoire” (Ed.D. diss., University of Illinois at Urbana-Champaign, 1988).

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Page xivABBREVIATIONS:av. availableb. bornbap. baptizedc. centuryca. approximatelycomp. compiledd. dieded. edited byfacs. facsimile editionfl. flourishedgen generalintro. introduction byLH left handnr. nearm. marriedmvmts movementsn.d. no known datenee birth nameno. numbernr. nearOp. OpusOpp. Opuses, operapp. pagespseud. pseudonymRH right handrepr. reprinted editionq.v. see another entry in this catalogrepr. reprinttrans. translated byvar. variant names and spellingsvol. volumeWoO without opus number

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Page xvBio-Bibliographical SourcesIn the last line of each composer’s entry, under the heading SOURCES, the abbreviations in italics referto the following bio-bibliographical and musical reference works. Unique information from a particularsource is indicated in the endnotes, but information common to several sources is not specificallyattributed. For complete documentation of these references and others found in the notes, please seethe selected bibliography.AKM3 Clark, J.Bunker, ed. American Keyboard Music Through 1865.AKM4 Glickman, Sylvia, ed. American Keyboard Music 1866 Through 1910.Ammer Ammer, Christine. Unsung: A History of Women in American Music.AndersonAnderson, E.Ruth, comp. Contemporary American Composers.Avins Avins, Styra. Johannes Brahms: Life and Letters. A-Z Olivier, Antje, and Karin Weingartz, eds.

Komponistinnen von A-Z.Baker Baker’s Biographical Dictionary of Musicians.Bastien Bastien, James W. How to Teach Piano Successfully. B&NB Block, Adrienne and Carol Neuls-

Bates, eds. Women in American Music.Boenke Boenke, Heide M, comp. Flute Music by Women Composers.Borroff Borroff, Edith. Music Melting Round: A History of Music in the United States.B&T Bowers, Jane, and Judith Tick, eds. Women Making Music.Brown Brown, J.D., and S.S.Stratton. British Musical Biography.ClagAm Claghorn, Charles Eugene. Biographical Dictionary of American Music.ClagH _________. Women Composers and Hymnists.

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Page xviClagS Claghorn, Gene. Women Composers and Songwriters.Clark Clark, J.Bunker. The Dawning of American Keyboard Music.Cohen Cohen, Aaron. International Encyclopedia of Women Composers.Dubal Dubal, David. The Art of the Piano.Eitner Eitner, Robert, ed. Biographisch-Bibliographisches Quellen Lexikon.ElsonA Elson, Arthur. Woman’s Work in Music.Faurot Faurot, Albert. Concert Piano RepertoireFetis Fetis, François. Biographie universelle des musiciens.Friskin Friskin, James, and Irwin Freundlich. Music for the Piano.FRK Olivier, Antje, and Karin Weingartz, eds. Frauen als Komponistinnen.Fuller Fuller, Sophie. The Pandora Guide to Women Composers.G&F Gustafson, Bruce and David Fuller. French Harpsichord Music, 1699–1780.G&G Gillespie, John and Anna Gillespie. 19th Century American Piano Music.Gillespie Gillespie, John. Five Centuries of Keyboard Music.Gordon Gordon, Stewart. A History of Keyboard Literature.Goss Goss, Madeleine. Modern Music-Makers.Green Green, Mildred Denby. Black Women Composers: A Genesis.Grove Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians, 1980.GroveAm Hitchcock, H.Wiley and Stanley Sadie, eds. New Grove Dictionary of American Music.grovemusic online version of The New Grove Dictionary, above.Gustafson Gustafson, Bruce. French Harpsichord Music of the 17th Century.Hale Hale, Philip, ed. Famous Composers and Their Works.HAMW Briscoe, James. Historical Anthology of Music by Women.Hasse Hasse, John Edward, ed. Ragtime: Its History, Composers, and Music.Heinrich Heinrich, Adel, comp. Organ and Harpsichord Music by Women Composers.H&H Hixon, Don & Don Hennessee. Women in Music: An Encyclopedic Biobibliography.Hinson Hinson, Maurice. Guide to the Pianist’s Repertoire. 3rd ed.Hutcheson Hutcheson, Ernest, rev. Rudolph Ganz. The Literature of the Piano.Hyde Hyde, Derek. New Found Voices: Women in Nineteenth century English Music.IDBC Floyd Jr., Samuel A. International Dictionary of Black Composers.Jackson Jackson, Barbara Garvey. “Say Can You Deny Me.”Jasen Jasen, David, and Jay Tichenor. Rags and Ragtime: A Musical History.Jeric Jezic, Diane Peacock. Women Composers: The Lost Tradition Found.

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Page xviiJohnson Johnson, Rose-Marie, comp. Violin Music by Women Composers.Kallman Kallman, Potvin, and Winters, eds. Encyclopedia of Music in Canada.Kehler Kehler, George, comp./annot. The Piano in Concert.Kirby Kirby, F.E. Music for Piano: A Short History.KOM Mayer, Clara, ed. KOM: Komponistinnen im Musikverlag: Katalog.Krobn Krohn, Ernst C. Missouri Music.Laurence Laurence, Anya. Women of Notes: 1,000 Women Composers Born Before 1900.Lepage LePage, Jane Weiner. Women Composers, Conductors, and Musicians.Mac Wier, Albert E., comp./ed. Macmillan Encyclopedia of Music and Musicians.MacAusIan MacAuslan, Janna, and Kristan Aspen. Guitar Music by Women Composers..Magrath Magrath, Jane. Guide to Standard Teaching and Performance Literature.Meggett Meggett, Joan, comp. Keyboard Music by Women Composers.MGG Die Musik in Geschichte und Gegenwart.MLA Music Library Assn, comp. Essential Scores and Recordings.N-B Neuls-Bates, Carol, ed. Women in Music: An Anthology of Source Readings.Newgrove The New Grove Dictionary of Music and Musicians, 2000.Panzeri Panzeri, Louis. Louisiana Composers.Pendle Pendle, Karin, ed. Women & Music: A History.SCB Rieger, Oster, and Schmidt, eds. Sopran Contra Bass: Die Komponistin im Musikverlag.Schonberg Schonberg, Harold C. The Great Pianists from Mozart to the Present.Southern Southern, Eileen. Biographical Dictionary of Afro-American Musicians.Sowinski Sowinski, Albert. Les Musiciens Polonais et Slaves.Sperber Sperber, Roswitha, ed. Women Composers in Germany.S&S Sadie, Julie Ann. and Rhian Samuel, eds. Norton/Grove Dictionary of Women Composers.Stern Stern, Susan. Woman Composers: A Handbook.Thompson, Thompson, Donald and Annie F. Music and Dance in Puerto Rico.Tick Tick, Judith. American Women Composers before 1870.Walker-HillWalker-Hill, Helen. Music by Black Women Composers.wcmta# Glickman and Schleifer, eds. Women Composers: Music Through the Ages.

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Page xixMusic Publishers and AgentsAlfred Publishing Company, Inc. P.O.Box 10003 Van Nuys, CA 91410–0003 Tel: 818–891–5999 Fax: 818–892–9239 E-mail: [email protected]

Da Capo Press, Inc. 233 Spring Street New York, NY 10013 Tel: 800–321–0050 Website: www.plenum.com

Alliance Publications (Slovak composers) 9171 Spring Road Fish Creek, Wl 54212–9619 Tel: 920–868–4491 Fax: 608–748–4491 E-mail: [email protected] Website: www.apimusic.org

Dover Publications 31 East 2nd Street Mineola, NY 11501 Tel: 516–294–7000 Website: www.doverpublications.com

A-R Editions, Inc. (Recent Researches in Music) 801 Deming Way Madison, WI 53717 Tel: 608–836–9000 Fax: 608–831–8200 Website: www.areditions.com

ECS Publishing 138 Ipswich Street Boston, MA 02215–3534 Tel: 617–236–1935 Fax: 617–236–0261 E-mail: [email protected] Website: www.ecspub.com

Arsis Press 1719 Bay Street S.E. Washington, DC 20003 Website: www.arsispress.com

Editions Ars Femina P.O. Box 7692 Louisville, KY 40257–0692 Tel: 502–897–5719 Fax: 502–222–7609

ClarNan Editions 235 Baxter Lane Fayetteville, AR 72701 Tel: 501–442–7414 Fax: 501–443–3856 E-mail: [email protected]

Elkin Music International, Inc. 16 Northeast 4th Street Fort Lauderdale. FL 33301 Tel: 954–781–8082 Fax: 954–781–8083 Website: www.elkinmusic.com

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Page xxEMS Music Service 13 Elkay Drive Chester, NY 10918 Tel: 845–469–5790 Fax: 845–469–5817

E-mail: [email protected]

Pepper & Son, Inc. P.O. Box 850 Valley Forge, PA 19482 Tel: 800–345–6296 Fax: 800–260–1482 Website: www.jwpepper.com

European American Music Distributors P.O. Box 850 Valley Forge, PA 19482 Tel: 610–648–0506 Fax: 610–889–0242

Recital Publications 738 Robinson Road Pembroke, N.H. 03275 Tel: 603–228–4259 Fax: 603–228–4618 E-mail: [email protected]

Furore Verlag Naumburger Strasse 40 D-34127 Kassel Tel: 49/(0)561/89/352 Fax: 49/(0)561/83 472 E-mail: [email protected] Website: www.fuorore-verlag.de

Theodore Front Musical Literature, Inc. 16122 Cohasset Street Van Nuys, CA 91406 Tel: 818–994–1902 Fax: 818–994–0419 [email protected]

Website: www.tfront.comTheodore Presser Company 1 Presser Place Bryn Mawr, PA 19010–3490 Tel: 610–525–3636 Fax: 610–527–7841 E-mail: [email protected] Website: www.presser.com

Hildegard Publishing Company Box 332 Bryn Mawr, PA 19010 Tel: 610–649–8649 Fax: 610–649–8677

E-mail: [email protected] Website: www.hildegard.com

T.I.S. 1424 E. Third Street Bloomington, IN 47401 Tel: 800–421–8132 Fax: 812–355–3004 E-mail: [email protected] Website: www.tisbook.com

Masters Music Publications P.O. Box 810157 Boca Raton, FL 33481–0157 Tel: 561–241–6169 Fax: 561–241–6347

E-mail: [email protected] Website: masters-music.com

Vivace Press PO Box 842 Stevens Point, WI 54481 Tel: 715–343–5844 Fax: 715–343–5842 E-mail: [email protected] Website: www.vivacepress.com

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Page xxiWomen Composers:Biographies and Available Music for Solo Piano

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Page 1AADALËWSKY, Ella Georgievna(var. Adajewska, Adaevskaja, Schultz-Adajewski; née Elizabeth von Schultz)1 b. St. Petersburg, Russia,Feb 10/22, 1846—d. Bonn, Germany, Jul 26/29, 1926Ella Adaiëwsky, Russian ethnomusicologist and pianist, studied with Henselt for nine years, and inGermany met Franz Liszt, who “gave her kind attention and played duets with her.”2 From 1864–1869,she studied at the newly founded Petersburg Conservatory under Rubenstein and Dreyschock (piano)and Zaremba and Famintsin (composition), receiving the diploma “Freien Künstlerin.” The young womanmade successful concert tours in Europe and Russia, and around 1870 began composing. Her first workswere liturgical songs for the Russian Orthodox Church; four operas followed, including the politicallybanned Zarja svobody (Dawn of Freedom). From 1882–1911, Adaiëwsky lived in Italy, collecting andwriting about folk music. Considered a pioneer of modern musicology, she published articles in manyjournals examining the connection between the ancient rhythms of Greek church music and Slavic(Rhaetian) folk songs. Adaiëwsky then moved to Germany, where she joined “the liberal-minded artisticcircle around the poet Carmen Sylva (Elisabeth, Queen of Romania).”3 Her compositions display strongRomantic and folkloric characteristics, and include four operas, songs and choral music, a SonataGrecque for clarinet using quarter-tones, and some piano pieces, including twenty-four preludes.SINGLE WORKS:Air Rococo für Klavier (Tischer & Jagenberg, 1914). Level: Late Intermediate. (E major, in 4, 6 pp). Afolk-like eight-bar theme with extension, two ornamental variations called “doubles” in this Baroque-sounding work, and a unifying ritornello. Variation 2, presto brilliante, begins each measure with asixteenth rest, creating a breathless, hurried effect.



Page 2SOURCES: A-Z, Cohen, FRK, H&H, Laurence, Mac, Meggett, MGG, S&S, SternADAIR, Yvonneb. Guernsey, British Isles, 1897—d. ?This twentieth-century British pianist and teacher, a member of the Royal Academy of Music, taughtpiano and rhythmic and aural training to music teachers in London. She wrote Andante and Vivace forvoices and percussion, and miscellaneous teaching works for piano.SINGLE WORKS:Little Dog Tales (Boosey & Hawkes, n.d.). Level: Mid-Elementary. (C/F/G majors, 2/4–3/4–4/4,tranquillo to presto, ½ pp. each). Twelve brief musical portraits of a mother dog and four puppies,accompanied by pictures and a story line in English, French, and Spanish. Hands share the stepwisemelodies in five-finger positions in the center of keyboard, with occasional two-note chords andcontrasts in articulation and dynamics.LISTED but not found: Sketches from Hans Andersen (Oxford University Press, 1931), in Frauen alsKomponistinnen, ed. Olivier and Weingartz.4SOURCES: Cohen, FRK, H&H, KOM, SCBAGNESI-PINOTTINI, Maria Teresa d’(pseud. Francesco Mainini)b. Milan, Italy, Oct 17, 1720—d. Milan, Jan 19, 1795Composer, harpsichordist, singer, and librettist Teresa Agnesi is the only known woman composer ofItalian opera seria. Born the second daughter in a family of twenty-one children, Teresa accompanied atthe harpsichord as her elder sister, Maria Gaetana, gave discourses in Latin. The identity of Teresa’steachers is unknown, but she began composing in the 1740s, when she enjoyed the patronage of theEmpress Maria Theresa and the Electress of Saxony. Agnesi’s operas were successfully produced inMilan, Naples, Vienna, and Dresden, and her portrait hangs in the Theatrical Museum of La Scala. In1752, Agnesi married Pier Antonio Pinottini. They had no children, but remained married until his deathin 1793. During their last years, they endured great poverty, having to sell their personal possessionsand depend on repeated assistance from her family. In 1795, Teresa Agnesi died of a high fever. Hermost important works are operas and theatrical pieces, but she also composed cantatas, chambermusic, two piano concertos, harp sonatas; and short keyboard pieces in the galant style, tuneful,inventive, and idiomatic.



Page 3SINGLE WORKS:Sonata in G: Allegro, ed. Britton (Hildegard, GKH reprint. Also av. Ars Femina, EAF 36–13). Level:Mid-Intermediate. (3/8,4 pp). A cheerful one-movement work in rounded binary. The charming melodyhas carefully articulated phrases, sometimes of unequal length. Reminiscent of Scarlatti, the passepiedor scherzo has an arpeggiated opening motif like Bach’s second Minuet in G. The two-voice Italianatetexture is typical of the period, and the written-out ornaments are not difficult.Two Pieces for Solo Piano or Harpsichord, ed. Barbara Harbach (Vivace Press, 1996). Both pieceswork well on either keyboard, but the second seems designed to show off harpsichord registers.Sonata in G Major—see above.Allegro on Presto. Level: Late Intermediate. (A major, 6/8, 6 pp). Many hand-crossings, rapid changes inLH registers, and nearly continuous alternation of arpeggios and scale passages make this considerablyshowier (and trickier) than the Sonata.ANTHOLOGIES:Thesaurus Musicus, Vol. 17: Sonate Italiane per Clavicembalo del secolo XVIII, ed.F.Brodszky (Budapest: Zenemükiadó Vállalat, 1962).Allemande Militaire & Menuetto Grazioso. Level: Mid-Intermediate. (G major, in 4–3/4, vivace-grazioso, 4pp). A pair of binary dances, to be performed ABA (da capo first movement). The Allemande hascontinuous broken-chord triplets in the LH, under a rousing melody with many ornaments. The songlikeMinuet is extremely simple, with sparse quarter-note accompaniment and some hand-crossing. Editorialmarkings include occasional echo effects on repeated phrases.Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G. K.Hall,1998). Sonata in G.SOURCES: A-Z, Baker, ClagS, Cohen, Ebel, ElsonA, Fetis, FRK, Gustafson, H&H, Heinrich, Hinson,Jackson, Laurence, Meggett, MGG, NewGrove, S&S, Stern, scoresALDRIDGE, Amanda Ira(pseud. Montague Ring)London, Mar 16, 1866—London, Mar 5, 1956Daughter of the famous African-American actor Ira Aldridge and Amanda Pauline von Brandt, a Swedishopera singer, Amanda Aldridge attended a convent school in Belgium, and at the age. of fifteenappeared as a singer at the Crystal Palace in London. Two years later, she won a scholarship to thenewly founded Royal Academy of Music, where she studied voice with George Henschel and Jenny Lind.Aldridge enjoyed a successful concert career as a contralto, but after her



Page 4voice was ruined by severe laryngitis, she became a teacher, numbering among her students MarianAnderson and Paul Robeson. As a teacher and composer, she played an important role in the musicallife of the black community in London.5 Her compositions, all published under the pseudonym MontagueRing, include piano pieces, over twenty-five art songs, and works for orchestra and band. Her music hasstrong rhythmic appeal: one of her best-known works, Three African Dances for piano, used WestAfrican themes and was later arranged for a variety of instrumental groups.6ANTHOLOGIES:Black Women Composers: A Century of Piano Music (1893–1990), ed. Helen Walker-Hill(Hildegard, 1992).Prayer Before Battle, No. 1 of Four Moorish Pictures [1927]. Level: Mid-Intermediate. (D minor, 4/4-2/4-3/4, 3 pp). A picturesque work in modified rondo form (ABB ACB ACA); homophonic textures, withcontrasts in key, meter, and tempo. The main theme, a grim march, opens with an octave leap followedby a descending natural-minor scale, all over a tonic pedal. The second theme is an undulating chant,suggesting a supplicant’s plea, supported by dark, dissonant chords strummed upward. A dotted-notemotif in major keys surges upward by steps, then drops down, to be repeated an octave higher.SOURCES: Cohen, Fuller, H&H, Horne, KOM, S&S, Southern, Walker-Hill, scoreAUENBRUGGER, Marianna von(var. Maria D’Auenbrugg)b. Austria ?—d. Vienna, 1781/1782 or 1786Very little is known about the Viennese composer Marianna von Auenbrugger. She was the daughter ofLeopold von Auenbrugger (1722–1809), a well-known Austrian physician who wrote the libretto toSalieri’s opera, Der Rauchfangkehrer. Marianna studied composition with Salieri, and both she and hersister Katharina were fine keyboard players known and respected by Haydn and the Mozart family.Haydn, in a letter to his publisher Artaria, wrote that “their way of playing and genuine insight intomusic equal those of the greatest masters. Both deserve to be known throughout Europe through thepublic newspapers.”7 Haydn dedicated six of his piano sonatas to the two sisters, Hoboken XVI: 35–39and 20. Von Auenbrugger’s only known work is the sonata below, published posthumously with an odeby Salieri.8



Page 5SINGLE WORKS:Sonata per II Clavicembalo o Forte Piano [ca. 1787], ed. S.Glickman (Hildegard, 1990). Level: Mid-Intermediate. (E-flat major, 15 pp). This edition is the only modern publication of the complete sonata.A charming, well-crafted work in galant/Classical style. I: Moderate (common time, 6 pp). Sonata-allegroform; strongly rhythmic, with triadic themes emphasizing tonic and dominant on every strong beat. II:Largo (3/4, A-flat major, 3 pp). Serene, graceful arioso. III: Rondo Allegro (E-flat major, 3/8, 6 pp).Boisterous and clever, with sudden contrasts in dynamics, articulation, and texture.ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990) and Women Composers for theHarpsichord, ed. Harbach (Elkan-Vogel, 1986). Rondo from Sonata in E-flat: see aboveWomen Composers: Music Through the Ages, Vol. 3, ed. Glickman and Schleifer (G.K.Hall, 1998):Largo from Sonata in E-flat; see above.SOURCES: Cohen, H&H, Heinrich, Hinson, Jackson, Kirby, KOM, Meggett, S&S, Stern, scoresAUERNHAMMER, Josepha Barbara von(var. Aurenhammer/Aurnhammer, Josephine; also Mme Boesenhoenig/Bessenig)b. Vienna, Sep 25, 1756—d. Vienna, Jan 30, 1820)Josepha von Auernhammer, a Viennese concert pianist, was the eleventh child of Johann and Elisabethvon Auernhammer. She studied piano with Richter and Kozeluch, and when she was twenty-two, withMozart, with whom she fell in love. Mozart did not return her affection, but he respected her abilities,playing concerts with her, and composing the K. 365 concerto for two pianos and the K.448 two-pianosonata for performance with her. As one of Mozart’s favorite pupils, she proofread many of his sonatasand songs for his publisher. In 1786, Auernhammer married Johann Bessenig, a civil servant, but shecontinued to perform and teach under her maiden name. They had four children, including theirdaughter Marianna Auenheim, who herself became a well-known pianist and voice teacher.Auernhammer excelled at extemporaneous variations of a given theme, and most of her more than sixtyworks are well-crafted keyboard variations.SINGLE WORKS:Sechs Variationen über ein ungariscbes Thema, ed. Rosario Marciano (Furore, 1988). Level: EarlyAdvanced. (F major, 2/4-common time, 8 pp). A witty, imaginative and sensitive work, making full useof the existing five octaves of the keyboard. Chromatic colors help express a wide range of



Page 6moods, and frequent hand crossings display the pianist’s virtuosity. No tempo indications appear exceptfor the “Marcia” variation six, and only the first section of the theme appears in the final statement.Six Variations on “Her Fogelfänger bin ich ja” [1792] ed. Eve Meyer (Hildegard, GKH repr.). Level:Early Advanced. (G major, 2/4, allegretto, 10 pp). Six delightful variations on Papageno’s character ariafrom Mozart’s Magic Flute. The simple nature of the tune is preserved with a minimum of bravurafiguration. Techniques include two-against-three rhythms in the var. 2, dialogue between the hands invars. 3 and 4, and modulation to a minor key, adagio, in var. 5. The work closes with a nimble allegro injig time.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Six Variations on “Der Fogelfänger bin ich ja,” ed. Meyer: see Single Works, above.SOURCES: Cohen, Ebel, Grove, H&H, Hinson, Heinrich, Jackson, Johnson, Kirby, KOM, Laurence,Marciano, Meggett, MGG, S&S, SCB, Sperber, Stern, scoresAUFDERHEIDE, May Francesb. Indianapolis, Indiana, May 21, 1888—d. Pasadena, California, Sep 1, 1972May Aufderheide, the leading woman composer of ragtime piano, was a favorite pianist in theIndianapolis area who studied classical piano with an aunt, but loved the popular music of the day. In1908, she composed her first rag, Dusty, now considered the first major rag of the Indianapolis-OhioValley area.9 It was so successful commercially that her father started a publishing business to promoteher music and that of her friends, including Julia Niebergall (q.v.). Aufderheide married architect ThomasKauftnan in 1908, and in the next four years she published nineteen more compositions, including twosets of waltzes and six more rags: The Thriller! (another big hit), Richmond Rag, Buzzer Rag, BlueRibbon Rag, Novelty Rag, and A Totally Different Rag.10 By 1915, however, she apparently stoppedcomposing completely. Although ragtime music was in general a black, male-dominated field, womencomposers of ragtime music were usually white, middle-class, and classically-trained, and most of themstopped composing after marriage. In 1947, the family moved to southern California, where Aufderheidelived until her death at the age of eighty-four.11



Page 7ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990)and American Keyboard Music 1866 through 1910, Vol. 4 of series Three Centuries of AmericanMusic, gen. eds. Schleifer and Dennison (G.K.Hall, 1990).Dusty, A Rag [1908]. Level: Mid-Intermediate. (C major, 2/4, moderate, 3 pp). Unusually for a rag, thisnationwide hit remains in C major throughout, and its unorthodox structure, AA BB CC, deviates fromthe typical rag format (AA BB A CC DD). The piece is great fun to play, with a wonderful oom-pah bassthroughout. Offbeat soprano notes harmonize with the suave chromatic alto melody in the Trio (C),subtly emphasizing the syncopation.Ragtime & Early Blues Piano, comp./ed. Amy Appleby and Peter Pickow (Amsco Publications, 1995).The Thriller! Level: Late Intermediate. (A-flat major, 2/4, not fast, 3 pp). Published by Aufderheide’sfather, it became a nationwide hit in sheet music, on piano rolls, and in instrumental arrangements.Written in three repeated sections, with sweet triadic melodies, occasional brief chromatic passages, andblue 3rds and 7ths.. In B, a sustained alto pedal tone lends smoothness to the thirds above; in C, handsalternate on syncopated descending octaves.Ragtimes für Klavier, ed. Kaluza (Furore, 1994) and Ragtime Rarities: Complete Original Musicfor 63 Piano Rags, ed. Tichenor (Dover, 1975). Dusty and The Thriller! See above.A Tribute to Scott Joplin and the Giants of Ragtime, comp. Richard Zimmerman (Shattinger-International Music, 1975). The Thriller! See above.Women Composers of Ragtime: A Collection of Six Selected Rags by Women Composers,comp. Carolynn A.Lindeman (Theodore Presser, 1985. Repr. of the original sheet music).The Richmond Rag [1909]. Level: Mid-Intermediate (C/F/B-flat majors, 2/4, tempo di marcia, 3 pp). Thefirst rag published by her father’s new company, written shortly after the Aufderheides moved toRichmond, Indiana. An unusual form: AAB (in F major) CC (in B-flat major) B. The B section hasdistinctively syncopated, percussive rhythms.A Totally Different Rag [1910]. Level: Mid-Intermediate. (E-flat/A-flat majors, 2/4, slowly, 3 pp). Thedifference in this rag lies in its slow tempo, and in the B section, with its chromatic alto melodysandwiched between dissonant harmonies in treble and bass. Or, as described by Jasen and Tichenor,“suspended 4ths, another feature of Ohio Valley rags after 1908.”12SOURCES: B&NB, ClagS, Cohen, GroveAm, H&H, Hasse, Hinson, KOM, scores



Page 8BBACKER-GRØNDAHL, Agathe Ursula(née Backer)b. Holmestrand, Norway, Dec 1, 1847—d. Christiana, Jun 4, 1907Norwegian concert pianist, composer, and teacher Agathe Backer-Grøndahl studied piano with Kullak,Hans von Bülow, and Liszt, and composition with Lindeman in Norway and Wuerst in Berlin. Shereceived high praise for her performances of Beethoven, Schumann, Chopin, and Grieg, and was thefavorite female pianist of George Bernard Shaw.13 A winner of Sweden’s Royal Gold Medal and the “ProLiteris et Artibus” medal from the King of Norway and Sweden, Backer-Grøndahl managed the difficultfeat of combining a domestic life with a musical career by devoting blocks of years to different activities:first raising her family, then concertizing, then composing, then concertizing again, playing many of herown works.14 A highly successful composer and concert artist, Backer-Grøndahl also exerted greatinfluence as a teacher. She and her husband, a conductor and composer, had three sons, includingFritjof, who had a long career as a concert pianist. Though she suffered from ill health and deafnesslater in life, she continued to give frequent concerts and to teach several hours daily. Backer-Grøndahl’spublished works, which were extremely popular throughout Scandinavia, include 260 songs, a number ofNorwegian folksong arrangements, and 138 piano works in twenty-nine opus numbers.15 The pianopieces include short descriptively titled miniatures in simple song form, larger fantasy-like works, and anumber of fine concert etudes. Her music, like that of her contemporary, Cécile Chaminade, featuresdirectness of expression, wonderfully idiomatic pianism, melodic charm, an assured late-Romanticharmonic style, and strong evocations of dance rhythms. Although she revered Grieg, her music is notparticularly nationalistic, and she rarely used recognizable Norwegian folk-tunes in her piano works. Herworks are sensitive, imaginative without being sentimental, and extremely well crafted.SINGLE WORKS:Trois Etudes de Concert Opus 32. (Recital Publications, 1998, reprint of Wilhelm Hansen pub.).Level: Advanced.Etude in D Major Opus 32/1. (In 4, allegro, 4 pp). Horn calls in rapid double notes, RH; virtuoso octavesin both hands. A spirited, joyful work.Etude in F Minor Opus 32/2. (In 4, tranquillo, 5 pp). An undulating triplet figure forms the backgroundfor the elegiac, nocturne-like melody.



Page 9Etude in D-flat Major Opus 32/3 (Also found in Agathe Bäcker-Grondahl: Piano Music, Da Capo, below).Level: Advanced. (D-flat major, in 4, allegro leggiero, 6 pp). A rapid study in staccato alternating hands;the primarily LH melody shifts registers frequently.Fantasistykker Opus 36 (Recital Publications). See Agathe Bäcker-Grondahl: Piano Music, below.I Blaafjellet: Eventyr Suite i 6 Claverstykker Opus 44 No. 2 [1894]. [On the Blue Mountain:Folklore Suite of 6 Piano Pieces], ed. Margaret Meyers (Hildegard; GKH repr.). Level: Advanced, 23 pp.A six-movement major work, demonstrating the composer at the height of her expressive and dramaticpowers. The Blue Mountain was a legendary home of trolls.I. Overture: In the Hall of the Trolls. (D-flat major, 6/8, allegretto, 9 pp). Tone painting establishes a

Norwegian atmosphere in this lengthy movement.II. The Giant Troll (G minor, 6/8, allegretto molto energico, 2 pp). An ungainly, gruff march, discordant

and chromatic.III. The forest nymph. (D major, 3/4, largo, 3 pp). Serene and lovely main theme, with a playful middle

section.IV. The Bewitched Captive’s Lay. (A minor, in 4, molto largo, 3 pp). Aeolian harmonies echo Norwegian

folk tunes.V. Dance of the trolls. (A minor, 3/4, moderate a la burla, 4 pp). Chromaticism, a busy melody, and

open fifths describe a dance of the grotesque.VI. Night. (B-flat minor, in 4, grave, 2 pp). Stealthy footsteps and eerie descending octaves explore the

full range of the keyboard.COLLECTIONS:Agathe Bäcker-Grondahl: Piano Music, intro. Charles Slater. (Da Capo Press reprint, 1982). Forty-seven works in chronological order, ranging from intermediate-level salon pieces to challenging concertetudes.Etudes de concert, Op. 11, Nos 2 and 6. Level: Advanced.Op. 11/2. (D-flat major, 3/4, andantino, 5 pp). A series of parallel sixths.Op. 11/6. (A major, 6/8, allegretto grazioso). Continually shifting arpeggios support a melody played inoctaves.Trois morceaux, Op. 15. Late Intermediate to Early Advanced.Op. 15/1. Serenade. Level: Late Intermediate. (F major, in 4, andantino, 3 pp). Serene, symmetricalphrases arch over a gently strummed bass in this unhurried portrait of summer twilight in the north.Melodious trills and flourishes decorate the contrasting center section.Op. 15/2. Au bal [At the Ball]. Level: Early Advanced. (D-flat major, 2/4, allegretto, 7 pp). A beguilingwork, with quick, delicate outer sections framing a lyric intermezzo, sotto voce.Op. 15/3. Humoresque. Level: Early Advanced. (G minor, 2/4, allegro con spirito, 4 pp). Spirited andwitty dance, reminiscent of Grieg.



Page 10Fire skizzer (Four sketches), Op. 19/1-4. Level: Early Advanced. Harmonically inventive, extremely well-written examples of the Romantic piano miniature. Each is a three-page allegretto in common time andABA form.Op. 19/1. (C major, leggiero). The vigorous, surging melody occurs first in octaves, then over densechords.Op. 19/2. (A-flat major, leggiero). A daring harmonic progression begins the work, permeated withSpanish dance rhythms and embellishments.Op. 19/3. (A minor, semplice). A wistful little harlequin of a piece.Op. 19/4. (A-flat major, grazioso). Late Romantic chromaticism.Suite pour Piano Op. 20. (The suite originally included a prelude, nocturne, gavotte, menuett, andscherzo).Prelude Op. 20/1. Level: Early Advanced. (G minor, in 4, allegro non troppo e molto risoluto, 4 pp).Dramatic, with continuous exploration of a sixteenth note figure in related keys, as in some Bachpreludes.Gavotte Op. 20/3. Level: Early Advanced. (A major, in 4, allegretto, 4 pp). A late-19th century exampleof the lively and gracious Baroque dance.Etude de concert, Op. 32/3. See Single Works: Trois Études de Concert.Huldreslått (WoO). Level: Late Intermediate. (A minor, in 4, molto allegro, 4 pp). Like a fiery gypsydance or tarantella, swirling triplets race up and down the keyboard, accompanied by an alternatingbass. A contrasting marcato section in A major features leaping accented chords; one can almost hearthe rattle and crash of tambourines.Fantasistykker (Fantasiestücke). Twenty-one Fantasy Pieces from three sets: all of Opus 36, six often inOpus 39, and all of Opus 45. The Fantasy pieces constitute an exceptionally fine addition to lateRomantic repertoire, and the sets have many characteristics in common. They are short, descriptivescenes of nature, stylized dances, or depictions from Norwegian folklore, using the full range of theinstrument, with effective textures and strong dance rhythms. Difficult pieces alternate with easier ones,and they are stylistically similar to the smaller works of Schumann, Mendelssohn, Chopin, and Grieg.Harmonies include secondary dominants, a few borrowed chords, the occasional augmented-sixth, andsome “barbershop” sliding sevenths.16Fantasistykker Op. 36, Heft 1: Nos 1–5 (composed 1895). Both of the Opus 36 sets are also available asFantasistykker Opus 36, two vols (Huntsville, TX: Recital Publications).Op. 36/1. Klage [Lamentation]. Level: Mid-Intermediate. (E minor, in 4, andantino, 2 pp). A repeated-note motive, rather like three little moans and a sigh, runs through this sad little piece. Interesting scalepatterns in the accompaniment save it from being maudlin.Op. 36/2. Friskt mod! [Take courage!]. Level: Mid-Intermediate. (D major, in 4, allegretto grazioso, 1pp). Heartening and repetitive. A bass pedal supports the upper voices, with the tenor in counterpoint tothe soprano.



Page 11Op. 36/3. Vals. Level: Mid-Intermediate. (F major, 3/4, grazioso, 3 pp). A vigorous and exuberant dancewith a playful middle section.Op. 36/4. Vuggevise [Berceuse]. Level: Mid-Intermediate. (G major, in 4, allegretto). An attractivearching melody, stressing the second scale degree, is harmonized by sparse chords above a gentlyrocking bass.Op. 36/5. Ballade. Level: Late Intermediate. (E-flat minor, in 4, andante, 5 pp). A tragic march opensthe piece, echoed by bass octaves like a Greek chorus. A contrasting fanfare in E-flat major sounds:perhaps the hero is coming to the rescue. Texture is Brahmsian, with LH octaves and thick heavy RHchords. Descending double octaves herald the return of A. Great dramatic fun.Fantasistykker Op. 36, Heft 2: Nos 6–9 [1895].Op. 36/6. Ungdomssang [Youth’s song]. Level: Mid-Intermediate. (B-flat major, 9/8, andantino, 1 pp).Close four-part harmony is played in the lower middle register of the piano, like a male choir singing achorale of praise.Op. 36/7. Ländler. Level: Mid-Intermediate. (A-flat major, 3/4, allegretto grazioso, 2 pp). Thecharacteristic Ländler pickup (&3&) begins the merry yodeling melody, which bobs and bows over awaltz bass.Op. 36/8. Aftenwind [Evening breezes]. Level: Late Intermediate. (G-flat major, in 4, allegretto, 2 pp).Alternating sixteenth notes depict the lightly rustling breezes; frequent LH crossovers.Op. 36/9. Sang ved Rokken [Spinning-wheel song]. Level: Mid-Intermediate. (A minor, 3/4, pocoallegro, 2 pp). An effective setting of the Faust story: Gretchen’s frantic spinning refrain, created byrising and falling triplets, alternates with a forlorn second theme.Op. 36/10. Alfeleg [Elfin dance]. Level: Late Intermediate/Early Advanced. (A minor, in 4, allegro, 5 pp).A nimble dance in airy staccatos and whirring sixteenth notes; center section is a courtly promenade inthe parallel major.Fantasistykker Op. 39 [1896].Op. 39/1. Souvenir. Level: Mid-Intermediate. (D minor/major, 3/4, andantino, 3 pp). A waltz in ABABform, alternating happy and sad moods, LH and RH melodies, and tenor and soprano registers.Op. 39/2. Sommernat [Summer night]. Level: Late Intermediate. (D major, 3/4, tranquillo, 3 pp).Portrait of a balmy, leisurely evening.Op. 39/3. Svalernes flug [Swallows flight]. Level: Late Intermediate. (A major, in 4, allegretto leggiero, 2pp). Ceaseless sixteenth notes, divided between the hands, swoop in weightless broken chords and two-note figures in the upper half of the keyboard. Reminiscent of Nedda’s aria in I Pagliacci.Op. 39/4 Rosernes sang [Song of the roses]. Level: Late Intermediate. (A-flat major, common time,andante, 2 pp). A sweet song wafts out of a delicate cloud of rising and falling arpeggios.



Page 12Op. 39/5. I baaden [In the boat]. Level: Late Intermediate. (E-flat major, 6/8, allegretto, 3 pp). Abarcarolle, with an ostinato bass creating the rocking of the boat and the sound of the waves, as themelody is played in dolce thirds and sixths.Op. 39/9. Visnet [Withered]. Level: Late Intermediate. (A minor, in 4, allegretto, 1 pp). Leggierissimostaccato triads in the mid-to-upper registers fade swiftly away to ppp.Fantasistykker, Op. 45/1–5 [1897]. A wonderful group for ballet use.Op. 45/1. Ungdomssang [Song of Youth]. Level: Mid-Intermediate. (F major, 9/8, tranquillo, 1 pp). Achorale in the lower-middle registers of the keyboard, requiring good legato technique; more satisfyingthan the earlier piece by the same name (Opus 36, no. 6). Included in several anthologies.Op. 45/2. Zephyr. Level: Advanced. (D major, 2/4, allegretto, 5 pp). A virtuoso caprice depicting thefickle wind, with toccata-like use of repeated note figures, accidentals, and alternating hands.Op. 45/3. Sommervise [Summer song]. Level: Late Intermediate. (G major, 6/8, andantino semplice, 2pp). LH melody against fluttering double-note figures in RH, requireing careful voicing and pedaling.Op. 45/4. Gyngende [Rocking]. Level: Late Intermediate/Early Advanced. (A major, in 4, allegretto nontroppo, 4 pp). Wide repeated arpeggios furnish the movement under the graceful melodic stretches.Op. 45/5. Vals Caprice. Level: Early Advanced. (F major, 3/4, molto con anima, 6 pp). A playful andbrilliant grand waltz, played one beat to the bar; center section in F minor is slightly slower, withdescending chromatic passages.Etude de concert Op. 47/2. Level: Advanced. (A minor, in 4, con fuoco, 5 pp). Virtuosic LH octavesshape an heroic march, balanced by wide, rapidly rolled RH chords; Brahmsian ideas and textures.Barcarole Op. 55/10. Level: Early Intermediate. (G minor, 6/8, andante espressivo, 2 pp). Gentlymysterious, with late-Romantic altered chords in a sparse texture. Characteristic melody is tradedbetween hands.Mandolinata Op. 59/3. Level: Late Intermediate/Early Advanced. (D-flat major, 2/4, allegrettoleggierissimo, 5 pp). Upward-strummed arpeggios suggest the easy grace of a southern serenade.Center section features “plucked” chromatic scales.Prelude and Grand menuet Op. 61/1-2. Level: Advanced. One of the composer’s last works, these twopieces form one large-scale dramatic composition, 12 pp. Prelude (C-sharp minor, in 4, tranquillo). Thehuge climax fades into pp octaves, segueing chromatically into theGrand menuet (E major, 3/4, con grandezza). The climactic chords “may be the last grand gestures ofthe Romantic age” (score preface).



Page 13ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990). Fantasistykker Op. 45/1, 3: seeCollections.Nineteenth-Century European Piano Music: Unfamiliar Masterworks, sel. Gillespie (Dover,1977). Fantasistykker Op. 45/1–5: see Collections.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). I Blaafjellet. Eventyr Suite i 6 Claverstykker Opus 44/2, ed. Margaret Meyers: see Single Works.SOURCES: A-Z, Baker, Cohen, Dubal, Ebel, ElsonA, FRK, Gillespie, Grove, H&H, Hinson, Hyde, Johnson,Kehler, Kirby, KOM, Laurence, Meggett, Pendle, Schonberg, scoresBADARCZEWSKA-BARANOWSKA, Theklab. Warsaw, 1834—d. Warsaw, Sep 29, 1861Composer of the worldwide best seller of her time, this young Polish pianist was apparently an amateurwith no formal training. In 1856, she published The Maiden’s Prayer in Warsaw. After its appearance in1859 as a supplement to the Paris Revue et Gazette Musicale, the piece became a runaway success allover the world, going into 140 editions and reprints in Europe, the United States, and Australia, as wellas transcriptions for orchestra, voice, piano duo, and almost every instrument. A “unique piece of salonpianism, dripping maudlin arpeggios,”17 it was strongly criticized by professional musicians, includingLouis Gottschalk, who composed a wickedly clever parody for a recital encore. Still, imitation is thesincerest flattery, and the work was unquestionably the smash hit of the mid-nineteenth century. Beforeher untimely death at age twenty-seven, Badarzewska composed thirty-three more salon piano pieces,as well as a number of songs, but none approached the popularity of The Maiden’s Prayer, which stillappears in anthologies.18SINGLE WORKS:Gebet einer Jungfrau [1856; var. The Maiden’s Prayer, La prière d’une vierge, The Virgin’s Prayer].(Schott Musik International, 1913). Level: Late Intermediate. (E-flat major, common time, andante, 3pp). Sweet, fluffy, and insubstantial; pianistic cotton candy. An effective introduction to advancedfigurations such as extended arpeggios, octaves, and long trills. The theme, comprised of one arching,eight-bar parallel period, is presented by RH in six slightly varied versions, over an ostinato bass ofblock chords and octaves. Variations include arpeggios in octaves, extended arpeggios of 16th and 32ndnotes with trills at cadences, hands crossed, with melody in the tenor, and triplet repeated-note staccatooctaves, ending in a crescendo.



Page 14ANTHOLOGIES:Masterpieces of Piano Music, ed. Albert E.Wier (Carl Fischer, 1918). The Maiden’s Prayer.SOURCES: Baker, Cohen, Ebel, ElsonA, FRK, Grove, H&H, Hinson, KOM, Laurence, Meggett, MGG, S&S,SCB, SperberBARTHELEMON, Cecilia Maria(var. Mrs. E.P.Henslowe)b. England, 1769/70-d. after 1840Cecilia Barthélemon, the grandniece of Thomas Arne, was the daughter of a pair of leading Londonmusicians, Maria (Polly) Barthélemon (née Mary Young), a celebrated singer, and François HippolyteBarthélemon, a violinist, composer, and conductor. Cecilia toured with her parents from babyhood, andreportedly sang for Marie-Antoinette. She learned to sing and play harpsichord, piano, organ, and harpfrom her parents and J.S.Schröter. The young girl made her formal vocal debut at the HaymarketTheater in 1779, singing an Italian duet with her mother between sections of the Messiah.19 As anadult, Barthélemon was active as a singer, harpist, keyboardist and composer. She dedicated her Opus3 keyboard sonata to Joseph Haydn, a family friend, and was a subscriber to his Creation. Her publishedcompositions, which date from 1786 to 1795, include several sonatas for keyboard with accompanyingviolin,20 two keyboard trios, a keyboard work concluding with a song by soprano and chorus, and threesolo keyboard sonatas. In 1796, Cecilia married Captain E.P.Henslowe; the couple had one child, FannyHenslowe.SINGLE WORKS:Three Sonatas for Piano, ed. Barbara Harbach (Vivace Press, 1995). Level: Late Intermediate. Forpianoforte or harpsichord. Late Classical sonatas sophisticated in harmony, melody, and form; in each,the first movement is a well-developed sonata-allegro with contrasting themes, and the last is a rondowith development in the second episode. The works contain dramatic pauses, sudden contrasts indynamics, register and texture, and modulating development sections with fragmented motives,diminished chords and deceptive cadences.Sonata in C Major Op. I/I. Late Intermediate. 1: Allegro (common time, 7 pp). II: Rondo allegretto (6/8,8 pp).Sonata in E Major Op. I/3. Late Intermediate. I: Allegro con spirito (common time, 9 pp). II: Larghetto(A major, 3/4, 3 pp). Lyrical, with some imitative passages. III: Allegro ma non troppo (6/8, 10 pp).Sonata in G major, Opus III. Level: Late Intermediate. Witty and Haydnesque, with interesting harmonicand rhythmic figures, including dance elements. I: Allegro vivace. (G major, 2/4, 8 pp). Sonata-rondowith development in 2nd episode. II: Adagio. (E-flat major, 6/8, 2 pp). A



Page 15slow pastorale. Opening triadic motive is balanced by graceful thirty-second note arpeggios and scales.The movement ends with both hands below middle C. III: Rondo alla Hornpipe. (G major, 2/4, vivace, 4pp). A lively folk dance in sixteenth note triplets, requiring a light touch and nimble fingers.The Capture of the Cape of Good Hope for the Piano Forest or Harpsichord, Concluding witha Song & Chorus, ed. Deborah Hayes (Hildegard; GKH reprint). Level: Mid/Late Intermediate.(C/E/G/E-flat/A majors, eight sections, 16 pp). A straightforward, attractive example of the populargenre of program music called the “battle sonata, commemorating the 1795 British victory over theDutch in southern Africa. The progress of the battle and the ensuing surrender are depicted by verbaldescriptions and a variety of pianistic devices, including obvious contrasts in theme, tempo, meter, anddynamics, scales in octaves, trommel bass patterns, runs and flourishes, and some mild chromaticism.Intended for informal salon performances, it is suggested that the pianist sing the final Song, andeveryone present join in for the final Chorus.ANTHOLOGIES:Four Keyboard Sonatas by Early English Women Composers, ed. Sally Fortino (Hildegard, 1996).Sonatas by Billington, Cianchettini, Park, and Barthélemon, Opus 3: see Three Sonatas, above.Women Composers: Music through the Ages, Vol 3, series eds. Glickman and Schleifer (G.K.Hall,1998). The Capture of the Cape of Good Hope, ed. Hayes, above.SOURCES: Boenke, Cohen, Eitner, Fuller, H&H, Heinrich, Hinson, Jackson, KOM, Mac, Meggett, MGG,Eitner, S&S, Stern, scoresBAUER, Katerina(var. Katherine/Catherina de)b. Würzburg, Germany, 1785—d.?Very little is known about this German harpsichordist and composer. A child prodigy, she studiedharpsichord and composition with Abbé Johann Sterkel, and composed three sets of twelve variations forthe clavier.SINGLE WORKS:Douze Variations pour le Pianoforte [1797/8]. (Ars Femina, 1993). Level: Late Intermediate/EarlyAdvanced. (F major, 3/4, Andante, 14 pp). In this engaging example of late Classic writing for thekeyboard, the simplest of melodies undergoes standard changes in accompaniments, ending with acadenza and a final restatement of the theme.



Page 16SOURCES: Cohen, Eitner, Grove, H&H, Heinrich, Jackson, Laurence, Mac, SternBAUER, Marion Eugenicb. Walla Walla, WA, Aug 15, 1887—d. South Hadley, MA, Aug 9, 1955Marion Bauer, composer, critic, writer, and educator, was the youngest of seven children, and took herfirst music lessons with her sister Emilie Frances, who later became a music critic in New York. She waseducated in the West, then went to New York and studied with Henry Holden Muss, Eugene Heffley, andWalter Rothwell. In 1906, she studied piano in Paris with Raoul Pugno, a violinist; through him she metNadia Boulanger, who taught her harmony. As payment, Bauer gave Boulanger lessons in English, andwas probably the first American pupil of the woman who was to teach most of the next generation ofAmerican composers.21 Bauer spent many summers at the MacDowell Colony, where she met otherimportant women composers: Beach, Daniels, Howe, Gideon, and Crawford. During her outstandingcareer as an educator, she taught music history and composition at New York University (1926–51) andat Juilliard (1940–44). With Ethel Peyser, she co-authored the textbooks How Music Grew and MusicThrough the Ages, and she was sole author of Twentieth Century Music. A fervid and vocal champion ofAmerican music and contemporary composers, she was one of the founders of the Association ofAmerican Women Composers, a co-founder of the American Music Guild, the only woman among thefounders of the League of Composers, and an active member of many other artistic and philanthropicorganizations.22 Bauer composed chamber, orchestral, and choral music, songs, and many piano works.Her music, originally considered radical, now seems moderately impressionistic, with coloristicharmonies, programmatic titles, through-composed forms, and some exoticisms from non-Westerncultures. Although her writing remained melodic and grounded in tertian harmony, she used extendedharmonies and diatonic dissonance to blur functional tonality. According to Dubal, her piano works(which generally appeared in sets of three to six short pieces) include nineteen titles, ranging from the1909 Elegy to Summertime Suite (1953), with the Dance Sonata (1935) and Four Piano Pieces Op. 21 ofspecial merit.23 Unfortunately, the teaching group below and the Op. 36 Piano Concerto (AmericanYouth, Schinner, 1943) appear to be her only keyboard works currently in print. Many of her works areavailable in libraries, and a description of From The New Hampshire Woods is included here as anexample of Bauer’s outstanding keyboard writing.24SINGLE WORKS:For Nimble Fingers (Mercury Music/Presser, 1948). Level: Late Elementary/Early Intermediate. Threedelightful little pieces full of rhythmic energy.



Page 17Tumbling Tommy. (C major, 2/4, fast, 2 pp). Like a simplified version of Pinto’s “Run, Run,” handsalternate a single-note melody with a two-note chord in a continuous eighth-note rhythm.A New Solfegietto (after C. P. E. Bach). (G minor, 2/4, rapidly, 2 pp). Aptly named, this work is nearly asmuch fun as the original, and of similar figuration, providing a gratifyingly intricate sound at littletechnical expense.Parade. (C major, common time, with energy, 2 pp). Four-part seventh-chords in close position marchthrough the piece in staccato dotted rhythms, like a quartet of trumpeters.From the New Hampshire Woods: A Suite of Three Pieces for the Pianoforte Op. 12(G.Schirmer, 1922). Level: Late Intermediate. A set of impressionistic miniatures depicting New Englandflora, with a poetic inscription preceding each landscape. Later arranged for orchestra, these reflect theinfluence of the MacDowell school. Characteristics of Bauer’s style include use of the full range of thekeyboard, continuous rhythmic motion, a wide dynamic palette, asymmetrical phrases, and the use ofpedal tones, seventh chords, and gliding parallel chords within a strong tonal center.White Birches Op. 12/1. Level: Late Intermediate. (D-flat major, 6/8, grazioso e rubato, 5 pp). A “songwithout words,” with the melody created from downward-rippling arpeggios over a slow-moving bass.Dissonant suspensions, sliding seventh and ninth chords, descending chromatic scales, and tone clusterscaught by the pedal contribute to the portrait of rustling leaves and palely glowing bark, dappled withmoonlight and mysterious shade.Indian Pipes Op. 12/2. Level: Late Intermediate. (G major/minor, 3/4, andante con moto, 3 pp). Indianpipes are small plants that poke up through the moist carpet of the forest’s floor after a rain. A rhythmicmotive slides chromatically down a fourth; there are flirtations with whole-tone scales and paralleldiminished triads.Pine-Trees Op. 12/3. Level: Late Intermediate. (F major, 5/4–4/4–6/4, andante con moto, 5 pp). Thewind sweeps through the boughs of great pine trees on a hillside above a river. The shifting meters areused to expressive advantage, creating short asymmetrical phrases with natural fluidity.ANTHOLOGIES:The World of Modern Piano Music, comp. Denes Agay (MCA Music, 1964).Pond Lilies, from Summertime Suite [1953]. Level: Early Intermediate. (C major, 6/8, moderate, 2 pp). Ateaching piece set in the swaying, languorous rhythms of a Sicilienne. Hands remain a second apartthroughout the piece, moving stepwise in the center of the keyboard and forming mild dissonanceswithin a tonal framework.



Page 18LISTED but not found in print: Turbulence Op. 17/2 (EBM); A Fancy (Axelrod); Four Piano Pieces Op. 21(Arrow Music); Dance Sonata Op. 24 (ACA); Patterns Op. 41 (ACA). Cited in Hinson’s Guide, 3rd ed.,and Friskin & Freundlich’s Music for the Piano.25SOURCES: Ammer, Anderson, Baker, B&NB, Boenke, , ClagAm, ClagS, Cohen, Dubal, Elson, Faurot,Friskin, Fuller, Gordon, Goss, Grove, Grove Am, Heinrich, Hinson, Hutcheson, Johnson, Kirby, Laurence,Mac, Meggett, Pendle, S&S, SternBAYON, Marie-Emmanuelle(var. Bajon, Baillon, Bayon-Louis, Mme Louis)b. Marcei, Orne, France, 1746—d. Aubevoye, Eure, Mar 19, 1825Marie Bayon was a French harpsichordist, pianist, and singer who wrote chamber music, opera, andpieces for the clavecin and voice. It is assumed she grew up near Paris and received advanced trainingin voice and harpsichord, perhaps through the patronage of Mme la Marquise de Langeron, to whomshe dedicated her Opus 1 sonatas. Diderot, the philosopher and encyclopedist, greatly admired Bayon’splaying, and arranged for her to teach his daughter. He wrote, “She played like an angel. Her soul wasentirely at the ends of her fingers.”26 In 1770, she married an architect, Victor Louis, designer of theTheater in Bordeaux; the couple had one child, a daughter. Bayon’s later works were signed “MmeLouis” or “Bayon-Louis;” in a number of reference works, she appears under both names as twoapparently different people. In 1776, her two-act comic opera, Fleur d’Epine, was produced at theTheatre-Italien. As a hostess of esteemed literary and artistic salons in Bordeaux and Paris, Bayon-Louisis credited with bringing the fortepiano into vogue in France. In addition to her compositions, sheappears to have written two manuals on keyboard technique and the principles of accompaniment. Herhusband lived until 1800, as “citizen Louis;” Mme Louis outlived him by twenty-five years.ANTHOLOGIES:Francesca LeBrun and Marie-Emmanuelle Bayon: Keyboard Sonatas [ca. 1769], intro. DeborahHayes (Da Capo Press, 1990 reprint).Six Senates pour le Clavecin ou le Piano Forte, dont trois avec accompagnement de Violon oblige Opus1. Level: Late Intermediate or Early Advanced. Appealing, well-constructed representatives of the lateeighteenth century international style. Each two-movement sonata is 4–5 pages long; both movementsare in repeated binary form and the same key, but of contrasting tempo and character. This facsimileedition is not easy to read: there are 6–8 systems per page, note heads are round and small, and manyaccidentals and ornaments appear between staves. Also, there are occasional changes from bass to altoclef in LH part, difficult for the modern player. No articulations and



Page 19few dynamics are indicated. The works were known in Germany and Britain; Queen Charlotte’s personalcopy is housed in the British Library.Sonata I in F major. 1. Allegro con brio, in 4. A vigorous study, with continuous 16th noteaccompaniment. 2. Tempo di minuetto, in 3. Elegant and graceful in a sparse Italianate texture.Sonate II in G major. 1. Andante affetuoso, 2/4. Expressive melody over Alberti bass. 2. Allegro, in 2.Exuberant triplets, sixteenth note arpeggios and scales; includes a one-page minuetto.Sonata III in Eb major. 1. Allegro, in 2. Melodious and gracious. 2. Presto, 12/8. A rollicking jig.Marie-Emmanuelle Bayon and Caroline Wuiet: Operatic Transcriptions for Keyboard, ed.Calvert Johnson (Vivace Press, forthcoming).Ouverture de Fleur d’Epine. Level of difficulty: Medium. Arranged for harpsichord or fortepiano with ad.lib. accompaniment of violin and cello. Transcription by M.Benoit. (Publication notes by Calvert Johnson).SOURCES: B&T, Cohen, Ebel, Eitner, ElsonA, Fetis, G&F, H&H, Heinrich, Jackson, Laurence, Meggett,S&S, Stern, scoreBEACH, Amy Marcy(née Cheney; Mrs. H.H.A.Beach)b. Henniker, New Hampshire, Sep 5, 1867—d. New York, Dec 27, 1944Amy Beach, the foremost American woman composer of her time, was the first to achieve success as acomposer of large-scale works. She was a child prodigy who improvised alto parts to her mother’ssoprano before the age of two, taught herself to read at age three, and at four played four-part hymnsby ear. By age seven, she was playing Handel, Beethoven, and Chopin in public recitals. Beach studiedpiano with her mother, Ernst Perabo, and Carl Baermann, and became a pianist with a virtuosotechnique and a phenomenal memory. In 1885, she made the first of several appearances with theBoston Symphony Orchestra, but after her marriage to Dr. Henry Harris Aubrey Beach, a man twenty-four years her senior, she limited her public performances and concentrated on composition. As acomposer, Beach was largely self-taught: she followed a course of study designed for her by WilliamGericke using master composers as models; she studied harmony and counterpoint with Junius Hill forone year; and she taught herself orchestration and fugue by translating the treatises of Berlioz andGevaert. After the death of her husband in 1911, Beach toured Europe for three years, playing many ofher own works as well as those of recognized composers. Although she never had piano pupils of herown, her works were admired and played in the numerous Beach societies that sprang up all over thecountry, and she contributed many articles to magazines devoted to music teachers and their pupils. Aleader in the MTNA and the MENC, in 1925 she was a co-founder



Page 20and first president of the Society of American Women Composers, and she generously helped to furtherthe careers of many musicians. Beach’s more than three hundred compositions include art songs inseveral languages, orchestral, chamber and choral works, and a great deal of piano music, ranging fromearly Intermediate to concert level. Although she is sometimes considered a member of the NewEngland school, her style is eclectic, displaying late Romantic, nationalistic, and Impressionist aspects.Beach had a fine ear for harmonic color, and expressively used modulation, mixed modes, and theincreasingly complex chromaticism of the late Romantic era. Her keyboard music is characterized by afondness for formal symmetry and balance, lyrical melodies, modulation by thirds, arpeggios, trills,passages in parallel thirds and octaves, and use of the full range of the keyboard.27 Her most popularworks, in addition to her songs, include her Gaelic Symphony Op. 23, the Mass in E-flat Op. 5, the violinand piano Sonata in A Minor Op. 34, the Piano Quintet, the choral works The Chambered Nautilus andThe Canticle of the Sun, and the Hermit Thrush pieces for piano.SINGLE WORKS:Valse-Caprice Op. 4 (Masters Music, 1995). Level: Advanced. (E major, 3/8, a capriccio, 10 pp). Awhimsical fancy with symmetrical phrases, in ternary form with an intro and coda. Main theme featuresa grace-note figure over a pedal point and triple meter; more adventurous harmonies appear in thecontrasting middle section.Ballade Op. 6 (Masters Music, n.d.). Level: Early Advanced. (D-flat major, 3/4, andantino, 10 pp). Aconcert fantasy/rondo based on Beach’s setting of the Robert Burns poem, “O my luve is like a red, redrose.”28 A lovely early work displaying late Romantic lyricism in a constant texture of arpeggios intriplets. The main theme, repeated in various keys and registers, is contrasted with an allegro in C-sharpminor and an A major lento.Sketches Op. 15/1-4 (Masters Music, 1995; also av. Hildegard, 1998). Level: EarlyAdvanced/Advanced. Four small tone poems; translations to the prefatory French quotations are inbrackets.29Op. 15/1. In Autumn. [“Yellowing foliage scattered on the grass”]. Level: Early Advanced. (F-sharpminor, 2/4, allegro ma non tanto, 4 pp). A melancholy theme and variations, progressively morecomplex and brilliant.Op. 15/2. Phantoms. [“All fragile flowers, as soon their deaths as their births”] Level: Early Advanced.(A major, 3/8, allegretto scherzando, 3 pp). Ternary, with B a graceful contrast to the playful, will-o-the-wisp A sections.Op. 15/3. Dreaming. [“You speak to me from the depths of a dream”]. Level: Early Advance. (G-flatmajor, common time, andante con molto espressione, 5 pp). In this Lied for the piano, the tonality, thesustained melody, and its quiet accompaniment are like Schubert’s Impromptu,



Page 21Op. 90/3. Included in many collections, it is described by Dubal as “a perfect reverie that asks thepianist for a beautiful, singing tone.”30Op. 15/4. Fire-Flies. [“To be born in spring, to die with the roses”]. Level: Advanced. (A minor, 6/8,allegro vivace, 7 pp). A brilliantly shimmering perpetual motion etude, with flickering RH thirds. Ternary,with B section in both relative and parallel majors. Included in several collections, it was played in recitalby piano virtuosi Busoni, Rosenthal, and Hofmann.31Young People’s Carnival Opus 25/1–6, ed. Hinson (Alfred, 1994. Also av. as Children’s CarnivalOp. 25/1–6, ed. Glickman (Hildegard, 1990). Orig. publ. Boston: A.P.Schmidt, 1894). Level: EarlyIntermediate. Six portraits of the stock characters in European pantomime, each two to three pageslong; most are in simple ternary form.32Op. 25/1. Promenade. (C major, common time, alla marcia). A fanfare opens the parade of players. Thintexture of solo melody and a sketchy broken-chord bass, with hands in the center of the keyboard;dynamic contrasts provide interest.Op. 25/2. Columbine. (F minor, 6/8, andante). Gentle, dreamy, and light-hearted, with the soothing,pastoral melody shifting from hand to hand.Op. 25/3. Pantalon. (C major, 2/4, allegro). A saucy, rambunctious work with lots of staccato bounce,foreshadowing Kabalevsky’s Clowns. Originally entitled “The Barn Dance,” it has rustic energy.Op. 25/4. Pierrot and Pierrette. (G major, 3/4, tempo di valse). An amiable little waltz between twolovers in white-face.Op. 25/5. Secrets. (D major, 4/4, andantino). A first exercise in finger-pedaling. Tenuto melody notesalternate between the hands, which also share the arpeggiated accompaniment; treat the parts as aduet.Op. 25/6. Harlequin. (F major, 2/4, vivace). A dance for a mischievous comedian in spangled motley,with lively grace notes, a twirling, tumbling melody, and staccato bass.Three Pieces for Solo Piano Op. 28/1–3 (Masters Music, 1995. Original title: Trois morceauxcaractéristiques). Level: Late Intermediate/Early Advanced. Good transitional pieces; romanticharmonies, traditional forms.Barcarolle Op. 28/1. Level: Late Intermediate/Early Advanced. (G minor, 6/8, andantino, 6 pp). In thecharacteristic rocking rhythm, a nostalgic melody rises up to the dominant, then falls back, avoiding theleading tone at the cadence. An airy, filigreed passage in G major follows, with rippling sixteenth notesarpeggios for the right hand. The stormy center portion, in E-flat, is broader and with simpler harmoniesthan the outer ones, in which augmented sixths, diminished chords, suspensions, and chromaticallyaltered tones appear.Menuet Italien Op. 28/2. Level: Late Intermediate/Early Advanced. (A-flat major, 3/4, allegretto condelicatezza, 6 pp). An elaboration of the Minuet written at age ten (see Smith’s Life and Music inCollections, below), with an added Trio, fuller chords, and some development.



Page 22Danse des Fleurs Op. 28/3. Level: Late Intermediate/Early Advanced. (D-flat major, 3/4, tempo di valse,6 pp). Ternary form, with Chopinesque movement and figurations.Children’s Album #1 Op. 36/1–5 [1897], ed. Glickman (Hildegard, 1990). Also av. as YoungPeople’s Album, ed. Hinson (Alfred, 1994). Level: Early Intermediate. Five dances based on old forms;useful elementary to intermediate transition pieces. Thin textures, notated entirely in the treble clef;most are 2–3 pp. long, in binary form. The Glickman edition, like her Children’s Carnival, includes aspace on the cover for the child’s picture, performance suggestions, manuscript paper for originalcompositions, and an invitation to send in compositions for a critique.Minuet Op. 36/1. Level: Early Intermediate. (F major, 3/4). Small, graceful steps and polite gesturesimitate the eighteenth-century dance, with occasional double notes and running passages. Classical insound, rather like simplified Mozart.Gavotte Op. 36/2. Level: Early Intermediate. (D minor, common time, con moto). Tuneful andsymmetric; Grieg-like. Staccato notes alternated between the hands form quick elfin steps; a more lyricmelody in the middle section is set over a drone bass.Waltz Op. 36/3. Level: Early Intermediate. (C major, 3/4). Romantic RH melody sings out over thesimplest of waltz-bass accompaniments; good preparation for the easier Chopin waltzes.March Op. 36/4. Level: Early Intermediate. (D major, common time). A snappy, cheerful march withdotted rhythms, two-note slurs, short phrases, and lots of dynamic contrasts. Reminiscent of circusmusic or a turn of the century school fight song.Polka Op. 36/5. Level: Early Intermediate. (G major, 2/4, scherzando). Nimble and playful, thealternating eighth- and sixteenth note figures require clear execution of legato and staccato.Variations on Balkan Themes Op. 60 (Masters Music, 1995). Level: Advanced. (C-sharp minor, 4/4,adagio malincolico, 25 pp). Imaginative, virtuoso variations on sad Balkan folk tunes, this is Beach’slongest work for solo piano.Prelude and Fugue Op. 81 (Masters Music, 1995). Level: Advanced. Beach’s first contrapuntal piece,it is an imposing and grand work in A minor. Prelude, (maestoso quasi improwisatione, common timeand 3/4, 9 pp). In free fantasy form, with ninth chords, tritones, and pedal tones. Fugue, (commontime, 10 pp). Four voices; the theme, which emphasizes a melodic tritone, is first heard in the Prelude.Two Pieces Op. 102/1-2 [1924] (Masters Music, n.d.).Farewell, Summer Op. 102/1. Level: Mid-Late Intermediate. (G minor, common time, alla gavotta, 4 pp).A tone poem to the wild aster (also called “Frost Flower” and “Farewell Summer”). Ternary: the Asection is a charming gavotte, with 18th c. symmetry and early 20th c. harmony; B, in G major, has asweet, lyric duet in alto and tenor voices.



Page 23Dancing Leaves Op. 102/2. Level: Late Intermediate. (G major, 2/4, molto vivace, 4 pp). Leaves spiraland swirl effortlessly in the brisk autumn breeze. Tempo, dynamics and articulations, chromatic scalepatterns, and parallel RH thirds make this a challenging study.A Cradle Song of the Lonely Mother Op. 108 [1924] (Masters Music, n.d.). Level: LateIntermediate/Early Advanced. (E minor, 9/8 and 3/4, lento espressivo, 6 pp). A berceuse with the typicalLH rocking rhythm. Ternary, with the theme frequently in inner voices; key changes, modal scales, longtrills, and Beach’s characteristic chromatic thirds in a transition passage.Five Improvisations Op. 148 [1938] (Composers Press, 1982). Beach’s last pieces for piano, thesefascinating and unusual miniatures are well worth serious attention, combining many of Beach’s familiargestures with fresh harmonic ideas for a distinctive early-twentieth century ambiance.Op. 148/1. Level: Mid-Intermediate. (A minor, 3/4, lento, molto tranquillo). A waltz in ternary form, withcharacteristic three-part texture of soprano melody, bass line, and inner-voice chords. The mood iscasually French, reminiscent of Poulenc and Satie. The second section contains the quarter/dottedquarter/eighth note motif found in each of these “improvisations.”Op. 148/2. Level: Mid-Intermediate. (A major, 3/4, allegretto grazioso e capriccioso). Graceful andplayful, with the echoes of fìn-du-siècle Vienna, like a waltz from Strauss’ Der Rosenkavalier. The work isfirmly tonal, but there is a continual play of colors from non-functional sliding harmonies and added-notechords.Op. 148/3. Level: Late Intermediate. (G major, 2/4, allegro con delicatezza). A tentative, tip-toeingmelody is played against staccato fourths and fifths in cakewalk rhythms, alternated between hands.Rapid changes of register make this work harder than it appears.Op. 148/4. Level: Mid-Intermediate. (G-flat major, 4/4, molto lento e tranquillo). Like a SatieGymnopédie, the calm right hand melody moves down the scale in a sequential motif, as the left handrises in a countermelody. Later, a dominant pedal appears on a third staff. Some lovely Impressionisticdissonances are employed.Op. 148/5. Level: Late Intermediate/Early Advanced. (E-flat minor, 3/4, largo maestoso). A joyful valsebrilliante, opening with simultaneous wide leaps in contrary motion, followed by octave scales in theright hand and a waltz bass. An appropriate transitional piece to advanced repertoire.COLLECTIONS:Amy Beach Piano Music, sel. Adrienne Fried Block (Dover, 2001). Ballad Op. 6, Sketches Op. 15/1, 3,4 (In Autumn, Dreaming, and Fire-Flies), Barcarolle Op. 28/1, Scottish Legend Op. 54/1, From BlackbirdHills Op. 83, A Hermit Thrush at Morn Op. 92/2, and From Grandmother’s



Page 24Garden Op. 97, Nos 1 and 5 (Morning Glories and Honeysuckle). See Single Works and othercollections, except for Op. 83, below.From Blackbird Hills (An Omaha Tribal Dance), Op. 83 [1922]. Level: Late Intermediate/Early Advanced.(G major, 2/4, vivace/adagio molto, 7 pp). An example of Beach’s fascination with indigenous music, sheused an authentic tune from a Native American children’s game, along with vigorous rhythms, a dronebass as drum, and foot-stamping accents. Of the contrasting Adagio molto section. Beach wrote that“ghosts of long-dead Indians were looking sadly over the shoulders of the happy children at play” (scorepreface).Amy Marcy Cheney Beach: Music for Piano (I), ed. Glickman (Hildegard, 1994). Level: LateIntermediate to Advanced. Fifteen works from six opus numbers. Op. 6, Op. 15/4, and Op. 28/1: seeIndividual Works, above. The complete sets Opp. 54/1-2, 65/1-5, and 97/1-5 are described here.Scottish Legend Op. 54/1. Level: Late Intermediate. (D minor, common time, lento con moltoespressione, 2 pp). Folk-like tune in rounded binary form, with characteristic Scottish sounds: the“Scotch snap” cadence, altered dominants, pincès and grace notes.Gavotte Fantastique Op. 54/2. Level: Early Advanced. (D minor, cut time, vivace, 6 pp). A light andlively dance with octave passages, long trills, and some very rapid scales.Les Reves de Columbine Op. 65/1-5 (Suite Française; Columbine’s Dreams). Level: Late-Intermediate/Early-Advanced.La Fée de la Fontaine [The Fairy of the Fountain] Op. 65/1. Level: Late-Intermediate/Early-Advanced.(A major, 4/4, andante con calma, 4 pp). Shifting, murmuring harmonies support a static melody,interspersed with occasional glittering splashes of 32nd and 16th notes. Set in various registers, themelody increases in intensity as the intervals widen.Le Prince Gracieux [The Graceful Prince] Op. 65/2. Level: Late-Intermediate/Early-Advanced. (A major,in 4, allegro grazioso alla gavotta, 6 pp). The whimsical four-bar dance theme skips gracefully down thedominant chord, cadences, and then steps quickly back up the octave to the tonic. Baroquearticulations, chromatic harmonies, staccato scale passages, and some RH octaves.Valse Amoureuse [Lover’s Waltz] Op. 65/3. Level: Late-Intermediate/Early-Advanced. (F-sharp minor,3/4, allegro con leggierezza, 6 pp). A playful, carefree waltz using a broad range of the keyboard;Chopinesque. LH maintains a steady waltz bass, as RH executes a figure, then takes off on a breathless,interrupted scale which leaps up to appogiature octaves, answered by downward arpeggios.Sous Les Étoiles [Under the Stars] Op. 65/4. Level: Late-Intermediate. (G-flat major, common time,adagio di molto, con gran espressione, 3 pp). The easiest of the group, a calm, simple melody is set inhymn texture, with inner voices providing forward motion on subdivisions. Melody



Page 25shifts to tenor voice, broadening out under the wide night sky. Sliding harmonies with many accidentalsare prominent.Danse d’Arlequin Op. 65/5. Level: Late-Intermediate/Early-Advanced. (A major, 3/4-2/4, allegro conleggierezza/vivacemente, 9 pp). A delicate pianissimo waltz frames a jaunty, cocky Tin-Pan Alley marchwith a sassy tenor countermelody.From Grandmother’s Garden Op. 97/1–5. Late Intermediate/Early Advanced. An early 20th c. bouquet ofold-fashioned flowers in Impressionist harmonies. Etude-like, each piece explores the technicalchallenges of a different figuration.Op. 97/1. Morning Glories. (E minor, 2/4, vivace, 4 pp). Hands entwine in rapidly climbing arpeggios onseventh chords, forming the melody from the lowest LH notes; RH creates a countermelody a 9th or10th higher with the last note of each figure.Op. 97/2. Heartsease. (D-flat major, common time, lento cantabile, 2 pp). LH melody appears first inthe alto and then the tenor, surrounded by syncopated block chords. Key signature and harmonies shiftcontinually.Op. 97/3. Mignonette. (G major, 3/4, tempo di menuetto, 4 pp). A delicate minuet with staccato, ppchords.Op. 97/4. Rosemary and Rue. (E minor/major, 2/4, andante con sentimento, 6 pp). The simplest of thisset; a tender pas de deux. In the right hand the soprano and alto alternately hold tied notes and sigh ina descending chromatic figure, accompanied by a “plucked” broken-chord bass. (In the language offlowers, Rosemary is for remembrance, Rue is for regret).Op. 97/5. Honeysuckle. (A minor, 3/4, allegro di molto, con delicatezza, 5 pp). Reminiscent of a Chopinvalse brilliante. Rapid, with cross rhythms, difficult accidentals in twisting melodic lines, and abruptmodulations.Amy Marcy Cheney Beach: Music for Piano II, ed. Glickman (Hildegard, 1997). Level: LateIntermediate to Advanced. Twelve works in five opus numbers. Op. 4, Op. 15/1-3, Op. 60, and Op.148/1-5: see Single Works. The Hermit Thrush pieces (Op. 92/1-2) were written in 1921 while Beachwas resident at the MacDowell Colony, and are two contrasting settings using the actual song of thehermit thrush.A Hermit Thrush at Eve Op. 92/1. Level: Advanced. (E-flat minor, common time, molto lento, 5 pp).Gentle, meditative, and melancholy, with a rocking-triplet figure in RH against wide LH arpeggios.Impetuous flourishes of liquid, murmuring birdsong interrupt the melody.A Hermit Thrush at Morn Op. 92/2. Level: Late Intermediate/Early Advanced. (D minor, 3/4, quasi valselento, 8 pp). In ABAB form, using alternating textures. The plaintive melody first occurs as a RH solothree octaves above the modal chords of the waltz bass; rapid flute-like arpeggios end every phrase.The melody moves to the tenor voice,



Page 26with an agitated RH fluttering of 16th notes and soprano countermelody. The work closes with anabbreviated return to the first setting.The Life and Music of Amy Beach, the First Woman Composer of America, comp./ed. by GailSmith (Creative Keyboard Publications/Mel Bay, 1992). An excellent collection, with fifteen pages of well-researched biographical information and archival photographs of Beach throughout her life, seventeensolo works, and Summer Dreams, Op. 47/1-6, a set of late-elementary/early intermediate level duets.For Op. 15/4, Op. 25/4-6, Op. 28/2; Op. 36/1–3, and Op. 54/1–2, see Single Works and Collections.Below are four very early pieces not available in other editions, and three pieces from two sets notavailable in their entirety.Mamma’s Waltz (WoO). Level: Early Intermediate. (F major, 3/4, 4 pp). Composed at age four, notatedfor her by her mother. An extended rondo with three separate but related themes in three keys ofstartling complexity and structural skill for a toddler. Homophonic texture, triadic melody, waltz bass,with contrasting shifts in register and numerous secondary dominants.Menuetto (WoO). Level: Early Intermediate. (A-flat major, 3/4, 2 pp). Written at age ten, this Classical-sounding little piece imitates the genteel steps and graceful bows of the antique dance, set in perfectlybalanced four-measure phrases. Clever modulations in third section.Petit Waltz (WoO). Level: Early Intermediate. (D-flat major, 3/4, 2 pp). Written at age eleven. Roundedbinary form with clever chromatic writing in the development. Standard waltz texture throughout, withsome graceful changes in register for contrast.Romania (WoO). Level: Mid-Intermediate. (D major, 4/4, lento, 2 pp). A through-composed work writtenat age ten. Register changes, modulations, and brief RH octave passages provide interest in the textureof RH melody/LH triads. Schumannesque codetta, shifting chords between a static melody and bass,resolves to a simple four-part chord.The Returning Hunter, Op. 64/2, from Four Eskimo Pieces (also called Four Characteristic Pieces). Level:Early/Mid-Intermediate. (G major, 2/4, allegro vivace, 3 pp). Through-composed. A simple tune built ona descending tonic triad, followed by repeated melodic seconds; may be based on a native melody.Modulations through several minor keys in the development; fragments of the theme occur at the end ofeach section. See Smith’s Great Women Composers for Op. 64/3 and 4; No. 1 does not seem to be inprint.Sliding on the Ice, Op. 119/1, in the set From Six to Twelve: A Suite for Piano [1927}. Level: LateElementary. (D major, common time, allegro vivace). Ternary form, with several simple figures: first, therunning start, formed of a shared-hand ascending scale; then the RH plays block staccato chords overLH whole notes. The center section (G major) uses a cakewalk rhythm as transition, and a staccato LHmelody against offbeat RH chords.



Page 27Canoeing, Op. 119, No. 3, in From Six to Twelve: A Suite for Piano [1927]. Level: Late Intermediate. (Cmajor, 6/8, tranquillo e sempre legato). Through-composed. Flowing 8th note arpeggios and melodynotes alternate between hands, simulating the dip of the paddle on each side of the canoe. Secondarydominants, a temporary key change, and register shifts provide color and a few rocky places in theflowing stream.Piano Music, intro. Glickman, No. 10 in the Women Composers Series, (Da Capo Press, 1982). Thiswonderful collection of virtuoso works was unfortunately out of print by 1997. However, it is stillavailable in many libraries, and contains the following works, many of which are available as singleworks or in other collections: Op. 4, Op. 6, Op. 15/1-4, Op. 28/1-3, Op. 60, Op. 81, Op. 87, Op. 107,Op. 108, Op. 116, and Op. 128/1-3. Excellent descriptions in Introduction.ANTHOLOGIES: See Single Works and Collections for most descriptions.Album of American Piano Music from the Civil War through World War I, ed. Dubal(International, 1995). Dreaming, Op. 15/3.The American Book for the Piano, ed. William Deguire (Galaxy, 1975). Waltz Op. 36/3.American Keyboard Music 1866 through 1910, ed. S.Glickman, Vol. 4 of Three Centuries ofAmerican Music, gen. eds. Martha Furman Schleifer and Sam Dennison (G.K.Hall, 1990). Les Reves deColumbine, Op. 65/1-3.American Women Composers: Piano Music from 1865 to 1915, ed. Glickman (Hildegard, 1990).Dreaming Op. 15/3 and Sous les Étoiles Op. 65/4:At the Piano with Women Composers, ed. Hinson (Alfred, 1990). Promenade and Waltz Op. 25/1,3; Scottish Legend Op. 54/1.The Bicentennial Collection of American Keyboard Music, ed. Edward Gold (MacAfee, 1975).Scottish Legend Op. 54/1.Great Women Composers, ed. Gail Smith (Pacific, MO: Creative Keyboard Publications/Mel Bay,1996). Twenty-seven keyboard compositions by twelve women, including four by Beach: Op. 64/3-4,Op. 92/2, and Op. 106.Exiles, Op. 64/3, from Four Eskimo Pieces. Level: Mid-Intermediate. (F major, 3/4, lento con amore, 2pp). The sweetly plaintive melody is reminiscent of Dvorak’s “Going Home.” Occasional shifts in register,some chromatic harmonies for contrast and development.With Dog-teams, Op. 64/4, from Four Eskimo Pieces. Level: Mid-Intermediate. (D major, common time-2/4, maestoso/presto ma non troppo, 4 pp). Thin texture, continuous staccato 8th notes, repeated tonesand half-step slurs give this piece a breathless, racing character. Tempo and accidentals make it moredifficult than it looks.The Old Chapel By Moonlight, Op. 106. Late Intermediate. (A-flat major, 4/4, grave, 3 pp). The ghostlyatmosphere of an ancient, dilapidated church



Page 28is created by ppp and legatissimo markings, sliding chromatic chords with suspensions, chorale phrases,and bell tones of octaves and fifths. On the final page, a sostenuto tonic pedal on a third stave tollsunder the bell effects and the hymn.Historical Anthology of Music by Women, ed. Briscoe (Indiana University Press, 1987). A HermitThrush at Morn, Op. 92/2.Masters of American Piano Music, ed. Hinson (Alfred 4603). In Autumn Op. 15/1.Nineteenth-Century American Piano Music, sel. Gillespie (Dover, 1978). Fireflies and DreamingOp. 15/3-4.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). A Hermit Thrush at Morn and A Hermit Thrush at Eve, Op. 92/1-2.LISTED but not found in print: Nocturne Op. 107 (J.Church), cited in Hinson’s Guide, 3rd edition.SOURCES: Ammer, Baker, Boenke, Borroff, Block, B&NB, B&T, ClagAm, ClagH, Cohen, Dubal, Ebel,Elson, Friskin, FRK, Fuller, G&G, Gilbert, Gillespie, Gordon, Grove, GroveAm, H&H, Heinrich, Hinson,Hutcheson, Jezic, Johnson, Kirby, KOM, Laurence, Mac, Magrath, Meggett, MGG, MLA, N-B, Pendle, S&S,Stern, scoresBEEKHUIS, Hannab. Leeuwarden, the Netherlands, Sep 24, 1889-d. Bloemendaal, the Netherlands, Feb 26, 1980Dutch composer and pianist Hanna Beekhuis studied piano first with her mother, then with Dirk Schaferin Amersterdam and Bernhard Stavenhagen at the Geneva Conservatory. From 1908 to 1911, shestudied at the Cologne Conservatory under Uzielli, Strasser, and Bolsche. Her teachers in compositionincluded Peter van Anrooy, Barblan, and the conductor Frits Schuurman. Her travels in Corsica,Catalonia, and Morocco influenced her compositional style. Beekhuis composed chamber and orchestralpieces, many works for voices and instruments, and a few pieces for piano. During the war, she lived inZurich, where many of her compositions were performed.SINGLE WORKS:Corsica, Zee en Rotsen (Amersterdam: Donemus, 1949). Level: Late Intermediate. (No key signature,3/2 and 2/2, tranquillo, 4 pp). A seascape tone-painting of the many moods and colors of the sunset atCorsica. Widely spaced major chords evoke serenity and golden light; over them, a queasy little motiffashioned from an augmented triad flickers with dissonance, while a slowly-spiraling figure suggestsshifting, murky blue-green depths. Though there is no feeling of meter,



Page 29there is a definite sensation of motion, sometimes swelling and rocking, sometimes surging andsplashing. Throughout, the harmony is non-functional; shifting chords serve as the background for briefchromatic outbursts by solo voices. The entire range of the piano is used. Frequent accidentals, trickyrhythms, and clef changes make the work harder to read than it is to play, but musically, it will repaystudy by the student interested in twentieth-century sounds. Although this is an oversized, spiral-boundmanuscript edition, it is not difficult to read.Oude Sage (Donemus, 1949). Level: Early Advanced. (D, 2/2–3/2, 4 pp). Facsimile manuscript. A 20thc. setting of an old tune, opening with a trumpet fanfare. Strongly tonal, with modal borrowing ofchords, shifting meters and registers, many dynamic contrasts, and some dissonance. Center moltoagitato section is written in 2/4 and 3/4. Idiomatic and dramatic, with a well-set melody supported bygood part writing and occasional lush rolled chords; would work well orchestrated for concert band.SOURCES: A-Z, Boenke, Cohen, Heinrich, KOMBEIJERMAN, Jeanne—see BEYERMAN-WALRAVEN, JeanneBENAUT, Mademoiselle(var. Benault)b. France, 1778-d.?Mademoiselle Benaut, whose first name is unknown, was a child prodigy who lived with her teacher, M.Benaut, in revolutionary Paris. An abbé, M.Benaut was composed works for the organ, harpsichord, andpiano, and was the maitre de clavecin at the royal abbey of Montmartre.33 On the title pages of two ofher four volumes of keyboard airs and variations, Mlle Benaut is described as a pensioner at the Royaldes Dames de Bon Soucours priory. Possibly, like many upper and middle class young women of thetime, she was sent to a convent at a tender age, to remain until her first Communion. Convents wereabolished in 1790, and no further biographical information is available about this young girl, who mayhave fled the country or perhaps perished in the political struggles. In 1788, when Mlle Benaut was nineyears old, her first two keyboard collections were published. Each fifteen-page set includes three popularairs of the time, each with three to six variations. Her extant works also include two organ works, aMagnificat and Piece d’orgue, books 1–9, dedicated to Mme de Schodt. All of her compositions arelocated in the Bibliotèque Nationale, Paris.34



Page 30ANTHOLOGIES:Eighteenth Century French and English Music for the Harpsichord by Benaut, Edelmann,Hardin, Savage, Turner, ed. Martha Asti (Hildegard, 1998).Air de Nina avec Six Variations (from Recueil d’Airs avec Variations Op. 2, ca 1787). Level: LateIntermediate. (F major, 3/4, larghetto, 8 pp). Dedicated to Mme la Presidente de Fleurieu, and sold bythe nine-year-old composer in her home (score preface). The theme is from the opera Nina, probablycomposed by Nicolas Dalrayac in 1786.35 A 36-bar theme in charmingly uneven phrases undergoestextural variations in each hand: neighboring-tone eighth notes, broken-chord triplets, an offset,syncopated melody, and a 16th note Alberti bass. Tempo, theme length, and key remain constantthroughout. Although included in an anthology for harpsichord, the piece is delightful on the piano.Women Composers: Music Through the Ages, Vol. 3, series eds. Sylvia Glickman and MarthaFurman Schleifer (New York: O.K.Hall, 1998).Air de L’Amitié a I’épreuve avec cinq variations., pref. essay by Collette S. Ripley. Level: MidIntermediate. (F major, in 2, allegro moderate, 10 pp). Theme and six variations on an operatic duetfrom Grétry’s 1786 opera of the same name, “Friendship put to the test” (score preface). The folk-likemelody, a foreshadowing of Papageno’s arias in the Magic Flute, uses the diatonic harmony and thintwo-voice texture typical of the era. Changes rung on the accompaniment patterns include brokenchords, melodic embellishments (especially passing tones), Alberti basses, progressively fastersubdivisions, and a thicker texture for the final variation. A simple, attractive introduction to late 18th c.keyboard figurations; either harpsichord or piano is appropriate. It is likely that the child had access toan early pianoforte, and dynamic markings indicated in another collection may indicate use of a piano.SOURCES: Cohen, Eitner, G&F, H&H, Heinrich, Jackson, Ripley, scoresBENDA, Juliane—see REICHARDT, Berhardine JulianeBERGERSEN, Marie Christineb. Chicago, IL, May 15, 1894—d. Binghamton, NY, November 29, 1989American composer and pianist Marie Bergersen was born to Louis Bernhardt Bergersen, a lawyer bornin Norway, and Mary Letitia Cox from Missouri, of British and Cherokee heritage. Marie wassystematically exposed to music even before she was born: when her mother learned of her pregnancy,she paid Louise Robyn, a young neighbor who later became a famous teacher, to play daily in theirhome. At the age of three, Marie was apprenticed to Miss Robyn, thereafter receiving a music lessonevery day of the year except on Christmas



Page 31and her birthday. She studied composition with Adolf Weidig at the American Conservatory of Music inChicago, and by her late teens already had a reputation as a fine pianist, musician, and composer. In1913, after the Board of Examiners heard her Theme and Variations for Piano, Bergersen became theonly student ever admitted to the Viennese Imperial Conservatory by acclamation. At the onset of WorldWar I, she fled Vienna, returning to the United States and marrying Raymon Borroff, the son of a well-known singer. From 1917-1923 Bergersen gave a special series of concerts in Chicago and New Yorkdemonstrating a unique electromagnetic instrument called the choralcelo. From 1931 on, she wasprominent in show business circles as Marie Baldwin, managing and performing with the Major BowesAmateur Hour. From the early 1940s until her retirement in 1951, she was a composer and organist forNBC in Chicago. Bergersen was equally adept at all styles of music, and Rachmaninoff believed her to bethe best sight-reader in the United States. She is credited with writing over a thousand arrangements inmany styles, as well as a good deal of vocal and keyboard music, most of which is unfortunately lost.She was the mother of Edith Borroff, a respected musicologist and composer, and died in Binghamton,New York at the age of 95.36SINGLE WORKS:Three Silhouettes [1911] (Hildegard, GKH reprint). Level: Early Advanced. A suite of three works; maybe performed separately. Original and very pianistic, with remarkable harmonies for their time.I. Molto moderato (C minor, 3/4, 4 pp). Four sections, ABCA, each about sixteen measures long. Bold

strokes of texture and harmonic color, whole-tone scales. Romantic espressivo in first sectioncontrasts strongly with the faint, rapidly fluttering fifths in second section.

II. Allegretto ma piacere (C# minor, 3/4, 5 pp). ABA form. In the main theme, a brief espressivomotive (not unlike the young Tristan) is offset by scherzando chirps. The piu mosso center sectionfeatures a LH melody accented by rapid RH chords on offbeats.

III. Vivace (E minor, 2/4, 4 pp). ABA plus codetta. Sprightly rhythms and fresh harmonies in a playfuldance. B section has fluttering RH quadruplets against LH triplets in an ascending whole-tone scale.

ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 6; series eds. Glickman and Martha Schleifer(G.K.Hall, 1999). Three Silhouettes, above.SOURCES: Cohen, Borroff, H&H



Page 32BERGH, Gertrude van denbap. Cologne, Jan 21, 1793—d. The Hague, Sep 10, 1840Gertrude van den Bergh, a child prodigy, was one of the few nineteenth century Dutch women toreceive recognition during and after her lifetime. As a child, she had a harpsichord sonata published,and she and her younger sister gave concerts to an enthusiastic public. Van den Bergh, who studiedpiano with Ries and composition with Burgmüller, was especially renowned for her Beethoveninterpretations. She was one of the earliest Dutch musicians to show a renewed interest in J.S.Bach,one of the first women choral conductors in the Netherlands, and the first Dutch woman to publish atheory manual, her Principes de musique (c. 1830). Although she ended her performing career early,many famous performers visited her, including Moscheles, Kalkbrenner, and Mendelssohn. Van denBergh supported herself by giving piano and voice lessons at the rate of two guilders per lesson. In1830, she was one of only thirteen European musicians received in the prestigious Association for theAdvancement of Music, and she remained the only woman to achieve this signal honor until ClaraSchumann’s election to the group in 1854. On September 10, 1840, after dreadful suffering, she died ofbreast cancer. She composed songs, chamber music, and works for piano, but only seven of hercompositions are extant, and the Lied for piano is her only keyboard work in modern edition.37ANTHOLOGIES:Women Composers: Music through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall &Co., 1998).Lied für Piano-forte [ca.1832], ed. Helen Metzelaar. Level: Mid/Late Intermediate. (E major, 12/8,andante, 6 pp). The first “Lied ohne Worte” written in the Netherlands (score preface), this is a lovelyexample of the genre: a graceful, singing melody perfectly partnered by gently rippling bass arpeggios,with shared chords in the middle for the alto and tenor. In ABA form, the texture and wistful moodremain constant throughout. Some bold harmonic effects remind of Schubert and Fanny Hensel. Anexcellent addition to the early nineteenth century repertoire.SOURCES: grovemusic, S&SBEYER, Johanna Magdalenab. Leipzig, Jul 11, 1888—d. New York, Jan 9, 1944After studying piano and music theory in Germany, Beyer came to America in 1924 and studied at theDavid Mannes School in NewYork, receiving a teacher’s certificate in 1928. She studied with DaneRudyar, Ruth Crawford, Charles Seeger, and Henry Cowell, and acted as secretary for Cowell during his1937-41 prison term in San Quentin. Beyer’s over fifty works include chamber music for



Page 33string, percussion, and wind ensembles as well as piano music. However, her music was largely ignored,even by the experimental music community, and received few performances. The piano music below,which dates from the early 1930s and shows the influence of Crawford and Cowell, was published fiftyyears after her death.38SINGLE WORKS:Bees, ed. Larry Polansky (Frog Peak Music, 1994). Level: Late Intermediate. (6/8, as fast as possible, 2pp). Chromatic scales and dissonant double trills in the center of the keyboard, with crescendos anddiminuendos, make these bees hum, buzz, and fly around, eventually disappearing into thin air. Most ofthe piece is piano or softer in this light-hearted tone-painting for the adventurous student.Dissonant Counterpoint [1931–34], ed. David Fuqua (Lebanon, NH: Frog Peak Music, 1996). Level:Mid-Intermediate to Advanced. Eight brief atonal pieces, mainly in two-voice counterpoint. Demandingrhythms, articulations, and accidentals; unremitting dissonance, as in 12-tone pieces; occasional toneclusters; frequent hand crossings and changes of clef and register. Nos IV and VIII (intermediate):plausible introductions to 20th c. dissonance, moving in whole and half notes, as in old organ preludes.The other six are much faster, with many meter and tempo changes, and present serious challenges topianist and listener. Metronome markings by the composer’s; facsimiles of the original manuscript areincluded. (Note: In this edition, accidentals affect only the notes they immediately precede).No. 1. Level: Early Advanced. (Eighth note=132, 1 pp). Many articulation contrasts. Metric values,though unmarked, vary from 1/4-2/4-3/8.No. 11. Level: Advanced. (Various meters, eighth note=96, 2 pp). Many dynamic contrasts and tempochanges.No. III. Level: Advanced. (In 4, quarter note=88, 3 pp). Wide, thick chords in opening section.No. IV. Level: Mid-Intermediate. (Half note=56, 1 pp). Progressively wider and narrower intervals, witharched dynamics to match, starting at pp, increasing to forte, and dying back to ppp. The tonal range issmall, and in the center of the keyboard: at the widest point, upper and lower voices are only two and ahalf octaves apart; most of the time, less than an octave separates them.No. V. Level: Late Intermediate/Early Advanced. (2/4, quarter note=96, 2 pp). Much hand crossing,sharing of registers, and register changes. Irregular subdivisions of the beat avoid metrical feeling.No. VI. Level: Early Advanced. (2/4, quarter note=60, 2 pp). Four-part “chorale” writing, with themebriefly developed in standard contrapuntal fashion.No. VII. Level: Advanced. (3/4, quarter note=120, 3 pp). Animated, wide range, many contrasts inarticulation and dynamics.



Page 34No. VIII. Level: Mid-Intermediate. (3/2, espressivo, half note=56, 2 pp). A retrograde canon, playedpiano throughout.SOURCES: Baker, Boenke, Cohen, grovemusic, H&HBEYERMAN-WALRAVEN, Jeanne(var. Beijerman; née Walraven)b. Semarang, Indonesia, Jun 14, 1878—d. Arnhem, Holland, Sep 20, 1969Dutch pianist and composer Jeanne Walraven first studied piano with her mother. At the Hague, sheprivately studied harmony and composition with F. E.A.Koeberg. She moved to Amersterdam in 1911,after marrying Dr. Th. Beyerman. Her early compositions were in the late-Romantic tradition of Mahler,Franck and Bruckner, but later works showed the influences of Schoenberg and modern Frenchexpressionist music.39 Beyerman-Walraven composed works for orchestra, voice, chamber, and piano.SINGLE WORKS:Andante Espressivo con Molto Emozione (Broekmans & Van Poppel, 1950). Level: LateIntermediate/Early Advanced. (Changing meters and keys, 6 pp). Atonal, non-structural harmony, withmany accidentals, continual meter and tempo changes, tricky rhythms, and a plethora of expressivemarkings. Full of passionate dissonances and dramatic gestures, it is an intriguing challenge, and not awork for the faint-hearted, but.Koraal (for organ or piano) (Broekmans & van Poppel, 1911). Level: Mid-Intermediate. (D major,4/4, lento, 2 pp). Sixteen measures in length, simple song form. A brief chorale moving with magisterialserenity in two-bar phrases and balanced periods. Advanced chromaticism; themes moving down bythirds. Throughout, RH plays thick block chords over an octave stepwise bass.SOURCES: Cohen, H&H, Heinrich, KOM, S&SBIGOT DE MOROGUES, Marie(née Kiéné)b. Colmar, Alsace, France, Mar 3, 1786—d. Paris, Sep 16, 1820Daughter of a professional violinist and a pianist, in 1804 virtuoso harpsichordist and pianist Marie Kiénémarried Paul Bigot, a French Huguenot from Berlin. They moved to Vienna, where her husband waslibrarian to Count Andreas Rasumovsky, and it was there that she met Haydn, Salieri, Cherubini, andBeethoven, and gave piano lessons to the eight-year old Franz Schubert. Beethoven encouraged andtaught her, and considered her one of his best



Page 35interpreters. Haydn, after hearing her play one of his compositions, said “Oh! my dear child, it is not Iwho wrote that piece but you who composed it!”40 In 1809, the Bigots moved to Paris, where MmeBigot introduced the works of Beethoven to the city, and they made friends with composers Auber,Cramer, Clementi, Dussek, and Cherubini. After her husband’s capture during the Russian campaign of1812, she spent the rest of her short life teaching to support her two children; the young Fanny andFelix Mendelssohn were students of hers, for a short time. Bigot’s piano works, published in Vienna andParis, include a Sonata Opus 1, an Andante with eight variations and caprice, Opus 2, and the Suited’études. They are sensitive, competent examples of early Romantic writing in Classic forms.COLLECTIONS:Historical Women Composers for the Piano: Marie Kiéné Bigot de Morogues, ed. CalvertJohnson (Vivace Press, 1992).Sonate in B-flat Major, Opus 1 [1806]. Level: Early Advanced, 3 mvmts, 23 pp. Classical form andtextures, Romantic melodies and harmonies, innovative transitions and developments. I: Adagio/Allegroespressivo (B-flat major, in 4, 10 pp). The Adagio ends on a V chord, forming a one-page introductionto the sonata-form Allegro in nearly continuous sixteenth notes. II: Andantino (G minor, 3/4, 3 pp). Anarioso in expanded ternary form. Unusually, it ends on an F7 chord, leading straight to movement III:Rondo (B-flat major, 6/8, allegro, 10 pp). Earlier material is developed.Suite d'études (1818). Level: Late Intermediate to Early Advanced. Six technical etudes, possibly herbest composition. Attractive and worthwhile early examples of the genre, like those by Cramer, Chopin,and Clementi, with appealing melodies and less harmonically complex accompaniments than Chopin.Despite the title, there is no unifying scheme of forms or keys, though several seem based on old dancetypes. Generally ternary in form, with the repeated closing section slightly varied or extended.41Etude in C minor. Level: Late Intermediate. (3/8, allegro, 3 pp). Rounded binary with repeats. Like apassepied (a fast minuet demanding nimble feet); octaves, closely spaced broken chords andsyncopations; many dynamic contrasts.Etude in A minor. Level: Late Intermediate. (2/4, allegretto, 4 pp). Ternary form with middle section in Amajor. Supple RH needed in continuous sixteenth note texture with rapid ornaments; LH plays legatochord progressions and parallel thirds; balance and control of quiet dynamics required.Etude in C major. Level: Early Advanced. (12/8, presto, 5 pp). An exhilarating, tricky study; can bethought of as a virtuoso gigue. Extended passages of legato neighboring-tone triplets require lightness,supple wrists, and a cool head.



Page 36Etude in G major. Level: Late Intermediate. (6/8, allegretto, 3 pp). Similar to a pastorale in movementand mood. Careful articulations, lyricism, and sensitive balance between melody and accompaniment arerequired.Etude in D major. Level: Advanced. (3/4, presto, 8 pp). Serious technical requirements for playing thisetude: The RH scalewise melody expands and contracts over a repeated tone, requiring loose wrist inrotary motion; LH plays a countermelody with pedal points. The study also uses rapid extended scales inparallel tenths, arpeggios, and legato right-hand octaves. Great fun!Etude in A minor. Level: Late Intermediate. (3/8, allegro, 4 pp). Independent LH/RH articulations, RHagility in rotation, smooth chords in LH; codetta contains large intervals in rapid contrary motion.SOURCES: Baker, Brown, Cohen, Dubal, Ebel, ElsonA, Fetis, Gordon, Grove, H&H, Hinson, Jackson,Laurence, Mac, Meggett, MGG, N-B, Pendle, S&S, Stern, scoreBILLINGTON, Elizabeth(née Weichsel(I); later m. Fellisent)b. London, Dec 27, 1765/1768—d. nr. Venice, Aug 25, 1818Elizabeth Billington, a famous English soprano with a highly colorful and successful career, wasrenowned for the naturalness and control of her wide-ranged voice, her uncannily accurate intonation,and her tasteful, brilliant ornamentation. Her father, Carl Weichsell, was a German oboist and clarinetist,and her mother was a singer and pupil of J.C.Bach, with whom Billington herself studied. Elizabeth tookkeyboard lessons from J.S.Schroeter, and as a child appeared in public accompanying her brother, aviolinist. Haydn called her “ein grosses Genie” (a great genius); her two sets of keyboard sonataspublished before the age of twelve are her only extant compositions.42 In 1783, she married JamesBillington, a double bass player and her singing teacher, and immediately made her debut in Dublin asGluck’s Euridice. Later voice lessons were with Mortellari in London and Sacchini in Paris.43 In 1794, twoyears after the publication of a set of scurrilous Memoirs by James Ridgway, Billington left for Italy withher husband and her brother. Thereafter, she enjoyed an extremely successful career as an operasinger in London and Italy, performing in operas by Bianchi, Paisiello, Paer, and Himmel writtenespecially for her. After the death of her husband, she married a man named Felissent, who reportedlyabused her. They separated, then reunited, and in 1818 Billington died at her estate in Italy, “possiblyas a result of injuries inflicted on her by Felissent.”44



Page 37SINGLE WORKS:Three Sonatas for Harpsichord or Piano Op. 1 [1775], ed. Barbara Harbach (Vivace Press, 1995).Level: Mid-Intermediate.Sonatas in D, E-flat, and A major, 7–11 pp. in length. Each has two movements, with duple-meterallegros in binary form, and second movements in triple meters (one minuet and trio, two rondos).Written, amazingly, by the eight-year-old Elizabeth, the sonatas show a clear understanding of thetextures and forms of their time, with some complexity of rhythm and virtuoso technique. The worksabound in energetic triadic melodies, simple but with some ornamentation and occasional irregularphrase lengths. Figuration frequently shifts from broken-chord eighth note triplets to continuoussixteenth notes. The Vivace edition is extremely clear and easy to read, with informative prefaces andhelpful ornament charts.Six Sonatas for Harpsichord or Piano Op. 2 [ca. 1778], ed. Harbach (Vivace Press, 1995). Also av.as Six Progressive Lessons for the Harpsichord or Piano Forte (Broude Bros Performers’Facsimile Series). Level: Late Intermediate.Sonatas in G, A, B-flat, E-flat, F, and G major, 8–12 pp. long. Six elegant two-voice compositions ingalant style. Each is in two movements, except for Sonata I, which has a brief Pastorale as an addedmiddle movement. First movements (except for II) are in cut time, rounded binary form; sonatas III, IV,and VI contain multiple themes. Second movements are complex rondos in Sonatas I, II and III; the lastthree sonatas use the variation form of increased rhythmic values (“doubles”). The melodies vary fromgraceful and galant to folklike and energetic, and use arpeggio patterns, scalar passages, two-measurephrase repetitions, sequences, and a good deal of ornamentation. Alberti basses and broken-chordfigures are prominent in the left hand; the harmony consists of primary chords with a few secondarydominants. Dynamics are consistent with the terraced” effects of the time, but articulations and theoccasional crescendo seem to indicate the expected use of the pianoforte.Sonata VI (from Six Progressive Lessons for the Harpsichord or Piano Forte Op. 2), ed. Ursula Rempel(Hildegard, GKH reprint). See Six Sonatas,ANTHOLOGIES:Four Keyboard Sonatas by Early English Women Composers, ed. Fortino (Hildegard, 1995). Op.1/2, Sonata II; see Single Works, above.Women Composers: Music Through the Ages, Vol. 3; series eds. Glickman and Schleifer (G.K.Hall,1998). Sonata VI ed. Ursula RempelSOURCES: Baker, Brown, Cohen, Grove, H&H, Heinrich, Hinson, Hyde, Jackson, KOM, Meggett, S&S,Stern, scores



Page 38BLACKWELL, Mary Edward(née Blackwell, Marion)b. Milwaukee, 1887—d. Sinsinawa, WI, Jan 7, 1987Marion Blackwell, daughter of Thomas and Julia Britt Blackwell, began piano studies at the age of sixwith her sister. After graduating from St. John’s Academy in Milwaukee, she entered religious life atSinsinawa, Wisconsin as a Dominican sister, taking the name Mary Edward. She first taught music inschools in Peoria and Bloomington, Illinois, and at Rosary College in River Forest. Sister Mary Edwardcontinued her own musical studies with Professor Videk at the American Conservatory in Chicago,becoming the first woman (and first religious sister) to received degrees in music and music theory.Between 1921 and 1931, a number of her compositions were published by Clayton Summy and BostonMusic. Blackwell then won the American Scholarship, and embarked to Rome for a three-year study oforchestration and symphonic composition with Ottorini Respighi, who later described her work as “very,very sensitive.” After Respighi’s death in 1936, Nadia Boulanger invited Sister Mary Edward to join herstudio in Paris, at the École Normale de Musique. There, she met Igor Stravinsky, and developed life-long friendships with both great musicians. In later years, as a faculty member of Rosary College andEdgewood College (Madison), Sister Edward hosted Stravinsky and Boulanger for presentations andworkshops. Alliance Publications is now publishing music by Mary Edward Blackwell through the effortsof Anita Smisel, O.P., one of her grateful piano students and the source of this biography.SINGLE WORKS:Menuet, ed. Anita Smisek (Alliance Publications, Inc., 1996). Level: Mid-Intermediate. (G major, 3/4,moderato, 3 pp). A slightly quirky 20th c. version of the archaic dance, with charactistic rhythms butsome harmonic playfulness. The lyric Trio (andante) is in C major.Forthcoming works by Blackwell from Alliance Publications: Rain Song, for soprano, flute, and piano;Hearts, for soprano and piano.SOURCES: Alliance Publications web page, scoreBLAHETKA, Marie Léopoldineb. Guntramsdorf nr. Vienna, Nov 15, 1811—d. Boulogne, Jan 12, 188745A child prodigy, Blahetka studied piano with her mother, a virtuoso pianist who was herself the daughterof Viennese composer and music publisher Andreas Träg.46 At Beethoven’s suggestion, the five-year oldtook lessons from Joseph Czerny, and in 1820, at the age of eight, she made a sensational debut inVienna, playing Beethoven’s Piano Concerto in B-flat major. She later studied piano with Moscheles,Kalkbrenner, and Cibbini-Kozeluch. A contemporary of Clara



Page 39Schumann and a pianist of the same rank, Blahetka belonged to Schubert’s circle of friends, and was amember of the Viennese Biedermeier musical world. Her playing was praised by Chopin and Schumann,and she successfully toured as a concert pianist in Germany, the Netherlands, Bohemia, England, andFrance. She also played the physharmonica, an experimental instrument similar to a reed organ,mounted under the piano keyboard and played simultaneously, with an expression stop controlled by theplayer’s feet. Blahetka studied composition with Hieronymus Payer and Simon Sechter, writing morethan seventy works (nearly all published in her lifetime) for solo piano, piano with orchestra, chambermusic, voice (including a Rastlose Liebe and an Ave Maria), and one opera. In 1840, Blahetka moved toBoulogne, where she performed, composed, and taught piano for the remainder of her life. Her virtuosopiano music, reminiscent of both Beethoven and Mendelssohn, explores the singing tone and brilliantupper range of the instrument, and includes polonaises, valses, nocturnes, and many sets of variations.SINGLE WORKS:Mélodie (Editions Ars Femina, n.d.). Level: Early Advanced. (B major, 12/8, andante cantabile conmolto expressione, 3 pp). Lyric and delicate song without words, reminiscent of the Parisian operaballet. Trills, octaves, and crossed hands add interest.COLLECTIONS:Marie Leopoldine Blahetka: Music for Piano, ed. Ledeen (Hildegard, 1992). Originality, appeal, andconsiderable challenges to the pianist are displayed in these virtuoso examples of piano music from mid-19th c. Paris and Vienna.Variations sur un Theme Original Op. 6. Level: Advanced. (A major, 2/4, allegretto, 9 pp). The livelytheme, like an écoissaise, is in two eight-bar sections, repeated, and retains that form throughout thefive amusing (and challenging) variations. Var. 3, a Siciliano in A minor, provides a dignified contrast tothe brilliance of running figures, rapid ornaments, virtuoso leaps, and arpeggios in the surroundingvariations.Polonaise Op. 19. Level: Advanced. (D major, common time, andante, 16 pp). Lengthy introduction, twomain alternating ideas, and a coda. The nocturne-like B section has an embellished lyric melody over anarpeggiated bass.Variations pour le Piano-Forte sur la Cavatine favorite: “Cara deh attendimi” dans l’opera Zelmira deRossini. Level: Advanced. (C major, common time, 15 pp). The two-page Adagio introduction in C minorends with a cadenza into Rossini’s sparkling theme, in rounded binary with repeats. Six variations; thefourth is a series of repeated notes, and the fifth, an adagio, finishes with a cadenza into the sixth, apolonaise (score preface).Souvenirs d’Angleterre Op. 38. Level: Advanced. (B-flat, various tempi, 3/4 and common time, 19 pp).The 4½ pp. introduction and 3 pp. coda



Page 40flank the main theme, “God Save the Queen” (“My Country Tis of Thee”) and its several variations. Alovely nocturne-like adagio after the third variation provides a respite from the scintillating pyrotechnicsin the rest of the work. Other tunes, including “Rule, Britannia,” make an appearance in the grandiosofinale. Designed for performance by solo piano, piano with string quartet, or with orchestralaccompaniment, the work uses the entire tonal and dynamic range of the piano.ANTHOLOGIES:Native and Foreign Virtuosos: Selected Works of Zimmerman, Alkan, Franck, andContemporaries, Vol.10 of series Piano Music of the Parisian Virtuosos 1810–1860, ed. Jeffrey Kallberg(Garland Publishing, 1993). Facsimile edition.Rondeaux Élégans sur des Melodies Favorites Allemandes pour le Piano (divises en trois Suites) Op. 37.Lengthy works requiring stamina and technique commensurate with a Chopin valse brilliante. In each, alengthy, florid introduction in common time sets the stage, and the curtain rises on splendid pianisticchiffon and lace in the tradition of Chopin and the French opera ballet.Rondeau Elegant No. 1. Level: Late Intermediate. (G major, 3/4, allegretto, 11 pp). The least difficult ofthe three, with repeated notes in octaves, eighth note scales, and triads picked out in staccato.Rondeau Elegant No. 2. (B-flat, 6/8, allegro, 9 pp). Level: Advanced. A strummed bass supports acaballetta-like melody; later, the hands trade roles. Transitions contain brilliant arpeggios and scales.Rondeau Elegant No. 3. Level: Late Intermediate/Early Advanced. (E-flat major, 3/4, tempo d’une valse,11 pp). A leggiero waltz begins with three grace-noted chirps, followed by an arpeggio sweeping up toan appogiatura; then three more chirps, a little shuffling in place, and the step is ready to begin again.In a contrasting section, hands alternate on G minor/major arpeggios.SOURCES: Baker, Boenke, B&T, ClagS, Cohen, Dubal, Ebel, ElsonA, Fetis, Gordon, grovemusic, H&H,Heinrich, Hinson, Kehler, KOM, Laurence, Mac, Meggett, MGG, Pendle, S&S, Stern, scoresBOLEN, Grace M.Late 19th c. AmericanNo biographical information was available for this ragtime composer.ANTHOLOGIES:Ragtime Rarities: Complete Original Music for 63 Piano Rags, Tichenor (Dover, 1975) andRagtimes für Klavier, ed. Kaluza (Furore, 1994).



Page 41The Smoky Topaz (March and Two Step) [1901]. Level: Late Intermediate. (A-flat/D-flat, 2/4, tempo dicakewalk, 3 pp). An eight-bar intro (hands in unison at the octave) with a Latin feel opens this light-hearted piece, set in one of the standard rag forms: AABBCC-Interlude-C, with repeats. The sixteen-barinterlude, based on the rhythm of the introduction, is in the relative minor of the Trio (C) section.SOURCES: Hinson, KOM, scoreBON (DIVENEZIA), Annab. ?Russia, 1739/40—d. after 1767Anna Bon was one of the few women in the eighteenth century to have her music published during herlifetime, and to be included in important contemporary reference works. She was born into a family oftheatrical and musical professionals: her mother, Rosa Ruvinetti, was a comic opera singer, and herfather, Girolamo Bon, was an artist, stage designer, director, and lyricist.47 Anna herself played theharpischord, composed, and sang. The family, which seems to have originated in Venice, was hired bymany noble patrons, including the Russian court at St. Petersburg, Elector Friedrich August II inDresden, and Frederick the Great at Potsdam, the same houses which employed Hasse, C.P.E.Bach,Graun, and Quantz. By 1755, the Bons were in Bayreuth at the court of Margrave Friedrich ofBrandenburg Culmbach and his wife Wilhelmine, sister of Frederick the Great. In 1762, the entire familymoved to the court of Prince Nikolaus von Esterhazy, where Anna’s stay coincided with Haydn’s earlyyears; they must have known knew each other. No records exist of her life after her move toHildburgshausen and her 1767 marriage to Mongeri, an Italian tenor. Three collections of chamberworks comprise her known output, all published during the Bayreuth stay and before Anna was twenty.These are the six flute sonatas, Opus I; the six sonatas for harpsichord Opus II; and Sei divertimenti adue flauti e basso, Opus III.COLLECTIONS:Six Sonatas for Harpsichord or Piano [1757], ed. Barbara Harbach (Vivace Press, 1995). 52pp.Level: Late Intermediate. Challenging, inventive and welcome additions to the rococo repertoire. Sixsonatas, three movements each, 6–10 pp. in length. Simple forms, two-voice textures, simple butgraceful ornamentation. Triadic/scalar melodies are motivic rather than thematic, with non-melodicbasses, one overruling emotion per movement, and very little imitation. Fast movements highlighttechnical skill, while harmonies in slow movements add to the sweetness and pathos.Sonata I in G Minor. I: Allegro, common time. Graceful, forward-moving, like a movement from a dancesuite. Descending scale segments alternate with ascending arpeggios, ending with a trill to anappogiatura. II:



Page 42Andantino, common time. Stately and unhurried, opening with a motive in conversation between thehands. III: Allegretto, 3/8. A lively scherzo, with running sixteenths on scales and broken chordsaccompanied by the merest suggestion of harmony.Sonata II in B-flat Major. I: Allegro non molto, 3/4. A triadic theme set to dotted rhythms, varied withsixteenth note scales; early sonata-allegro form. II: Andante, G minor, 2/4. Closes with three adagiomeasures of arpeggiated chords. III: Allegro, 2/4. Energetic arpeggios alternate with scales.Sonata III in F major. I: Allegretto, 2/4. Dances along in jig-fashion on dotted figures and sextuplets. II:Adagio, common time. Augmented sixth chords add expressive color. III: Minuet and trio. Trio is in theparallel minor.Sonata IV in C Major. I: Allegro, 2/4. Rapid galant style. Two and three-voice textures, tremolos, fullchords before cadences. II: Largo, 3/4. Melody is doubled in thirds, with occasional four-voice chords.III: Allegro assai. Dashing and attractive melody, altered in the recapitulation.Sonata V in B Minor. I: Allegro moderate, common time. French overture style, with dotted rhythms,dramatic rests, full-voiced chords, and sweeping flourishes on thirty-second notes. II: Adagio non molto,B major, 3/4. The work moves steadily on the quarter-note beat, in a two-voice texture with four-partchords at the beginning of sections and the final cadence. A few dotted rhythms refer to first movementtheme. III: Allegro, 2/4. Continuous 16th note figuration over a wide range of the keyboard.Sonata VI in C Major. I: Allegro, common time. Energetic. II: Andante, B-flat, common time. As in firstmovement, uses LH repeated notes. III: Minuetto con Variazione, 3/4. A sixteen-measure theme is,followed by six melodic variations over an ostinato bass pattern. OTHER AVAILABLE EDITIONS:Clavier Sonatas Op. 2/5-6 (Editions Ars Femina Nos 40-05 and 40-04)Six Sonatas for Keyboard, Op. II, ed. Hettrick (Hildegard, 1997)6 Cembalosonaten (1757), ed. Kloft, (facs. ed., Edition Donna, 1991)Sei Senate Per II Cenbalo (sic) /Opera Seconda (Performers’ Facsimiles #PF 152, 1998).Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998): Sonata II in B-flat major, ed. Fortino.SOURCES: Boenke, Cohen, Eitner, grovemusic, H&H, Heinrich, Hinson, Jackson, KOM, scores



Page 43BOND, Carrie Minetta Jacobs(var. Jacobs-Bond; née Jacobs)b. Janesville, WI, Aug 11, 1862—d. Hollywood, CA, Dec 28, 1946American composer and publisher Carrie Bond was a precocious child who played Liszt’s SecondHungarian Rhapsody by ear at the age of nine. Her formal musical training was limited to local teachers,but she showed considerable early talent in illustrating her poems in picture and song, and in promotingher works with influential people. Bond married twice: the first marriage, to a man named E.J.Smith,ended in divorce; then, after six years of marriage to Dr. Frank Bond, she was left a widow. In 1901,the resourceful and energetic Bond formed a publishing company in Chicago, printing over 175 of herown songs. A blend of parlor and art song traditions written mostly to her own texts, her works werecharacterized by sweet melodies, lilting rhythms, and simple accompaniments. Two of them achievedastronomical success: I Love You Truly sold a million copies, and is still occasionally heard at weddings;A Perfect Day sold an unbelievable eight million copies of sheet music in over sixty editions, over fivemillion recordings, and was a favorite during World War I.48 In 1920, Bond settled in California, whereshe wrote newspaper articles, helped found the California Federation of Music Clubs, and became friendswith a number of movie stars. She published a book of memoirs, The Roads of Melody, and a collectionof poems entitled The End of the Road, and continued to publish songs into her eighties. Although mostof Bond’s two hundred compositions were songs, a few piano works are in existence.ANTHOLOGIES:American Women Composers, ed. Glickman (Hildegard, 1990). Also available in AmericanKeyboard Music 1866 Through 1910, ed. Glickman, Vol. 4 of Three Centuries of American Music,gen. eds. Schleifer and Dennison (G.K.Hall, 1990).Rêverie [1902]. Level: Mid-Intermediate. (F major, common time, andante canatabile, 3 pp). Dedicatedto the popular American pianist, Amy Fay. An appealing melody sings above rolled triads; the left handgently places a tonic or dominant pedal tone at the beginning of each measure. In the agitato B section,the harmonic rhythm increases to two chords per measure, and the scalar motive is fragmented. Thefirst section returns, with a coda entirely of the rolled triads. Several long trills and three chromatic runsprovide a bit of challenge.SOURCES: Ammer, Baker, B&NB, Borroff, B&T, ClagAm, ClagH, ClagS, Cohen, Fuller, H&H, KOM,Laurence, Mac, Pendle, Stern, score



Page 44BONIS, Melanie Hélene(pseud. Mel-Bonis; Mme Albert Domange)b. Paris, Jan 21, 1858—d. Sarcelles, Seine-et-Oise, Mar 18, 1937As a child, Bonis improvised at the keyboard and made remarkable progress as a pianist. A classmate ofDebussy, d’lndy, and Pierné at the Paris Conservatoire, Bonis studied harmony with Ernest Guiraud andorgan with César Franck, winning first prize in harmony in 1880. She married in 1883, and spent thenext ten years raising her family, then began composing regularly around 1894. Bonis produced overthree hundred works, including twenty-two chamber pieces, eleven orchestral works, choral pieces,organ music, songs, and 150 works for solo piano. Her work, generally overlooked, should be includedin discussions of the French post-Romantics, all of whom praised her music warmly: Franck, Pierné,d’lndy, Debussy, and Saint-Saëns. Bonis had a gift for melody and movement, and used the entirerange of the keyboard in her wonderfully idiomatic and well-written pieces. Her piano works arefrequently in well-constructed binary forms, with several themes and a development section in a relatedkey. Bonis’ adventurous harmonic palette includes seventh chords, added-note and suspended chords,sliding harmonies over pedal tones, as well as occasional pentatonic and whole-tone scale fragments.Real dissonances are rare, however, and the general effect is that of an Impressionist painting: a washof shifting colors and movement, suggestions of story, shape, and substance.SINGLE WORKS:Mélisande (Editions Henry Lemoine, 1993). Level: Early Advanced. (D-flat major, 2/4, andantino, 3 pp).Beautiful watercolor miniature; a brief but lovely Impressionistic work. Shifting 32nd note arpeggiosbetween the hands surround the unhurried eighth note melody. The recurring motif of a rising third ispaired with undulating seconds; 7th, 9th, and 11 th chords, altered mediants and occasional whole tonefragments add color. A “watery” piece not unlike Reflets dans l’eau or Jardins sous la pluie, it closeswith eleven chorale-like measures of 9th chords.COLLECTIONS:17 Pieces Pour Piano (Editions Henry Lemoine, 1987). Nineteen works, ranging from mid-intermediate to advanced level.L’escarpolette (Valse) [Little dancing slipper]. Level: Late Intermediate. (G major, 3/4, mouvementmodéré de valse, 5 pp). A breathlessly gay Viennese waltz; swirling two-note slurs lead to an arpeggio,and are balanced by short steps back down. The texture is delicate, with only two or three voices; veryoften a single note serves as pickup. A more lyric second theme goes through many keys in thedevelopment; ascending 8th-note scales accompany a third theme in C major.Barcarolle. Level: Advanced. (E-flat major, 6/8, andantino, 8 pp). ABA form; lovely Impressionist workevoking movement and moods on the water.



Page 45Bourée. Level: Mid-Intermediate. (B minor, cut time, allegro, 4 pp). Binary dance with repeats. A modalfolk melody accompanied by broken-chord musette-like bass.Gai Printemps [Gay spring, Impromptu]. Level: Mid-Intermediate. (F-sharp minor, 3/4, allegro molto, 4pp). A graceful waltz reminiscent of Chopin, in rounded binary form with two prevalent rhythmicmotives. In the first section, delicate and wistful, the sighing motive is in minor mode. The modechanges to the relative major, and the upside-down theme is now joyous and elegant. Texture changesto continuous eighth notes with open-fifth arpeggios, repeated notes, and trills.Menuet. Level: Mid-Intermediate. (A minor, 3/4, allegretto con moto, 5 pp). Binary dance with repeats.Refined hops and mincing staccato steps on eighth note scales, punctuated by full-voiced chords leapingaround at cadences. The suave, ornamented trio is in A major.La cathédrale blessée. Level: Advanced. (G-sharp minor, 6/4, grave, majestueux, 6 pp). Ascendingscales, harmonized and played over tonic and dominant pedals, evoke sounds of an organ, not unlikeDebussy’s “Engulfed Cathedral.” Middle section is in F-sharp minor.Romance sans Paroles [Song without words]. Level: Late Intermediate. (G-flat major, in 4, andantino, 4pp). In the standard texture for the genre, the lyric theme, a descending pentatonic scale (6-5-3-2-1),appears out of the prevailing arpeggios. LH plays a bass octave at the start of each measure, thencrosses over to join in the melody.Sevilliana. Level: Advanced. (E major, 6/8, con moto, 6 pp). A Spanish character piece in ABA form,using typical dance rhythms. B section is in D-flat major.Prelude. Level: Early Advanced. (A-flat major, 12/8, allegro con molto, 4 pp). Lovely romantic melody, inpointillistic fashion: a descending scale in dotted quarters shifts register on each beat. Entire keyboard isused; prevailing texture is a 16th note cloud of seventh-chord arpeggios. Seven bars in the middle arein E major.Le Moustique [The mosquito]. Level: Late Intermediate. (B minor, common time, allegro con moto, 6pp). Like Rimsky-Korsakov’s “Bumblebee,” this buzzing insect is rarely still, first hopping down thekeyboard in bursts of 16th notes, then zooming through trills and turns in the middle of the keyboard. Acontrasting piu vivo in staccato eighth notes and dissonant chords provides a rest; perhaps the creatureflits out of reach—or stops for a bite. Keys change frequently in a long developmental section, then thetheme returns in the parallel major.Mélisande. See Single Works.Marionettes. Level: Mid-Intermediate. (F Major, in 4, allegro molto, 4 pp). A playful piece, with chordsmarching in a jerky staccato, like Schumann’s “Soldier’s March.” The puppets seem to dance in thecontrasting center section.Pavane. Level: Late Intermediate/Early Advanced. (B minor, common time, poco andante, 3 pp).Dignified binary dance has a measured tread in a



Page 46curiously light texture. In close position, an ornamented melody is accompanied by deliberately pluckedbroken chords. A contrasting section in F-sharp minor moves a bit faster.Ballade. Level: Advanced. (F-sharp minor, 6/8, moderato, 8 pp). LH doubles the main theme; middlesection is in D-flat. Changes in tempo, texture, and key illustrate the different sections of this musicaltale.Près du ruisseau. Level: Early Advanced. (C-sharp minor, 6/8, presto, 6 pp). Lacy, fragile miniature, in“song without words” texture.Une Flûte Soupire [A sighing flute]. Level: Late Intermediate. (B-flat major, 3/4, moderato, 2 pp. Anexquisite early Impressionistic work. The melody descends in fluttering triplets, flirting with whole-tonescales, while the left hand plays calm, wide chords.Salomé. Level: Advanced. (B-flat minor/G-flat major, 2/4–3/4, assez vif, 6 pp). A tonal portrait withmodal borrowing and many changes in texture, mood, and rhythms.Valse lente [Slow waltz]. Level: Late Intermediate. (B major, 3/4, trés modéré, 2 pp). Manuscriptwriting, with larger notes than rest of collection. LH provides both bass and melody in this poignantdance, first striking a bass octave, then crossing over for the chromatic tune. RH plays triadsornamented with grace notes.Au crepuscule [At twilight]. Level: Advanced. (E-flat major, common time, quasi andante, 4 pp).Fluttering 16th-notes in the background texture are much smaller than normal-size melody tones. Asubdued song-without-words, with many LH crossings into the treble.Miocheries: 14 scenes enfantines [Mioche=urchin, kiddie, or tot]. (Max Eschig, 1928). Level: LateElementary to Mid-Intermediate. Fourteen brief character pieces for children, in easy keys and a varietyof tempos, moods, and meters; 1–2 pp. each. 1920s illustrations accompany each piece: Premièresolitude, Air connu, Ronde, Le Moulin, “Fifille” sage, La leçon de solfège, A pas de loups, Patineurs (àroulettes), Croquemitaine, Plutôt une vielle danse française, Joyeux scouts, Piquenique, La toute petites’endort, and Les noces de Polichinelle.Scénes Enfantines (Max Eschig, 1912). Level: Early to Mid-Intermediate. Eight short works describingscenes in a child’s day: Aubade, Joyeux réveil, Cache-cache, Valse lente, Marche militaire, Frère Jacques,Bébé s’endort, and Carillon.Six Pièces Pour Le Piano (Éditions Henry Lemoine, 1993). Level: Mid/Late Intermediate. Six charmingcharacter pieces, with styles ranging from mid-Romantic to early impressionistic.No. 1: Cache-Cache [Hide-and-Seek]. Level: Mid-Intermediate. (G minor, cut time, assez vite, 2 pp).Short bursts of running 16th notes are interrupted by rests and tip-toeing quarter-notes, as the seekerstops to look around and listen for his playmates. Several interpolated phrases (e.g., “No, you can’tcatch me!”) and plenty of dynamic contrasts make this piece almost as much fun as the game.



Page 47Nos 2–6: Gai printemps, Le moustique, Romance sans paroles, Marionnettes, and L’escarpolette—seeCollections: 17 Pièces Pour Piano.SOURCES: Baker, Boenke, Cohen, Gordon, grovemusic, H&H, Heinrich, Hinson, KOM, Laurence, Mac,Meggett, S&S, SCB, Stern, scoreBORDEWIJK-ROEPMAN, Johanna(née Suzanna Hendrina Roepman)b. Rotterdam, Aug 4, 1892—d. The Hague, Oct 6/8, 1971Johanna Bordewijk-Roepman began her compositional career after the age of twenty-five by writinglittle songs to the pictures in her children’s storybooks. In 1936–37, she took lessons in orchestrationwith Eduard Flipse, conductor of the Rotterdam Philharmonic Orchestra, but she was primarily self-taught. Among her compositions are a one-act opera, Rotonde, and an oratorio, Plato’s Dood, to textsby her husband, Frans Bordewijk, a well-known Dutch novelist. A visit to north Africa inspired her firstorchestral suite, The Garden of Allah, and her Piano Sonata won a government prize in 1946.Thereafter, Bordewijk-Roepman received numerous commissions for orchestral, choral and carillonworks from the Dutch government and various municipalities. Her music is variously described as eclecticbut based on Classic formal principles, with solid construction and logical development; late Romantic instyle and characterized by careful instrumentation; and extremely influenced by Impressionism.49 Herpiano works include the Sonata, a Concerto, and some incidental pieces.SINGLE WORKS:Debout, éveille-toi [Standing up, you awaken] (Donemus, 1953). Level: Late Intermediate/EarlyAdvanced. (6/8-4/4, berceuse/tranquillo-animato, 7 pp). Facsimile manuscript. In two sections,beginning as a gentle cradle song, then getting gradually louder and faster. Tonal, with many late-Romantic harmonies; neo-classic in style.Impromptu voor Piano (Donemus, 1961). Level: Advanced. (2/4-3/4-6/84/4, maestoso moderato-allegretto-andante-molto lento, 12pp). Tonal, but with shifting tonal centers and many accidentals.Strong jazz feel gives the illusion of improvisation; fragmented themes are more rhythmic and harmonicthan melodic, with colors and rhythms reminiscent of both Gershwin and Debussy. Strongly metric, withoccasional shifts of meter and beat division. Ninths, elevenths, and added-note chords are used;frequently, there are sequential chromatic triads, and arpeggio octave triplets against block-chordduplets. The work contains ninety-one tempo changes in twelve pages.LISTED but not found in print: Drie dansen (Alsbach) and Sonata (Alsbach, 1943), in Hinson’s Guide, 1sted.



Page 48SOURCES: Cohen, grovemusic, H&H, Hinsonl, KOM, Meggett, NewGrove, S&S, SternBOSMANS, Henriette Hildab. Amsterdam, Dec 5/6, 1895—d. Amsterdam, Jul 2, 1952Considered the most talented Dutch woman composer of her time, this concert pianist was the daughterof Henri Bosnians, principal cellist for the Concertgebouw Orchestra, and Sarah Bosnians-Benedicts, aconcert pianist who taught at the Amsterdam Conservatory.50 After studying piano with her mother,Bosnians graduated from the Conservatory at seventeen, and went on to an extremely successful careeras a soloist and accompanist, including playing for Peter Pears in his Dutch recitals. She studiedorchestration and composition with Cornelis Dopper and Willem Pijper, producing many pieces for cello,orchestra, voice, and piano. Bosnians also composed a number of songs on French texts which sheperformed with Noemie Perugia, a French singer. Her early works were late Romantic in style, but latercompositions employed impressionistic and neo-Classic modernisms such as bitonality, mixed meters,parallelism, and quartal harmony.SINGLE WORKS:Zes Preludes Voor Piano (Donemus, 1952). Spiral bound oversized manuscript, clearly written. Sixmysterious mood pieces sharing a number of characteristics: all are short, in minor keys, with a sopranomelody set above block triads, moving inner voices, and triplet figures. The harmony is chromatic butfunctionally tonal, with modal borrowing and some sliding harmonies for uneasy dissonances. A widerange of the keyboard is used, with a decided fondness for the lowest bass register.I. Level: Late Intermediate. (F minor, common time, moderate assai, 1 1/2 pp). Mostly pp, with a

despondent melody descending an octave and a half.II. Level: Late Intermediate. (E minor, common time, lento assai, 2 pp). Ghostly octaves in a triplet

rhythm evoke Halloween memories of the child’s song, “the worms go in, the worms go out.” Rolledchords and a lengthy fortissimo passage provide drama.

III. Level: Late Intermediate/Early Advanced. (D minor, common time, agitato, 3 1/2 pp). Rapid, trickyscale passages on eighth note triplets might be the wind blowing in the cracks.

IV. Level: Late Intermediate. (E minor, 5/4, allegretto, 2½ pages.) Like an elfin dance by Grieg.V. Level: Late Intermediate. (C minor, common time, cantando e dolente, 2 pp). In this lovely arioso,

each soprano phrase is punctuated by a bass drone on open fifths.VI. Level: Advanced. (F-sharp minor, 3/4, presto ma non troppo, 6 pp). The longest and most difficult

in the set. A perpetuo moto toccata of



Page 49rapidly changing scales in triplets, with occasional octaves, frequent accidentals, and many dynamicchanges. The ending is a hair-raising tour-de-force with octaves in both hands.LISTED but not found in print: Vielle Chanson 1948 (Broekmans and Van Poppel, 1950), from Hommagea Willem Pijper, cited in Hinson’s Guide, 3rd ed.SOURCES: A-Z, Baker, Boenke, Cohen, Gordon, Grove, H&H, Hinson, Johnson, KOM, Laurence, Mac,S&S, SternBOULANGER, Lili(née Juliette Marie Olga)b. Paris, Aug 21, 1893—d. Mezy, Yvelines, nr. Paris, Mar 15, 1918Lili Boulanger, younger sister of the most influential composition teacher of the twentieth century, hadregrettably brief life, with impressive accomplishments due to talent, will, and a supportive musicalfamily. Lili’s mother, a Russian princess, was a singer who came to Paris to study with Ernest Boulanger,a professor and composer at the Conservatoire. Although Boulanger was forty years her senior, theymarried and had three children.51 Left a semi-invalid after severe bronchial pneumonia at the age oftwo, Lili was restricted by illness in all her later efforts. In spite of sporadic lessons due to her illness, Lililearned to play piano, violin, cello, and harp, and the precocious child attended classes at theConservatory with her sister Nadia. Already knowing she wished to be a composer, Boulanger studiedprivately with Georges Caussade, then at the Paris Conservatoire with Paul Vidal. In 1913, at the age ofnineteen, she became the first woman to receive the Premier Grand Prix de Rome, with her cantataFaust et Hélène. Illness and the outbreak of World War I interrupted her stay in Rome. Even thoughgravely ill, Boulanger continued to work up to the time of her death of tuberculosis at age twenty-four.52 Her more than fifty works include an unfinished opera, sacred and secular choral music, someorchestral and chamber music, songs, etudes, variations, and miscellaneous pieces for piano. Her musicis late Romantic and early Impressionist in style, lyric, imaginative, and strong. Her sister Nadia said ofher, “the beauty of her countenance, at once childlike and wise, is reflected in her work.”53SINGLE WORKS:Thème et Variations [1911–1914], ed. Selma Epstein (Chromattica USA Press, n.d.). Also av. asMorceau de piano: Thème et Variations (Schott, 1997). Level: Late Intermediate/Early Advanced.(C minor, 3/4, 10 pp). Elegant and beautiful; Boulanger’s largest work for piano (score preface). Aneight-measure theme with eight variations and a Finale. Prepared and completed by the pianist EmileNaoumoff.



Page 50Trois Morceaux pour Piano [1914] (G.Schirmer/Hal Leonard, 1979).I. D’un vieux Jardin [In an old garden]. Level: Late Intermediate. (C-sharp minor, 3/4, espressif, 3

pp). An Impressionistic tone-painting of the dried grasses, brambly borders, old stonework, andovergrown paths in an old garden. Boulanger paints in muted tones, achieving movement and lightby avoiding functional harmony: the descending motif wanders from key to key, rarely achievingcadential closure, and tritones, enharmonic spellings, 9th and 11th chords, added-note chords, anabsence of leading tones, flatted-seven chords, and occasional whole-tone fragments all add color.

II. D’un Jardin Clair [In a clearing]. Level: Late Intermediate. (B major, 3/4, assez vite, 4 pp).Attractive fragments based on four tones (G-sharp, B, C-sharp, F-sharp) form the melody, withborrowed and added-sixth sliding chords for color. In the second half, hands double the melody atthe octave; a third staff is needed on the final page for pianissimo bell tones in the highest register.

III. Cortège [Procession] [1914]. Level: Late Intermediate/Early Advanced. (B major, 2/4, pas vite, 6pp). Originally composed for violin or flute and piano. As gay and carefree as Poulenc chanson, thiswork bubbles along in four-bar phrases and parallel periods, with a light but continuousaccompaniment of ascending 16th note arpeggios. There are many subtle contrasts in articulation,tempo and dynamics, but the marking on the third page could serve for the entire piece: “trèsléger, mais joyeusement.”

ANTHOLOGIES:The Century of Invention, Part II, ed. Hinson (European American Music, 1996), FrauenKoraponieren, 22 Klavierstücke, ed. Rieger and Walter (Schott, 1992), and Great WomenComposers, ed. Smith (Mel Bay, 1996). D’un vieux Jardin (Trois Morceaux, no. 2).Women Composers: Music through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Trois Morceaux. See above.SOURCES: Ammer, A-Z, Baker, Boenke, ClagS, Cohen, FRK, Gillespie, Gordon, Grove, HAMW, H&H,Heinrich, Hinson, Hutcheson, Jezic, Johnson, Kirby, KOM, Laurence, Mac, Magrath, Meggett, MGG, N-B,Pendle, SCB, S&S, Stern, scores



Page 51BRANSCOMBE, Gena(var. Gina; Mrs. John F.Tenney/Tenny)b. Picton, Ontario, Nov 4, 1881—d. New York, Jul 26, 1977Canadian/American composer and conductor Gena Branscombe began composing before she was fiveyears old. At age fifteen, she won a scholarship to the Chicago Musical College, where for seven yearsshe studied piano with Rudolph Ganz and composition with Felix Borowski, twice winning the gold medalfor composition. After teaching at the College and at Whitman College in Walla Walla, Washington,Branscombe studied composition with Humperdinck in Berlin for one year. On returning home, shemarried John F.Tenney, a lawyer, and they had four daughters, one of whom died very young.Branscombe studied conducting in New York with Warren Erb, Frank Damrosch, Albert Stoessel, andChalmers Clifton, and was soon in widespread demand as a conductor of choirs and women’s orchestras.In 1934, she founded the Branscombe Chorale, a women’s choir, which she led for twenty years instandard works as well as compositions by herself and other women. Best known for her choral music,she published over 150 songs, as well as pieces for orchestra, chamber groups, and around thirty shortworks for piano, continuing to compose for commissions into her 90s. She was active in the AmericanSociety of Women Composers and the New York State Federation of Women’s Clubs, and receivedawards prizes from many organizations, including the League of American Pen Women, the Golden RuleFoundation, and an honorary M.A. from Whitman College. Goss, in Modern Music-Makers, quotesBranscombe: “Having a home, a husband and children to love and serve brings enrichment of life to awoman. But being a part of the world’s work in humbly serving and loving the illumined force which ismusic brings fulfillment.”54LISTED but not found in print: Cavalcade and Valse-Caprice [1902], in The Canadian Musical Heritage:Piano Music, Vol. 2, ed. Elaine Keillor (Ottawa, 1983), cited in Hinson’s Guide, 3rd ed.SOURCES: Ammer, Anderson, Baker, B&NB, Boenke, B&T, ClagAm, ClagH, ClagS, Cohen, ElsonA, Fuller,Goss, Grove, Grove Am, H&H, Heinrich, Hinson, Laurence, Mac, Meggett, NewGrove, Pendle, S&S,Skowronski, SternBRIGHT, Dora Estella(Mrs. Wyndham Knatchbull)b. Sheffield, England, Aug 16, 1863—d. Somerset, England, Nov 16, 1951Dora Bright, an English composer and pianist, was a member of “The Party,” a group of youngcomposers at the London Royal Academy of Music in the late 19th century. She entered the Academy atthe age of seventeen and studied piano with Walter MacFarren and composition with Ebenezer Prout. In1884, Bright won the Potter Exhibition; later, her Fantasia in G Minor for piano and



Page 52orchestra was the first orchestral work by a British woman to be performed at the conservativePhilharmonic Society concerts. In 1888, she became the first woman to win the Lucas Medal forcomposition for her string quartet, Air and Variations. She established herself in Britain and on thecontinent as a pianist and composer with a series of recitals promoting historical and contemporaryBritish composers. After her marriage to Crimean War veteran Colonel Wyndham Knatchbull in 1892,Bright performed less frequently in public, but continued to compose. She traveled to Paris for lessonsin orchestration with Moritz Moszkowski, and her later works include a dramatic song cycle, Six Songsfrom the Jungle Book, and a number of works for ballet created with the famous dancer Adeline Genée;La Camargo and The Dancer’s Adventure are the most famous of their collaborations. In later years,Bright wrote a regular column of music criticism expressing her scathing dislike for contemporary musicfrom Britten to Stravinsky, her personal preference being the works of the early Romantics. In 1951, atthe age of 88, she died at her home in London. Extant works include operas, ballets, songs, and a fewpiano pieces: Two Sketches, Romania and Scherzetto, Three Pieces, and several duos. Bright’s individualstyle combines careful construction with appealing melodies and lush chromatic harmonies.55 Becausenone of her solo piano works is currently available, the duet below has been included in this catalog.ANTHOLOGIES:Women Composers: Music through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999).Variations on an Original Theme of Sir G.A.Macfarren’s (For two pianos). Level: Advanced. Theme andsix variations, G minor, 25 pp. The most frequently performed of Bright’s two-piano variations, and theonly one to appear in print. First performed by Bright and her lifelong friend, Ethel Boyce, and very wellreceived. The simple, somber twenty-four bar theme in G minor undergoes six inventive variations,including a G major version, a bubbling “alla polacca,” and a majestic fugal finale.SOURCES: Boenke, Brown, Cohen, Ebel, ElsonA, Fuller, grovemusic, H&H, Hyde, Laurence, Mac,Meggett, S&S, Stern, scoreBUCKLEY, Olivia Dussek(née Dussek; var. Bulkley/Bulkeley)b. London, Sep 29, ca. 1799—d. London, ca. 1847Olivia Dussek, an English harpist, organist, pianist, composer, and writer, was the daughter of twocomposers and a member of the illustrious Czech family of musicians. Her father, Jan Ladislav Dussek,composer of over three hundred works, was the first pianist to sit with his right side facing theaudience, and one of the first to include pedal markings in his compositions. Composer Sophia



Page 53Corri Dussek, Olivia’s mother, taught her piano and harp. (Both her mother and her father’s sister,Veronica Dussek Cianchettini, appear in this catalog). Olivia’s published compositions included works forharp and piano, songs and teaching pieces. An excellent performer, she married a Mr. Buckley andserved as organist at Kensington Parish Church from 1840 until her death.SINGLE WORKS:Fantasia for the Pianoforte, ed. Ursula Rempel (Hildegard, GKH reprint). Level: LateIntermediate/Early Advanced. (C major, common time-6/8, allegro brilliante/allegro con piacere, 19 pp).Idiomatic writing for the piano, with many scale passages and arpeggios and a good deal of harmonicingenuity for the period. The first ten pages are freely rhapsodic, even meandering; the second half, aRondo, has a recurrent folk-like tune. Many passages are transitional or cadential in nature, with anabsence of complete themes or development; an enjoyable exercise for the developing pianist.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Fantasia, above.SOURCES: Brown, B&T, Cohen, ClagS, Ebel, ElsonA, Fetis, Fuller, Grove, H&H, Hinson, Hyde, Jackson,Laurence, Mac, Meggett, S&S, Stern, scoresBURGESS, Mattie HarlLate 19th c. AmericanNo biographical information about this ragtime composer was available.ANTHOLOGIES:Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Tichenor (Dover, 1979).Rag Alley Dream [1902], Level: Late Intermediate. (C minor/E-flat/A-flat majors, 2/4, 4 pp). Five 16-barsections made of three strains (ABACC), with a four-bar introduction and an eight-bar interlude betweenrepeats of the Trio, where a heavier texture prevails. The rag finishes in strutting style, and “evokes aninformal cakewalk on a back street, a rather common pastime in the late 1890s and early 1900s” (scorepreface).SOURCES: Score



Page 54CCAMPBELL, Carolinefl. London, 1780sNo information is available about the life of this late-eighteenth century English composer. Her twoextant compositions are Two Sonatas and Three English Airs with Variations for harp or harpsichord (inmodern edition below) published around 1787 in London, and Two Sonatas and Six Songs and SomeEnglish Airs with Variations, Op. 11, for harp and accompaniment, published in 1788.COLLECTIONS:Two Sonatas for Harpsichord or Harp (ca. 1787), ed. Barbara Harbach (Vivace Press, 1999). Twosonatas in E-flat major, each in two movements with regular phrase lengths, triadic melodies, andstandard late 18th century accompaniments. Attractive, well-constructed additions to the Classicalrepertoire, perfectly acceptable on the piano; few dynamic or articulation markings in this Urtext edition.Sonata I in E-flat major, 7 pp. Level: Late Intermediate. I: Allegro, 2/4. Sonata form. II: Minuetto.Charming and graceful; binary with repeats.Sonata II in E-flat major, 12 pp. Level: Late Intermediate. I: Allegro, 2/4. II: Rondo, 6/8.SOURCES:Cohen, H&H, Heinrich, Jackson, SternCANDEILLE, Amélie Julie(var. Simons-Candeille, Emilie. Mme Delaroche, later Mme Simons, then Mme Périé)b. Paris, Jul 31, 1767—d. Paris, Feb 4, 1834Julie Candeille, actress, singer, harpist, writer, and composer, was one of a small group of women operacomposers in France during the Revolution. She studied with her father, the composer Pierre JosephCandeille, and with Holaind, a harpsichordist, and Legros, a singer. At age fifteen, she premiered asGluck’s Iphigénie en Aulide, and later composed, produced, and starred in her own operetta, Catherineou La belle fermière, a tremendous success that remained in the Comédie Française repertoire for thirty-five years. Candeille married and divorced Louis-Nicholas Delaroche, a military doctor. In 1798, shemarried



Page 55Jean Simons, a wealthy Belgian carriage builder, after which she signed her works as F.Simons-Candeille; they separated in 1802. In 1822, after returning from a lengthy political asylum in England,she married the painter Hilaire-Henri Périé de Senovert. In addition to four operas, her compositionsinclude orchestral works, chamber music, piano pieces, and songs, and she wrote novels, dramas, andher memoirs. Some of her salon-style piano pieces were dedicated to other women musician/composers,such as Hélène de Montgeroult (q.v.) and Pauline Duchambge.SINGLE WORKS:Nouvelle Fantaisie Facile et Brilliante for Piano Op. 13, ed. Calvert Johnson (Vivace Press:forthcoming). Level of difficulty: Medium Difficult. Set of eight variations on a Romance, “A peine ladouce aurore avoit rougi les côteaux,” from the opera Azéline, by Hoffman and Solié (publication notesby Calvert Johnson).SOURCES:Baker, Boenke, B&T, Cohen, Ebel, Eitner, ElsonA, Fetis, H&H, Heinrich, Jackson, Johnson, Laurence,Mac, Meggett, MGG, N-B, NewGrove, S&S, SternCARREÑO, Teresa(María Teresa Gertrudis de Jesus Carreño García de Sena y Toro)b. Caracas, Venezuela, Dec 22, 1853—d. New York City, Jun 12, 1917Teresa Carreño, the Venezuelan “Valkyrie of the Piano,” was a virtuoso pianist of fiery temperament,towering strength, and sheer talent. Grandniece of Simon Bolivár, the child prodigy first studied with herfather, a minister of finance ousted by revolution. In 1862, the family moved to New York, where thechild took half a dozen lessons with Louis Moreau Gottschalk, whose manner of playing deeplyimpressed her, and who, believing her a genius, helped promote her career. Carreño toured Europe,many North American cities, and Cuba, and as a ten-year-old performed at the White House forAbraham Lincoln. In 1866, she studied with Matthias in Paris, where she met Rossini and Liszt, whowere both impressed with her talent and beauty, as were Brahms and Anton Rubinstein, who gave herlessons whenever they met. Liszt offered to teach her, but the thirteen-year-old refused to follow him toRome. Rossini and Adelina Patti wanted to make a professional singer of her, as she possessed abeautiful mezzo-soprano voice, and she became an acclaimed opera singer as well as a piano virtuosaand composer. The tempestuous Carreño married four times, including the composer Eugene d’Albert,and bore seven children while continuing her career as a concert pianist.56 Carreño’s compositionscomprise a string quartet, an unpublished Serenade for Strings, choral works, and about fortydescriptive piano pieces and dance tunes. Most of her extant piano music, written between the ages ofsix and fifteen, shows the influence of the great pianist-composers of the nineteenth century, Gottschalk,Chopin, and Liszt. Her



Page 56idiomatic works exhibit a fondness for lyric, even operatic, melodies, flat keys, dance forms, triple andcompound meters, grace notes and trills, virtuoso octaves and leaps, and an obvious love for the pianoand its possibilities.COLLECTIONS:Four Piano Works (Hildegard; O.K.Hall reprint). Prefatory essay by Brian Mann.Gottschalk Waltz Op. 1. Level: Late Intermediate. (A-flat major, common time/3/4, 9 pp). Written at theage of nine, the piece shows amazing stylistic and harmonic fluency. A 13-bar introduction with cadenzaprefaces the waltz, constructed of eight repeated sections in related keys, each 8 or 16 bars long. Inexpanded ternary form, closing with a repeat of the first four sections and a three-page coda.Caprice Etude No. 3 Op. 7. Level: Advanced. (E-flat major, andante maestoso/allegro molto, commontime, 14 pp). “A dazzling technical study in the independence of hands, with fives and fours in the righthand against left-hand triplets” (preface).“Plaintes au borde d’une tombe” (4ème Élégie) Opus 20. Level: Mid/Late Intermediate. (F minor,common time-12/8, andante grave/lento, 7 pp). An elegant, mournful “song without words.”“Plaintes au borde d’une tombe” (5ème Élégie) Opus 21. Level: Mid-Intermediate. (F major, 3/4,andante religioso, 8 pp). A quiet, dignified work in five sections with coda; part three is in D minor, andpart four, a maestoso, places the melody in the bass. Reiterated eighth note chords, as in a Schubertsong, accompany the gentle melody, which could easily be a setting for an “Ave Maria.”Teresa Carreño: Music for Piano, ed. Carmen Rodriguez-Peralta (Hildegard Publishing, 1996). Agood selection of seven intermediate to advanced works in an easy-to-read edition.Le Corbeille de Fleurs Opus 9. Level: Early Advanced. (D-flat major, 3/4, andantino/Presto, 12 pp). Asparkling, spirited waltz, written when the composer was about eleven. The work recalls Chopin andLiszt, and was performed by Gottschalk on his tours.Plainte! First Élégie [Lamentation, 1866] Op. 17. Level: Late Intermediate. (C-sharp minor, commontime, andante, 5 pp). An introspective, nocturne-like work written after the death of her mother. Asorrowful, yearning melody is accompanied by a bass countermelody and block-chord inner voices. LateRomantic, even operatic, emotion, providing technical and musical challenges for the intermediatestudent.Le Printemps Opus 25. Level: Early Advanced. (D-flat major, 3/4, allegro brilliante/Presto, 11 pp). Animposing introduction and a dazzling coda frame the nine sections of this brilliant waltz.Une Revue a Prague Opus 27. Level: Advanced. (E-flat major, 6/8 and 3/4, allegretto/allegrettograzioso, 11 pp). A polonaise with two main themes and episodic/transitional material. Virtuosic, withunusual modulations and a sizzling chromatic scale in double octaves.



Page 57Esquisses Italiennes Venise (Reverie-Barcarola) Op. 33/1. Level: Late Intermediate. (G major, 6/8, 4pp). In this elegant barcarolle, one can almost see golden light shining on the calm waves, with anoccasional splash of sparkling treble scales interrupting the hypnotic motion. First-inversion triadscascade down to three languidly strummed chords, bringing the theme back one last time as thegondola drifts gracefully out of the scene.Highland, Souvenir of Scotland, Op. 38. Level: Late Intermediate. (C major, 2/4, allegretto con spirito, 6pp). Oddly enough, this retrospective of Scottish hills uses the habanera rhythm, with dotted rhythms,hops and skips in ternary form. The center section, with its double dotted notes and alternation of I-vichords, is really a tango.Kleiner Walzer (Teresita Waltz; WoO) [1896]. Level: Late Intermediate/Early Advanced. (D major, 3/4,allegretto, 9 pp). An appealing work dedicated to the first daughter of her second marriage, TeresitaTagliapetra. Tremendously popular in Europe during the late 1800s, it was transcribed for other soloinstruments and ensembles. This is a Spanish waltz, not Viennese: look for the characteristic seguidillarhythm (1& 2 3) throughout the work, as well as sudden changes of mode, melodic anticipations, andhemiolas.Teresa Carreno: Selected Works, foreword by Rosario Marciano, trans. Anne Drellich (Da CapoPress, 1985). A reprinted edition, now out of print but available in libraries, containing her string quartetand sixteen piano pieces.Op. 9, Op. 17, Op. 25, Op. 27, Op, 33, Op. 38, Pequeño Valse (same as Kleiner “Teresita” Waltz): seeMusic for the Piano, above.Ballada Op. 15. Level: Early Advanced. (D-flat major, common time-6/8, lento/andante cantabile, 12pp). A rhapsody/fantaisie in extended ABA form. The theme, a straightforward arching scale, undergoesprogessive ornamentation, including grace-note triads and parallel sixths. In the center section,reminiscent of Italian verismo opera, a long transition leads to two contrasting themes in E-flat minorand G-flat major. Alternating octaves descend in a diminished seventh chord to a return of the originaltheme, in yet another texture. Great Romantic pianistic fun.Partie Op. 18 (segunda elegía). Level: Late Intermediate. (F-sharp major, 12/8, andante maestoso/quasiadagio, 5 pp). In this dignified ode to a departed loved one, the lyric ascending melody is supported bya descending bass. In ternary form, with an E-minor center section; song texture, with triads on everyeighth note, prevails throughout.Un Reve en Mer: Meditation Op. 28 [A dream at sea]. Level: Late Intermediate/Early Advanced. (Bminor, 12/8, allegro maestoso, 7 pp). Dramatic and sad; a grown-up version of Burgmüller’s Ballade.The ominous LH melody alternates 16th note runs with long appogiature. The B section, in thedominant, is a memory of happier times.



Page 58Un Bal en Rêve Op. 32 [A dance in a dream]. Level: Early Advanced. (D-flat major, common time-6/8,allegretto tranquillo/scherzando, 7 pp). Two distinct dance themes alternate: “Le Sommeil” [The Sleep],a sedate gavotte, comprised of a smoothly-stepping melody over lightly touched chords and theoccasional treble flourish; and “Le Rêve” [The Dream], a graceful, lilting tango.Deux Esquisses Italiennes “Florence” (Cantilena) Op. 34. Level: Advanced. (E-flat major, common time,ben portando la melodia, 5 pp). A light-hearted carnival etude. The legato melody is spun fromsyncopated staccato chords in both hands, with a sort of calliope effect. Wide LH leaps require agilityand accuracy.Intermezzo-Scherzo Op. 34. Level: Late Intermediate. (A major, common time, allegretto grazioso, 5pp). A playful bourrée for an opera entracte with ballerinas skittering en point. An exercise in RHstaccatissimo 8th-note scales and arpeggios, with a LH alternating bass.Le Sommeil de l’Enfant (Berceuse), Op. 35. Level: Mid-Intermediate. (F major, 6/8, allegretto quasiandante, 5 pp). A gentle lullaby in rondo form. The soothing theme arches quietly over a gently rockingdescending bass. Harmonic interest occurs as the theme modulates from F to B and back.La Fausse Note Op. 39 (Fantasia-Valse) Level: Early Advanced. (A-flat major, 3/4, allegretto-allegromolto, 11 pp). Waltz-rondo form. Grace notes on every beat make all the notes “false” in the happilychirping main theme. Three episodes provide intermittent contrast, bringing to mind Tchaikovsky,Johann Strauss, and Chopin. Exuberant entertainment.Vals Gayo (unnumbered). Level: Late Intermediate/Early Advanced. (G major, 3/4, allegretto con moltograzia, 11 pp). Zestful Spanish guitar rhythms accompany a gay, lilting melody. Lyrical middle section inE-flat major has challenging octaves and chordal passages.ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990). Le Sommeil de l’Enfant, Op. 35:see Selected Works.Great Women Composers, ed. Smith (Mel Bay, 1996). Op. 28, Op. 34, and Op. 35: see SelectedWorks. Op. 33: see Music for Piano.Women Composers: Music Through the Ages, Vol. six, series eds. Glickman and Schleifer(G.K.Hall, 1999). Prefatory essay by Brian Mann. Op. 1, Op. 7, Opus 20, Opus 21: see Four PianoWorks.LISTED but not found: Polonaise Op. 35 (Ditson), Hinson’s Guide, 3rd edition.SOURCES: Ammer, Baker, B&NB, ClagAm, ClagS, Cohen, Dubal, Ebel, ElsonA, FRK, Gillespie, G&G,Grove, GroveAm, H&H, Hinson, Hutcheson, Johnson, Kirby, KOM, Laurence, Meggett, MGG, N-B, Pendle,S&S, scores



Page 59CHAMINADE, Cécile Louise-Stephanieb. Paris, Aug 8, 1857—d. Monte Carlo, Apr 13, 1944A successful concert pianist who first studied with her mother, Chaminade began to compose at the ageof eight. After hearing her play, Hector Berlioz convinced her parents to obtain the best possibleeducation for their talented daughter, and she studied privately with Benjamin Godard, Felix LeCouppey, Savard and others of the Paris Conservatoire faculty.57 In 1875, she made her debut in Parisand went on to tour in England and France, already performing original compositions. Her concert tourshelped to promote music sales in America and England, where she was a welcome guest of QueenVictoria. In America, many Chaminade clubs were formed around 1900, and in 1908 she made asuccessful tour of twelve American cities from Boston to St. Louis. Renowned internationally as a pianist,she also appeared as a conductor, becoming an attractive figure at orchestral concerts in Paris andelsewhere. Ambroise Thomas reportedly said of her, “This is not a woman who composes, but acomposer who is a woman.”58 Named an Officer of Public Instruction by the French government in1892, in 1913 Chaminade became the first woman to receive the title of Chevalière de la Légiond’Honneur. One of the most prolific and successful women composers in history, nearly all of her fourhundred compositions were published in multiple editions by distinguished firms during her lifetime. Shecomposed in a wide variety of genres, including orchestral suites, an opera, two piano trios, a ballet, aConcertino for flute which remains a staple of the repertoire, more than 125 songs, and over twohundred piano pieces.59 Although most of her piano works are attractive character pieces withdescriptive titles, Chaminade also composed a sonata, two sets of concert etudes, a Concertstück, andsix other pieces for piano and orchestra. Too often scornfully dismissed as a “salon” composer, somebelieve that her ballet, Callirhoë, and the choral work, Les Amazones, should be included in discussionsof the late 19th c. “French Renaissance” group: Franck, Saint-Saëris, Chabrier, Duparc, and d’lndy.60Her works are strong and vigorous, with charming, expressive melodies and sparkling dance rhythms,clean textures, late Romantic harmony, traditional forms, and an emphasis on wit, elegance, andmovement. Chaminade’s mastery of the elegant style of La Belle Epoque was rivalled only by suchcomposers as Moszkowski, her brother-in-law.61SINGLE WORKS:Scherzando pour Piano Op. 10 (Durand & Fils/Presser, n.d.). Level: Late Intermediate. (A major,3/4, allegro vivace, 6 pp). A playful waltz built on ascending/descending one-octave scales by alternatehands. In rounded binary form, with the contrasting section in the subdominant.Sonata in C Minor Op. 21 (Hildegard 02036. G.K.Hall reprint, 1999). Level: Advanced. 29 pp.Chaminade’s only sonata, dedicated to Moritz Moskowski, is a brilliant and powerful late Romantic tonepoem using



Page 60the entire range of the keyboard. I: Allegro appassionata (cut time). A brief prelude and fugue opensthe extended ballade-like movement. II: Andante (common time, A-flat major). Broad and lyrical, ABAform. III: Allegro (2/4). Same as Six Etudes de Concert Op. 35/4. A dazzling perpetual motion etude inwhich double notes (sixths and fifths) alternate with single tones in both hands. The lyric middle section,with its tender countermelody, leads to the return of the perpetual motion theme in triplet sixteenths.Six Etudes de Concert Op. 35 (Masters Music, n.d.). Level: Early Advanced/Advanced.1. Scherzo. (C major, 3/8, allegro, 8 pp). Airy and vivacious, like a Mendelssohn sketch. Pairs of double

notes, in two-note slurs, dance up and down the keyboard.2. Automne. (D-flat major, common time, lento, 9 pp). A sentimental melody, full of character; fits the

hand well.3. La Fileuse [The Spinner]. (E major, 6/8, allegro, 13 pp). An effective perpetual motion piece,

requiring superior finger work.4. Appassionato. (C minor, 2/4, allegro, 8 pp). See last movement of Sonata in C Miwor Op. 21.5. Impromptu. (F major, 2/4, andante, 8 pp). Bass sextuplets underpin a graceful melody, which

alternates duplets and triplets in Spanish fashion. The center section, in G major, has sweepingguitar flourishes and trills.

6. Tarentelle. (D major, 6/8, allegro vivace, 10 pp). Dedicated to Mme Marie Jaëll, a concert pianist andcomposer (q.v.). A fast and furious perpetual motion study with both hands in repeated triplets.Contrasting center section is in G minor.

Six Romances sans Paroles Op. 76/1-6 (Masters Music, n.d.). Six extremely attractive songs-without-words, with lovely lyric melodies and colorful harmonies like French operettas of the day.Souvenance [Keepsake] Op. 76/1. Level: Mid-Intermediate. (B minor, 3/8, andantino, 4 pp). Thin, fragiletexture, with a yearning tenor melody, shared between the hands, accompanied by an occasional rolledchord. Two contrasting ideas in B section: a music-box motif in F-sharp major, and gruff octavesdescending chromatically in the bass.Élévation Op. 76/2. Level: Late-Intermediate. (E major, 6/8, andante con moto, 4 pp). A surgingromantic melody doubled in the tenor voice leaps to appogiaruras and descends by scale step to itsstarting point, then repeats sequentially; other parts fill in the full, lush chords.Idylle (Romance) Op. 76/3. Level: Mid/Late Intermediate. (E minor, common time, allegro moderate, 5pp). A single theme treated in contrasting ways creates very different effects. First section: two-voicetexture, soprano melody, plaintive and lonesome. Second section: companion theme is introduced,melody is in tenor, and chords play on every eighth note, pushing the music forward. The workalternates these ideas several times, creating a form of ABABA (coda).



Page 61Églogue Op. 76/4. Level: Late Intermediate. (G-flat major, 3/4, moderate, 5 pp). In this folk-like work, acharming shepherd’s tune pipes over a tonic drone. In the contrasting section (D-flat major), the texturechanges to staccato triads alternated with double-grace note chirps: the birds are singing happily.Chanson Bretonne Op. 76/5. Level: Late Intermediate. (D minor, 6/8, allegro risoluto, 5 pp). A forceful,rhythmic march swings breezily along, rather like “When Johnny Comes Marching Home.” The solomelody is supported by strummed chords; contrast is provided by some parallel triads and brief RHoctave passages.Méditation Op. 76/6. Level: Late Intermediate. (A-flat major, cut time, lento, 4 pp). A contemplativework, with a soprano melody supported by lush, unhurried rolled chords. Added-note chords (V9, V#7)create particularly pleasant colors against the backdrop of primary triads. Transition passages of upperregister triads join statements of the theme. In the sweeping final statement, the melody is doubled intenor and alto.Deuxième Valse Op. 77 (Masters Music, n.d.). Level: Early Advanced. (A major, 3/4, allegro vivo, 10pp). A graceful bit of ballroom chiffon and lace, full of buoyant melodies and late Romantic harmony,including chromatic scales in thirds. Middle section is in F major.Theme Varié Op. 89 (Masters Music, n.d.). Level: Early Advanced. (A major, 6/8, allegretto, 9 pp). Asiciliano in binary dance form. The unpretentious melody is accompanied by “plucked” sixteenth notearpeggios. The variation (middle section) is in the parallel minor; scales in thirds and sixths occur in thesecond half of the theme and in transitional passages.Children’s Album First Series Op. 123 (The Well-Tempered Press/Masters Music, n.d.). Level: LateElementary/Early Intermediate. Twelve Schumannesque character pieces, each two pages long. Anattractive, and well-crafted collection for early intermediate students. Strophic or rounded binary forms,brief development sections, standard dance rhythms, thin textures in narrow ranges, with hands closetogether in the middle of the keyboard. Mild chromaticism provides extra color.Prélude. (C major, common time, allegro tranquillo). Peaceful and hymn-like, chordal texture, bothhands in the treble clef two-thirds of the time.Intermezzo. (G major, 3/4, moderate). A distinctive dotted-note pickup is followed by sighing two- andthree-note slurs.Canzonetta. (C major, common time, allegretto). Like Schumann’s “Humming Song,” a one-line airsupported by an Alberti bass.Rondeau. (F major, 6/8, allegro). A good-humored, skipping jig.Gavotte. (A minor, 2/4, allegretto). Light and lively dance, with characteristic upbeat pickups followed bydelicate hops and running sixteenth note scales.Gigue. (C major, 3/8, allegro). A piping little tune like an English folk song; first phrase is nine bars long.



Page 62Romance. (F major, 2/4, andante). Repeated descending thirds, dotted-note figure, grace notes, andanticipations impart a Scottish folk-song flavor.Barcarolle. (A major, 6/8, allegretto). A triadic melody mimics the rocking of the boat. In B, the theme isin the relative minor, played by LH.Orientale. (E minor, 3/4, mouvement modéré de valse). Minor modes and borrowed chords create“exotic” character. Drum-like LH ostinato rhythm. At return of A, hands are two octaves farther apartthan before, creating a wide, empty texture.Tarantelle. (A minor, 6/8, vivo). Level: Mid-Intermediate. A breathless study in perpetual motion, withinterruptions between slurs and a whirling descending scalar pattern; fast wide leaps in B.Air de Ballet. (D major, 3/4, mouvement de valse). Graceful, delicate gliding by solo melody, sparechordal accompaniment. ABCBC form, with fuller chords in B, including a nice ii7, and LH melody in C.Marche Russe. (D minor, common time, moderate). Martial dotted-note pattern alternates with goose-stepping chords squarely on the beat.Children’s Album Second Series Op. 126 (The Well-Tempered Press/Masters Music, n.d.). Level:Early to Mid-Intermediate. Twelve appealing pieces are in this second, slightly more advanced set. Eachis two pages long, except for the final three-page waltz.Idylle. (C major, 6/8, allegretto). Rippling 8th notes alternated between the hands evokes a summerbreeze and gently undulating trees.Aubade. (E major, cut time, andante tranquillo). Stately and calm, like a pavane. In ABCA form, with LHmelody most of the time. In B, the melody is an inversion of the original; C is chordal, with the tune inthe soprano. Refreshing borrowed chords.Rigaudon. (A minor, 2/4, allegretto très rhythmé). Vigorous dance requiring precise articulation ofstaccato upbeats, two-note slurs, and accented downbeats. Plenty of contrast in dynamic markings; Bsection has different rhythms.Eglogue. G major, 6/8, andantino. An idyllic shepherd’s poem with the characteristic rhythms and textureof a gentle pastorale. A dotted-note figure passed between the hands creates the conversation, whileborrowed chords and secondary dominants add color to the landscape.Ballade. (G minor, 12/8, allegro moderate). A rousing story in martial rhythm with a mock-heroic theme.In the development, the melody shifts from hand to hand, and a brief chordal passage provides texturalcontrast.Scherzo-Valse. (D major, 3/8, allegro). An enchantingly graceful LH melody. In the middle section, blockchords alternate with sixteenth note scalar passages.Élégie. D minor, 6/8, andante sostenuto. A wistful ode with a bittersweet quality from the capricious useof minor modes. RH sings above a background of tremolo 16th notes. A cadenza occurs halfwaythrough the piece, like an outburst of feeling in the middle of an aria.



Page 63Novelette. (F major, 2/4, allegretto). A whimsical little tale with a melody characterized by leaps offourths and fifths. Melody alternates between hands in B; brief imitation in reprise of A.Patrouille [Patrol]. (G minor, common time, allegretto moderato). A stern march, with minor modeslending a Russian feel.Villanelle. (A major, 3/4, allegretto). A three-section peasant dance with accents, slurs, and dynamiccontrasts.Conte de Fées [Fairy tale]. (A minor, 6/8, allegretto). A flickering will-o′-the-wisp, continually changingmodes and alternating variations of two motives. Dynamic contrasts complete the picture of dancinglight and shadow.Valse Mignonne. (B-flat major, 3/4, allegro vivo). A gay and flirtatious Parisian waltz.COLLECTIONS:Pierrette Op. 41 and L’Ondine Op. 101 (Masters Music, n.d.).Pierrette Op. 41: Level: Late Intermediate. (E-flat major, 2/4, allegretto, 5 pp). A humorous scherzinowith staccatos, accents, scale passages, and tricky flurtered-triplet rotations, as well as many rapidregister changes.L’Ondine Op. 101. Level: Late Intermediate. (E-flat major, common time, allegretto con moto, 6 pp). Aballad in extended ABA form. Undine, a water fairy, tried to achieve immortality through the love of afaithful man. Undine’s song, a sweet eight-measure refrain, is accompanied by delicately ripplingarpeggios. The chordal contrasting theme is heroic and robust, cadencing in the dominant. A four-barinterlude is constructed of ff double octaves and chords; the work ends with fourteen measures of 16thnote arpeggios.Two Pieces (Masters Music, 1995).Automne Op. 35/2. See Six Etudes de Concert, above.Expansion Op. 106. Level: Late Intermediate. (E major, 3/4-9/8, andante con moto/più animato quasiallegro agitato, 6 pp). Expanded song form: a sustained, sonorous A section, livelier B section in thedominant key.Cécile Chaminade: Selected Pieces, Vol I [comp. before 1899], ed. William Scharfenberg (The Well-Tempered Press/Master Music, n.d. Also av. Kalmus and G.Schirmer). Picturesque character pieces,many with Spanish and French dance rhythms.Pièce Romantique Op. 9/1. Level: Mid-Intermediate. (G major, 2/4, andante, 2 pp). LH tenor melodyagainst offbeat RH chords, with transitional eight bars of shifting harmonies between theme statements.Gavotte Op. 9/2. Level: Mid-Intermediate. (A minor, common time, poco animato, 3 pp). A jolly antiquedance with short running steps on eighth note figures, two-note slurs, and careful articulation. In two-part dance form, with two related themes in each section; downbeat shakes in B lend a period feel.Minuetto Op. 23. Level: Late Intermediate. (B minor, 3/4, allegro, 6 pp). More like a like a passepied,this lively dance is full of springs and



Page 64hops, staccatos and accents, with main themes in the tenor. Simple song form, with B section in Gmajor.Sérénade Op. 29. Level: Late-Intermediate. (D major, 3/4, moderato, 5 pp). Arpeggiated bass tones andplucked double notes on the off-beats create a Spanish-guitar effect under the RH melody, whichoccasionally shifts from soprano to alto.Air de Ballet Op. 30. Level: Early Advanced. (G major, 3/4, allegro, 10 pp). A twenty-five barintroduction opens this brilliant concert waltz in ternary form. The A section has two balancing motives:the first part, con eleganza, makes one think of lushly staged Hollywood musicals, while the second halfskitters from key to key in a sort of development. The center section (E-flat) is comparatively serene.Pas des Amphores (Air de Ballet) Op. 37/2. Level: Late Intermediate. (B-flat major, 3/4, allegretto, 5pp). A characteristically French dance, airy and leaping, in five sections with two main themes.Downbeat staccatos emphasize an accented second beat; descending tonal scales contrast withascending chromatic ones.Scarf Dance (Der Schärpentanz) Op. 37/3: See Great Women Composers in Anthologies.Calirrhoë Op. 37/4. Level: Early Advanced. (G major, 2/4, allegretto, 5 pp). A humoresque reminiscentof Grieg’s dances, in ABABC form. Oddly, the piece ends after the third theme without returning to “A;”perhaps this is an incomplete edition, like Scarf Dance, above. RH has many double-note passages.Lolita (Caprice Espagnol) Op. 54. Level: Advanced. (D-flat major, 3/4, allegro vivo, 6 pp). A salon piecein Spanish style, like early works by Albéniz or Granados. A strong bass pedal sets the rhythm, as theRH dances above in staccato double notes. B section is a captivating serenade, complete with flamencoscales and thrumming guitars.Cécile Chaminade: Selected Pieces, Vol II, ed. Scharfenberg (The Well-Tempered Press/MasterMusic, n.d.).Valse-Caprice Op. 33. Level: Advanced. (D-flat major, 3/4, allegro, 10 pp). A concert waltz in the Chopintradition. A static melody of repeated melodic thirds emphasizes the third beat. After middle section (F-sharp minor), the introduction reappears as a ritornello before the return of A.Danse Pastorale Op. 37/5. Level: Late Intermediate/Early Advanced. (D major, 3/8, tempo di valse, 7pp). An attractive country dance, like a ländler, with a strong bass drone under the folk-like melody.Center section is in G major, with RH scale passages.Pierrette (Air de Ballet) Op. 41. See Single Works, Op. 41, above.La Lisonjera [The Flatterer] Op. 50. Level: Late Intermediate. (G-flat major, cut time, moderato, moltocapriccioso, 8 pp). Extremely popular in its time, this lyric and mellow Spanish-style work uses frequentrubati. RH thumb and second finger play the smoothly insinuating melody in the tenor voice;harmonizing thirds sound above the tune, and the bass



Page 65sketches in chord tones. A rondeau, with related themes in alternating sections (ABABA, coda); B is in B-flat minor.Arlequine Op. 53. Level: Late Intermediate/Advanced. (F major, 2/4, allegro, 8 pp). A scintillatingscherzino, shimmering with lightness and speed, twinkling like the sequins on a clown’s costume. Manyaccidentals, frequent jumps in register, larger-than-octave leaps, scales and arpeggios in sixteenth notetriplet figures. A good transition piece to Advanced levelLes Sylvains Op. 60 [The Fauns]. Level: Advanced. (D major, in 4, moderate, 6 pp). Elegant, showyetude, with a smooth tenor melody supported by delicate chords and arpeggios.Arabesque Op. 61. Level: Advanced. (G minor, in 4, allegro risoluto, 6 pp). As in Saint-Saëns’s DanseMacabre, simple ideas are decorated with “sparkling pianistic jewelry and harmonic reinforcement.”62La Morena (Caprice Espagnol) Op. 67. Level: Late Intermediate. (D-flat major, 6/8, allegretto, moltorubato, 6 pp) A coy Spanish rondo, with carefully marked rubati in the main theme. LH accompanies in a“plucked” guitar pattern, occasionally echoing the melody. Contrasting flamenco-style sections have LHmelodies.Three Piano Works (New York: Da Capo Press, 1979). Opus 21 and Opus 35: see Single Works,above.Etude Symphonique Opus 28. Level: Advanced. (B-flat major, common time, andante appassionato, 10pp). An impressive and imaginative character piece in expanded ABA form. LH divided chords supportthe RH melody in cross-rhythms (3×2, 4×3). The first section has two themes, with a transitional middlesection of chromatic octaves, scales, and arpeggios. ANTHOLOGIES:At the Piano with Women Composers ed. Hinson (Alfred, 1990). Scarf Dance Op. 37/3: see GreatWomen Composers, below.Everybody’s Favorite Album of Modern Piano Music (New York: Amsco Music, 1936). Les SylvainsOp. 60. See Selected Pieces Vol. II.French Piano Music: An Anthology, ed. Isidor Philipp (Dover, 1977).Sea Piece (Marine) Op. 38. Level: Late Intermediate. (G major, 6/8, lento, 6 pp). A graceful barcarolleon a sunny day. Bass chords strum gently beneath a tranquil melody, splashed by glittering 32nd notes.Frauen Komponieren, 22 Klavierstücke, ed. Rieger/Walter (Schott, 1992).Pierrette Op. 41 (Air de Ballet): see Selected Pieces Vol. II.Great French Piano Works, ed. Tucker (Warner Bros, 1990). Air de Ballet and Scarf Dance.Great Women Composers, ed. Smith (Mel Bay, 1996). Op. 23, Op. 41, and Op. 67: see SelectedPieces,Scarf Dance (Pas des Echarpes, from Three Ballet Scenes) Op. 37/3 [1888]. Level: Late Intermediate.(A-flat major, 3/4, mouviment modere de



Page 66valse, 6 pp). This is the only complete version in print of Chaminade’s most popular piece, which soldover five million copies during her lifetime. All other editions omit the three-page middle section, whichcontains four key changes and the true second theme referred to by Chaminade herself. Scarf Dance isa graceful, fluttering work in ternary form. Section 1, a waltz in A-flat, requires sonority and rubato at astrict, moderate tempo. A few melancholy bars of recitative (oboe solo in the orchestrated version)introduce the middle section in C-sharp minor. A brief transition, played “with abandon, rapidly,brilliantly,” heralds the return of the first theme.63Historical Anthology of Music by Women, ed. Briscoe (Indiana Univ. Press, 1987). Sonata Op. 21,2nd movement: see Single Works.Masterpieces of Piano Music, ed. Albert E.Wier (Carl Fischer, 1918): Op. 50, Op. 37/2, and Op.37/3: see Selected Pieces and Great Women Composers.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Sonata Op. 21—see Single Works.LISTED but not found in print: Toccata Op. 39 and Le Prétemps-Valse de Salon (Enoch and MusicaObscura); Autrefois Op. 87/4, in Encores of Great Pianists, ed. Lewenthal (G.Schirmer), cited in Hinson’sGuide, 3rd edition.SOURCES: Ammer, A-Z, Baker, B&NB, Boenke, ClagS, Cohen, Dubal, Ebel, ElsonA, Faurot, Friskin, FRK,Gordon, Grove, H&H, Hale, Heinrich, Hinson, Hutcheson, Hyde, Jezic, Johnson, Kirby, KOM, Laurence,Mac, Magrath, Meggett, MLA, N-B, Pendle, SCB, S&S, Stern, scoresCHARRIÈRE, Isabella Agneta Elisabeth de(var. Belle van Zuylen, Sophie Charrière; née van Tuyll van Serooskerken)b. Zuylen, nr. Utrecht, Oct 20,1740—d. Colombier, nr. Neuchatel, Dec 27,1805Isabelle de Charrière, daughter of Diederik Jacob van Tuyll, Marshall of Montfort, was a culturedaristocrat, a woman of letters, and a passionate amateur musician. In 1771, after spending her firstthirty years at the castle in Zuylen, she married Charles Emmanuel de Charrière, Squire of Penthaz, andthe couple made their home in Colombier near Neuchatel. During a stay in Paris, Florito Tomeoni helpedde Charrière write her first opera, L’Incognito. Later, to relieve the tedium of her life, she invited Italianmusicians to visit, including Nicolo Zingarelli (1752–1837), who stayed a year, giving her lessons andhelping her with other operas. De Charrière wrote novels, opera libretti, and several hundred letters tosuch correspondents as James Boswell, Benjamin Constant and Madame de Stael. Her compositions,which were usually published anonymously, include keyboard works, songs, and an opera buffon, Julienet Juliette. Teysseire-Wuilleumier says her music “breathes the style and spirit of her times,” and her“exquisite sonatas are very influenced by Mozart.”64



Page 67COLLECTIONS:Composities van Belle van Zuylen, Vol. III: Klaviersonates, ed. M.Flothuis (Donemus, 1983).Three sets of sonatas, with three short sonatas in each group. Each sonata is a two-movement work inClassical style.Opus 1: Sonata Opus 1/1: D major; Andante and Minuetto, 3 pp. Sonata Opus 1/2: C major, Allegromoderate and Minuetto, 6 pp. Sonata Opus 1/3: C major, Allegro moderate and Andante con Variazioni,10 pp.Opus 2: Sonata Opus 2/1: A major, Largo and Allegro, 7 pp. Sonata Opus 2/2: C major, Allegro andMenuetto grazioso, 5 pp. Sonata Opus 2/3: D major, Andante and Allegro, 6 pp.Opus 3: Sonata Opus 3/1: C major, Andante and Allegro, 5 pp. Sonata Opus 3/2: F major, Andante conmoto and Allegro assai, 6 pp. Sonata Opus 3/3: E-flat major, Largo and Allegro, 7 pp.LISTED but not found in print: Composities van Belle van Zuylen: Vol. I, Airs et Romances and Vol. II:Menuetten, cited in KOM.65 KOM: Komponistinnen im Musikverlag: Katalog lieferbaren Musikalien, ed.Clara Mayer (Kassel: Furore Verlag, 1996).SOURCES: Cohen, Eitner, FRK, G&F, H&H, Heinrich, Jackson, KOMCHAZAL, Mrs.—see GAMBARINI, Elisabetta deCIANCHETTINI, Katerina Veronika Anna Rosalia Elisabeta(var. Mrs. Cianchettini; née Veronica Dussek/Dusíkova)b. Cáslav, Bohemia, Mar 8, 1769—d. London, 1833Katerina Veronica Dussek, younger sister of the famous composer and pianist Jan Ladislav Dussek, wasthe sister-in-law of Sophia Corri Dussek and aunt of Olivia Dussek Buckley (q.v.). A singer, pianist,harpist, and composer, she first studied with her father, Jan Josef Dussek, an organist and composer. Atthe invitation of her brother, she went to London around 1795, remaining there from 1797 on. Shemarried Francesco Cianchettini, a musician and publisher, and had a daughter, Veronika Elizabeth, anda son, Pio Cianchettini, a pianist child prodigy called the “English Mozart” who later became a composer.Mrs. Cianchettini was a successful and well-known pianist and teacher in London. Her compositions areprimarily for the piano, and include sonatas, dances, variations on popular tunes, and a few chamberworks. In at least three of her sonatas, she used favorite popular airs as the basis for movements.COLLECTIONS:Sonata in G Major, Op. 8 and Six Variations on a Favorite Roman Air, ed. Sarah Mahler Hughes(ClarNan Editions, 1999). This Finale-created



Page 68edition has distracting idiosyncrasies in notation: separate bar lines for bass and treble, over-large noteheads, non-standard spacing between hands and systems, and a crowded look to the page. There arealso several errors in pitches and accidentals. Originally intended for performance with violin or flute adlibitum.Sonata in G Major Op. 8. Level: Late Intermediate. Three movements, 25 pp. I: Allegro vivace (G major,in 4). In sonata-allegro form, with two contrasting themes. Triadic melodies, scalar runs, some harmonicdaring, and a good deal of RH crossing into the bass and playing high in the treble. II: Adagio sostenuto(D major, in 4). The theme, similar to a Scottish folk song, undergoes two ornamental variations. III:Rondo polacca con moto (G major, 3/4). A lively eight-bar primary theme and two slightly contrastingideas, in extended rondo form.Six Variations on a Favorite Roman Air. Level: Late Intermediate. (G major, 2/4, andantino, 16 pp). Thesedate theme undergoes six variations in G, including one in the parallel minor. Standard treatmentsinclude “doubling” of rhythms, shifting registers, and hand crossings. The final variation changes to 3/8(allegro vivace), but returns to the original meter for the coda.ANTHOLOGIES:Four Keyboard Sonatas by Early English Women Composers, ed. Sally Fortino (Hildegard, 1995).Anthology with works by Billington, Barthélemon, Park, and Cianchettini,Sonata in F Opus 2 [1800]. A Sonata for the piano forte with or without additional keys in which isintroduced the Portugueze hymn, “Adeste Fideles.”66 Level: Late Intermediate. Three movements, 23pp. A charming late Classical, reminiscent of Haydn and early Beethoven. I: Allegro moderato (F major,common time). Sonata-allegro form. The first theme outlines a tonic triad with neighboring-tones (like“Ta-ra-ra, boom-di-ay”), then undergoes ornamental variations. In the second theme, RH playsalternately in treble and bass, creating a duet effect. In the development, triplet triads in the parallelminor warble frantically over a strong, sustained bass. Broken chords, Alberti bass, fluttering octaves,and running 8th note accompaniments create dramatic contrast, II: Andante (B-flat major, 2/4).Enjoyable theme and five variations on “Adeste fideles.” Var. 1: LH melody, played alternately in bassand treble, is accompanied by RH in a fluttering 16th note pattern. Var. 2: Thirty-second-note scaleszoom up and down over the LH melody. Var. 3: In B-flat minor. RH adds nervous thirty-second notesafter each LH eighth note. Var.4: RH plays a strong march melody in triads and double notes over 32ndnote scales and tremolo octaves in LH. Var. 5: Adagio con espressione. Highly ornamented, ending witha nine-measure tonic trill over the joyful bass melody. III: Allegro moderato (F major, 3/8). A quickwaltz in triple meter. Four jolly themes based on tonic and dominant triads alternate in a loose rondoform.



Page 69Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Opus 4, Sonata II, 2nd mvmt., ed. Ursula Rempel.Sonata No. II of Two Sonatas for the Piano Forte, with an Accompaniment for Violin & Violoncello Opus4. Level: Late Intermediate. II: Andantino cantabile (F major, 2/4–4/8, 3 pp). In three sections (A A1 A)with a brief coda; center section is an F-minor ornamented version of the main theme. The statelymelody, formed of classically arched periods, is decorated with bravura ornamentation, many dynamiccontrasts, and rapid RH passage work in high registers.SOURCES: Boenke, Brown, B&T, ClagS, Cohen, Grove, H&H, Jackson, KOM, Laurence, Mac, Meggett,S&S, scoresCLAUDE, Marieb. France, Aug 17, 1895—d.?A pianist, teacher, and composer, Marie Claude studied piano under Marguerite Long and Alfred Cortotat the Paris Conservatoire, receiving first prize awards in piano, harmony, and music history. Shecomposed piano pieces, chamber music, and pedagogical works, including arrangements of folksongs,simplified arrangements of Handel and Burgmüller, and a revision of Le Couppey’s piano method.COLLECTIONS:Courants d’Airs: 14 petites pièces très faciles pour Piano (Paris: Gérard Billaudot, 1971). Level:Late Elementary/Early Intermediate. Good introduction to descriptive character and dance pieces. Eachof these tuneful little works is less than a page long, and all but two are in C major. They are well-constructed and meticulously marked with dynamics, fingering, phrasing and articulations. Included area fanfare, a “cuckoo” piece, a hunt, a village dance, a march, and a German waltz. The last piece isentitled “Pre-Bach.” With its implied melody from arpeggiated triads and regular harmonic rhythm, itwould serve nicely as a preparatory piece to Bach’s Prelude in C Major.Folklore: Six Petites Pieces Très Faciles Pour Piano (Paris: Billaudot, 1974). Level: Elementary.Teaching arrangements of six French folk songs: Le Rat dans le Grenier, A la Claire Fontaine, La BonneAventure, II était une Bergère, Compagnons de la Marjolaine, and En Souvenir. C major, two-voicetexture, close position in the center of the keyboard, basic meters and rhythms, fingerings included.SOURCES: Cohen, H&H, KOM



Page 70COBB, Hazelb. Groesbeck, Texas, Jul 15, 1892—d. Dallas, Sep 8, 1973American teacher and composer Hazel Cobb received her B.Mus. and M.Mus. degrees from the AmericanConservatory in the 1920s. Her compositions include two operettas, some vocal and choral music, andteaching pieces for the piano.COLLECTIONS:Around the Keys and Around the Keys Again (Summy-Birchard, 1960). Level: LateElementary/Early Intermediate. Creative teaching studies for the piano, in all major and relative minorkeys.Rhythm with Rhyme and Reason: Counting Made “Easy as Pie” (New York: Mills Music, 1947).Level: Mid-Late Elementary. Keyboard rhythm drills, using kinds of pie as mnemonics for rhythm cells:e.g. ap-ple= two 8ths, choc-o-late= triplet, huck-le-ber-ry= four 16ths.Sonatina Album: Four Sonatinas for the Young Pianist (CPP/Belwin, 1987). Level: LateElementary/Early Intermediate. Four three-movement works, C and G majors, A minor, 3–4 pp. each.James Bastien writes, “Miss Cobb had an affinity for writing first-rate little versions of classic-soundingsonatinas. This album of four sonatinas is just the right level for third year students.”67 Each openingmovement is in rounded binary form with two themes but no development. The slower middlemovements are in related keys. Final movements are cheerful allegros or allegrettos in 4/4 meter.SOURCES: Anderson, Cohen, H&H, SternCOLAÇO OSORIO-SWAAB, Reineb. Amsterdam, Jan 16, 1881—d. Amsterdam, Apr 14, 1971Reine Colaço Osorio-Swaab, a Dutch composer, began composing in her forties, after the death of herhusband. She studied with Ernest Mulder and Henk Badings, and during the 1920s and 30s wrote manysongs. In the 1940s and 50s, attracted to philosophical and religious subjects, she composed ten worksfor narrator and instrumental accompaniment on mainly Biblical texts, as well as chamber music forvarious instruments. Her 1944 Monument, a set of six songs for soprano and piano, commemorated thedeath of her son at Dachau prison camp. Colaço Osorio-Swaab’s music retained classical forms, but usedatonal harmonic language, as well as some Impressionistic and pentatonic passages.SINGLE WORKS:Jesaja 60. Prelude voor piano [1950] (Donemus, 1954). Level: Late Intermediate/Early Advanced.(D-flat tonal center, 4/4, 13 pp). Facsimile manuscript, but very easy to read. Incipits of 22 verses are



Page 71written on the score (in Dutch). Continuous 16th note triplets, divided between the hands, create arippling wash of changing colors. A quarter-note melody against the triplet texture provides contrast inverses 6, 12, and 15, dividing the work into four sections. An attractive Impressionistic piece, withpentatonic, whole tone, and atonal effects.SOURCES: Boenke, Cohen, H&H, KOM, NewGrove, S&SCOURTAUX, Amanda, O.P.(née Marie Mathilde)Port Louis, Mauritius Island, Oct 27, 1859—d. Sinsinawa, WI, Apr 21, 1941Marie Mathilde Courtaux, daughter of a school teacher and a representative of the French government,was a highly gifted pianist, performer, teacher, and composer in Paris when, at the age of 62, sheentered religious life as a Dominican sister in Sinsinawa, Wisconsin. She studied with LeCouppey at theParis Conservatory, receiving in 1879 her Licencié and a First Medal for piano study. Mlle Courtauxbegan teaching and composing when still a student, and in 1905-06 published several works withM.E.Costil. At the age of 51, the Republic of France awarded her the rosette of Officer of the Academyof Fine Arts, a very high honor. While teaching in Fribourg, Switzerland, during W.W.I, Courtaux livedwith the Sinsinawa Dominicans in a residence for American college students, and there becameinterested in their vocation. In 1921, she traveled to Wisconsin to take up the religious life. She taughtpiano at St. Clara College and Edgewood Academy in Wisconsin, Rosary College in Illinois, and the VillaFougères in Switzerland until her death at the age of 81. Her compositions in the Sinsinawa Dominicanarchives are now being published through the editorial efforts of Anita Smisek, O.P., a member of hercommunity and the source of this biographical information.SINGLE WORKS:Gavotte, ed. Anita Smisek (Alliance Publications, 1996). Level: Early-Mid Intermediate (D major, 4/4,andante, 3 pp). Lively and gracious dance in ABA form, with written-out repeats. Every phrase beginswith the distinctive half-measure pickup of a gavotte, and all notes are staccato except for the slurs onthe downbeat.Scherzo, ed. Anita Smisek (Alliance Publications, 1996). Level: Early-Mid-Intermediate (A major, 3/4,allegro giocoso, 6 pp). Contrast in articulation and dynamics bring this energetic ternary piece to life.Middle section is in the dominant, and there is skillful use of relative key relationships throughout.Seven Pieces for Children, ed. Anita Smisek (Fish Creek, WI: Alliance Publications, 1996). Level:Early Intermediate. Seven brief characteristic studies: Romance without Words, Children’s Tale, Lullaby,Serenade, two Barcarolles, and a Tyrolienne.



Page 72Forthcoming from Alliance Publications: Priere de Ste Cecilie, piano solo; Three Piano Duets; Ave Maria,voice and piano; and Gavotte for piano 6 hands.SOURCES: Alliance Publications, scoresCOZAD, IreneLate 19th c. AmericanNo information is available about this Kansas City composer, except that she also composed the AffinityRag.ANTHOLOGIES:Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Trebor Jay Tichenor (Dover,1979), and Ragtimes für Klavier, ed. Günter Kaluza (Furore, 1994).Eatin′-Time Rag [1913]. Level: Late Intermediate/Early Advanced. (2/4, C/F major, 4 pp). Four 16-barrepeated sections (ABAC). Written late in the ragtime era, it employs more continuous RH sixteenths, amore complicated stride bass, and more octaves in both hands. An exhilarating piece with an up-temposwing.SOURCES: Hinson, KOM, Tichenor prefaceCZERMAK, Wilma (Wilhelmine)b. Prague, 1845—d.?Concert pianist Wilma Czermak, the daughter of Johannes Czermak, a Prague burger, made her earlystudies in music with Josef Proksch at the acclaimed Piano Teaching Institute, and made extraordinaryprogress in four years. She then studied with the eminent pianist Alexander Dreyschock, making herPrague debut in 1860. In 1863–1864, she concertized in Germany and France to much acclaim, excitingsensation everywhere. A Prague music critic said of her, “Her playing is of an astonishing worth (and)fine grace. Wilhelmine C. lives in tones, therefore her tones live…the strength, the quiet size, theelegant lightness, the storm of passions (are) like the most tender lament of the heart."68 Her editorssaid, “We are pleased to be able to now introduce this interpreter as a composer. Surely not the mostimportant work in the history of music, but worthy of notice.”69SINGLE WORKS:Marche Solennel (Eres Edition, 1992/9). Level: Late Intermediate. (F major, in 4, allegro con fuoco, 4pp). Introduction: eight bars of octaves in



Page 73funeral march rhythm. RH octaves play the theme, a symmetrical double period of arching phrases, overa broken-chord accompaniment. In AABCA form, with contrasting sections in D-flat major: B is morelyric, while C is characterized by wide leaps and LH octaves. A useful octave study for the developingpianist.SOURCES: ScoreDDOBYNS, GeraldineLate 19th c. AmericanNo biographical information is available about this ragtime composer.Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Tichenor (Dover, 1979).Possum Rag [1907]. Level: Late Intermediate. A-flat/D-flat majors, F minor, 2/4, “slow drag,” 5 pp). Arag in five sections, ABACD. “A quintessential example of its type: a ubiquitous style of folk-rag writing”from a publisher with branches in Little Rock, Memphis, and New Orleans who produced “some of themost syncopated, free-wheeling folk rags” in the lower Mississippi valley (score preface). Of specialinterest are the enharmonic temporary modulations and the F-minor Trio.SOURCES: ScoreDUSSEK, Olivia—see BUCKLEY, Olivia DussekDUSSEK, Sophia Giustina(née Corri; later Moralt)b. Edinburgh, May 1, 1775—d. London, 1830 or 184770Singer, harpist, pianist, and composer Sophia Corri Dussek was the daughter of composer/publisherDomenico Corri, who emigrated to England four years before her birth. Her father was her first teacher;others included Luigi Marchesi, Giuseppe Viganoni, and Giambattista Cimador. In 1791, she made asuccessful London debut singing in the Salamon-Haydn concert series, and later appeared as a soloist inthe London premieres of Haydn’s The Storm and



Page 74Mozart’s Requiem.71 She was also a popular performer on harp and piano. In 1792, she married thefamous pianist and composer Jan Ladislav Dussek, fifteen years her senior. They occasionally performedtogether, but their union was marred by indiscretions, if not infidelities, on both parts; rumors stillabound in accounts of their lives. In 1799 or 1800, Dussek fled the country to avoid his financialobligations as partner to Sophia’s father in their failed publishing business, and there is no evidence thatthe couple ever saw one another again. (Olivia Dussek Buckley, their daughter, and Sophia’s sister-in-law, Veronica Dussek Cianchettini, also appear in this volume). After Dussek’s death in 1812, Sophiamarried the violist/composer John Alvis Moralt, and they established a music school in Paddington.Sophia Dussek published a good many works for both harp and piano, including accompanied sonatasfor piano and violin or flute. At present, however, only three pieces are in print: a Sonata for Violin(Flute) and Harpsichord (Piano) edited by Sally Fortino (Hildegard), and the two works below.SINGLE WORKS:Sonata in A Major for Piano or Harpsichord [ca. 1805], ed. Barbara Harbach. (Vivace Press, 1998).Also available ed. Rempel (Hildegard 09806, GKH reprint). Level: Late Intermediate. Two movements,12 pp. Idiomatic and well constructed, a worthwhile addition to late Classic/early Romantic repertoire. I:Allegro (2/4). Sonata form: lively first theme, with some LH crossovers, contrasts with a lyrical “conespressione”; fairly lengthy development. II: Rondo (allegretto, 3/4). Rondo theme, dolce, and two morevirtuosic episodes.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Prefatory essay and two works edited by Ursula Rempel.A Sonatefor the Piano Forte—see Single Works.Three Favorite Airs Arranged for the Harp: Lewie Gordon, Thy Fatal Shafts, and Queen Mary’sLamentation. Level: Late Intermediate. Lewie Gordon (E flat major, 4/4, moderate, 2 pp); Thy FatalShafts (F major, 2/4, andantino, 6 pp); Queen Mary’s Lamentation (E flat major, 3/4, slowly with muchexpression, 5 pp). Lyrical variations of popular Scottish melodies “given a sensitive, unaffected treatmentthat captures the often haunting simplicity of the melodies” (preface).SOURCES: Baker, Boenke, B&T, ClagS, Cohen, Fuller, H&H, Heinrich, Jackson, Laurence, Mac, Meggett,MGG, NewGrove, S&S, Stern, scoresDUSSEK, Veronika—see CIANCHETTINI, Veronika



Page 75EECKHARDT-GRAMATÉ, Sophie-Carmen(var. Gramatté, Friedman-Gramatté; née Sonia de Fridman-Kochevskoy)b. Moscow, Dec 25, 1898/Jan 6, 1899—d. Stuttgart, Dec 2, 1974Eckhardt-Gramatté, a Russian-born Canadian composer, violinist, and pianist, was a child prodigy taughtfirst by her mother (who taught Tolstoy’s children) and then by Nicholas Rubenstein. She begancomposing in Paris at the age of six, studied both violin and piano at the Paris Conservatoire from 1908–1913, and made her debut in Paris, Geneva, and Berlin on both instruments at age eleven. After hermarriage to the German Expressionist painter Walter Gramatté, the couple lived in Spain for two years,where she met Igor Stravinsky and Pablo Casals, who became her mentor. When her husband died in1929, she visited the United States the invitation of Leopold Stokowski, performing both her Piano andViolin Concertos with the Philadelphia and Chicago Symphonies. She then gave up her performing careerto devote herself to composition. In 1934, she married Ferdinand Eckhardt, an art historian. From 1939–1954, they lived in Vienna, where she co-founded the Viennese chapter of the International Society ofContemporary Music, and received an Austrian State Prize for composition. From 1954 on, they lived inWinnepeg, Canada, where she was awarded an honorary doctorate in 1970 from Brandon University(Manitoba), and became the first Canadian composer to receive the Diplôme d’honneur from theCanadian Conference of the Arts. She initiated the planning that led to the Eckhardt-Gramatté NationalCompetition for the Performance of Canadian music, first held in 1976 as a memorial to her after heraccidental death in 1974. Her compositions include orchestral and chamber music as well as works forthe piano. Largely a self-taught composer, Eckhardt-Gramatté developed an eclectic and unique style.Because of her great admiration for Bach, she used an individualistic contrapuntal idiom. She alsoexperimented with bi-tonality, neo-classicism, jazz idioms, and quartal structures, but remainedessentially a Romantic.COLLECTIONS:6 Caprices ed. Megumi Masaki (Brandon University School of Music Press, 1996; Hildegard 02021).Level: Early Advanced/Advanced. Six impressionistic, highly individual tone poems composed between1931 and 1948. Tonal and rhythmic complexities and some virtuosic figuration, with mood and characterof overriding importance.Caprice No. 1. “Portrait F.E.” (G major, 5/4, aisé [easily, comfortably], 7 pp). A portrait of FerdinandEckhardt (her future second husband),



Page 76composed in appreciation after he catalogued her late first husband’s art works. In ABA form, based ona childhood piece. The melodious and graceful opening theme contrasts with a more intense, fuller-textured middle section.Caprice No. 2. Nocturne “Gute Ruh” [Rest well], (E minor, in 4, lento/molto espressivo, 10 pp). Afantasy based on the brief motif heard at the end of the work, “Gute Ruh, mein Junge,” which thecomposer and her husband sang to each other every night. Fleeting figures alternate with longer,sustained sounds, like impressions flitting through one’s mind while falling asleep (preface).Caprice No. 3. “Aufschrei” [Outcry]. (B-flat minor, 3/4, moderate con molto expressione, 7 pp). Basedon a graphic portrayal by her first husband of the horrors of a person facing death. The harsh scream ispainted in tritones, jarring chromaticisms, loud dynamics, alternating between two tempi.Caprice No. 4. “Wohin?” [Where to?] (B major, 6/4, frei und gelassen [freely and unhurried], 10 pp).Questions formed of rising thirds are given incomplete, directionless answers, but the work finishescalmly and decisively in B major.Caprice No. 5. Meeresmuschel (Nocturne) [Sea Clams]. (B major, common time, nicht zu langsam, 9pp). In the composer’s words, “a beautiful aquarium water-colour…a present from heaven…but not forthis world” (preface). Textual references to sights in the Berlin aquarium appear throughout the score.Soft layers of colors blend in broad, free gestures.Caprice No. 6. Klavierstück-Auf ein Stuck meiner Kindheit [From a piece of my childhood]. (G major,4/4, gemässigt [moderately], 9 pp). A reworking of Letter “S”, a self-portrait composed at age six.Warm, happy, energetic, and elegant.“From My Childhood,” 14 Alphabet Pieces, Volume 1, ed. Lome Watson (Waterloo MusicCompany, 1980). Level: Early Intermediate to Early Advanced. Fourteen lyric miniatures, 1–3 pp. long,written when the composer was 6–10 years old. The set encompasses a variety of styles, from Romanticcharacter pieces to portraits of admired composers, Parisian salon music, and Impressionism. Theyreflect the child’s sophistication, phenomenal technique and large hands, as well as the influences ofmusic she was learning. Fingerings and pedaling are included in this edition.A. Level: Mid-Intermediate. (E-flat major, in 4, peacefully and smoothly). Sweet, narrow-range repetitivemelody over an alternating bass.B. Level: Mid-Intermediate. (E-flat major, 3/4, andante). A 24-measure song in hymn texture, repeatedwith melodic ornamentation.C. Level: Early Intermediate. (C major, 2/4, light and lively). Dancelike staccato and short slurredphrases; perhaps a pas de bourrée or a pas de chat, with little crossing steps.



Page 77E. Level: Mid-Intermediate. (C minor, 2/4, very fast). Hands are moving in parallel sixths in a rattlingsixteenth note figuration, reminding one strongly of Bach’s Prelude II in C minor.M. Level: Late Intermediate. (E-flat major, cut time, lively but very lightly). Triplets and staccatooctaves hop up the scale to land heavily on a dominant chord; an energetic dance with leaps and runs,with a lyric middle section.H. Level: Mid-Intermediate. (A-flat major, common time, in a singing style). Hymn texture supports aserene, pavane-like melody with suspensions and written-out ornaments in the style of Handel.F: Fugue. Level: Mid-Intermediate. (F major, common time, allegro ma non troppo). Not a fugue, oreven imitative, this is more accurately a chase in two-voice texture, with running eighth notes passedfrom hand to hand.R. Level: Late Intermediate. (F major, 2/4, quick and light). Flirtatious salon style, with many gracenotes and contrasts in dynamics and articulation, a spare texture, and some chromatic cadenza-likepassages.P: Poissard [Fisherwoman]. Level: Mid-Intermediate. (B-flat major, 4/4, animato) One can almost hearthe vendor’s call in this broad, good-natured tune based on repeated sixths and fifths.D. Level: Mid-Intermediate. (B-flat major, common time, moderate). Contrasting articulations, echoedeighth note patterns and ornaments suggest the 18th century.S: Sonia. Level: Mid/Late Intermediate. (G major, 2/4, vivo). Sonia’s self-portrait: swift 16th note scalesand arpeggios in an early-Romantic texture. The broken-chord figuration in the left hand requires agood stretch and facility at thumb-passing.V: Valse Chromatique. Level: Late Intermediate/Early Advanced. (D major, 3/8, zefiroso [light as abreeze]). Chromatic 16th note scales ripple up and down the keyboard, accompanied by a skeletalbroken-chord bass. LH has several chromatic passages of its own.Y: Etude. Level: Late Intermediate/Early Advanced. (E major, 3/4, allegretto). Extensive use of thewhole-tone scale; graceful 16th note sextuplets in an airy two-voice texture.Z: Ziganka. Level: Early/Mid-Intermediate. (D major, 6/8, molto moderato). A gently rocking pastoraleusing borrowed chords for an exotic “gypsy” effect.Introduction and Variations on a Theme from my Childhood. Level: Early Advanced. (C major, in4, resolute ed energico, 37 pp). Theme (prelude), 14 variations, and a fugue. The work divides intothree sections: 1) an opening chorale prelude on the first seven notes of the theme, 2) theme and sevenuntitled variations, 3) seven titled variations, which are self-descriptive character pieces. Var. 2 suggestsa classical etude; nos 3 and 4 imitate Baroque inventions; and nos 6 and 7 explore newer sonorities.Var. 8, “Flowers on a Grave,” is nearly ¼ of the work, and a Bach-like fugue is inserted betweenvariations 11 and 12.



Page 78Sonata Vol. II, 4, 5, and 6, ed. Marc-André Hamelin (Hildegard, forthcoming).LISTED but not found in print: Klavierstück (Sonata No. 5, International Gesellschaft für Neue Musik),and Suite for Piano No. 1 (Sonata C, Simrock), cited in Hinson’s Guide, 3rd edition. “From MyChildhood,” Character Pieces, Volume II (Waterloo Music).SOURCES: A-Z, Baker, Boenke, Cohen, Faurot, FRK, Gordon, Grove, H&H, Heinrich, Hinson, Johnson,Mac, Meggett, S&S, Stern, scoreEDELMANN, MademoiselleStrasbourg and Paris, late 18th centuryLittle information is available about this Alsatian composer. She was the sister of Johann Friederich(Jean-Frederic) Edelmann, a renowned harpsichordist, composer, and teacher who is credited withhelping to make the piano fashionable in Paris, and who went to the guillotine for the Jacobin cause.72Mlle Edelmann wrote several sonatas for clavecin which printed in collections with works by othercomposers, including her famous brother.SINGLE WORKS:Clavier Sonata in G major [ca. 1787] (Editions Ars Femina, EAF 40-03, 1996). Level: Mid-Intermediate. Three movements, 11 pp. Stock figurations, pedestrian thematic material, nodevelopment. Score is unnecessarily difficult to read, with unconnected bass/treble staves, sixsystems/page. I: Grazioso (G major, common time). A pleasant, graceful rondo (ABACA) with 2ndepisode in the relative minor. II: Minuetto con variazioni (C major, 3/4). Rounded binary theme, fourvariations. 1st var.: RH plays interrupted 16ths over unchanged bass. 2nd var.: RH block chords, rattling16ths in LH. 3rd var.: chromatic scale passages passed between hands. 4th var.: Music box effect withAlberti bass, running 16th notes in treble. III: Rondo (C major, 2/4). Actually in ternary form with B inthe parallel minor.COLLECTIONS:Eighteenth Century French and English Music for the Harpsichord, ed. Martha Secrest Asti(Hildegard, 1998).Sonata II in G major (from III Sonatas pour le Clavecin avec accompagnement d’un Violin, ad Libitum,c. 1783–1786). Level: Late Intermediate. Four movements, 10 pp. More sophisticated themes andfigurations than the Sonata above. I: Allegro ingenüement [candid, artless] (G major, cut time).Rudimentary sonata-allego form: two themes, a brief development, no recapitulation. II: Moderement (Dmajor, in 4). Sonata-allegro form with an elegant first theme. Duplets in RH vs. continuous LH triplets.III: Romance (G major, 2/4). Ternary form



Page 79with repeats; first section is in rounded binary form, the second in parallel minor. IV: Menuet (G major,3/4). Two contrasting minuets, each in binary form with repeats, played da capo.LISTED but not found in print: One sonata in Trois Sonatas pour le Clavecin ou Piano-Forte, composespar Mademoiselle Edelman, Monsieur Dardonau & Monsieur Pin, ed. R.Raspé in Series IV: Series inCollaboration with the Brussels Royal Conservatory of Music (Peer, Belgium: Alamire, 1992), cited inBarbara Jackson’s Guide to Surviving Music.73SOURCES: Baker, Eitner, grovemusic, Jackson, scores; poss. Cohen and H&H, as “Mme Edelmann, wifeof J.F.”FFARRENC, (Jeanne-) Louise(née Dumont)b. Paris, May 31, 1804—d. Paris, Sep 15, 1875Pianist, composer, and scholar Louise Farrenc, born into a family of royal artists, was the sister ofsculptor Auguste Dumont. Early piano studies were with Moscheles and Hummel, and in 1819, Farrencentered the Paris Conservatory, where she studied with Anton Reicha for six years, interrupting herstudies for concert tours. From 1842, she held the appointment of Professor of Piano at theConservatory for over thirty years, the only woman so honored. Besides being a greatly revered teacher,Farrenc, like her contemporary Fanny Hensel, was a prolific composer. Her compositions, which werewidely performed, reviewed, and published in her lifetime, included symphonic overtures, symphonies,and chamber music. In 1861, she became the first winner of the Prix Chartier Académie des Beaux-Artsfor chamber music, which she won again in 1869; later prize winners included Lalo, Franck, and Fauré.Also in 1861, she and her scholar husband Aristide Farrenc began compiling a massive anthology ofearly keyboard music. Her husband died in 1865, but Louise Farrenc continued the work. Nine yearslater, she published the twenty-three-volume Le Trésor des Pianistes, described by Maurice Hinson as“the most complete collection of keyboard music ever assembled.”74 Farrenc’s own compositions arerooted in Classical forms and genres, but with the harmonic language and musical expression of 19thcentury Paris. In her piano music, largely composed between 1825 and 1839 and published by herhusband’s firm, the piano virtuoso, the salon, the symphony hall, and grand opera can all be



Page 80found. Of Farrenc’s fifty-one numbered works, thirty-two are for solo piano, with variation sets formingthe largest segment. Her other keyboard works include four books of études, some pedagogical pieces,and fantasies or rondos on popular themes of the day. Her ambitious studies, Trente études dans tousles tons majeurs et mineurs, Op. 26, enjoyed critical and popular success, and were adopted asrequired study in several European conservatories.75SINGLE WORKS:Air Russc Varié pour le Piano-Forte Op. 17 [1835], ed. Gena Raps (Hildegard; repr. GKH). Level:Late Intermediate/Early Advanced. (G minor, 3/4-2/4-12/8, 13 pp). Prelude, Theme, eight variations,and a Finale, praised by Robert Schumann as succinct and charming studies (preface). This is a skillful,idiomatic, and wonderfully graceful example of early Romantic variation techniques.Twelve Etudes of Dexterity Op. 41, ed. Gena Raps (Hildegard, forthcoming).ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990) and Frauen Komponieren, ed.Rieger/Walter (Schott, 1992).Impromptu. Level: Mid-Intermediate. (B minor, 3/8, moderate, 2 pp). Attractive contrapuntal work likean invention, in rounded binary form with second section twice as long as the first. Continuous 16thnotes wander sadly upward as the soprano melody drifts down. In the second part, the mode changesto the relative major, and the texture turns into two duets: soprano and bass emphasize the triplemeter, as alto and tenor continue the 16th note pattern.Native and Foreign Virtuosos: Selected Works of Zimmerman, Alkan, Franck, andContemporaries, Vol. 10 of series Piano Music of the Parisian Virtuosos 1810–1860, ed. J.Kallberg(Garland, 1993). Includes the Opus 9 rondo-variations on a Bellini theme and three rondos, possiblyfrom Opus 21 Les jours heureux, quatre rondinos sur les themes favor its (Four Rondinos), published ca.1837.76 Probably part of a teaching series of teaching pieces, as title pages include the phrase“Encouragement aux Jeunes Pianistes.” Excellent short works for the intermediate student, interestingand challenging.Rondeau sur un Choeur du Pirate, de Bellini Op. 9. Level: Late Intermediate/Early Advanced. (Gmajor/minor, common time-6/8, allegro moderate, 9 pp). Based on the Pirate’s Chorus from an opera byBellini. One-page introduction in 4 is followed by a sparkling rondo with variations.Rondino Pastoral, No. 10. Level: Early Intermediate. (F major, 6/8, allegretto grazioso, 3 pp). Astrummed bass accompanies the peaceful, songlike melody, with a miniature cadenza bringing thetheme back for its final appearance.Rondino Savoyard, No. 11. Level: Mid-Intermediate. (A minor, 2/4, allegretto, 3 pp). An energetichornpipe, with emphatic thudding downbeats and



Page 81staccato hops on the upbeats. Sixteenth note scales and broken chord patterns provide some light-fingered work for the right hand. In ternary form rather than being a true rondo, the dance has a song-like middle section in A major.Rondino-Walse (sic), No. 12. Level: Mid-Intermediate. (C major, 3/8, moderate, 3 pp). Not a sweepingViennese waltz, this is more decorous and minuet-like. Music-box effect, with small, gracious steps andrepeated 16th note patterns, echoed in higher registers.Women Composers: Music Through the Ages, Vol. 6, series, eds. Glickman and Schleifer (G.K.Hall,1999). Air Russe Varié pour le Piano-Forte, ed. Gena Raps. See Single Works.SOURCES: A-Z, Baker, Boenke, B&T, Cohen, Dubal, Elson, Fetis, FRK, Grove, HAMW, H&H, Hinson,Jezic, Johnson, Kirby, KOM, Laurence, Mac, Meggett, Pendle, SCB, S&S, Stern, scoresFREER, Janefl. London, 1770sNo information is available about this composer other than the few facts appearing on the title page ofthe sonatas included here, affirming their authorship by Jane Freer of the Foundling Hospital in London,printed and sold by Preston, at warehouses in the Strand. From the dedicatory paragraph, it appearsFreer was raised in the Foundling Hospital from infancy, and that she was completely blind. Freerexpressed her gratitude for having been given instruction in music, at which she was able to make herliving.COLLECTIONS:Six Sonatas for Piano or Harpsichord, ed. Barbara Harbach (Vivace Press, 1994). Level: LateIntermediate. Six three-movement sonatas in G, F E. E-flat, D, and C majors, ranging from 8–16 pp inlength. Competent examples of the transition from harpsichord to piano, comparable toearly works of Haydn and Clementi. Formal pattern of fast-slow-fast, with 1st and 2nd movements in avariety of forms; lyric 2nd movements; 3rd movements are rondos with one episode in a contrastingmode. Standard style traits of the period: two-voice continuous 16th note texture in fast movements;triadic and scalar melodies, sequential development; Alberti, tremolo octave, broken chord and arpeggiobasses. Harmonies include temporary modulations, diminished chords, and deceptive cadences. This is abeautifully clear Urtext edition with a helpful ornament chart.SOURCES: Hinson, score



Page 82FROMM-MICHAELS, Useb. Hamburg, Dec 30, 1888—d. Detmold, Germany, Jan 22, 1986Virtuoso pianist and composer Use Fromm-Michaels studied piano with Bender and Van Eyken at theBerlin Hochschule für Musik, then later with Kwast and Friedberg at the Stern Conservatory. At theCologne Conservatory, she studied composition with Hans Pfitzner and Fritz Steinbach. A passionatelover of the music of Mozart, she composed over twenty cadenzas for his concertos. Fromm-Michaelswas a champion of contemporary music, and at age eighteen was one of the first to play Max Reger’sVariations and Fugue on a Theme of Bach. She performed as a soloist under Nikisch, Furtwängler, andSchoenberg, but her work was circumscribed by Nazi rule because her husband was Jewish. After WorldWar II and the death of her husband in 1946, she taught piano at the Hamburg Hochschule für Musikuntil 1959. Her compositions include a symphony, chamber and vocal music, and piano pieces.Stylistically, they are eclectic and post-Romantic, displaying the influence of Brahms, Richard Strauss,and Dvorak in their use of the modes and dance forms of central European folk music, as well as someof the tonal experimentation of the 20th century.SINGLE WORKS:“Vier Puppen” (Vier kleine Stücke für Klavier zu zwei Händen) Op. 4 (Ries & Erler, 1994).Level: Mid-Intermediate. Four miniature “doll sketches”: Der Holzsoldat [wooden soldier], DerHampelmann [puppet], Das Puppenmädchen [girl doll], and Der Harliken [clown]. Rounded binaryforms, easy keys, 2 pp. each. Simpler in texture and harmony than the Opus 5 group (below), withshort, repetitive melodies and characteristic rhythms, but requiring considerable control in contrastingarticulations. The late Romantic harmonic language includes secondary dominants, borrowed notes andchords, some chromaticism, and a preference for open fifths.Acht Skizzen Op. 5 (Ries & Erler, 1990). Level: Mid-Intermediate. Eight 1-pp. sketches, not connectedby a common theme but with many similarities to each other: five are in minor keys, all are in simplesong form, and all push the boundaries of tonality. Triplet figures, octaves, and arched forms arepresent in each; the style is late Romantic, with Brahmsian textures.No. I (B minor/D major, 3/4, sostenuto). A surging, romantic melody moves through shifting tonalities.No. II. (G minor, 2/4, animate). RH octaves are accompanied by broken-chord triplets in changingmeters; meter could have been 6/8.No. III. (C minor, 3/4, tempo energico). A sweep of ascending chromatic octaves in RH is supported bybass octaves and chords.No. IV. (C major, 6/8, lento). Low chords in close four-part harmony pulsate under brief dissonantphrases.



Page 83No. V. (E minor, common time, moderate). A lyric, arching melody is urged forward by chords on theoff-beat.No. VI. (A major, 3/4, moderato). Inner voices in thirds and sixths descend the scale between staticsoprano and bass lines.No. VII. (B minor, common time, allegro moderato). Contrasting staccatos and slurs and achromatically-descending alto line lend a playful feeling to this piece.No. VIII. (G major, 3/4, sostenuto: espress la Melodia). In three-voice texture, soprano and tenor sing aduet over a bass pedal reiterated on off-beats.Senate Op. 6 (Ries & Erler, n.d.). Level: Advanced. Three movements, 26 pp. A strong, impressivework, idiomatic and well constructed. I: Markig [vigorous] (C major, 4/4). Sonata-allegro form, with twostrongly contrasting themes and a full development section. Passionate unison octaves and full chordscontrast with a dreamy intermezzo. II: Sehr langsam; frei im Zeitmass [very slowly; free in tempo] (Cminor, 3/4). The central motif, a rhythmic cell of a 32nd note followed by a dotted eighth, contrasts withtriplets echoing the first movement. III: Lebhaft, aber nicht schnell [lively but not fast] (F minor, 2/4). Ahaunting, insistent theme, treated rhapsodically.Walzerreigen Op. 7 (Ries & Erler n.d.). Level: Late Intermediate/Early Advanced. (Various keys andtempi, 13 pp). A delightful waltz in five distinct but continuous sections, full of middle-European modesand Brahmsian figurations. Many contrasts in harmonic colors, mood, and movement, using the wholerange of the keyboard. 1. Gemächlich; sehr launisch im Zeitmass [comfortable, very wayward in tempo].A sweet melody, changing key every four bars or so, with delicate articulations and grace notes. 2.Ruhig und tonvoll [calm and melodious]. Lyric, legato. 3. Wild, aber nicht zu schnell [passionate, but nottoo fast]. The centerpiece of the work, 4 pp. long; Brahmsian. 4. Ruhig, nicht zu langsam [calm, not tooslowly]. Full but gentle chords in quarter and half notes. 5. Erst leise und zurückhaltend, dann immerausgelassener [first softly, holding back; then always exuberant]. A boisterous German Ländler.Variations über ein eigenes Thema Op. 8 (Ries & Erler, n.d.). Level: Advanced. Theme and sevendifficult variations. Meters, tempi, key signatures, and figurations change throughout.ANTHOLOGIES:Frauen Komponieren, ed. Rieger/Walter (Schott, 1992).Langsamer Waltz. Level: Late Intermediate. (A minor/major, 3/4, 3 pp). An eerie little piece with twoalternating themes. Both tender and aloof, with chromaticism, descending scales, dotted-note figures,and waltz rhythms. The A major middle section, played high in the treble register, has a music-boxnaïvete that is curiously tonal after the



Page 84opening dissonances. An evocative and well-crafted work, bringing to mind a darkened stage with alonely clown revolving in the spotlight.SOURCES: A-Z, Boenke, Cohen, FRK, H&H, Johnson, KOM, Mac, Meggett, MGG, Pendle, S&S, SCB,Sperber, Stern, scoresFUGLSANG-VISCONTI, Useb. Hadersleben, Denmark, May 31, 1895—d.?A Danish composer from a musical family, Fuglsang-Visconti first studied piano with A. Huth, and at theage of twenty was admitted to the Musikstudium am Königlichen Württembergischen Konservatorium inStuttgart. There, her teacher was Max von Pauer, the pianist and head of the Conservatory, who alsodiscovered her talent as a composer. Later composition teachers were J.Haas and E.Strasser. In 1927,she married G. Visconti and traveled with him to Austria. In the confusion of WW II, many of hercompositions were lost. After the war, in 1949, she and her family moved to Brazil and built a new life,and in 1964 she returned to Haderslev (Hadersleben’s name since 1920), where she still lives today.From 1915 until her sixtieth year, Fuglsang-Visconti composed well over a hundred songs, piano suitesand variations, and pieces for violin and cello. In 1986, she first experienced the world premiere of hersongs by the Krefelder contralto Lore Sladek, as well as the production of her first and only recording.77SINGLE WORKS:Variationen über ein Volkslied, “Ade nun zur guten Nacht” (Tischer & Jagenberg, n.d.). Level:Late Intermediate. (B-flat major, common time, 8 pp). A twelve-bar theme formed from a lovely oldGerman folk song, with eleven brief, well-constructed variations. Strongly reminiscent of Brahms, it is anidiomatic and enjoyable example of the genre.Var. 1. L’istesso tempo. The bass walks down the scale under the soprano melody, with inner voiceschiming in between the beats.Var. 2. Kräftig markiert [strongly marked]. Bass octaves boom below the melody harmonized in doubletriads.Var. 3. Langsam und zart [slow and sweet]. A chorale in B-flat minor, with ties and suspensions.Var. 4. Rasch und flüchtig [quick and fleeting]. (B-flat minor, 4/8). RH melody in eighth note pairs overoff-beat grace-noted chords.Var. 5. Singend [singingly]. (B-flat major, 3/4). A song without words. Duet between soprano and bass,accompanied by downward-strummed chords in the inner voices. Interesting modulations.Var. 6. Sehr langsam und leise [very slow and soft]. An intermezzo, with tenor melody, sopranocountermelody, and wide, sustained chords; chromatic passing tones add extra color.



Page 85Var. 7. Lebhaft, mit Humor [lively, with humor]. Dramatic contrasts in texture and articulation, wide bassleaps.Var. 8. Rasch und bestimmt [brisk and determined]. Arpeggiated texture in eighth note triplets.Var. 9. Etwas langsamer, aber lebhaft und kräftig [somewhat slower, but lively and strong]. Strongrhythmic motive in the bass drives the theme forward.Var. 10. Ruhig [calmly]. Sustained chords with some chromaticism, over a reiterated bass pedal. Beginsin E-flat, changes to F-sharp major, then leads enharmonically to the final variation.Var. 11. Kraftvoll [powerfully]. Triumphant beginning with strong doubled chords and bass octaves. Themusic grows calmer in the second half, fading into a pianissimo at the end.SOURCES: A-Z, FRK, MacGGAINSBORG, Lolita Cabrerab. White Plains, New York, 1895/6—d. Danville, New Jersey, May 23, 1981Little information is available concerning Lolita Gainsborg. A daughter of Bolivian parents, Gainsborgstudied in New York with the American pianist Edward Morris Bowman, who used the William Masonmethod in his teaching. At fourteen, Gainsborg made her New York debut in Mendelssohn Hall. After1924, she was a featured pianist on the NBC radio network, and she continued to concertize until hermarriage.SINGLE WORKS:Lullaby for the Right Hand Alone (Boston Music Company, 1928). Level: Late Intermediate. (D-flatmajor, 4/4, andante con moto, 3 pp). An amiable theme, reminiscent of “There’s No Place Like Home,”is played in thirds and block chords and supported by a broken-chord bass. Primary chords, balancedphrases, and simple song form prevail. A pleasant exercise in voicing, reading, fingering, and generalmusicianship for the right hand.SOURCES: Cohen, H&H, Kehler, Meggett



Page 86GAMBARINI, Elisabetta de(var. Mrs. Chazal, De Gambarini)b. London, Sep 7, 1731—d. London, Feb9, 1765Soprano, keyboardist, conductor and composer Elisabetta de Gambarini was the daughter of CharlesGambarini, Italian counselor to the Landgrave of Hessen-Kassel. Her mother was a music teacher to thechildren of noblemen. Elisabetta sang in many Handel oratorios, including Judas Maccabeus, Samson,and Messiah, and she may have been a student of Geminiani, and perhaps also a painter. Near the endof her short life, she married a Mr. Chazal. Her compositions include chamber music and manyovertures. Her three volumes of published works (ca. 1748–50) include a set of six harpsichord lessons,a mixed collection of songs and keyboard pieces, and a group of twelve English and Italian songs.SINGLE WORKS:Six Sonatas for Harpsichord or Piano Op. I [1748], ed. Barbara Harbach (Vivace Press, 1994).Level: Mid-Intermediate. Six three-movement sonatas, in G, D, F, G, C majors, D minor, each 3–4 pp.long. Pleasant, tuneful examples of the late Baroque/early Classical period in the style of D.Scarlatti,Handel, and J.C.Bach. Two voice-textures, continuous sixteenth notes, primary chords, triadic and scalarmelodies, infrequent ornaments. 1st movements: quick binary dances in duple meters. 2nd movements:contrasting keys, lyric and slower. Two Sicilianas, an Adagio, a March, and a Minuet. 3rd movements:gigue types in 12/8 or 6/8. This Urtext edition is beautifully spaced and easy to read, with no addedmarkings; an ornament chart is included.COLLECTIONS:Lessons for Harpsichord Op. I and Op. II, ed. Martha Asti (Hildegard, 1995).Opus I: Six Sets of Lessons for the Harpsichord. See Six Sonatas.Lessons for the Harpsichord Opus II [ca. 1748]. Level: Mid-Intermediate. Eight lessons, in B-flat, F, A,G, and D majors and G minor, each 2–4 pp. long. Similar to Opus I, but shorter and easier. Two sets oftheme and variations: a Gavotte based on a popular aria, and a Minuet. Six one-movement “lessons” inbinary dance forms: Allegro, Andante, Tambourin, Caraglion, and two Gigas. The gigues are particularlyenergetic and playful.ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990). Gigue and Tambourin fromLessons for the Harpsichord Op. II.Eighteenth Century Women Composers for the Harpsichord or Piano, Vol. I, ed. Harbach(Vivace Press, 1992). Lessons for the Harpsichord Opus II: Aria, Gavotte and Variations, and Gigue. Inthis edition, the



Page 87editor thoughtfully includes the original aria (“Love, Go and Calm Thy Sighs”) with text and vocal slurs,to aid the performer in phrasing.Women Composers for the Harpsichord, ed. Harbach, (Elkan-Vogel/Presser, 1986). Lessons for theHarpsichord Op. II: Minuet, Tambourin, and Allegro.Women Composers: Music through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Six Sets of Lessons for the Harpsichord Op. 1, Sonata I.SOURCES: Cohen, Eitner, Grove, H&H, Heinrich, Hinson, Jackson, KOM, Laurence, Mac, Meggett, S&S,Stern, scoresGAYNOR, Jessie Love(var. Lovel; née Smith)b. Feb 17, 1863, St. Louis—d. Feb 20, 1921, Webster Groves, MissouriJessie Gaynor, a pianist and teacher from St. Louis, was widely known in the early part of the twentiethcentury for her children’s songs. “In this juvenile vein she has no equal among American women…(theyare) more developed than one would expect to find in juvenile compositions…all poetic.”78 In 1881,Gaynor graduated from Pritchett College and went to Boston to study with the eminent composer, LouisMaas; other teachers were Cady, Weidig, A.J. Goodrich and Frederick Grant Gleason. Gaynor taught inChicago, St. Joseph, Missouri, and St. Louis, and composed popular songs, such as The Slumber Boatand Thanksgiving Song, song collections and operettas for children (Songs of the Child’s World, TheHouse That Jack Built), about fifty sacred and secular songs for adults, and a number of vocalquartets.79 For the piano, Gaynor wrote etudes, a waltz for four hands, a Reverie (also arranged fororgan), and many teaching pieces. Pedagogically ahead of her time, she insisted on teaching ear trainingand theory to beginners, her motto being “the thing before the sign.” Her daughter, Dorothy GaynorBlake, said she had “a vivid personality with a great love of children, a persistent and contagiousoptimism and a big capacity for work.”80SINGLE WORKS:The Guitar Serenade (John Church/Presser, 1914). Level: Late Elementary. (C major, 4/8, 2 pp). Astepwise LH melody is accompanied by “plucked” double notes in the treble. A passable first etude, with16th notes, dynamic contrasts, and different simultaneous articulations; shifting tonalities provide a bitof interest.March of the Wee Folk (John Church/Presser, 1914). Level: Elementary. (C major, 2 pp). A teachingpiece with some contrasts in dynamics, articulation, and register.



Page 88SOURCES: Ammer, ClagS, Cohen, Elson, Grove, H&H, Heinrich, Krohn, Laurence, SternGIBLIN, Ireneb. St. Louis, Missouri, 1888—d. 1974The young Irene Giblin was a salesperson and song plugger-pianist who showcased new sheet music ina large St. Louis department store. Inspired by the energetic sounds of “ragging,” she created nine ragsof her own between 1905 and 1913. Although Giblin quit composing after her marriage, her family saidshe never stopped playing the piano, and always loved ragtime music.ANTHOLOGIES:Ragtime Rediscoveries: 64 Works from the Golden Era of Rag, sel. and intro. Trebor JayTichenor (Dover, 1979), and Ragtimes für Klavier, ed. Kaluza (Furore, 1994).Chicken Chowder (Characteristic Two Step). Level: Late Intermediate. (F major, 2/4,4 pp). Giblin’s firstpopular hit, recorded for Columbia by a string group on an early 78 rpm. Notable for its two-measurechromatic scales, it has a rondo-like form: Intro-ABA-interlude-CA. The A and C strains are near-inversions of each other, and B and C sections are in the subdominant.Women Composers of Ragtime, comp. Lindeman (Presser, 1985).Sleepy Lou: A Raggy Two-Step [1906]. Level: Late Intermediate. (E-flat major, 2/4, slow and drag, 4pp). Featuring Giblin’s distinctive chromatic melodies, the form for this rag is AABACB, all in the tonickey. In A, an ascending sixteenth note scale in both hands is answered by a slower dotted-note figure,creating a call-and-response effect. The rag ends, unusually, with a return to the B theme. Not difficult,except for the nearly continuous RH octaves.SOURCES: B&NB, Hinson, KOM, scoresGILES, ImogeneLate 19th c. AmericanNo biographical information is available for this ragtime composer. It seems likely that the rag belowwas published by relatives.ANTHOLOGIES:Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Tichenor (Dover, 1979) andRagtimes für Klavier, ed. Kaluza (Furore, 1994).



Page 89Red Peppers (Two Step) [1907]. Level: Late Intermediate. C/F major/D minor, 2/4, moderate tempo, 4pp. In two halves, the work is constructed in typical 16-bar strains with repeats: A B and Trio: C D C.The Trio has its own 4-bar intro. Giles Bros, one of many small-town publishers in the Midwest,published this “local rag of rare sensitivity and musicianship” (preface).SOURCES: B&NB, Hinson, KOM, scoresGNESINA, Helena Fabianovna(var. Gnessine/Gnessin, Eléna/Yelena)b. Rostov-on-the-Don, Russia, May 31, 1874—d. Moscow, Jun 4, 1967Helena Gnesina, a Soviet composer, pianist, and professor, studied piano with Safanov, Langer,Schletzer, and Ferrucio Busoni, graduating from the Moscow Conservatory in 1893 with a silver medal. Amember of an extremely musical family, she was the sister of composer Mihail Gnesina, and in 1895 sheand her two sisters founded a music school in Moscow. The state took over the school after theRevolution, but Gnesina remained director until 1953. A deputy of the Moscow City Council for eightyears, she received a number of awards: Artist of the Russian Soviet Federated Socialist Republic (1925,1935), the Order of the Red Banner for Laborers (1937), and the Order of Lenin, in 1945. Her works, allfor piano, comprise several sets of miniatures, methods books, preparatory technical exercises, andteaching pieces, found in many collections.SINGLE WORKS:Little Studies for Beginners, ed. Stanislawa Raube (PWM Edition, 1996). Level: Mid-Elementary/EarlyIntermediate. Twenty-three progressive studies, each only 1–2 lines long. Twelve studies are in close-position treble clef, and all but seven are in C major, using only two and three-voice textures. Beginningwith quarter-note five-finger patterns and open fifths, they progress to wider-ranging melodies witheighth and sixteenth notes. Staccatos, slurs, imitative passages, parallel and contrary motion; basicmeters, tempos, and dynamic markings.ANTHOLOGIES:Children’s Piano Pieces by Soviet Composers (Leeds. Music, 1946). Etude. Level: EarlyIntermediate. (A major, 3/4, Allegro cantabile, 2 pp). A pleasantly old-fashioned miniature waltz internary form. In the graceful first theme, a wide upward skip is followed by a step down to a longappogiatura. Primary harmonies are the rule, with the center section in the subdominant; dynamics,fingering, and articulation are carefully marked.Russian Music for the Young Pianist, Book 5, ed. Poldi Zeitlin and David Goldberger (MCA Music,1969).



Page 90March. Level: Mid-Intermediate (G major, 4/4, tempo di marcia, 2 pp). Lively snare drum cadences andaccents. Each phrase begins with a flourish of ascending 32nd notes. Hands are close together in thetreble clef and the center of keyboard most of the time.Many teaching pieces by Gnesina appear in the series Listen to Yourself, comp. Alfred Mirovitch (Leeds.Music), and 20th Century Piano Music, comp. Bernice Frost (J.Fischer & Bro.).SOURCES: Butler, Cohen, H&H, Hinson, KOM, Meggett, MGGGOODWIN, Anna Gardnerb. America, October 1874—d. after 1900Little is known about this African-American composer. According to the 1900 U.S. Census, she was aresident of Augusta, Georgia, the black wife of George Goodwin, a clergyman, and mother of a four-year-old son, George Jr. Three of her works published in Georgia are located in the Library of Congress,including the march below commemorating the Cuban struggle for independence from Spain.81ANTHOLOGIES:Black Women Composers: A Century of Piano Music (1893–1990), ed. Helen Walker-Hill(Hildegard, 1992).Cuba Libre: Cuban Liberty March (1897). Level: Mid-Intermediate. (B-flat/E-flat/D-flat/A-flat majors, in4, 3 pp). ABCA form, with two contrasting eight-bar themes in each section. One can practically hear thehorns and cymbals in this boisterous, Sousa-like march. Abrupt dynamic contrasts, occasional octavesand sixths, and wide bass leaps imitate changes in instrumentation as the piece moves from strain tostrain.SOURCES: H&H, KOM, Walker-Hill, scoreGOTTSCHALK, Clara—see PETERSON, Clara GottschalkGRAMATTE, Sonja—see ECKHARDT- GRAMATTE, Sophie



Page 91GUEST, Jane Mary(var. Mrs. Miles; Jeanne Marie, Jean Mary)b. Bath, England, ca. 1762—d. Blackheath, Mar 20, 1846Jane Guest, an English pianist and composer, was a child prodigy who performed in public concertsbefore she was six years old. She first studied with her father Ralph Guest, a prominent organist andcomposer, and later with J.C. Bach in London, where she was a popular performer. Listeners praised thebrilliance and expressiveness of her playing. She married Abram Allen Miles in 1789, thereafterpublishing her works as “Mrs. Miles.” Unlike many women of her time, she continued to perform andcompose after her marriage, and her career spanned nearly sixty years. Guest attracted the support ofroyalty, including George 111, and she was music instructor to Princesses Amalie and Charlotte,daughters of the Prince of Wales. Her extant works include two dozen keyboard and vocal pieces, andillustrate the changes in style during her life. In 1793, she published a group of six sonatas for keyboardwith violin or flute accompaniment, and in 1803, another sonata for piano with violin ad lib. Between1820 and 1842, she published variations and dance forms for keyboard, as well as songs.SINGLE WORKS:Divertimento for the Pianoforte [1830] (Hildegard; GKH reprint). Level: Late Intermediate. (F major,6/8-common time, allegro and vivace, 17 pp). Miles’ last character piece. A seven-page introduction insiciliana style precedes the spirited rondo, whose primary subject is a popular catch by Henry Aldrich,“Hark the Bonny Christ Church bells.” Episodes remain in closely related keys, but Guest useschromatically altered nonharmonic tones and secondary dominants, Neapolitan, diminished, andaugmented-sixth chords for drama and color. Idiomatic and well constructed, this is light but satisfyingkeyboard fare.Sonata No. 4, with Violin accompaniment. A facsimile copy of the first movement, in an article byDeborah Hayes, “Some Neglected Women Composers of the Eighteenth Century and Their Music,”Current Musicology 39 (1985): 54–59.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Daniel M.Raessler, prefatory essay and editing of a sonata movement.Sonata for Piano with Violin accompaniment [1809]. Level: Late Intermediate. II: Adagio con moltoespressione. (G minor, 3/4, 3 pp). The theme, a plaintive arioso, is based on the first two phrases of acatch by Purcell, “Under This Stone.” It is delicately set in a free variation form, with aria-like figurationand ornamentation. Very like a slow movement from a Mozart sonata, and very beautiful.



Page 92Divertimento for the Pianoforte [1830]. See Single Works.SOURCES: Boenke, Cohen, Ebel, Eitner, ElsonA, Fuller, Heinrich, H&H, Jackson, Laurence, Mac, Meggett,MGG, NewGrove, S&S, Stern, scoresGUTIERREZ-PONCE, Mariab. 1880—d. 1951No information about this composer is available.SINGLE WORKS:Ballade Mauresque (Editions Max Eschig, 1948). Level: Early Advanced. (Five sharps, common time-3/4-5/4, 3 pp). An atonal setting of a Moorish ballad, with Spanish dance rhythms, constantly changingsubdivisions of the beat, and plenty of ornaments and accidentals. The melody alternates betweensoprano and bass in the four-voiced homophonic texture.Impresion Andaluza: Trois pieces pour piano (Editions Max Eschig, ME 6175). Three flamencosketches with dance rhythms and dramatic flourishes. Fiery outbursts and harsh dissonances contrastwith passages of sweet contentment.No. 1. Level: Advanced. (F-sharp minor/major/B-flat, A minors, common time-3/4, più lento, 3 pp). Adramatic arioso in five short sections: introduction, ABC (each is marked “cantato”), postlude. Thesensuous section A (perhaps a seguidilla) is followed by section B, possibly a pasillo, with its dottedrhythm on beat one and ornamented third beat.No. 2. Level: Early Advanced. (A minor, common time, ben marcato, melodia ben cantata, 3 pp). Atango/habanera with characteristic dotted rhythm patterns.No. 3. Level: Early Advanced. (C minor, 3/4 and common time, rubato, 4 pp). in ternary form. A stronglyrhythmic dance (a fandango, perhaps) using various beat subdivisions and some cross-rhythms (2×3,4×3). The melodious center section in F major is marked “con sentimento e espressione.”SOURCES: KOM



Page 93HHAGEN, Joanetta Catherine Elizabeth van(var. Van/Von Hagen)b.? Amsterdam, 1750—d. Suffolk County, Massachusetts, 1809/10The distinction of being the first woman in America to publish an instrumental work goes to Elizabethvan Hagen, a Dutch-American organist, pianist, and teacher, and member of a leading musical family inNew York and Boston in the early 19th century. Although little is known of her earliest years, shemarried Peter Albrecht van Hagen, and in 1774 they emigrated to Charleston, where their son (PeterAlbrecht, Jr.) was born around 1780. In 1789, they moved to New York, where they were activeperformers, teachers, and managers of a series, “The Old City Concerts.”82 In 1796, the family movedto Boston, changing their name from “van” to “von.” From 1799 on, Mrs. von Hagen taught piano atMrs. Rowson’s Academy, a leading private girls’ school in Boston.83 On her husband’s death in 1803,Mrs. von Hagen succeeded him as organist at King’s Chapel. It is believed that she composed two pianoconcertos, a piano sonata, and the variations below.ANTHOLOGIES:American Keyboard Music Through 1865, ed. J.Bunker Clark, Vol. 3, Three Centuries of AmericanMusic: A Collection of American Sacred and Secular Music, gen. eds. Schleifer and Dennison (G.K.Hall,1990).The Country Maid (L’Amour est un enfant trompeur) with Variations for the Pianoforte or Harpsichord[before 1810]. Level: Late Intermediate/Early Advanced. (G major, 2/4–3/8, andantino, 4 pp). Sixambitious ornamental and figural variations, which retain the key, tempo, and sixteen-bar form of thefolk-like theme. The last two variations are in 3/8 meter. The facsimile score is somewhat difficult toread; for example, harmonic seconds are printed one note above the other, instead of adjacent.SOURCES: Baker, B&NB, Clark, GroveAm, Heinrich, H&H, Jackson, S&S, Tick, scoreHARDIN(G), Elizabethb. England, ca. 1750—d. London, 1780Elizabeth Hardin, “of the old Jewry,” was probably the daughter of watchmaker



Page 94Joseph Hardin. As a teenager, she was appointed organist of St. Peter-le-Poor in London’s Broad Streeton November 29, 1764, and probably held that position until her early death in 1780. Two compositionsby Hardin are extant, the song, “Would kind fate bestow a lover,” and the six Lessons (sonatas)described below.84COLLECTIONS:Six Lessons for Harpsichord or Piano [1770], ed. Barabara Harbach (Vivace Press, 1994). Level:Mid-Intermediate. (C/A/D/E/G/B-flat majors, 6–10 pp. each). Two-movement sonatas in early Classicalbinary forms; engaging representatives of their period. The Allegro first movements, in common time,bustle with rhythmic energy, followed by Minuets in the same key, triple meter. Lesson IV, with threemovements, contains a Siciliano and Gigg (sic) in 12/8. Charming and original themes with variedaccompaniment patterns, two-voice textures, and primary chords. More ornaments may have beenadded in performance than appear in the score. Excellent Urtext edition, with an ornament chart in thepreface.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998).Lesson VI from Six Lessons for the Harpsichord, ed. Martha Secrest Asti. See above.SOURCES: Cohen, Heinrich, H&H, Hinson, Jackson, M&A, Meggett, Stern, scoresHARRISON, Susan (Susie) Frances(pseud. Seranus, Gilbert/G.R.King; née Riley)b. Toronto, Feb 24, 1859—d. Toronto, May 5, 1935Canadian composer and writer Susie Harrison received her education at private schools in Montreal andToronto. Considered an expert on Canadian folklore, in 1887 she edited The Canadian Birthday Book,the first anthology of Canadian English, French, and Amerindian verse. In 1884, she incorporated folktunes in her opera, Pipandor. Wife of organist and conductor J.W.F.Harrison, she was the principal of theRosedale Branch of the Toronto Conservatory for twenty years, and a frequent contributor to literaryand musical magazines and journals, under a variety of pseudonyms. Harrison’s compositions includesuch songs and piano pieces as “Address of Welcome to Lord Landsdowne,” “An Old-Fashioned LoveSong,” and Trois Esquisses canadiennes, piano arrangements of French-Canadian songs. Her musicalstyle sometimes combined the modal melodies, harmonies and lyricism of folk music with chromaticprogression.85



Page 95LISTED but not found in print: Chant du voyager (3rd of Trois Esquisses canadiennes) [1887] in TheCanadian Musical Heritage, Piano Music Vol. 2, ed. Elaine Keillor (Ottawa, 1983). Cited in Hinson’sGuide, 3rd edition.SOURCES: Cohen, EMC, H&H, Hinson, NewGrove, S&S, SternHECKSHER, Céleste De Longpré(née Massey)b. Philadelphia, Feb23, 1860—d. Philadelphia, Feb 18, 1928Over her parents’ objections, Celeste Hecksher was given lessons in piano and composition, andpublished her first songs at the age often.86 Later studies were with Zerdahal, in piano, and HenryAlbert Lang and Vassily Leps, in composition and orchestration. Hecksher composed two operas,chamber and orchestral music, songs, and piano pieces. Her orchestral suite, Dance of the Pyrenées,was played by the Philadelphia Orchestra, and staged as a ballet. In 1883, she married Austin StevensHecksher, with whom she had four children. Hecksher presided over the Philadelphia Operatic Societyfor many years.ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990),and American Keyboard Music: 1866 through 1910, ed. Glickman, Vol. 4 of the series ThreeCenturies of American Music: A Collection of American Sacred and Secular Music, gen. eds. Schleifer andDennison (G.K.Hall, 1990).Valse Boheme Op. 10 [1896]. Level: Mid-Late Intermediate. (F minor, 3/4, vivace, 4 pp). Ternary, witha twenty-bar introduction/ritornello. A graceful arpeggio sweeps up to a suspended half note; then theflirtatious melody moves nimbly on. Contrasting middle section has suave, gliding dotted half-notes inperfectly arched phrases. Similar in style to Chaminade, the piece makes the most of the piano’s range.SOURCES: Ammer, Baker, Cohen, G&G, H&H, Stern, KOM, Laurence, Mac, S&S, Stern, scoreHENSEL, Fanny Cäcilie Mendelssohn(née Fanny Zippora Mendelssohn)b. Hamburg, Nov 14,1805—d. Berlin, May 14, 1847Fanny Hensel, the older sister of Felix Mendelssohn, composed around five hundred works, includingpiano pieces, chamber music, cantatas, and over three hundred lieder. Born to a socially andintellectually prominent Jewish family in Berlin, she and her renowned brother received the very bestliberal education and musical training. After first studying with their mother, Sara, they studied



Page 96piano with Ludwig Berger and composition with Carl Friedrich Zelter, head of the Berliner Singakademie,and for a short time with Mme Marie Bigot de Mirogues, a famous pianist, teacher, and composer inParis (q.v.). Fanny became an exceptional pianist, equal in talent and skill to Felix. Restricted to amateurmusic making by the social strictures of the time, Fanny presented weekly “Sonntagsmusiken” in theirhome, which were attended by the most important musical, literary, and scientific people of the day.The programs, which she programmed, rehearsed, conducted, and performed, included music by Bach,Mozart, and Handel, as well as compositions by contemporary composers including her brother andherself. Although her father and brother encouraged Fanny to compose, they strongly discouraged herfrom seeking publication of her works, as not being a suitable occupation for a young woman of herstation. As a result, very few of her works were published during her lifetime, and it is only recently thata good deal of her work has become available.87 Fanny Hensel composed about 130 works for thepiano, which are described by Camill Cai as having “a Chopinesque sound, a love of the long-breathed,soaring melody, and an attachment to rich filigree of arpeggio accompaniments.”88 Other hallmarks ofHensel’s distinctive style are harmonic innovation, a strong sense of drama, motivic construction andskillful Bachian counterpoint, and a fondness for perpetuo moto textures and minor keys.SINGLE WORKS:Das Jahr: 12 Charakterstücke, in two volumes, ed. Liana Gavrila Serbescu und Barbara Heller [1841](Furore, 1989). Level: Advanced. A stupendous work, unique in conception, Das Jahr is a piano cycle oftwelve descriptive character pieces, one for each month of the year, composed after the couple’s year inItaly. Sara Rothenberg describes the work: “Epic in length yet intimate in its use of the solo form, thecumulative effect of the work is personal and original…(and) places her clearly among her innovativecontemporaries—Schumann, Chopin, Liszt, Thallberg—as a member of the Romantic generation."89Band 1: Januar: Ein Traum [January, a dream]. (B major, in 4, adagio quasi una fantasia/presto, 3 pp).An overture to the cycle, quoting ideas developed in later movements, it alternates chorale andrecitative textures. Florid contrapuntal passagework leads straight into Februar: Scherzo. (F-sharpmajor, 6/8, presto, 8 pp). A festive Roman Carnival piece ends with the tolling of “clock tower” bells inlow octaves. März. (F-sharp minor, in 4, agitato, 7 pp). Chorale and variations (“Christ ist erstanden”)for Lent and Easter. April: Capriccioso. (E major, 9/8, allegretto, 6 pp). Changeable moods and temposillustrate April’s fickle weather. Mai: Frühlingslied. (A major, 9/8, allegro vivace e giocoso, 5 pp). A gailylilting spring song. Juni: Serenade. (D minor, in 4, then 6/8, largo-andante, 8 pp). A nocturne/barcarolle,with an ornamented alto melody. Juli: Serenade. (F minor, 2/4 and 6/8, larghetto, 4 pp). Emotionschange from pensive to tragic to regretful. Tremolo bass in the lowest register depicts threatening rollsof thunder.



Page 97August (Fassung I). D major, 3/4-4/4-6/8, allegro/tempo di marcia/allegro assai, 9 pp). In this “firstdraft,” the opening fanfare leads to a joyous march, ending with nimble 16th-note arpeggios racing upand down the keyboard.Band 2: August (Fassung II). An expanded version of the first draft, with a 12/16 section of arpeggiosand chords inserted between the fanfare and the march. September: Am Flusse [orig. pub. as Op. 2/2].(B minor, 6/8, andante con moto, 7 pp). In this depiction of a rushing river in spate with the fall rains,triplet sixteenths surround the insistent alto melody in a wave-like accompaniment. Oktober. (A-flatmajor, in 4, allegro con spirituo, 8 pp). A happy march in dotted rhythm, showing Hensel’s joyfulreaction to Venice. November. (F minor, in 4–6/8, mesto/allegro con molto agitato, 10 pp). The tragicopening gives way to swift, agile passage work; the winter wind, perhaps. A rondo with lyric interludes,not unlike Felix’s Rondo Capriccioso. December. (C minor/major, in 4-6/8,allegro molto/andante, 6 pp).Agitated beginning section has rapid double thirds and syncopations. In the second section, the moodbecomes quieter with the Christmas chorale “Vom Himmel hoch” (From Heaven on high) and twovariations. Nachspiel [Postlude]. (A minor/major, in 4, choral, 1 pp). The introspection and resolution ofBach’s New Year’s chorale, “Das alte Jahr vergangen ist” [The old year has gone] brings themonumental work to a close.Prélude für Klavier, ed. Rosario Marciano [1827] (Furore, 1989). Level: Mid/Late Intermediate. (Eminor, common time, 2 pp). Like a majestic organ prelude in the north German church tradition, thiswork clearly shows the influence of Bach, and bears a strong resemblance to the opening chorus ofBach’s St. Matthew Passion.90 Block triads over pedal tones, scale passages in bass octaves,suspensions, and chromatic harmony combine for a powerful sound.note arpeggios and scales. The contrasting center section (a song without words) has a lyric melody,long bass tones, and inner voices in fluttering triplets.Vier Lieder ohne Worte, Opus 8 [1850], ed. Eva Rieger (Furore, 1989). Four “songs without words,”of varying moods and textures.I. Untitled. Level: Late Intermediate/Early Advanced. (B minor, 3/8, allegro moderate, 7 pp). Soprano

melody, which combines two motives, is partnered by bass line and inner voice triplets.Improvisational middle section treats the theme sequentially in modulations. Watch for numerousaccidentals, two-handed arpeggios and some unusual beaming.

II. Untitled. Level: Late Intermediate. (A minor, in 4, andante con espressione, 2 pp). A strong, soberpiece like an organ chorale, with four-voice writing, suspensions, and pedal points.

III. Lied (Lenau). Level: Late Intermediate. (D-flat major, 4/4, larghetto, 2 pp). Yearning, romanticmelody is accompanied by a strong bass and



Page 98reiterated triads on every eighth note. The harmony in the middle section takes some surprisingturns: the main theme returns in the dominant, then finds its way back to the tonic, and after afinal heartfelt statement, slips away.

IV. Wanderlied. Level: Advanced. (E major, 2/4, presto, 6 pp). Lacy, rippling triplets accompany thearching 16-bar melody formed of parallel phrases. Prelude-like, it wanders through many keys, withunusual, fleeting dissonances.

Vier römische Klavierstücke [Four Roman Piano Pieces], ed. Christian Lambour(Breitkopf & Härtel,1999).I. Allegro moderate. Level: Early Advanced/Advanced. (A-flat major, 3/4, 4 pp). The repeated-note

motive is developed over rather difficult broken chords in the bass.II. Introduktion und Capriccio. Level: Advanced. (B minor, common time, 11 pp). A wonderfully

pianistic and showy prelude/fantasia. The descending minor scale theme undergoes various texturalvariations.

III. Largo und Allegro con fuoco. Level: Late Intermediate/EarlyAdvanced. (G minor, 6/8, 15 pp). Greatpianistic fun in a ballade-scena worthy of a Bellini opera. Dramatic contrasts in texture, meter, andmood help depict a love duet, an aria, a fight scene, a death, wild sorrow, the triumphal return ofthe hero, and a closing duet.

IV. Ponte molle [Molle Bridge in Rome]. Level: Late Intermediate. (A minor, 9/8, andante conespressione, 4 pp). A sorrowful lied written on leaving Rome, in homophonic song texture withreiterated inner voices on every beat.

Zwei Bagatellen, ed. Barbara Heller (Furore, 1988). Level: Late Intermediate. Two brief “littlenothings.”No. 1. (F major, 6/8, allegretto, 2 pp). Ties, four-voice texture with continuous suspensions, a stepwisemelody, chromatic modulations, and hands close together in center of keyboard all combine to makethis feel like an organ improvisation.No. 2. (D major, common time, con moto, 2 pp). A very odd little melody, with a bar repeated exactlyevery two measures, like a false start to the answering phrase.COLLECTIONS:Two Piano Sonatas, ed. Judith Radell (Hildegard, 1992).Sonata in C minor [1824]. Level: Advanced. Three mvmts, 21 pp. Written “for Felix in his absence”(inscription). The sonata shows considerable skill in handling large forms, showing “a wealth of thematicmaterial with unification of the Sonata based on employment throughout all movements of the smallmotives from which Hensel builds her melodies” (score preface). I: Allegro moderate e con espressione(C minor, 3/4, 8 pp). Contemplative; lyricism and pathos contrast with an agitated second theme.Careful voice leading and a fugato in the recapitulation reflect contrapuntal training. II: Andante conmoto (E-



Page 99flat major, 3/4, 4 pp). A lied in modified sonata-rondo form, with quiet melodic lines and dramaticmodulations. III: Finale: Presto (C minor, common time, 9 pp). A exhilarating perpetual motion study;close-figured triplets become even faster 16th note arpeggios and scales. The contrasting center sectionhas a lyric melody, long bass tones, and inner voices in fluttering triplets, in song-without-words texture.Piano Sonata in G minor (1843). Level: Advanced. Four movements, 37 pp. “Romantic in its explorationof melody, form and harmony, also employs the devices of Romantic pianism: octaves, tremolos, use ofextreme registers of the instrument, and virtuosic passage work” (score preface). Unifying motives inevery movement; each movement is connected to the next by transitions and attacas. I: Allegro moltoagitato (common time, 8 pp). Interrelated dramatic first and lyric second themes. II: Scherzo (B minor,6/8, 7 pp). Delicate, shimmering elfin dance; trio uses effective tremolos in upper register. III: Adagio (Bminor, 9/8, 7 pp). Barcarolle with a broad, lyrical theme. IV: Allegro moderate e con espressione (Eminor, 15 pp). Sonata-rondo, stylistically like her virtuoso songs without words.Sonate c-Moll and Sonaten satz E-dur, ed. Liana Gavrila Serbescu and Barbara Heller (Furore,1991). Two early works by the teenaged Fanny.Sonatensatz [1822]. Level: Early Advanced. (E major, common time, allegro assai moderato, 3 pp). Asonata movement using Romantic ideas in classical sonata-rondo form. Duplet and triplet texturesalternate, and a cadenza ushers in the recapitulation.Sonate in C minor [1824]. See Two Piano Sonatas, above.Ausgewählte Klavierwerke [Selected Piano Works], Urtext. Rudolf Elvers, frwd.; Hans-MartinTheopold, fingering (Henle Verlag, 1986). The collection, a fine introduction to Hensel’s early and moremature work, contains two late intermediate and nine advanced works; Magrath places the entirevolume at Level 10.911. Übungstück [1822], Level: Advanced. (C major, in 4, allegro moderato, 3 pp). An etude in rapid

staccato triads and divided chords, mainly for the right hand.2. Übungstück [1823]. Level: Late Intermediate. (G minor, 3/8, allegro moderato, 5 pp). A cheerful

scherzo and trio with a running-sixteenth note violin figure accompanied by a waltz bass. Chordchanges on first and third beats of each measure lend a folk-dance quality. The G-major secondtheme is different but related, with inversions, arpeggios and scale passages. Requires rapid handshifts over thumb, finger substitutions, and a light arm.

3. Untitled [1825]. Level: Early Advanced. (G minor, in 4, 4 pp). An invention-like piece with runningeighth notes in two-voice texture.

4. Untitled [1825]. Level: Late Intermediate. (F minor, 6/8, 3 pp). The melody sighs down a minorscale, accompanied by dotted-quarters in the bass; inner voices divide the chords between thehands. Borrowed



Page 100scale tones lend piquancy to the long phrases, and the theme passes through a number of keys inthe development section before returning to the tonic.

5. Notturno [1838]. Level: Early Advanced/Advanced. (G minor, 6/8, andantino, 5 pp). Ternary form.An ardent melody yearns over the grand arpeggio accompaniment in this captivating andharmonically daring night song.

6. Abschied von Rom [Departure from Rome, ca. 1840]. Level: Late Intermediate/Early Advanced. (Aminor, 9/8, andante con espressione, 4 pp). The theme, based on a descending scale, is alternatelysad and happy at the thoughts of leaving Rome and returning home. Clever transitions betweensections.

7. Unfilled [1846]. Level: Advanced. (C minor, in 4, allegro molto, 7 pp). An etude with downward-rippling scale segments and a wonderfully tragic theme.

8. Untitled [1846]. Level: Advanced. (D-flat major, 2/4, andante cantabile, 3 pp). A SchumannesqueLied, with lovely temporary modulations.

9. O Traum der Jugend, o goldner Stern [O dream of youth, o golden star, 1846]. Level: LateIntermediate/Early Advanced. (F major, 3/4, andante espressivo, 3 pp). Brahmsian song withoutwords in ternary form; in the middle section, the tonality, meter, and dynamic level changedramatically.

10. Untitled [1846]. Level: Advanced. (D minor, 2/4, allegretto, 4 pp). An etude with staccato double-notes and triads and a legato folk-like melody.

11. Untitled [1846]. Level: Late Intermediate/Early Advanced. (A major, 3/4, allegro vivace, 4 pp).Exuberant and impassioned, like a song by Schumann. The melody is in duplets against triplets inthe bass.

Klavierstücke von Fanny Hensel: Seven Volumes (Bände)Band 1: Lyrische Klavierstücke (1836–1839), ed. Annagret Huber (Furore, 1996). Three song-likeworks.Andante con espressione. Level: Late Intermediate/Early Advanced. (B-flat major, 3/4, 4 pp). A lied withthe technical challenge of an etude: LH accompanies the lyric, romantic melody in an unending series ofascending double-note arpeggios. This is a through-composed work of passion and some harmonicdaring.Andante con moto. Level: Early Advanced/Advanced. (E major, 6/8, 7 pp). A truly appealing piece, full ofRomantic feeling: an energetic melody rushes forward, supported by repeated chords on every beat. Inthe second section, the texture “doubles,” changing from eighth notes to constant sixteenths.Allegro molto vivace ma con sentimento. Level: Early Advanced/Advanced. (E-flat major, 6/8, 13 pp). Amost attractive work: the jubilant melody charges forward exuberantly, accompanied first by repeatedeighth notes, then by a flutter of divided-chord sixteenths.



Page 101Band 2: Virtuose Klavierstücke (1838) ed. Annagret Huber (Furore, 1995). Three virtuoso etudeswith plenty of melodic and musical interest.Etude-Allegro con brio. Level: Advanced. (G minor, in 4, 8 pp). An exciting study in octaves and brokenchords. LH chases RH up and down the keyboard in a wonderful Beethovenian rumble, with somedifficult hand-crossings and leaps.Allegro di molto. Level: Advanced. (D minor, 2/4, 14 pp). A study in one of Hensel’s favorite figures,tarantella-like ornamental triplets in perpetual motion. There are LH octaves as well.Allegro grazioso. Level: Advanced. (B-flat major, in 4, 8 pp). Legato double-notes of all kinds sashaygracefully up and down the keyboard, accompanied by an alternating bass.Band 3: Charakterstücke (1846), ed. Anagret Huber (Furore, 1996). Four descriptive pieces.Allegro molto vivace e leggiero. Level: Early Advanced/Advanced. (B major, 6/8, 4 pp). Barcarollerhythms, played fast and light, lift this work into the air in a sort of hirondelle (swallow’s song). Theaccompanying arpeggio figure uses double notes; the middle section of this ternary work repeats therefrain in G major.Allegro molto vivace. Level: Advanced. (C major, in 4, 8 pp). A light-hearted dance, perhaps a stylizedpolka, with a sassy ostinato rhythm.Andante con moto. Level: Advanced. (E major, in 4, 6 pp). A prayerful twelve-bar hymn undergoeschanges in texture, intent, and key.Lied: Andante espressivo. Level: Early Advanced/Advanced. (E-flat major/minor, in 4, 8 pp). A ballade,reminiscent of an operatic love duet, opens with a 20-bar three-voice chorale and changes to theparallel minor. The soprano solo alternates with a bass melody in octaves, all surrounded by surgingarpeggios, and ending joyously in an expanded texture. As the scene fades, the hymn is heard,pianissimo.Band 4: Übungsstücke und Etuden (1823), Heft 1, ed Annagret Huber (Furore, 1996). Fouretudes, possibly written as composition exercises.Übungsstück. Level: Late Intermediate/Early Advanced. (C major, in 4, allegro molto, 4 pp). This studyin thumb agility, finger substitution, and accuracy in an alternating-bass accompaniment steps merrilyalong like a good-humored écoissaiseÜbungsstück. Level: Advanced. (G minor, in 4, allegro agitato, 3 pp). A finger exercise in scales andclosely turning figures, written in two-voice counterpoint.Übungsstück. Level: Advanced. (G major, 2/4, presto, 6 pp). Another whirring, non-stop tarantella,presto. Each hand gets a turn at the light finger work and triplet-decorated scale tones.Etude. Level: Early Advanced. (F major, in 4, allegro moderatissimo, 7 pp). A lied with technicalchallenges: clean playing of block chords, phrasing, register shifts, and some LH octave leaps.



Page 102Band 5: Übungsstücke und Etuden (1823), Heft 2, ed. Huber (Furore, 1996). Each of these four“practice pieces” is a study of particular technical or musical skills in different figurations.Larghetto. Level: Late Intermediate. (E-flat minor, common time, 4 pp). A gloomy little exercise insustained outer voices, with chromatic inner voices filling in beat subdivisions; in ternary form, with themiddle in the parallel major.Allegro assai moderate. Level: Late Intermediate. (G major, 3/4, 4 pp). A cheerful little study. Themelody marches gaily down the scale, over a bubbly bass figure with a chromatically raised third noteleading to the fourth, like a foreshadowing of the boogie bass.Allegro ma non troppo. Level: Late Intermediate. (C major, 3/4, 4 pp). RH performs a figure similar toLH in the previous study; it is more difficult for the right hand. Baroque in texture, counterpoint, andbass line.Schluss [End]. Level: Late Intermediate. (C major, common time, 2 pp). Another exercise in movinginner parts, this time with triplets. Like an organ prelude, the melody moves in half-notes, and much ofthe bass consists of whole-note chords.Band 6. Frühe Klavierstücke (1823/24). Heft 1: Leichte Stücke, ed. Barbara Heller (Furore,1996). Six short etudes (3–4 pp.) exploring different textures, written when Fanny was eighteen.Übungstück: Allegro ma non troppo. Level: Late Intermediate. (B minor, 6/8). A nimble, ornamentedarpeggio figure in 16th notes on the first half of the bar is followed by three 8th note chords, like adance figure; hands take turns on the rapid figure.Übungstück. Level: Late Intermediate. (G minor, 2/4). Dancing along like a gavotte, an arching two-octave arpeggio in two sets of sixteenths is followed by four 8th note hops. In rounded binary form, LHdoubles the sixteenth note figure at the tenth in second section; at the return of A, LH mirrors right in afinal flourish.Lento ma non troppo. Level: Late Intermediate. (C major, common time). Like an organ prelude, withsustained outer voices and inner voices moving in scales and chromatic triads. Formed by continuousdevelopment of the single theme; cadences punctuate the three sections.Andantino. Level: Late Intermediate. (B-flat major, 2/4). Ternary, with double bars after each section.In section one, RH melody sings above strummed 16th note arpeggios; then a variant of the theme isharmonized in triads (parallel minor) as LH varies its patterns. After the return of A, RH gallops to theend in 16th notes.Übungstück: Allegro molto agitato. Level: Late Intermediate. (D minor, cut time). An exciting andeuphonious study in octave technique, using predictable scale and arpeggio patterns. Each hand gets aturn; the piece is great fun, and easier than it sounds.Übungstück: Allegretto. Level: Late Intermediate. (G minor, common time). A gracious little work in adelicate two-voice texture, rather like a Bach



Page 103invention. A gently sighing motive is answered by a rising arpeggio figure, its near inversion. Full chordsoccur only at major cadences, and a development section extends the imitation through briefmodulations.Band 7. Frübe Klavierstücke (1823/24). Heft 2: Mittelschwere Stücke, ed. Barbara Heller(Furore, 1996).Sonata o Caphccio. Level: Advanced. (F minor, in 4, adagio/andante sostenuto e con espressione/allegromolto, 10 pp). Symphonic in conception, a somber five-page introduction leads to an allegro molto withRH whirling up and down in impassioned 16th-note arpeggios, accompanied by LH block chords. Theintroductory theme returns as a coda.Toccata (einstimmig) [one voiced]. Level: Advanced. (C minor, 3/4, allegro moderate, 13 pp). Like aBaroque toccata/fantasia for harpsichord or organ, hands in close position share the running 8th-notesin the monophonic line. Beaming across the bar lines makes it awkward to read, but encourages theplayer to emphasize line and phrasing rather than meter.‘Etude.’ Level: Advanced. (C minor, in 4, 7 pp). An exercise in close figures: broken-note scales,ornamented with neighboring seconds and thirds, skitter up and down the keys.Klavierstücke 1843–44, ed. Renate Hellwig-Unruh (Robert Lienau Musikverlag, RL 40400, 1997). Fivecharacter pieces.I. Allegro agitato. Level: Advanced. (G minor, in 4, 15 pp). Rhapsodic and lengthy, with three distinct

textures: driving triplet chords and octave bass supporting a doubled melody, 16th note arpeggiosalternated between hands, and block chords in dotted rhythms.

II. Allegretto ma non troppo. Level: Advanced. (E minor, 6/8, 7 pp). A capriccio/scherzo with agilestaccato chords darting around the keyboard.

III. Level: Late Intermediate/Early Advanced. (G minor, 3/4, 4 pp). A demure melody, harmonized inthirds and sixths, has an ornamented third beat and is accompanied by block chords with a dronebass, with the effect of a musette or minuet.

IV. Allegro moderato assai. Level: Advanced. (A minor, 9/8, 4 pp) A turbulent, sweeping melody; internary form, the center section is in four sharps.

V. Allegro molto. Level: Advanced. (E minor, 2/4, 12 pp). An energetic stepwise theme is plucked froma “lute” texture of descending broken chords, set as hemiolas (duplet-appearing 16ths are reallytriplets).

Lieder für das Pianoforte (Bote & Bock, 1983/1987). Op. 2/1-4; Op. 6/1-4. Vier Lieder für dasPianoforte Op. 2Op. 2/1. Andante. Level: Late Intermediate/Early Advanced. (G major, 3/4, 4 pp). Stylistically very like aSchumann Lied; one could easily set



Page 104words to the melody. In ternary form and four-voice texture, with the inner voices on repeated triads.The main theme is characterized by the interval of a falling fifth that immediately rises by steps. Thecontrasting section, in the parallel minor and three-voice texture, has an urgent arpeggiatedaccompaniment in the tenor.Op. 2/2. Andante con moto. Level: Advanced. (B minor, 6/8, 6 pp). See September in the cycle DasJahr.Op. 2/3. Allegretto grazioso. Level: Late Intermediate. (E major, 6/8, 4 pp). Like a nocturne, with aSchubertian lyric solo accompanied by gracefully rocking double-note arpeggios. The center section is arepetition of the theme in the parallel minor.Op. 2/4. Allegro molto vivace. Level: Advanced. (A major, in 4, 6 pp). Rippling triplets surround thestraightforward, lively melody with harp-like arpeggios.Vier Lieder für das Pianoforte Op. 6Op. 6/1. Andante espressivo. Level: Late Intermediate. (A-flat major, in 4, 3 pp). Triplet arpeggios ininnovative harmonies accompany the poignant, operatic arioso; every major cadence is in a new key.Op. 6/2. Allegro vivace. Level: Early Advanced. (B major, in 4, 7 pp). A rondo-ballade. Inner voices,fluttering agitatedly, urge the restless, questing theme forward.Op. 6/3. Andante cantabile. Level: Late Intermediate/Early Advanced. (F-sharp major/minor, 3/4-9/8, 2pp). The first theme is a simple, devout lied, reiterating the chords on every 8th note. After theresigned, hopeless middle section, the original theme returns like faith restored.Op. 6/4. Il Saltarello Romano. Level: Advanced. (A minor, 2/4, allegro molto, 7 pp). A gleefully nimbletantarella, leaping and spinning like a top in continuous triplet 16th notes.Pastorella (WoO). Level: Late Intermediate. (A major, 3/4, pastorella, 3 pp). A horn call forms theopening motif in this placid “shepherd’s song,” with the initial octave leap upward answered by a fallingtriad in dotted rhythm. Eighth notes, unhurriedly walking up and down scales, comprise the rest of themelody.Six Mélodies pour le Piano Op. 4 und Op. 5 (Robert Lienau Musikverlag: 1993).Op. 4/1. Allegro assai. Level: Early Advanced. (A-flat major, in 4, 8 pp). A lovely legato melody in long-spun lines travels through many keys, in an unchanging texture of rippling 16th-note arpeggiosalternated between the hands.Op. 4/2. Allegretto (“Melodie”). Level: Mid-Late Intermediate. (C-sharp minor, 6/8, allegretto, 2 pp). Themelody sings a sweet and melancholy duet with the bass as inner voices lightly fill in arpeggios. Writtenin perfectly balanced periods of four-measure phrases, in rounded binary form, this is a sensitivelycrafted miniature of great delicacy and beauty.



Page 105Op. ?/3. Allegro molto quasi Presto. Level: Advanced. (E major, 12/8, 9 pp). A rousing, “herzvoll” piecewith a heroic theme, two alternating textures, arpeggiated flourishes, and horn calls in the B section.Op. 5/4. Lento appassionato. (Mélodie) Level: Mid/Late-Intermediate. (B Major, 12/8, lentoappassionato, 2 pp). Included in many anthologies. A fervent melody is propelled forward by reiteratedchords on every 8th note, embodying the bittersweet quest of the Romantic. Fine part-writing, manyborrowed tones and chords in the harmony.No. 5. Allegro molto vivace. Level: Early Advanced/Advanced. (G major, 2/4, 7 pp). A jolly folk-likemelody is accompanied by sparkling triplets traded between the hands. Motivic development takes thetune through many keys, but mood and figuration remain constant; this is one of Hensel’s sunnierpieces.No. 6. Andante soave. Level: Early Advanced. (E-flat major, in 4, 5 pp). Ternary form. A serenelyconfident and sweet arioso is accompanied by grand arpeggios divided between the hands, in shiftingcolors with some daring, forward-looking harmony.Six Piano Pieces from the 1820s (1824–1827), ed. Judith Radell (Hildegard, 1994). Written justbefore Fanny’s marriage to Wilhelm Hensel. Fingering is suggested by the editor.Allegro (den 13 Nov. 1824). Level: Early Advanced. (C minor, 3/8, 5 pp). A nimble scherzo/etude, in aspare texture of broken-chord and scalar triplets, like the last movement of her 1824 Sonata in C minor.Capriccio (8 Februar 1825). Level: Early Advanced. (F-sharp major, 4/8, humorous and somewhat ironic,8 pp). A humoresque with a mocking little triplet motif running through the entire piece. The key andthe rapid LH crossovers require attention.Andante con moto (den 12ten März 1825). Level: Late Intermediate. (C minor, 6/8, 3 pp). A mini-rhapsody, with a yearning, passionate melody propelled by the surging bass line.Allegro ma non troppo (20 Februar 1826). Level: Early Advanced. F minor, 6/8, 6 pp. A ballade-like freeform, with the sequential motive returning many times, and some startling, innovative harmonies.Allegro con espressione (Berlin, August 1826). Level: Late Intermediate/Early Advanced. (C minor, 6/8, 4pp). The angular main theme, which opens with a descending diminished 7th, combines withcounterpoint, suspensions, and a final Picardy third to remind of Bach.Fugata (26 Januar 1827). Level: Early Advanced. (E-flat major, 3/4, largo ma non troppo lento, 7 pp).More of Bach’s influence: “a freely executed double fugue,” with the two themes interwoven during thefinal statements (score preface).Songs for the Pianoforte, 1836–1837, ed. Camilla Cai (A-R Editions, 1994), Vol. 22 of the series,Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries. A landmark in Hensel’scareer, this was the first collection published under her own name.



Page 106No. 1. Allegretto grazioso. Level: Late Intermediate/Early Advanced. (B-flat major 3/4, 8 pp). A calmmelody sings sweetly above a guitar texture of upward-plucked broken chords. An agitated transitionleads to a section of Brahmsian texture, with full chords and octaves over ascending bass arpeggios.No. 2. Andante. Level: Advanced. (G major, 3/4, 5 pp). Published as Op.2/1; see Lieder für dasPianoforte, above.No. 3. Prestissimo. Level: Advanced. (C major, 4/8, 13 pp). A virtuoso perpetuo moto etude, with LHtriplets whirring in a chromatic “spinning-wheel” figure.No. 4. Allegro con brio. Level: Late Intermediate/Early Advanced. (F minor, 6/8, 7 pp). Galloping huntmusic in dotted rhythms, with block chords and octaves.No. 5. Allegro con spirito. Level: Early Advanced. (F major, 9/8, 10 pp). Two alternating melodies withcharacteristic textures: in the first theme, the melody sings over inner-voice fluttering thirds, supportedby bass tones. Ascending grand arpeggios, harp-like, support the second theme in A major.No. 6. Allegro con brio. Level: Late Intermediate/Early Advanced. (C minor, in 4, 6 pp). Like a Verdichorus, a broad, heroic theme marches above the sturdy ostinato bass, in which every second beat isornamented with a 32nd note flourish.No. 7. Allegro agitato. Level: Early Advanced. (G minor, in 4, 7 pp). Reminiscent of Schubert songs; thesoprano solo sings duplets against block chord triplets in the bass.No. 8. Allegro moderato. Level: Advanced. (B major, in 4, 9 pp). The lyric theme sings above a guitartexture of ascending broken triads divided between the hands. A transitional section ushers in a newkey and a more agitated texture.No. 9. Largo con espressione. Level: Early Advanced. (E minor, in 4, 5 pp). Like a Chopin prelude or aSchubert lied, the arching solo is supported by reiterated block chords.No. 10. Capriccio. Level: Advanced. (F-sharp minor, in 4, allegro ma non troppo, 13 pp). In a melodyreminiscent of a Hungarian rhapsody, double notes descend in sequence, over a drone of tremolo fifthsin the bass.(Unnumbered). Level: Early Advanced. (F minor, 12/8, allegro agitato, 6 pp). A wild and melancholygypsy melody with a driving ostinato bass.ANTHOLOGIES:At the Piano with Fanny and Felix Mendelssohn, ed. Hinson (Alfred, 1990). Out of print; containsHensel’s Abschied von Rom, Il saltarello romano, Notturno, and O Traum derJugend, o goldener Stern.See Collections.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Prefatory essay and three untitled pieces edited by Camilla Cai.



Page 107Untitled Piece in D Minor [1825]. Level: Mid-Late Intermediate. (6/8, andante, 2 pp). A pastorale.Untitled Piece in F Minor [?1827]. Level: Mid-Late Intermediate. (3/4, [andante], 3 pp). Chordalopening, expanding into octaves and LH tremolos in second section; Picardy-third final chord.Untitled Piece in A Minor. Level: Late Intermediate/Early Advanced. (6/8, allegro molto, 10 pp). Longerand more mature, a modified rondo with two episodes. The heroic, ballade-like theme is moved forwardby a galloping dotted-rhythm accompaniment.Frauen Komponieren, ed. Rieger/Walter (Schott), At the Piano with Women Composers, ed.Hinson (Alfred), and Great Women Composers, ed. Smith (Mel-Bay): Op. 4/2, Op. 5/4. See SixMélodies.SOURCES: A-Z, Baker, B&T, ClagS, Cohen, Dubal, Elson, FRK, Gordon, HAMW, Heinrich, H&H, Hinson,Hyde, Jezic, Johnson, Kirby, KOM, Laurence, Mac, Magrath, Meggett, MLA, N-B, NewGrove, Pendle, SCB,Sperber, S&S, Stern, scoresHERR, Miss Marie(var. Mils Marie)fl. America, 1874The only available information about this composer comes from John Baron’s preface to the scorebelow: “Mils Marie Herr was the wife of the head of the White League, an organization formed after civildisturbances in 1874 and disbanded in 1877, a few months after it had successfully elected Francis T.Nicholls as the first post-Reconstruction governor of Louisiana.”92ANTHOLOGIES:Piano Music from New Orleans, 1851–1898, comp. John Baron (Da Capo, 1980). White LeagueWaltz [1874]. Level: Mid-Intermediate. (F/C/B-flat majors, 3/4, avec entrain, 5 pp). A Viennese-stylewaltz of four strains arranged in seven sections. Competent writing with good contrast betweensections.SOURCES: scoreHERZOGENBERG, Elisabeth von(née von Stockhausen)b. Paris, Apr 13, 1847—d. San Remo, Italy, Jan 7, 1892Elizabeth von Herzogenberg and her husband Heinrich, members of the nobility and fine amateurpianists and composers, were close friends of Johannes Brahms. In the late 1860s, Elizabeth contractedto study with Brahms in



Page 108Vienna, but Brahms felt so dangerously attracted to the beautiful blond aristocrat that he cancelled thelessons. In 1874, Heinrich convinced the Leipzig Gewandhaus to stage a “Brahms Week,” which begantheir lifelong friendship. The gifted and wealthy Herzogenbergs had no children, and opened their hometo Clara Schumann, Brahms, Ethyl Smyth, and other composers of the day. Ethyl Smyth, Elisabeth’sclose friend and protégé, described her as charming, humorous, enthusiastic, supportive—and awonderful Hausfrau, who loved to cook special dishes for Brahms and her friends.93 In his turn, Brahmshelped Heinrich get his first works published, and he greatly appreciated Elizabeth’s insightful responsesand profound understanding of his music. Brahms dedicated his Op. 69 Zwei Rhapsodies to Elizabeth,and frequently sent manuscripts to her even before sending them to Clara Schumann, who wassomewhat jealous of the rich young noblewoman.94 Both Heinrich and Elizabeth suffered from ill health:in 1887, Heinrich developed a crippling rheumatism which kept them from society for some years, andElizabeth was plagued by a heart ailment which ended her life in 1892. Joachim Draheim writes, “Afterher early death, which was preceded by a year-long period of suffering, her husband published her 8Piano Pieces (Mann, 1892), which he subsequently dedicated to several people in their circle of friends.Among them, in addition to Clara Schumann, was Mendelssohn’s daughter, Lily Wach.”95ANTHOLOGIES:Johannes Brahms und seine Freunde, ed. Joachim Draheim (Wiesbaden: Breitkopf & Härtel, 1983).Drei Klavierstücke, from 8 Klavierstücke [Mann, 1892]. Three attractive character pieces in expandedbinary forms.II. Level: Mid-Intermediate. (A major, in 4, allegretto, 2 pp). Rounded binary with repeats, plus a longcoda based on main theme. Simple Schumanesque melody and rocking duplet accompaniment; slightlymore daring harmonies in second section.VI Level: Mid-Late Intermediate. (F-sharp minor/A major, 3/4, andante, 3 pp). Expanded ternary form,with skillful handling of color and modulation, with some middle-European folk inflections.VIII. Level: Late Intermediate. (F-sharp minor/D major, 2/4, allegro appassionato, 4 pp). Brahmsianfigurations in expanded ternary form. The ardent ballade-like first section is contrasted with a polka-likepeasant dance.SOURCES: Baker, Cohen, Ebel, H&H, Hyde, Kirby, KOM, Laurence, Meggett, New Grove, SCB, Stern,scoreHILDEGARD von Bingen, SaintBemersheim, Germany, b. 1098—d. nr. Bingen, Germany, Sep. 17, 1179Hildegard von Bingen, the great German abbess, mystic, and writer, is the



Page 109earliest woman composer whose music is available to us today. Her literature includes recorded visions,medical and scientific treatises, and lyric and dramatic poetry, much of which she set to chants of herown composition. There is no evidence that she performed on or composed for keyboard instruments.However, in the interest of introducing students to this inspired woman, the arrangement below isincluded in this catalog.ANTHOLOGIES:Great Women Composers, ed. Gail Smith (Mel Bay, 1996). Piano works by twelve women, includingthis arrangement of a chant by Hildegard.O Choruscans lux stellarum. Level: Early Intermediate. (A minor, 4/4, chant-like, 1 pp). Two-voicetexture: RH plays the meditative chant as LH accompanies on broken-chord duplets, with occasionalblock chords. A copy of the original chant in medieval notation with Latin text is included.SOURCES: Ammer, Baker, Briscoe, B&T, ClagH, ClagS, Cohen, Grove, HAMW, H&H, Jezic, Laurence, N-B, Pendle, S&S, Stern, scoreHODGES, Faustina Hasseb. Malmesbury, England, Aug 7, 1822—d. Philadelphia, Feb 4, 1895Organist and composer Faustina Hodges, named after the 18th century opera singer Faustina BordoniHasse, was the daughter of Edward Hodges, an English organist who became music director of TrinityChurch in New York in 1838. (All seven Hodges children were named after musicians: the youngest son,also a composer, rejoiced in the name of John Sebastian Bach Hodges). Following in her father’sfootsteps, Faustina came to America in 1841, and took a position at a girls’ seminary teaching keyboardmusic and singing. Later, she served as organist for two Philadelphia churches. Hodges begancomposing in the 1850s, but published most of her works, which comprise a set often sacred songs, aTe Deum, about twenty-five secular songs, and eight keyboard pieces, after 1870.96 Many of her songswere included in recitals by famous opera singers of the day, and three of them achieved greatcommercial success: Dreams, The Rose-Bush, which sold over 100,00 copies, and the duet, Suffer LittleChildren.97ANTHOLOGIES:American Keyboard Music: 1866 through 1910, ed. Glickman, Vol. 4 of series Three Centuries ofAmerican Music: A Collection of American Sacred and Secular Music, gen. eds. Schleifer and Dennison(G.K. Hall, 1990).Marche Brilliante. Level: Late Intermediate/Early Advanced. (B-flat minor, common time, tempo dimarche, 6 pp). A Verdi-like heroic march with an ostinato dotted-note figure, in ternary form. The morelegato Trio (G-flat major) uses a fragment of the first theme in the bass.



Page 110American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990).Lake Shore Dream (from the three Reveries by the Waterside). Level: Late Intermediate. (E major, 6/8,andantino con moto, 4 pp). A Barcarolle in ternary form. After the four-bar introduction of harparpeggios and a descending scale in parallel thirds, the rather trite melody is accompanied by thestrummed chords and reiterated bass tones typical of the genre. The contrasting section (C major) has atriadic melody oddly reminiscent of the trumpet theme to Carnival in Venice. A reprise of theintroductory flourish heralds the return of the first theme.Women Composers: Music through the Ages, Vol. 6, series eds. Glickman and Schleifer (O.K.Hall,1999).Little May. Level: Late Intermediate/Early Advanced. (E-flat major, common time, andantino, 3 pp). Anintroductory dominant-chord flourish leads into a sentimental twenty-bar melody formed of twocontrasting periods and an extension. The texture, a solo soprano set against a march bass, isornamented in the second half with 16th note arpeggios and occasional double note passages, andaccompanied by 8th note divided chords.Siciliana: Pensée Originale. Level: Late Intermediate/Early Intermediate. (F major, 6/8, vivace brilliante,4 pp). A repetitive theme based on arpeggiated parallel sixths, with a divided and broken-chordaccompaniment. Tempo and dynamic contrasts, occasional RH octave passages, and a trill on high C areadded for brilliance.SOURCES: Ammer, Baker, B&N-B, B&T, ClagAm, ClagS, Cohen, Dubal, Ebel, ElsonA, Fuller, H&H,Heinrich, KOM, Laurence, Mac, Meggett, NewGrove, S&S, Stern, Tick, Dubal, scoresHOHNSTOCK, Adele (Adelaide)b. Brunswick, Germany, ?—d. Philadelphia, January 1856Adele Hohnstock was the sister of Carl Hohnstock, a piano and violin teacher in mid-19th centuryPhiladelphia. In 1848, after concerts in Paris and Hamburg, she emigrated to Philadelphia to join herbrother. As a teacher at the Cherry Valley Seminary in New York, she included her compositions insophisticated commencement programs.98 Known as an excellent pianist and teacher, Adeleaccompanied her brother on concert tours and lived with him until her death.”99ANTHOLOGIES:American Keyboard Music: 1866 through 1910, ed. Glickman (G.K.Hall, 1990), Vol. 4 of seriesThree Centuries of American Music: A Collection of American Sacred and Secular Music, gen. eds.Schleifer and Dennison.



Page 111Le Diamant: Polka Brilliante Op. 7 [1894]. Level: Advanced. Concert polka in theme and variations form.“A flashy, technically demanding concert piece. Masses of rapid arpeggios, repeated notes, andsweeping octave and scale passages decorate the straightforward polka melody” (score preface).REFERENCE WORK:American Women Composers before 1870 (University of Rochester Press, 1995). A book by JudithTick, with score facsimiles.Concert Polka with Variations. Level: Advanced. (F major, 2/4, tempo di polka, 12 pp). Elaborate,ambitious variations of a lovely polka tune, in the style of Thalberg and Herz, with repeated notes, trills,tremolos and arpeggios. Described by Tick as ‘the most difficult keyboard piece published by a womancomposer before 1870, and indeed the outstanding concert work.”100SOURCES: B&N-B, Cohen, G&G, Gillespie, H&H, TickHOLMÈS, Augusta(née Mary Anne Holmès; pseud. Herman Zenta)b. Paris, Dec 16, 1847—d. Paris, Jan 28, 1903This strong-willed French composer, pianist, and singer was a child prodigy born of Irish parents whosettled in Paris. Her father, Dalkeith Holmes, was a retired army officer.101 At age eleven, after thedeath of her mother, she began her formal studies with Henri Lambert, organist of Versailles Cathedrale;later teachers included Hyacinthe Klosé, César Franck, and Camille Saint-Saëns. The music of Franck andRichard Wagner were dominant influences on her compositional style, in works ranging from songs,chamber music, and piano pieces, to operas and large orchestral and choral works based onmythological subjects. Critics of the time praised her music for its strength, drama, and virility, and theFrench government selected her orchestral Ode triomphale en l’honneur du centaire de 1789 as a fittingcelebration of the centenary of the French Revolution. Ethyl Smyth, a contemporary, dedicated an essayto her, entitled “Augusta Holmès, pioneer.”102 Reported to have been an exceptionally beautiful youngwoman with a mass of red-gold hair and a forceful, vivacious personality, Holmès declined an offer ofmarriage from Saint-Saëns to became the longtime companion of writer Catulle Mendès, father of herfive children.103. Very few of her more than two hundred works are in print today.SINGLE WORKS:Rêverie Tzigane [Gypsy reverie], ed. Christel Nies (Furore, 1989). Level: Advanced. (A-flat major, 3/4,allegro, 7 pp). A vivid Hungarian czardas with the flamboyant gestures of a gypsy violinist; in ternaryform. The capricious main theme, in alternating meters, is filled with



Page 112runs, trills, arpeggios, graces, and “double stop” notes the length of the instrument. The contrastingsection is a fierce and tragic lament in C minor, with the melody in the tenor.ANTHOLOGIES:Collection Moderne for the Piano by Contemporary Composers, ed. Max Hirschfield (EdwardB.Marks, 1935).En Mer [By the sea]. Level: Late Intermediate. (A minor/D-flat major, 6/8, andante misterioso, 5 pp). Animaginative barcarolle in early 20th century style, with traces of both Impressionistic harmonies and lateRomantic gestures. In the opening, chords a tritone apart shift back and forth, like ocean waves swellingand receding. The barcarolle melody begins on page three (un poco più lento, D-flat major). Acontrasting theme brings the piece to a climax, and the barcarolle theme returns, piano.SOURCES: Ammer, A-Z, Baker, Boenke, Brown, B&T, Cohen, ClagH, ClagS, ElsonA, ElsonL, Heinrich,H&H, Hyde, Mac, Johnson, KOM, Laurence, Meggett, MGG, NewGrove, Pendle, SCB, S&S, Stern, scoreHOPEKIRK, Helenb. Edinburgh, May 20, 1856—d. Cambridge, MA, Nov 19, 1945Helen Hopekirk, concert pianist and composer, studied piano in Edinburgh with George Lichtenstein, aHungarian pianist, for six years, and violin with Sir A.C. Mackenzie. She attended the LeipzigConservatory for two years, where she studied composition and counterpoint with Reinecke, Jadassohn,and Richter, and piano with Louis Maas. It was there that she met and formed a lifelong friendship withthe American composer, George Chadwick. Later studies were in Vienna, with Leschetizky and Navrátil,and in Paris, where she studied composition with Richard Mandl.104 After successful debuts at theLeipzig Gewandhaus and London’s Crystal Palace, she toured England, Scotland, and America, and in1897 accepted a teaching post offered by Chadwick at the New England Conservatory, where she taughtfor four years. In her performances, she promoted music by Edward MacDowell, Fauré, Debussy, andd’lndy. Hopekirk is a member of Boston’s Second New England School of composition, led by Paine andChadwick, which included the other women composers Rogers, Lang, and Beach (q.v.). Hopekirkcomposed orchestral and chamber music, many piano pieces, and over one hundred songs, and oftenmade use of Scottish folk tunes and neo-classical ideas. In 1900, she premiered her Piano Concerto in DMajor with the Boston Symphony. An ardent supporter of women’s rights, Helen Hopekirk continued tocompose and perform in public until the age of eighty-two.



Page 113SINGLE WORKS:Serenata (Suite) [1920] (Hildegard; GKH reprint). Level: Mid-Intermediate to Late Intermediate/EarlyAdvanced. Five movements in quasi-Baroque style, dedicated to the composer Arthur Foote.I. Maestoso. Level: Late Intermediate. (C minor, common time, 5 pp). A fantasia-prelude for piano.

Pedal tones under massive block chords alternate with a lute texture, with the melody is pluckedfrom 16th note arpeggios.

II. Minuet. Level: Mid-Intermediate. (G major, 3/4, allegretto moderato, 5 pp). Minuet: simple,Scottish-sounding binary dance, ending in a “Scotch snap.” Trio: slightly varied repeat of theminuet.

III. Sarabande. Level: Mid-Intermediate. (E minor, 3/4, andantino, 1 p). Stately, solemn block chordswith LH octaves in a repeated rhythm.

IV. Arioso. Level: Late Intermediate. (A minor, 6/8, andante, 3 pp). A pastorale/siciliano. Wide-rolledbass strums underlie legato chords in the opening. Melody is in the tenor, between sopranocountermelody like a shepherd’s pipe and a drone bass drone. The movement ends with bassoctaves under RH chords, in a hemiola rhythm.

V. Rigaudon. Level: Late Intermediate/Early Advanced. (E major, common time, allegro ma nontroppo, 5 pp). In ternary form. The main section is true to its genre: a lively, witty dance in two,with an upbeat and staccato articulations. The contrasting section is a modal, legato variant of thetheme.

ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990).Dance [1914]. Level: Late Intermediate/Early Advanced. (B major, 3/4, molto moderato, 5 pp). Archaicstylized dance in ternary form. The repetitive melody uses pentatonic scale forms, dotted rhythms, gracenotes, occasional triplet divisions and some rolled chords to achieve the feel of an authentic Scottish folksong. In the middle section (E major) open 4ths and 5ths cavort high above sweeping LH arpeggios. Aslowly spelled-out C-sharp minor triad serves as a pivot chord for the reprise of the main theme.Prelude. Level: Late Intermediate. (A minor, 3/4, marcato, 5 pp). A single theme is treated in twocontrasting ways to produce this strong work in rondeau form. The opening motive is stark and tragic,with full chords and octaves climbing and falling in a nervous rhythm, as LH plays widely spaced blockchords. In the second section (tranquillo, E major) parallel sixths, slower rhythms and a rocking divided-chord bass transform the theme. Versions alternate again, and the work finishes with a five-octave dim.7th arpeggio, four bars of allargando block chords, and a triumphant A-major chord.



Page 114American Keyboard Music: 1866 through 1910, ed. Glickman, Vol. 4 of Three Centuries ofAmerican Music: A Collection of American Sacred and Secular Music, eds. Schleifer and Dennison(G.K.Hall, 1990).Gavotte [1885]. Level: Mid/Late Intermediate. (B minor, common time, allegro, 4 pp). Characteristicgavotte rhythms and articulations. In ternary form, with a lyric middle section in D major. Skillfulhandling throughout of relative key relationships, with phrases alternately cadencing in major and minor.Sundown [1909]. Level: Late Intermediate. (F-sharp major, 3/4, andante sostenuto, 5 pp). LateRomantic tone painting in ternary form, with melodic lines and chords reminiscent of Strauss leider. Inthe opening and closing sections, broad, unhurried chords change colors over tonic and dominantpedals. In the center section (G-flat major), the melody rises through a sequence of appogiaturas overrichly sweeping arpeggios.Women Composers: Music Through the Ages, Vol. Six, series eds. Glickman and Schleifer(G.K.Hall, 1999). Serenata (Suite)—see Single Works.SOURCES: Ammer, Baker, Brown, B&NB, B&S, B&T, ClagS, Cohen, Dubal, ElsonA, ElsonAm, Fuller, G&G,Grove, GroveAm, H&H, Johnson, Kehler, KOM, Laurence, Mac, Meggett, Pendle, S&S, Stern, scoresHOWE, Mary Alberta Bruce(née Carlisle)b. Richmond, VA, Apr 4, 1882—d. Washington, DC, Sep 14, 1964Mary Howe, American pianist, singer, and composer, was the daughter of an international lawyer. Afterher early training with the private teacher Herminie Seron, she studied piano with Ernest Hutcheson andHarold Randolph at the Peabody Institute, and for a few months with Richard Burmeister in Dresden.Composition studies were with Gustav Strube at the Peabody Institute and Nadia Boulanger in Paris, butit was not until age forty that Howe received her diploma in composition from Peabody. In 1912, shemarried Walter Bruce Howe, her brother’s law partner, and they had three children. She sang madrigalconcerts with her children, performed with chamber groups, and toured in duo piano programs forfifteen years with her partner, Anne Hull. An active member and officer in the National Federation ofMusic Clubs, and a founder of the Friends of Music at the Library of Congress, in 1925 she and AmyBeach co-founded the Society of American Women Composers. Howe and her husband also helpedfound the National Symphony Orchestra. In 1961, she received an honorary doctorate from GeorgeWashington University. Among her compositions are over twenty orchestral works played by severalleading orchestras, including the Vienna Symphony, a great deal of chamber and vocal music, oneballet, and some twenty-two pieces for piano and piano duo.



Page 115ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 6, ed. Glickman and Schleifer (G.K.Hall, 1999).Prefatory essay, “Mary Howe,” by Dorothy Indenbaum. Two inventive, musical works in the duo pianorepertory.Sand. For two pianos. Level: Early Advanced. (C major, 4/4, allegretto leggiero senza rall., 8 pp). Ashort, imaginative scherzo, transcribed from a work for orchestra. Extensive use of staccato tripletfigures describes the gritty texture of grains of sand.Stars. For two pianos. Level: Late Intermediate/Early Advanced. (D major, 3/4, lento sonore, 5 pp).Originally titled Mists, this was written in 1927 for orchestra, arranged for solo piano in 1934, andtranscribed for piano duo in 1961. Howe described it as a “miniature tone-poem inspired by thegradually overwhelming effect of the dome of a starry night—its peace, beauty, and space. A crashingsense of great rhythms is felt and then the emergence once more into the all-embracing peace andspace” (score preface).LISTED but not found in print: Solo arrangements of Stars and Whimsy (Composer’s Press, 1938),Hinson’s Guide, 3rd edition.SOURCES: Ammer, Anderson, B&NB, Baker, Boenke, ClagAm, ClagS, Cohen, Fuller, Goss, GroveAm,grovemusic, H&H, Heinrich, Hinson, Johnson, Laurence, Mac, Meggett, Pendle, Skowronski, S&S, Stern,scoreJJACQUET DE LA GUERRE, Elisabeth-Claude(var. Jaquet, La Guerre)bap. Mar 17, 1665—d. Paris, Jun 27, 1729French composer and harpsichordist Elisabeth-Claude Jacquet de La Guerre was the first major femalecomposer of instrumental music.105 Her keyboard works are the earliest extant examples of the genreby a woman. Daughter of an organ and harpsichord builder, Elizabeth-Claude was a child prodigy whofrom the age of six sang difficult music at sight and accompanied herself and others at the harpsichord.At age eleven, Louis XIV singled her out for special favor at the court of Versailles, putting her in thecare of his mistress, Madame de Montespan, and permitting her to dedicate works to him. By 1684,Elizabeth-Claude had married the organist Marin La Guerre, with whom she had one son, but both diedin 1704. After their deaths, she gave a series of salon concerts in her home in Paris attended by thegreatest musicians and connoisseurs of the



Page 116time; she is reported to have had a special talent for extemporizing lengthy fantasias on a given tune.Her compositions include two volumes of harpsichord pieces published in 1687 and 1707, songs, sacredand secular cantatas, a Te Deum, one opera, and chamber sonatas. After her death, a commemorativemedal was struck in her honor, with this inscription, “With the great musicians I competed for theprize.”106 Jacquet de la Guerre was one of only four French composers to publish collections ofharpsichord pieces in the seventeenth century, the others being d’Anglebert, Chambonniéres, andLebègue. Of these four, she alone published collections in both centuries, making her works importantto scholars studying the changes between eras. Titon du Tillet, in Parnasse française, a monumentalrecord of the achievements of French poets and musicians, awarded La Guerre a place of honor secondonly to Lully.107(N.B: It is probably irrelevant and misleading to grade the harpsichord works below in terms of pianorepertoire. The unadorned pieces are brief, repetitive, narrow-ranged, and written in easy keys, two-voice textures and simple rhythmic patterns. However, ornaments, tempos, articulations, phrasing, andfingerings all present scholarly and technical challenges. The musical ideas and practices are based onthree hundred year-old verse and dance forms idiomatic to the lute and harpsichord. As with Bach, thequestion of whether to play harpsichord works on the piano is a matter of personal taste, but this authorrecommends the study and performance of Jacquet de la Guerre’s works to any serious keyboardstudent).COLLECTIONS:Pieces de Clavecin [1687 and 1707 collections], ed. Carol Henry Bates, Vol. LXVl (66) of Le pupitre(Heugel & Cie, 1982. Also available Editions Minkoff). Level: Late Intermediate/Early Advanced. Bates’scholarly edition of both collections includes an informative preface and ornament table. In the book of1687, thirty-four pieces are divided into four key groups (or suites): D minor, G minor, A minor, and Fmajor. The pieces in each group follow this order: introductory movements, Allemande, Courante I,Courante II, Sarabande, Gigue(s), and other works, such as a Tocade (the only such piece in Frenchharpsichord literature)108, Menuets or Chaconnes. Three unmeasured Preludes are included, and use ofthe style brisé (writing in imitation of a lute) is prominent. In the 1707 collection, there are two groups,or Suites, in D minor and G major, with fourteen pieces between them. Arranged like the 1687 sets,these have no opening movements and only one Courante each. In the two “La Flamande” allemandes,traditional elements join newer ideas, such as chains of suspensions and seventh chords, circle-of-fifthprogressions, fast figurations, and the chaconne.109Pièces de Clavecin, ed. Thurston Dart (Editions de L’Oiseau-Lyre, 1956, rev. of 1938 Brunold edition).This edition contains only the 1707 collection; see the Bates edition, above, for fuller discussion. Hinson



Page 117describes them as “12 rich dance pieces of austere dignity and intricate skill,” while Gillespie says theyare “subtle, delicate adaptations of current Italianisms,” forward-looking for their time.110ANTHOLOGIES:Early French Keyboard Music, An Anthology, ed. Howard Ferguson (Oxford University Press,1966).Suite I in D minor, from the 1707 collection. Two dances; editor’s suggestions for ornaments andperformance.Sarabande. Level: Early Advanced. (D major/minor, 3/4, 2 pp). An intense, dignified dance in binaryform, with dotted rhythms and poignant alternations from major to minor modes.Rigaudon. Level: Early Advanced. (D minor, 2/2, 2 pp). A witty country dance pair from Provençal, to beperformed ABA.Frauen Komponieren, ed. Rieger/Walter (Schott, 1992).Suite II in G major [1707]: Rondeau. Level: Late Intermediate. (G minor, cut time, 1 pp). The elegantmain theme is a sinuous, descending G minor scale; LH counterpoint uses identical rhythms. Rondotheme is contrasted with two “couplets” in B-flat major and in F major/D minor; the second couplet thenmodulates to the dominant for the return of the rondeau refrain. Ornaments abound in this lovelyminiature.Great Women Composers, ed. Smith (Mel Bay, 1996). Three works from two of the 1707 Suites.Suite I in D minor. La Flamande. Level: Early Advanced. (D minor, common time, 5 pp). An elegantallemande in binary form, followed by a double (variation) of both sections. As in the music ofChambonnières and Couperin, there is a great deal of ornamentation. Chaconne. Level: Early Advanced.(D major and minor, in three, 4 pp). Five couplets in a virtuosic combination of variation and rondeauforms.Suite II in G major Rondeau: see Rieger/Walter, above.Harpsichord Method, Maria Boxall (Schott). Menuet from Pieces de Clavecin, as cited in Hinson Guide,3rd ed.Historical Anthology of Music by Women, ed. Briscoe (Indiana University Press, 1987). Suite I in Dminor, 1707: La Flamande and Chaconne. See Smith edition.Les Maitres Français de Clavecin des XVIIme et XVIIIme Siécles, ed. Brunold, (Editions MauriceSenart, 1921).Suite H in G Major, 1707 collection: Sarabande andGigue. See Ferguson and Bates editions.Women Composers: Music Through the Ages, Vol. 2, series eds. Glickman and Schleifer (G.K.Hall,1998).Suite II in G major, 1707: La Flamande, Chaconne. See other editions.SOURCES: Ammer, A-Z, Baker, Boenke, B&T, ClagH, ClagS, Cohen, Eitner, Elson, Friskin, FRK, G&F,Gillespie, Gustafson, Heinrich, H&H, Hinson, Hyde,



Page 118Jackson, Jezic, Johnson, Kirby, KOM, Laurence, Mac, Meggett, N-B, NewGrove, Pendle, SCB, S&S, Stern,scoresJACOBS-BOND-see BOND, Carrie Minetta JacobsJAËLL-TRAUTMANN, Marie(var. Jaëll; née Trautmann)b. Steinseltz nr Strasbourg, France, Aug 17, 1846—d. Paris, Feb 5, 1925Pianist, composer, and teacher Marie Trautmann was born in a small village near Strasbourg, France. Achild prodigy, she gave piano recitals in Germany, Switzerland and France at the age of nine. Herteachers included Hamma in Stuttgart, Moscheles in Leipzig, and Herz at the Paris Conservatory, whereat age sixteen she won the premier prix in piano. She married Alfred Jaëll, a famous Austrian virtuoso,in 1866, and together they toured Europe and Russia, performing much of the duo repertoire. After herhusband’s death in 1881, she became a pupil and friend of Liszt, spending time at Weimar each yearwhere she performed in his musicales and acted as a secretary for him. Saint-Saëns and Chabrierdedicated compositions to the gifted pianist, who had a marvelous technique as well as an amazingcapacity for performing large bodies of work. In 1891, Jaëll-Trautmann performed all of the solo musicby Liszt; in 1893, she became the first French pianist to play the entire cycle of Beethoven sonatas inParis; and in 1901, she programmed all of Schumann’s solo works. After 1895, Jaëll-Trautmann devotedmost of her time to pedagogical writing and teaching at the Paris Conservatoire, where she worked formany years, her most famous student being Albert Schweitzer. Fascinated by Liszt’s sensitive, efficientfacility at the keyboard, she was the first to study the physiological characteristics of piano technique,and produced eleven books on piano pedagogy. Her method, still promoted today by the AssociationMarie Jaëll in Paris, emphasizes economy of movement, careful use of arm weight, posture and practicemethods, as well as the importance of forming a mental image of the desired sound. Jaëll-Trautmannstudied composition with Saint-Saëns and Franck, and her piano music was, of course, also influencedby Liszt. Her music is fundamentally late Romantic in style, with later works displaying someimpressionistic characteristics, and comprises wrote cello, violin, and piano concertos, chamber works,songs, and choral music, a symphonic tone poem, and over eighty pieces for the piano.111



Page 119SINGLE WORKS:Sonata [1871], ed. Lea Schmidt-Rogers (Hildegard, 1996). Level: Advanced. Four movements, manykey and meter changes in each movement, 42 pp. Dedicated to Franz Liszt, and similar to his works.“Harmonic similarities abound…virtuosity, ad lib. sections, short melodies, unexpected key relationships,and the abundance of meter changes characterize both” (score preface). I: Allegro ma non troppo (Cmajor, 3/4, 10 pp). Modified sonata-allegro form. II: Adagio (F minor, 6/8–3/4, 7 pp). A pastorale. III:Tempo di minuetto (E major, 3/4, 8 pp). Schumannesque. IV: Allegro (C major, 3/4, 16 pp). Lengthy,thick-textured.COLLECTIONS:French Character Pieces, ed. Lea Schmidt-Rogers (Hildegard, 1998). Character pieces suitable for theintermediate student, from four loosely organized cycles similar to collections by Robert and ClaraSchumann.Bagatelles [1872]. Level: Mid Intermediate. Four brief pieces of pastoral character, in compound meters.No. 1. Moderate. (G major, 6/8, 2 pp). A simple pastorale, with a trill and a solo cadenza for theshepherd’s pipe.No. 2. Allegro. (C major, 9/8, 1 pp). A galloping hunting song, with dotted rhythms and triplets versusduplet figures.No. 3. Lento. (G minor, 6/8, 1 pp). A wistful Siciliano, in three-voice counterpoint.No. 4. Allegro non troppo. (G major, 6/8, 2 pp). A joyful peasant dance.Ce qu’on entend dans l’Enfer [1884].Alanguissement [Languidness]. Level: Late Intermediate. (C major, 3/4, assez animé mais très doux, 3pp). A subtle study in different articulations between the hands. Sparse texture, with hands generallyclose together in the middle of the keyboard. The theme in the tenor voice is made of two-note slurs,sighing in sequence. There is some chromaticism, and the middle section is written in five sharps.Valses mélancholiques. Level: Mid-Intermediate. Five gentle waltzes in various styles; a nice recitalgroup for the intermediate student.No. 1. Pas trop lentement. (C minor, 3/4,2 pp). Wistful and Chopinesque, made of two opposing figures:a questioning, ascending ninth, and a answering descending third or fifth.No. 2. Assez animez. (F-sharp major, 3/4, 2 pp). Delicate two-voice texture; a will-o′-the-wisp melodyappears in interrupted, syncopated fashion.No. 4. Très décidé. (C-sharp minor, 3/4, 2 pp). The most robust of the group, with the character andmood of a mazurka.No. 5. Vite. (A minor, 3/4, 2 pp). Fleeting; gossamer two-voice texture, with LH notes widely spaced. RHtheme alternates rising and falling intervals, like the first waltz in the set.



Page 120Valses mignonnes [Sweet waltzes]. Level: Mid-Intermediate. Three fast, light dances; not the standardViennese type.No. 1. Très animé. (G major, 3/4, 3 pp). A giddy little piece, spinning in tight circles. Late Romanticchromaticism, two-voice texture and ternary form.No. 2. Assez vite. (F major, 3/4, 3 pp). A gay circus waltz, with stepwise staccato two-note chordsaccompanied by an “oom-pah” bass.No. 3. Mouvt. très modéré. (G major, 3/4, 2 pp). A murmuring, repetitive melody is made moreinteresting with some chromaticism. The G minor center section is placed in high registers.Les Jours Pluvieux [Rainy days]. Level: Early Intermediate. Five brief descriptive teaching pieces.No. 1. Quelques gouttes de pluie [Some raindrops]. (A minor, 2/4, léger pas trop vite, 2 pp). Sixteenthnote pickups in the RH, and grace notes in the LH, occur before each lightly-played close position chord.No. 4. Petite pluie fine [A little light rain]. (A natural minor, common time, vite, 2 pp). A perpetuo motostudy in two voices. RH plays pianissimo staccato eighth notes in ornamented stepwise patterns; LHbounces on alternating chord tones. Use of the natural minor mode gives it a slightly unusual sound.No. 6. A l’abri [Sheltered]. (A-flat major, 3/4, pas trop lent, mais calme et espressif, 1 pp). Quiet,soothing, and repetitive.No. 10. Roses flétries [Faded roses]. (C-sharp minor, 3/4, mélancholique, 1 pp). A sad little piece, likemelancholy strains of a long-ago waltz.No. 11. Ennuyeux comme la pluie [Boring, like the rain]. (C-sharp minor, 6/8, pas trop lent, 1 pp).Repeated one-measure motifs provide the yawns.Les Beaux Jours, 1894 [Pretty days]. Level: Early Intermediate. Two teaching pieces.No. 11. On rit [Laughing]. (A major, 2/4, très rapide, 1 pp). Hands play staccato chords in close positionin the treble registers, using “laughing rhythms” of accented eighth and quarter notes. LH has somechromatic scale passages.No. 12. On rêve au mauvais temps [Dreaming about bad weather]. (G-sharp minor, common time, agitémais pas trop vite, 2 pp). LH is a murmuring ostinato in rocking eighth notes; the soprano melodymoves by whole notes; and the alto fills in with another ostinato figure in quarter notesPromenade Matinale [Morning walk; after 1878].Aube [Dawn]. Level: Mid-Late Intermediate. (F major, moderate, 4/4, très calme, 3 pp). Some earlyImpressionistic effects. RH alternates two-note intervals in a rocking motion over a drone bass. The LHmelody appears twice, briefly; most of the interest is in the shifting chord colors. LH has some tenths;reportedly, Jaëll’s hands spanned an eleventh.112



Page 121ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Prefatory essay and three works edited by Lea Schmidt-Rogers.Aube, Petite pluie fine. See French Character Pieces.Valses pour Piano à quatre mains Op. 8. (Duo, four-hands). Level: Late Intermediate. Includes I, III, IV,VI, and the Finale. A favorite of Liszt, who premiered it with Saint-Saëns. Lyrical and lush late Romanticwriting; the variety of styles includes a grand waltz and a fervent Hungarian dance.SOURCES: Baker, Cohen, Dubal, Ebel, ElsonA, Gordon, Grove, H&H, Hinson, Kehler, KOM, Laurence,Mac, Meggett, S&S, Stern, scoresJAPHA, Louise Langhans—see LANGHANS, Louise JaphaKKINNEY, Viola L.b. Sedalia, Missouri, ca. 1890—d. ?Little information is available about this African-American woman. After studying harmony and choralmusic at Western University in Quindaro, Kansas, she returned to Sedalia, where she married FredFerguson, an undertaker, and for thirty-five years taught music and English in the segregated LincolnHigh School. In 1908, her composition below, Mother’s Sacrifice, won the Inter-State Literary SocietyOriginal Music Contest. Published in Kansas the next year, a copy housed in the Library of Congress isher only extant composition.113



Page 122ANTHOLOGIES:Black Women Composers: A Century of Piano Music (1893–1990), ed. Helen Walker-Hill(Hildegard, 1992).Mother’s Sacrifice. Level: Mid-Intermediate. (F major/G minor, 4/4 and 3/4, andantecantabile/moderato/vivace, 3 pp). In ABCBA form, three different themes present musical vignettes of awoman’s life in 1908; the music could serve as background for a silent film. Rolled chords in theintroduction usher in a pleasant, if repetitive, melody, which hums contentedly over whole-note blockchords. In the second section, a RH octave figure modulates a half step upward every two bars, perhapsindicating difficulties or the striving for higher things. The third section, in G minor, presents a picture ofmisery and loneliness; then the theme modulates to E-flat major, gathers strength in repetition, andbuilds to fff. A reprise of “B” follows, and the work closes with a slightly ornamented version of the firststrain, as the right hand crosses over into the tenor register. Two repetitions of a plagal cadence bringthe story to a quiet but happy ending.SOURCES: H&H, KOM, Walker-Hill scoreKOCHER-KLEIN, Hildab. Germany, 1894—d. 1974Almost nothing is known about this composer, other than the fact that she lived in Germany in thetwentieth century.114SINGLE WORKS:Kobolde: 9 Klavierstücke Opus 1 (Tübingen: C.L.Schultheiss, n.d.). Level: Early-Mid-lntermediate.These nine “imps” or “gnomes” are short character pieces in late Romantic style, with Schumannesquetextures but more adventurous harmony. Engaging additions to the repertoire, mostly one page inlength and in easy keys.1. D major, cut time, lebhaft und zierlich (lively and graceful). In ternary form, with repeats. A lively

polka-like dance, in rounded binary form, is followed by a slightly slower Musette, then repeated.2. G major, 4/8, einfach (simply). A sweet song in rounded binary form with a repeated second half;

phrases are unsymmetrical.3. D minor, 3/8, sehr rasch (very quickly). A scherzo, this fleeting piece fairly skips across the pages.

The middle section is in D major.4. F-sharp minor, 3/4, ruhig (peacefully). In this hymn-like work, tones are borrowed from the modes.5. E major, common time, singend, in ruhiger Bewegung (singingly, with quiet motion). Another song in

hymn texture, with periods built of unsymmetrical phrases.



Page 1236. E minor, 6/8, äusserst rasch und leicht (extremely quick and light). Broken chords shared between

alternate hands give a pointillistic texture to this tricky piece.7. F major, 3/4, ruhig fliessend (gently flowing). Pastoral-sounding, a gentle melody in right hand

chords plays over a drone bass, with the tenor moving on the inner beats.8. D minor, 3/4, getragen, nicht zu langsam (sustained, but not too slow). A gentle, sad folk tune in

chordal texture.9. D major, 3/4, im walzer tempo. In ternary form, the main theme is gay and lilting, rather like a

dance tune from an operetta. The contrasting center section has an extensive circle-of-fifthsprogression; an augmented sixth, played pianissimo, provides a nice touch just before the end.

SOURCES: Boenke, Cohen, FRK, H&H, KOM, SCBKONINSKY, SadieLate 19th century AmericanSadie Koninsky was a song-plugger who composed piano rags and the related 19th century genreshamefully referred to as “coon songs.” In 1896, Koninsky’s Eli Green’s Cakewalk was one the firstsuccesses in the genre, helping to spark a worldwide craze during the gay ‘90s.115 Written by bothwhite and African-American composers, the songs and dances often included descriptive settings, suchas this one included in the original publication of Phoebe Thompson’s Cakewalk:“On the occasion of the birth-day anniversary of Miss Phoebe Thompson, the society leader ofDarktown, all the colored aristocrats assembled at Lime-Kiln Hall, to celebrate in her honor. During theevening, Miss Thompson proposed a cakewalk, having baked a magnificent birthday cake which shedesired to present to the winner. All agreed readily, and the band played: Phoebe Thompson’s CakeWalk.”116ANTHOLOGIES:American Keyboard Music 1866 through 1910, ed. Glickman, Vol. 4 of Three Centuries ofAmerican Music (G.K.Hall, 1990), and American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990).Phoebe Thompson’s Cakewalk [1899]. Level: Mid-Intermediate. (2/4, C/F major, moderato, a la marcia,3 pp). A charming, sprightly piece, with strong melodic ideas, good contrast between sections, and astraightforward approach to the genre. Like many rags based on march forms, the three-strain piecedivides into two distinct parts, with three sixteen-bar sections in the first half (ABA) and two in thesecond (C, C1); four of the sections are repeated. C and B sections have identical rhythms and verysimilar tunes. Adding octaves during the repeats,



Page 124which may have occurred in performance, creates color and bravura; the work is a good candidate fororchestration.Ragtime Rarities: Complete Original Music for 63 Piano Rags, sel. Tichenor (Dover Publications,1975) and Ragtime & Early Blues Piano, comp./ed. Appleby and Pickow (Amsco, 1995).Eli Green’s Cakewalk (Characteristic March) [1898]. Level: Mid-Intermediate. (2/4, D minor/F major,March, 4 pp). One of the first cakewalk successes, described on the title page as a “March and Two-Step, also published for all mandolin and guitar arrangements, zither, quartette, full orchestra andband.” Four repeated sixteen-bar sections (ABAC), with the A sections in D minor and the others in Fmajor. Well constructed melodies, good contrast between sections, and typical cakewalk syncopations;an enjoyable piece.SOURCES: B&NB, Hasse, KOM, scoresKRUMPHOLTZ, Anne Marie(var. Mme Krumpholtz; née Steckler/Stekler)b. Metz, France, ca. 1755—d. London, Nov 15, 1813Virtuosa harpist and composer Anne-Marie Krumpholtz was the daughter of Christian Steckler, a harpmaker. She studied with the great harpist Johann Baptist Krumpholtz, whom she married in 1783. Sheand her husband gave numerous performances at the concerts spirituels in Paris from 1778–1788.Accounts differ on her birth and death dates, the number of her children, and the name of the loverwith whom she fled to London in 1788. Most encyclopedias relate that she ran off to London with JanLadislav Dussek, the brilliant pianist and composer, causing her husband to drown himself in the Seine.However, Ursula Rempel believes her lover was Alexandre Gossec, and that the long-standing rumor ofthe suicide is false.117 Regardless of discrepancies in accounts of her private life, contemporary reviewsunanimously applauded her technical prowess and great sensitivity. Considered by many the finestharpist in Europe, she played at benefit concerts and at the Salamon concerts with Haydn, J.L. Dussek,and the young Sophia Corri, actively performing until 1797.118 Although Krumpholtz apparentlycomposed sonatas and other serious pieces, most of her published music was in the form of harparrangements of well-known tunes, which found an eager audience in young women of the rising middleclass. The only modern examples of her music are the three sets of theme and variations below, whichuse the standard harmonic and textural vocabularies of the period. Each set of variations is idiomaticboth to the harp and keyboard.



Page 125COLLECTIONS:Three Pieces for Harp, ed. Ursula Rempel (Hildegard; GKH reprint). Straightforward, workmanlikeexamples of the variation genre, following the principle of progressive complexity.A Favorite Piemontois Air with Variations by Dalvimare. Level: Mid-Intermediate. (C major, 3/4, andante,11 pp). Theme and four variations.Lison Dormoit with an Introduction & Variations. Level: Mid-Intermediate. (E flat major, common time,resoluto/andante, 9 pp). Lengthy introduction, theme and three variations.The Favorite Air of PrayGoody Arranged for the Harp. Level: Mid-Intermediate. (G major, common time,allegretto/presto, 9 pp). Theme and three variations; cadenzas separate the variations, and there is apresto final section.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3; series eds. Glickman and Schleifer (G.K.Hall& Co., 1998). Ursula Rempel, prefatory essay and edition of the three works listed above.SOURCES: Baker, Brown, Eitner, Cohen, grovemusic, H&H, Jackson, Mac, MGG, Pendle, S&S, Schonberg,scoreKRUMPHOLTZ, Fanny—see PITTAR, Fanny KrumpholtzKUYPER, Elisabeth(var. Lize; née Lamina Johanna)b. Amsterdam, Sep 13, 1877—d. Viganello, Switzerland, Feb 26, 1953Dutch conductor, composer, and music teacher Elisabeth Kuyper studied with Daniel de Lange and FransCoenen at the Maatshappij tot Bevordering der Toonkunst in Amsterdam. After receiving a pianoteaching certificate in 1895, she studied with Max Bruch at the Berlin Hochschüle fur Musik, where from1908 to 1920 she was that institution’s first female teacher of theory and composition. In 1905, shebecame the first woman to win the Mendelssohn state prize for composition, and the Berlin Philharmonicand numerous other German and Dutch ensembles played her works. Kuyper saw herself as a pioneer:in 1926, she said, “For a woman, today perhaps even more than in earlier times, being a pioneer in asphere towards which my talent directed me—predestined to compose and conduct—means having tostruggle and fight for every step that leads forward.”119 Between 1910 and 1924, Kuyper founded andconducted four women’s orchestras in Berlin, The Hague, London, and New York. All were well received,but unfortunately disbanded because of financial problems. From



Page 1261939 until her death, Kuyper lived in Muzzano, near Lugano, Switzerland. She wrote orchestral, chamberand choral music, solo songs, and several salon pieces for piano. Much of her music displays richharmonic coloring and daring modulations; influences on her style include Bruch, Brahms, Schumann,Mahler, and Richard Strauss.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999).Dreams on the Hudson Waltz, ed. Helen Metzelaar [1925]. Level: Mid-Intermediate. (G-flat major, 3/4,cantando, 7 pp). A traditional waltz with three strains, in rondo form with contrasting episodes in D andD-flat majors. Originally written for orchestra, it is a pleasant if unremarkable example of salon music inmid-19th c. style.SOURCES: Ammer, A-Z, Baker, B&T, Cohen, grovemusic, H&H, Laurence, Mac, S&S, Sperber, Stern,scoreLLADY, AEarly 19th c. AmericanNo further information is available about this anonymous American woman, who may or may not be theperson referred to as “A Lady of Philadelphia.”REFERENCE WORK:American Women Composers before 1870, a book by Judith Tick (University of Rochester Press,1979/95) from Studies in Musicology, 57 (UMI Research Press, 1983), 67–71. The variations below arereproduced in this study.Oft in a Stilly Night, with Variations for the Piano Forte [1827]. Level: Late Intermediate. (C major, 5pp). A charming and inventive parlor piece. This popular set of variations on Thomas Moore’s song wasincluded in four publishers’ catalogues by 1870. Theme and five variations: Andante doloroso (2/4),Spiritoso (3/4), Allegretto (2/4), Marcia (common time), Allegretto (2/4), and Larghetto affettuoso (2/4,C minor/major).SOURCES: Clark, Glickman, Heinrich, H&H, Jackson, Tick



Page 127LADY, Afl. 18th century EnglandNo biographical information is available regarding the anonymous composer of the work below. Hermusic displays considerable talent and skill.ANTHOLOGIES:Eighteenth Century Women Composers for the Harpsichord or Piano, ed. Barbara Harbach(Vivace Press, 1992). Urtext edition of sonatas by Gambarini, Park, and A Lady. It includes two pages ofbiographical information and performance notes.Lesson VI in D Major, from Six Lessons for Harpsichord. Level: Mid/Late Intermediate. I: Largo (commontime, 1 pp). A stately processional with dotted rhythms, in the style of a French overture. II: Allegro (cuttime, 7 pp). Joyous and spirited, extremely well written and idiomatic. Reminiscent of D.Scarlatti or earlyHadyn, in a sort of rondo form. Two-voice counterpoint, with hands nearly equal partners; there arepassages in parallel octaves and tenths, RH 16th note scales, LH arpeggio figures. Creative, irregularphrase lengths form periods. III: Minuet (3/4, 2 pp). Simple and gracious; binary repeated form, with ashort segment in the relative minor. Elisions and extensions create irregular phrase lengths.SOURCES: Jackson, scoreLADY, A Canadianfl. Quebec, 1841No information is available about this mid-19th century resident of Quebec. Inspiration for thecomposition was the union of the Upper and Lower Canadas, known today as the provinces of Ontarioand Quebec. It is worth noting that until Gena Branscombe (q.v.), Canadian women published theirmusic under pseudonyms.ANTHOLOGIES:Le Patrimoine Musical Canadien (The Canadian Musical Heritage), Vol. 1, Piano Music, ed.Elaine Keillor (Ottawa, 1983).The Canadian Union Waltz [1841]. Level: Mid-Intermediate. (A-flat major, 3/4, 2 pp). A gracious andcharming salon piece in three strains; middle section is in E-flat major; very European in style andmood.SOURCES: Hinson, score



Page 128LADY, A Young, of Charleston, S.C.—see MURDEN, Eliza CrawlyLA GUERRE, Elizabeth-Claude Jacquet de—see JACQUET de La Guerre,LANDOWSKA, Wanda Alexandrab. Warsaw, Poland, Jul 5, 1879 -d. Lakeville, CT, Aug 16, 1959Harpsichord virtuosa Wanda Landowska, a leader in the twentieth-century revival of early music andperiod instruments, studied piano with Kleczynski and Michalowski in Warsaw and Moszkowski in Berlin,where she also studied composition with Heinrich Urban. After her marriage to Henry Lew, an authorityon Hebrew folklore, they moved to Paris, where she continued to compose songs and piano music,winning both first and second prizes in the 1903/4 Musica International Competition. At about the sametime, Landowska started performing in public on the harpsichord. While interned in Berlin during WorldWar I, she began teaching a harpsichord class at the Hochschule für Musik.120 Merging her studies inearly music with her compositional skills, she composed cadenzas for concertos by Mozart, Haydn,Handel, and C.P.E.Bach, as well as piano transcriptions of Schubert Ländler, Lanner waltzes, and Mozartdances.121 In 1925, after her husband’s death, Landowska settled north of Paris, where she foundedthe École de Musique Ancienne. In 1940, the German occupation forced her to flee, abandoning herlibrary often thousand volumes, her valuable period instruments, and all the manuscripts of her owncompositions; only a few of her piano pieces are extant. Landowska moved to the United States, and formany years continued to teach and perform, touring widely to rapt audiences. One description of thefamous musician is particularly vivid:“…she had the stage fixed up as though it were her living room—the harpsichord dominating, a studiolamp to the left of the keyboard, the stage nearly\darkened…Finally the stage door opened and ThePresence approacned…Her palms were pressed together in prayer a la Dürer, her eyes were cast to theheavens, and everybody realized she was in communion with J. S.Bach, getting some last-minutecoaching and encouragement… It was one of the great entrances of all time.” 122One of the most respected musicians of the century, Landowska’s devotion to early music was rewardedwith decorations from the French and Polish governments. A gifted performer, teacher, and scholar, herefforts include a book, Musique Ancienne, and many articles for musicological journals.ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990).Berceuse, from Four Pieces. Level: Early Intermediate. (E minor, 2/4, andantino, 6 pp). Soothing andplaintive, similar to Bartok’s Rumanian Folk Dances. Dominant drones both in the melody and theperpetually



Page 129rocking bass produce a mesmerizing effect, contrasted by a chorale section in E major. Expanded songform/rondo structure (AABACA), with balanced periods of six-bar phrases. The occasional borrowed toneadds a bit of piquancy to the tonic/dominant harmony.Composer-Pianists (Schaum Publications, 1971).En route Op. 4 [Paris: Enoch, 1901]. Level: Mid-Late Intermediate. (C minor, 6/8, allegro, 4 pp). Aninvigorating chromatic-scale study for RH; double notes and chords on strong beats make fingeringchallenging. Scales and turning figures are in continuous triplets, like a perpetuo moto or tarantella;modal borrowing provides interesting color.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999).Liberation Fanfare, ed. Denise Restout. Level: Mid-Intermediate. (D minor/major, common time, 2 pp).Written on fleeing France in 1941, this was dedicated to General DeGaulle in anticipation of hisdestruction of the Nazi oppressors. A rousing trumpet call to arms, complete with triplets and dottednotes, changes to a triumphal march.SOURCES: A-Z, Baker, Cohen, Dubal, Grove, GroveAm, Heinrich, H&H, Hinson, Kehler, KOM, Laurence,LePage, Mac, Meggett, MGG, LePage, S&S, Stern, scoresLANG, Josephine Carolineb. Munich, Mar 14, 1815—d. Tübingen, Germany, Dec 2, 1880Josephine Lang, singer, pianist, composer, and teacher, inherited musical talent from both sides of herfamily. Her mother, three aunts, and maternal grandmother were professional singers; her father,Theobald Lang, and his father were virtuoso instrumentalists and directors. Lang’s early studies werewith her mother and a Fräulein Berlinghof.123 At age fifteen, she met Felix Mendelssohn, who becameso enamored of her talent and personality that for months he gave her free daily lessons in fugue,counterpoint, and theory, and encouraged her to compose. Mendelssohn described her as “one of theloveliest creatures I have ever seen. She has the gift of composing and singing songs in a manner I havenever heard anything to match.”124 Robert and Clara Schumann, Stephen Heller, Ferdinand Hiller, andRobert Franz all praised the efforts of the young woman. Lang composed over 150 lieder and manysmall works for piano. She set texts by Heine, Goethe, Schiller, and Lord Byron, as well as poems by herhusband-to-be, Christian Reinhold Koestlin, a law professor and amateur poet. The lovers married in1842 and had six children; sadly, her husband died in 1856, and she subsequently lost three of her foursons. Lang’s songs, which are often compared to those of her contemporaries Mendelssohn andSchumann, show considerable individuality, a singer’s grasp of line, and pianistic accompanimentsindependent of the melody. The delightful mazurkas described below appear to be her only piano workscurrently in print.



Page 130ANTHOLOGIES:Nineteenth Century German Keyboard Music, intro. Martha Furman Schleifer (Hildegard, 2000).Works by Weyrauch, Langhans, and Lang.Mazurka I Op. 49/1. Level: Mid-Intermediate. (G minor/major, 3/4, tranquillo, 4 pp). Graceful, tunefuland inventive. In expanded ternary form, the first section is in rounded binary; each section has tworepeated strains. The center section and the final repeat of A are in the parallel major.Mazurka II Op. 49/2. Level: Mid-Intermediate. (F minor, 3/4, allegretto, 5 pp). Airy and agile; one of thequicker sort of mazurkas; ternary form, with an extended Trio in F major/d minor.SOURCES: Baker, B&T, ClagS, Cohen, Ebel, ElsonA, FRK, HAMW, H&H, Jezic, Laurence, Mac, Meggett,MGG, N-B, NewGrove, Pendle, Sperber, S&S, Stern, scoreLANG, Margaret Ruthvenb. Boston, Nov 27, 1867—d. Jamaica Plains, MA, May 30, 1972Born in Boston in the same year as Amy Beach, Margaret Lang was the first American woman to have awork performed by a major orchestra. The work was her Dramatic Overture Op. 12, composed in 1893,and played by the Boston Symphony under the direction of Arthur Nikusch.125 Lang studied piano andcomposition with her father, Benjamin Johnson Lang, an organist, conductor, and teacher, and violinwith Louis Schmidt. Further studies took her to Munich, where she worked with Dreschler, Abel, andGluth. Returning to Boston, she studied orchestration with Chadwick, Paine, and MacDowell. Her fatherchampioned her music, programming many early performances with his own groups and promoting herworks with other conductors whenever possible. She first received acclaim as a composer of songs, withworks performed at gala expositions and in recitals by leading singers such as Schumann-Heink. Afterthe reception accorded her Dramatic Overture, other works were played by major orchestras and wellreceived by the public. At an 1889 concert in Paris featuring American composers MacDowell, Buck,Chadwick, and Foote, she was the only woman represented. Her compositions, all written before 1930,include choral, chamber, and orchestral music, piano pieces, and over one hundred songs.126 Thoughher musical style displayed a more restrained harmonic vocabulary than many of her contemporaries,she explored dissonance and developed an individual treatment of harmonies, and occasionally drew onfolk music for her ideas. Lang lived to be 104 years old: upon the occasion of her 100th birthday, theBoston Symphony under Erich Leinsdorf played the Doxology, “Old Hundredth,” in her honor.127



Page 131SINGLE WORKS:Le Chevalier Op. 18. Petit roman pour le piano en six chapitres [1894]. (Hildegard Publishing,2000). Level: Late Intermediate. A quasi-epic late Romantic ballade in six movements, with a throughstory line in French; translation provided in score. Lyrical with dramatic contrasts; movements can beperformed as separate character pieces.Le Chevalier (the Knight). (G major, common time, tempo di gavotta, 5 pp). ABA form, with an eight-measure introduction. A courtly dance, with a contrasting lyrical section (m. 40) as the Chevalier “speaksof love.”Madame la Princesse. (Cminor/major, 6/8, andantino, 4 pp). ABA; first section is a mildly flirtatioussicilienne; second section provides contrast with a repeated-chord accompaniment and LH melody.Gavotte theme from first movement serves as introduction and transition.Bal Chez Madame la Princesse (Ball at the Home of the Princess). (E major, 3/4, waltz tempo, 8 pp). Awaltz with a lengthy introduction created from theme of second movement; in the development, swiftmodulation occurs through a number of keys. RH octaves build to a ff coda.Monsieur le Prince. (G minor, 3/4, andante con moto, 5 pp). Introduction of a new character to thestory; ABA form uses keys of relative major, subdominant, and F minor. LH melody in piu mosso section.L’Épée de M. le Prince (the Sword of the Prince). (B major, 2/4, allegro con fuoco, 6 pp). A duel: thestory springs into action, with furiously accented octaves, augmented chords, tremolos, and wide scalepassages. Prince’s theme appears in canon.La Mort du Chevalier (the Death of the Knight). (E minor, common time, andante, 4 pp). Containsfragments and sad variants of themes from other movements; the opening Gavotte is transformed into afuneral march.ANTHOLOGIES:American Keyboard Music 1866 through 1910, ed. Glickman, vol. 4, Three Centuries of AmericanMusic: A Collection of American Sacred and Secular Music, gen. eds. Schleifer and Dennison (G.K.Hall,1990).Meditation Op. 26 (1897). Level: Late Intermediate. (E major, common time, maestoso, 4 pp). In hymntexture, a dignified processional wends its way through various keys and accompaniments to a finalclimax.American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990).Rhapsody [1895]. Level: Late Intermediate. (E minor/A-flat major/E major, common time, maestoso, 7pp). Soprano and tenor voices double on the powerful opening theme, which descends the E minorscale, then leaps back up, accented by full chords on strong beats. A sweeping seventh-chord arpeggiobegins the theme anew. The con molto espressivo section, in A-flat, is in song-without-words texture,with a lyric soprano accompanied by eighth note triads in the inner voices and bass whole notes.Borrowed chords, enharmonicism, and added notes



Page 132provide Romantic color; a short reprise of the original theme, in the parallel major and pianissimo, formsthe coda.SOURCES: Ammer, Baker, B&NB, B&T, Chase, ClagH, ClagS, Cohen, ElsonA, ElsonAm, Fuller, G&G,groveAm, Heinrich, H&H, Johnson, KOM, Laurence, Mac, Meggett, NewGrove, Pendle, S&S, Stern, Tick,scoresLANGHANS, Louise(var. Langhans-Japha, Luise; née Japha)b. Hamburg, Germany, Feb 2, 1826—d. Wiesbaden, Germany, Oct 13, 1910Louise Langhans, a German concert pianist, was held in particular esteem in Paris, where she wasbelieved to be one the finest pianists of her time. She studied under Fritz Warendorf, G.A.Gross, andWilhelm Grund, and in 1853 under Robert and Clara Schumann in Düsseldorf. In 1858, she married theconcert violinist and composer Friedrich Wilhelm Langhans, but they divorced in 1874. Publishing underboth her maiden and married names, Langhans composed works for keyboard, chamber ensembles,voice, and one opera, and “is usually given an honorable place in the German lists of womencomposers.”128ANTHOLOGIES:Nineteenth Century German Keyboard Music, intro. Martha Furman Schleifer (Hildegard, 2000).Works by Weyrauch, Lang, and Langhans.Sieben Klavierstücke Op. 36. Level: Mid to Late Intermediate. Six lovely character pieces in lateRomantic style.Praeludium Op. 36/1. (G major, 12/8, ziemlich langsam, gebunden [somewhat slowly, connected] 2 pp).A lyrical melody sings in dotted quarters above the constant texture of strummed 16th note chords,shared between the hands.Humoreske Op. 36/2. (D major, common time, frisch; heiter [fresh, gay], 2 pp). Staccato four-voicechords alternate with offbeat triplets to create a piece of good-natured clowning.Albumblatt Op. 36/3. (F major, 3/4, ruhig [peacefully], 2 pp). A sweet portrait in quiet colors, with astepwise melody doubled at the sixth or tenth; rounded binary form.Siciliano Op. 36/4. (C minor, 6/8, mässig [moderately], 2 pp). Characteristic dotted rhythms in agracefully swaying meter; 8th notes move the two-voice texture forward, with occasional rolled chordson important beats. Altered mediants and augmented sixths provide harmonic interest.Walzermässig Op. 36/5 [moderate waltz]. (F minor, 3/4, walzermässig nicht schnell, 3 pp). A quirky littlepiece in rounded binary form, with the second theme in the relative major. The eighth note theme,which uses



Page 133chromatic borrowed tones, consists of five- and eleven-note slurs, made hesitant by eighth note restsbetween. The up-beat phrase openings must be handled carefully to avoid undue accents. A trill signalsthe return of the first theme.Bauerntanz Op. 36 No. 6 [Farmer’s dance] (C major, common time, lebhaft [lively], 4 pp). Boisterous,energetic dance, characterized by leaping open fifths in the bass and a two-beat pickup to the theme. InABA form; the contrasting section is in A minor, legato and lyric; soprano solo is accompanied in closeposition by bass and alto drone and the tenor countermelody.Lied Op. 36 No. 7. (E major, common time, sanft bewegt [gently moving], 2 pp). A lovely cantabilemelody, motivic and through composed, is accompanied by half notes in the bass and inner-voicechords on the off-beats. Reminiscent of Schumann and Wolf lieder, or shorter Brahms pieces, with someattractive late 19th c. harmonies and use of tonic and dominant pedal.SOURCES: Baker, Cohen, Ebel, ElsonA, H&H, Laurence, Mac, Meggett, New Grove, Stern, scoreLE BEAU, Luise Adolpha(var. Louisa/Louise)b. Rastatt, Germany, Apr 25, 1850—d. Baden-Baden, 1927Luise Le Beau, pianist, composer, and music critic, was born into a Baden officer’s family, and firstreceived instruction in violin, piano, voice, and theory in Karlsruhe. She produced her first compositionsat age fifteen and debuted as a pianist three years later in Baden. Encouraged in her work by Hans vonBülow, she was briefly a pupil of Clara Schumann, but from 1874 studied with chiefly with JosephRheinberger in Munich. During this period, she wrote many of her best works, winning compositionprizes and favorable reviews, and was regarded by major critics as the first woman successfully tocompose large orchestral and vocal works.129 Le Beau also made extensive concert tours during whichshe met Brahms, Liszt, and Hanslick. After the 1880s, she had difficulty arranging hearings of her worksin Munich, possibly because of her opposition to the pro-Wagner contingent. Her family moved toWiesbaden and then to Berlin in search of a more favorable reception for Le Beau’s works. They finallymoved to Baden-Baden, where she worked as a critic, taught, and performed chamber music. Le Beaucomposed two operas, choral music, lieder and vocal music with instruments, orchestral and chamberworks, and pieces for piano. Her music is distinguished by strong, well-constructed themes, and in thelarger works, strict sonata structure, with some use of non-functional harmonies and leitmotifs. Her mostsuccessful genres are considered to be choral music and smaller pieces in strophic or dance forms;thirty-five of her sixty-six works were published, and works of hers were performed at the ChicagoWorld’s



Page 134Fair.130 In 1910, she published her autobiography, Lebenserinnerungen einer Komponistin(“Reminiscences of a Woman Composer”), discussing the obstacles confronting a female composer andchampioning equal opportunities for women in all aspects of music.131SINGLE WORKS:Acht Praeludien für Clavier Op. 12 (Ries & Erler, 1997). Level: Late Intermediate. Eight briefcharacter pieces in mid-Romantic style, written in simple ternary or song forms, and unrelated in themeor key. Stepwise arched melodies, symmetrical phrases, and three-voice textures predominate. Rhythmicmotives and harmonies are reminiscent of short works by Schumann.Op. 12/1. Mässig bewegt [moderately lively]. (G minor, 2/4, 2 pp). An opening march in rounded binaryform. Short phrases of block chords in a dotted, martial rhythm are followed by a flourish of sixty-fourthnotes. Two-handed arpeggios roll upward in “A” (LH crosses over for final notes) and downward in thecenter “B" section, with an extended arpeggio in G major for the final chord.Op. 12/2. Munter [cheerful, merry]. (B-flat major, common time, 2 pp). A folk-like tune, conjunct andsymmetrical, hums smoothly over a counterpoint bass; continual eighth notes in the alto move the piecealong. Like the old virelai form, pairs of repeated phrases (aa bb cc dd aa) form the tune.Op. 12/3. Munter und leicht [cheerful and light]. (D major, 2/4, 2 pp). In this rustling, playful texture,right and left hands alternate on inward-rocking pairs of sixteenth notes; the syncopated melody isformed from the top (initial) right hand notes.Op. 12/4. Ziemlich ruhig [rather calmly]. (B minor, common time, 2 pp). Another piece in three-voicecounterpoint, with the melody moving smoothly in symmetrical arched phrases over a supporting bass insimilar rhythm, while between them the alto murmurs on eighth notes.Op. 12/5. Mässig bewegt [moderately lively], (F-sharp minor, common time, 2 pp). In this duet betweensoprano and bass, the alto and tenor fill in the chord on the after-beats.Op. 12/6. Bewegt [animated, with motion]. (D-flat major, cut time, 3 pp). Triads ripple downward intriplets, right hand and then left, in this harp-like etude.Op. 12/7. Einfach [simply, plainly]. (F minor, cut time, 1 p). Set in absolutely symmetrical periods, thiseight-measure march theme is played four times, with slight variations: doubled at the octave,harmonized, set in the subdominant key, and melodically ornamented.Op. 12/8. Mit grazie [with grace]. (A-flat major, 3/4, 2 pp). A rising bass triplet figure, like Schubert’s“Trout,” plays under the supple, pastoral melody. Sixteenth note arpeggio figures and trills seem todescribe a mild, sunny day with birds singing.



Page 135SOURCES: A-Z, Baker, Boenke, B&T, Cohen, Ebel, ElsonA, ElsonL, FRK, H&H, Johnson, KOM, Laurence,Mac, Meggett, N-B, Pendle, SCB, Sperber, S&S, Stern, scoreLEFÉVRE LEBOUT, Jeanneb. France, 1886-d. ?)Almost no information is available about this early twentieth-century composer.132 She studied underVincent d’lndy, and her compositions include a Sonata in G for violin and piano, published by Senart andreportedly strongly influenced by César Franck.133SINGLE WORKS:Ames d’Enfants: Douze petite pieces pour Piano [Children’s sentiments: 12 little pieces](Durand&Cie, 1963). Level: Early/Mid-Intermediate, 14 pp. Like Schumann’s Album for the Young, theseone-page character pieces portray various activities and emotions of a young child’s day. Designed to beplayed straight through without interruption, they are through-composed in easy keys, with simple,repetitive ideas and short phrases. The texture is in two voices throughout, with hands often in closeposition. Register changes, tempo fluctuations, and expressive markings place them as transitional worksfrom Early to Mid-Intermediate grades. Metronome markings are included.I. Je m’éveille avec le jour! [I wake up with the day!]. (B-flat major, cut time, calme). A melodic

fragment is hummed repeatedly, growing longer, higher and louder. The left hand fills in emptybeats with two-note slurs.

II. Vite! Vite! Vite! [Hurry!]. (G major, 2/4, animé). The melody gallops up and down two and a halfoctaves in a Rossini-like motive consisting of an eighth- and two sixteenth notes. Tempo anddynamic changes add drama.

III. Comme il fait bon respirer l’air pur du matin! [How good to breathe the pure morning air!]. (Dmajor, common time, modéré). Long conjunct phrases arch up and back, inhaling and exhaling.

IV. J’ai l’âme légère [I have a light heart!]. (G major, 2/4, modéré, avec délicatesse et souplesse). Thehands are nearly two octaves apart in this airy concoction; grace notes chirp gaily before each ofthe eighth notes in the melody.

V. Papa, maman, mes chéris! [Papa, Mama, my dears!] (A-flat major, 4/4, doux, avec tendresse).Written as a free canon, this is a lyric song of family love, using sweet stretches of sixths and thirdsto appogiaturas.

VI. Je suis heureux! [I’m happy!] (G minor, 2/4, animé, gaîment). Staccato eighth notes hop up totumbling sixteenth notes in a lively dance; a three-octave arpeggio rolls down the keyboard at theend.



Page 136VII. Alors, dansons! [Let’s dance!] (G major, 3/4, modéré, mouvment de valse). A turning bass figure

supports the melody, a triadic motive with grace-notes followed by an arching, scalar line. Phrasesare of uneven length; these are not professional dancers, clearly.

VIII. Vite, au travail! [Hurry to work!] (C major, 3/8, animé, aussi vite qui possible). Scurrying sixteenthnote scales imitate busy people on their way to work.

IX. Je suis têtu! [I am stubborn!] (C minor, 2/4, animé, lourdement détaché [strongly detached]). Adominant-tonic figure emphatically answers “unh-unh!” to every little staccato question. Handsshare the treble-clef octave.

X. Raconte encore! [Tell it again!] (F major, 4/4, modéré 9rêveur) [dreamy, pensive]). The tunewalks calmly down the scale with the barest of accompaniments by the left hand on empty beats.As the story progresses, the melody is fragmented, with appropriate changes in dynamics andtempo.

XI. Je marche avec mon ombre! [I march with my shadow!] (C major, 4/4). Quarter-note steps upand down the tetrachord are echoed (“shadowed”) an octave below on off-beats.

XII. Je m’endors avec la nuit! [I fall asleep with the night!] (D-flat major, 3/4 and cut time, berceuse-calme). A soporific rocking movement changes to high, sweet dreams as the piece slows andfades to an end.

SOURCES: Cohen, H&H, KOM, MacLELEU, Jeanneb. Saint-Mihiel, Meuse, France, Dec. 29, 1898—d. Paris, Mar 11, 1979.French composer and pianist Jeanne Leleu, born to a bandmaster father and a piano teacher mother,began studying at the Paris Conservatoire at age nine, with teachers Marguerite Long, Alfred Cortot, andCharles-Marie Widor. She won first prizes for piano and composition, and in 1923 won the Prix de Romefor her cantata Béatrix. Later, she won the Georges Bizet and Monbinne prizes and was honored by theInstitut de France. In 1947, Leleu became a professor at the Conservatoire teaching sight-reading andharmony. She composed for orchestra, ballet and stage, piano, and voice. Her style does not belong toany particular school of composition, and has been described as clear, fresh, witty, rhythmically alive,and adventurous harmonically.ANTHOLOGIES:Musique et Musiciens d’Aujour’hui. Vol. 3: Humor, 6 pièces pour piano, ed. Henri Classens(Editions L.Philippo, 1954).Monsieur Badin badine [Mr. Jester jests]. Level: Mid-Intermediate. (B-flat major, common time, assezlent, avec délicatesse et precaution, 2 pp). An amusing little piece in ternary form, showing a clown’stwo faces.



Page 137The first theme, played rather slowly, is in a dotted rhythm with hands three and a half octaves apart,in a carefully nonchalant, rather wistful balancing act. In the hectically center section, played twice asfast as the first theme, the LH plucks wide arpeggios upward, against two-note slurs and descendingstaccato chromatic scales in the RH.SOURCES: Cohen, H&H, KOM, MGG, NewGrove, SCB, S&S, SternLIEBMANN, Hélène(née Riese)b. Berlin, 1796—d. after 1835Hélène Riese, born to a well-to-do Berlin family, was a child prodigy who performed on the piano to anadmiring public by the age often, and wrote and published her first sonatas before the age of fifteen.She received an excellent musical education from teachers Franz Lauska, a virtuoso pianist who alsotaught Meyerbeer, and was himself a student of Clementi, Johann Gurrlich, a popular theory andcomposition teacher in Berlin, and Ferdinand Ries, a pupil of Beethoven. After Riese’s marriage in 1813–1814 to Herr Liebmann (his given name and occupation are unknown), she composed under her marriedname. The Liebmanns moved to London around 1816, where she continued to compose and publishuntil at least 1819. In 1835, Friederic Wieck referred to her as a “Komponistin aus Berlin.”134 AlthoughLiebmann was a contemporary of Beethoven, her music is more Mozartean in style. Her works includesonatas and shorter works for the piano, chamber music such as the (extant) Op. 11 Grand Sonata forCello and Piano, and a number of Lieder, including a setting of Goethe’s “Kennst du das Land.”Published in Berlin in 1806, the cello sonata is an amazing work for a ten-year old child, particularlynoteworthy for equality between piano and cello. The final movement is a set of seven variations on “Laci darem la mano,” the famous duet from Don Giovanni.SINGLE WORKS:Grande Sonata for the Pianoforte Op. 15, ed. Eve R.Meyer (Hildegard; reprint GKH). Level: EarlyAdvanced. A late Classical-early Romantic work in three movements. I: Allegro agitato (G minor, 4/4, 13pp). In sonata-allegro form; passionate, with rubato rhythm and a Mozartean second subject. II: Minuetand Trio (C major, 3/4, 6 pp). A charming, quiet interlude between the two outer movements. III:Rondo alla Polacca (G minor, 3/4, 9 pp). A robust polonaise.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3; series eds. Glickman and Schleifer (G.K.Hall,1998). See Grande Sonata for the Pianoforte Op. 15.



Page 138SOURCES: A-Z, Cohen, Ebel, ElsonA, Fetis, FRK, H&H, Jackson, Laurence, Meggett, Mac, S&S, Stern,scoresLIKOSHIN, Ekaterina(var. Licoshin, Likoshchina, Catherine de-)fl. 1800–1810, St. Petersburg, RussiaA Russian pianist and composer of numerous short sets of piano pieces, Likoshin may have been in theservice of Count Uvarov. Her polonaises are based on themes from Russian folksongs, like those of hercontemporary, Jozef Kozlowski.135LISTED but not found: Polonaise in a minor, in Russische Klaviermusik, 1780–1820, ed. Lubimow(Heinrichshofen, 1983), in Hinson’s Guide, 3rd edition.SOURCES: Hinson, Jackson, SCB, S&SLINZ, Martha(var. Marta Linz von Kriegner)b. Budapest, Hungary, Dec 21, 1898—d. ?A Hungarian violinist, conductor, and composer, Linz studied violin in Budapest with Hubay, Flesch,Thomas, and Koessler; her composition studies were with Zoltan Kodaly.136 In 1924, she became thefirst woman accepted as a conducting pupil at the Berlin Hochschule für Musik. Later conducting studieswere with von Weingartner in Basle and Krauss in Salzburg. During the 1930s, she traveled with theBerlin Philharmonic and the Guerzenich Orchestras of Cologne as a violinist and conductor. Linz marriedDr. Kalman von Krieger, a jurist, philologist, and musicologist. Her compositions include chamber,orchestral and vocal works, a few piano pieces, and violin-piano arrangements of Dvorak pieces.SINGLE WORKS:Caprice und Capricetto (Breitkopf & Härtel, 1922).Caprice. Level: Late Intermediate. (D major/B minor, 2/4, allegro, 2 pp). Dedicated to Walter Gieseking.A playful work with accents and staccatos, chromatic borrowed tones, rapid hand-crossing andalternation, and a fickle melody with frequent and abrupt changes in direction, register, tempo, anddynamics.Capricetto. Level: Early Advanced. (B minor, common time, presto, 2 pp). Dedicated to Dohnányi. Astudy in rapid staccato triads, played jointly by the hands in close position; like a pizzicato string choir.SOURCES: Cohen, FRK, H&H, Mac, Meggett



Page 139MMANA-ZUCCA(née Gisella/Augusta Zuckermann; Mrs. Irwin Cassel)b. New York, Dec 25, 1884—d. Miami Beach, Mar 8, 1981Mana-Zucca, pianist, singer, composer, and patroness, was a child prodigy who performed withsymphony orchestras in New York before the age often. Her piano teachers included Alexander Lambertin New York and Busoni and Godowsky in Berlin. In London, she studied composition with HermannSpielter. Although accounts differ, she appears to have toured in Europe, perhaps with the violinist Juan(Joan?) Manen, and she also appeared as a singer in some light opera productions. A gifted tunesmith,Mana-Zucca wrote many songs to her husband’s lyrics. The most popular of these, Honey Lamb, There’sJoy in My Heart, Time and Time Again, The Big Brown Bear, and I Love Life, were performed by someof the most famous singers of the 1920s and 30s, such as Galli-Curci, Lawrence Tibbett, and NelsonEddy. A private catalogue of her published works lists around 390 undated titles, including two operas,chamber pieces, piano concertos, nearly two hundred songs, and many piano pieces. This amazinglyprolific composer claimed to have published eleven hundred compositions and written a thousand more,including My Musical Calendar with 366 pieces (one for each day of a Leap year). Very few of her hugenumber of compositions are currently in print. In 1940, the Cassels settled in Florida, and a great manyof her compositions, manuscripts, and private papers are housed in the Albert Pick Music Library at theUniversity of Miami in Coral Gables, Florida.COLLECTIONS:Four Piano Works (Hildegard; GKH reprint). Late Romantic harmonies, idiomatic piano figurations,and a good sense of line and movement.Prelude Op. 73. Level: Mid/Late Intermediate. (C-sharp minor, common time, moderato esspressivo, 4pp). Based on a two-measure motif that outlines and resolves a seventh chord, the work is through-composed with strong cadences dividing it into three parts.Interlude Op. 184/16. Level: Late Intermediate. (E minor, 12/8, vivace, 4 pp). Continuous figuration, asin an etude or toccata: hands alternate on eighth note duplets (octaves and divided chords), creatinghemiolas in the 12/8 meter. Very chromatic; A A1 form.Rency Étude Op. 188. Level: Early Advanced. (D-flat major, common time, allegro, 5 pp). Alternation ofmajor and minor modes, neo-Impressionist harmonies, and gracefully rising and falling broken-chord



Page 140figuration in RH over a steady, syncopated bass figure. In A A1 form, with harmonic changes in therepeat leading to a coda of block chords alternated rapidly between the hands.Étude d’hommage Op. 26. Level: Early Advanced. (C major, common time, allegro, 6 pp). Dedicated toJosef Hofmann, this is the most difficult of the collection. RH plays the melody in sixths throughout, withcontinuous repeated 16th notes for the alto (thumb); LH has wide stretches in arpeggios and wide leapsin the bravura ending.ANTHOLOGIES:Album of American Piano Music: From the Civil War through World War I, ed. David Dubal(International Music, 1995).Valse Brilliante, Op. 20. Level: Late Intermediate/Early Advanced. (F-sharp major, 3/4, tempo di valzer,11 pp). A waltz in rondo form, its main theme is based on the alternation of I and vi chords, withchromatic passing tones in the alto voice. The lyric second section, in D major, is marked meno mosso,using a broad arched form with plenty of chromatic scale passages. The third theme (D major/F-sharpminor) is built on quarter and half notes and emphasizes the interval of a sixth. In the coda, seventhchord arpeggios and presto alternating octaves with LH a half-step below RH, bring the work to abrilliant finish. One final enharmonic spelling of the mediant gives us a ending with two B-flat majorchords leading to a V#7 chord, and then to the tonic.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). See Four Piano Works.SOURCES: Ammer, Anderson, Baker, B&NB, ClagAm, ClagS, Cohen, Dubal, Grove, Heinrich, H&H,HinSup, Johnson, Laurence, Mac, Meggett, Stern, S&S, scoresMARTINEZ, Marianne von(var. Martines, Marianna/Maria Anna; née Anna Katharina)b. Vienna, May 4, 1744—d. Vienna, Dec 13, 1812Born into a Spanish-Neapolitan family of minor nobility, Martinez was the daughter of the master-of-ceremonies to the papal nuncio in Vienna. The Martinez family lived on different floors of the same largehouse with the Dowager Esterhazy, the young Haydn, and Metastasio, the court poet and renownedopera librettist.137 Under Metastasio’s guidance, Martinez studied singing, piano, and composition withHaydn, Nicola Porpora, Giuseppe Bonno, and possibly J.A.Hasse. Acclaimed for her singing andharpsichord playing, by the 1760s Martinez was writing large sacred works, and in 1772 Charles Burneypraised both her singing and composition highly.138 In 1773, she was elected to honorary membershipin the Accademia Filarmonica of Bologna, a signal honor involving rigorous scrutiny of set compositions.Although she was



Page 141an active performer, Martinez never held a professional appointment, probably because of her socialposition. On Metastasio’s death in 1782, the family inherited a large fortune, and she began to holdweekly musicales with distinguished guests and performers, including Haydn and Mozart; Mozart wroteand played four-hand sonatas with her. In 1796, Martinez opened a singing school, which producedmany fine professional singers. Her more than two hundred compositions include oratorios, masses,arias, secular cantatas, an overture, two keyboard concertos and a number of sonatas.139 Stylistically,her music is typical of the early Classic period in Vienna: Italianate, virtuosic and fluid.SINGLE WORKS:Sonata da Cimbalo G-dur, ed. Sally Fortino (Furore, 1992). Level: Late Intermediate. Early Classicalstyle. Written in 1769, it is the latest of the three available sonatas by Martinez, with more complextransitions, developments, and harmonies. I: Allegro brilliante (G major, common time, 5 pp). Sonata-allegro form. Two-voice texture, with headlong scales and arpeggios charging up and down thekeyboard. Rests between sections help delineate the structure, while an occasional figuration change tolilting triplets adds to the general gaiety. II: Andante (G minor, 3/4, 3 pp). An arioso, with a highlyembellished melody supported by block triads. III: Allegro assai (G major, 2/4, 4 pp). Rounded binary,with a brief development section beginning in B-flat major. Harmonic language includes secondarydominants, diminished sevenths, and augmented sixths.COLLECTIONS:Three Sonatas for Keyboard, ed. Shirley Bean (Hildegard, 1994). Sonatas in E, A, and G majors,heavily edited. The first two, composed ca. 1763–1765, are similar to works by C.P.E.Bach, Scarlatti, andHaydn, with typical rococo features: motivic themes punctated with rests, simple harmonies, andmelodies highly embellished, as in the operatic arias of the day. Binary dance forms predominate, andthe primary means of development is through sequences.Sonata in E Major. Level: Late Intermediate. I: Allegro (2/4, 5 pp). Like a perky gavotte, the themebegins with an ornamented upbeat, then outlines the tonic triad. Two-voice textures alternateaccompanied eighth note melodies and broken chords, shared between the hands. In early sonata-allegro form, with both sections repeated; the brief development begins with primary theme in thedominant. II: Andante (A major, 3/4, 4 pp). A dignified movement in sonata-allegro/rounded binaryform, marked by syncopated, reiterated tonic notes over a descending bass. III: Allegro (3/4, 4 pp). Anebullient jig with repeated eighth note triplets in both theme and accompaniment; hands frequentlyexchange rhythms and functions.



Page 142Sonata in A Major. Level: Early Advanced. I: Allegro (A major, common time, 5 pp). Martial theme, withornate embellishments. Quadruple and triple subdivisions of the beat; rounded binary/sonata-allegroform. II: Adagio (A minor, 3/4, 5 pp). A lyrical Italianate arioso, full of graceful pathos; rounded binary.III: Minuetto (A major, 3/4, 4 pp). Triplet and quadruplet beat divisions alternate in this sweet andgraceful closing movement.Sonata de Cimbalo (G major). See Single Works.ANTHOLOGIES:Alte Meister: Sammlung wervoller Klavierstücke des 17, und 18. Jahrhunderts, Vol. 6, ed.E.Pauer (Breitkopf & Härtel, n.d.). Sonata No. 3 in E Major and Sonata in A Major. See Three Sonatas.At the Piano with Women Composers, ed. Hinson (Alfred, 1990), Great Women Composers, ed.Smith (Mel Bay, 1996) and Women Composers for the Harpsichord, ed. Harbach (Elkan-Vogel,1986). Sonata in E Major: Allegro (I). See Three Sonatas, above.Eighteenth Century Women Composers for the Harpsichord or Piano, Vol. II, ed. Harbach(Vivace Press, 1992), Frauen Komponieren: 22 Klavierstücke, ed. Rieger & Walter (Schott, 1983)and Great Women Composers, ed. Smith (Mel Bay, 1996). Sonata in A Major. See Three Sonatas,above.Historical Anthology of Music by Women, ed. James Briscoe (Bloomington: Indiana UniversityPress, 1987). Sonata in A Major: Allegro (I). See Three Sonatas, above.LISTED but not found: Sonate E-Dur, Sonate A-Dur. Die Cembalo Musik der Maria Anna Martinez, ed.Traud Kloft (Edition Donna, 1989), cited in Jackson, 449.SOURCES: A-Z, Baker, B&T, ClagH, ClagS, Cohen, Eitner, Fetis, FRK, Gordon, Grove, Heinrich, H&H,Hinson, Jackson, Kirby, KOM, Laurence, Mac, Meggett, MGG, N-B, Pendle, Sperber, S&S, SCB, Sperber,Stern, wcmta4, scoresMARYMid-19th century AmericanNo biographical information is presently available about this composer. Judith Tick, below, lists threeother published works composed by “Mary,” but it is not clear whether all four works were composed bythe same woman. Two songs by “Mary” with lyrics by Eliza Hurley, “Adieu, Sweet Companion” and “Oh,Leave Me Not in Sorrow,” were published in 1848 and 1849 by Firth, Pond & Co., the same publisher aslisted below.



Page 143REFERENCE WORK:American Women Composers before 1870, a book by Judith Tick (University of Rochester Press,1979/95).Rosebud Quick Step, composed and arranged for the Pianoforte [Firth, Pond & Co., 1848]. A charmingexample of the many functional dance pieces for the parlor written in mid-19th century America. Writtenin regular eight-bar phrases, with dynamic contrasts used for whimsical effect, the piece was laterincluded in The Folio of Music No. 2, published in Philadelphia in 1888.SOURCES: B&NB, Glichnan, TickMENTER, Sophieb. Munich, Jul 29, 1846—d. Stockdorf, nr Munich, Feb 23, 1918One of the greatest piano virtuosi of her time, Sophie Menter studied with J.E. Leonhard, Friedrich Niest,Carl Tausig, Hans von Bülow, and Liszt, who described her as “my only legitimate piano daughter.”140Daughter of cellist Josef Menter and singer Wilhelmine Diepold Menter, the fifteen-year old Sophie madeher debut playing Weber’s Konzertstück in Munich, and then embarked on the first of many extensivetours throughout Europe. Contemporary accounts of her playing praised both her dazzling virtuosity andelegant taste in the highest possible terms. Ernst Pauer lauded her “nobility of feeling, tenderness andwarmth of expression. Her technical execution baffles description.”141 Liszt himself admired her “singinghand,” and her concerts “got a type of reception normally reserved for prima donnas. In Copenhagenthe students unharnessed her horses and drew her coach through the streets.”142 Menter’s numerousawards included appointments as Court Pianist to the Prince of Hohenzollern and the Emperor of Austria,medals from Denmark and Sweden, honorary membership in the London Philharmonic Society, and thetitle “Camera Virtuosa” in Munich. Menter married the famous cellist David Popper in 1872 but theydivorced in 1886. In 1883, she was appointed piano professor at the St. Petersburg Conservatory, butleft in 1887 to continue her touring career. After her second marriage, to Captain O.Schultze, she livedat the Schloss Ittel in the Tyrol near Munich until her death. Menter composed a number of attractiveworks for piano. The Ungarische Zigeunerweisen, a concert work for piano and orchestra attributed toher, however, may have been composed by Liszt.143COLLECTIONS:Mazurka, Étude en Sixtes, and Etude en la bémol majeur ed. Martha Furman Schleifer(Hildegard; GKH reprint). Three brilliant works.Mazurka. Level: Late Intermediate. (D minor, 3/46 pp). Characteristic rhythms and figures; ABAstructure. B section is more difficult, with sixteenth and thirty-second note flourishes. Triumphant ffending of alternating chords and octaves.



Page 144Étude en Sixtes Op. 8. Level: Advanced. (C-sharp minor, common time, allegro vivace, 6 pp). A musicalsetting of RH parallel sixths, with LH on chords and octaves; very chromatic.Étude en la bémol majeur Op. 9. Level: Advanced. (A-flat major, common time, con anima, 5 pp). RHplays a sixteenth note pattern of broken chords with repeated notes throughout; many metric shifts.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Three pieces ed. Martha Furman, above.SOURCES: Baker, Cohen, Dubal, Gordon, grovemusic, H&H, Hutcheson, Hyde, Kehler, Laurence, Mac,Meggett, Pendle, Schonberg, S&S, SternMERELLE, Mademoisellefl. France, 1800Mlle Merelle, a French composer, “lived in Grenze in the 18th century, and probably in London as aharpist, and is known through these compositions: ‘New and Complete Instruction for the Pedal Harp in2 Books’ and ‘2 Drucke von Piecen und Variationen für die Harfe.’“144SINGLE WORKS:“Les Folies d’Espagne” Variations for harpsichord or fortepiano [1800, for harp] (Editions ArsFemina, 1997). Level: Mid-Intermediate. (G minor, 3/4, 8 pp). An enjoyable example of the late 18th c.variation form: ostinato bass theme and five progressively complex variations in alternating tempi, withbroken-chord and arpeggiated figures typical of harp music. Third variation uses an ascending 32nd notescale on each first beat; fourth employs broken octaves in alternate hands; in the final variation, uppernotes of each arpeggio create a lyric melody. In this edition, watch for occasional errors; also, bar linesbetween treble and bass are not connected, making it a bit difficult to read.SOURCES: Cohen, Eitner, H&H, Jackson, SternMESRITZ VAN VELTHUYSEN, Annie(var. Mesritz-van Velthuisen)b. Salatiga, Java, Sep 2, 1887—d. Amsterdam, Mar 29, 1965Dutch composer and pianist Annie Mesritz van Velthuysen studied piano and composition at the RoyalConservatory in the Hague, winning a gold medal for piano and the Nicolai prize for composition. Shewent on to study with Arthur



Page 145de Greef in Brussels and Dohnányi in Berlin, and then toured as a concert pianist, playing her ownworks in Europe and Indonesia.145 Some of her orchestra compositions were performed by theConcertgebouw orchestra. She also wrote chamber music, songs and piano pieces.SINGLE WORKS:6 Preludes voor piano (Donemus, n.d. Facs. of autograph manuscript, composed late 1930s/40s).Level: Advanced. Six preludes, each two to four pages long. Highly chromatic mid-20th centurycomposition; idiomatic writing for the instrument, with tonal centers, clear melodic shapes, and flowingmovement. The facsimile copy is not easy to read, but repays study. Allegro appassionato (commontime), Andante misterioso (3/4), Allegretto giocoso (6/8), Andantino (3/4), Allegro energico (commontime), and Vivace-Chinoiserie (2/4).SOURCES: A-Z, Cohen, H&H, KOMMONTGEROULT, Hélène de Nervo de(Countess de Charnay/du Charnage)b. Lyons, Mar 2, 1764—d. Florence, May 20, 1836A virtuoso pianist and composer, Mme Montgeroult received her training from Hüllmandel, Clementi, andJ.L.Dussek, and later studied with Anton Reicha. She was married twice, first to the aristocrat Marquisde Montgeroult, and after his death to Charles-Hyacinte His, whom she divorced, and finally to theCount du Charnage.146 As an aristocrat, she was condemned to death on the guillotine, but sparedwhen Bernard Sarette, an observer at the tribunal, insisted the National Institute of Music (predecessorof the Paris Conservatoire) needed her teaching and performing skills. A harpsichord was brought intothe proceedings, on which she played the Marsellaise with such fervor that “all present impulsivelyjoined in singing, led by the President of the Tribunal.”147 She fled to Germany after her release, butreturned two years later as one of the highest-ranking professors at the Conservatoire, where shetaught for several years. She then taught privately until 1830, and her home became an importantmusical salon. Her three Opus I sonatas were published by the Conservatoire in 1795. A comprehensivepiano method, written for her students and containing 972 exercises and 114 progressive etudes, wasranked by Fetis with those of Clementi, Dussek, and Cramer. Other published works include six moresonatas, the Pièce discussed below, three fantasies, and six nocturnes for voice and piano. Montgeroult’slate Classical works are similar in style to the other composer/pianists of her time.COLLECTIONS:Sonatas for Piano, Vol. I, ed. Calvert Johnson (Vivace Press, 1994).



Page 146Sonata I Opus 1. Level: Late Intermediate/Early Advanced. Two movements, 22 pp. I: Allegro con spirito(F major, common time). A march-like first theme in dotted rhythms; also, RH scales in parallel thirds.II: Prestissimo (F major, 12/8). A gay, brilliant tour-de-force in jig time, with triplet figures, RH scales inthirds, and LH octaves.Pièce pour le Forte Piano Opus 3. Level: Late Intermediate. (E-flat major, common time, 30 pp). Alengthy late Classical work, similar in some respects to clementi and early Beethoven. Dynamic andtextural contrasts create dramatic effects in this worthy piece, which (like a French overture) consists ofa slow introduction followed by a fast movement. Introduzione. A stately theme similar to “Adestefideles” is accompanied by block chords with a tenor countermelody; octaves and judiciousornamentation lend an orchestral, Beethoven-like appearance to the work, and a cadenza complete withtrill and octaves closes the section. Agitato. Sonata-allegro form with an arching, triadic, arching theme;in two-voice texture, with RH echoing LH on single notes. Lyric second theme is accompanied by a pedaltone and murmuring thirds.Sonatas for Piano, Vol. II, ed. Calvert Johnson (Vivace Press, 1994). A pair of lengthy two-movementworks, with both movements in the tonic key. Worthy and welcome additions to the late Classical/earlyRomantic repertoire, with similarities to Clementi, Cramer, Dussek, and the young Beethoven.Sonata II Opus 1 in E-flat major, 20 pp. Level: Late Intermediate/Early Advanced. I: Allegro con moto(cut time). Strong, heroic themes with broken octave and Alberti accompaniments. II: Allegro vivace(2/4). Briskly running 16th note figures.Sonata III Opus 1 in F minor, 26 pp. Level: Late Intermediate/Early Advanced. I: Maestoso conespressione (4/4). Passionate early Romantic effects, including the syncopated echoing of theme one16th note later. II: Allegro agitato (cut time). Fiery second movement.LISTED but not found: Etude de vélocité pour le piano (No. 53), ed. Isidore Philipp, in Cours Completepour 1’Enseignment du FortePiano (vol. 2), Pantheon des Pianistes (Henry Lemoine, 1929), and TroisSonates pour le piano-forte oeuvre 5 (Minkoff, 1983). Cited in Jackson, 450.SOURCES: B&T, Ebel, Eitner, ElsonA, Fetis, grovemusic, H&H, Hinson, Jackson, KOM, Laurence, Mac,Meggett, SCB, S&S, Stern, scoresMURDEN, Eliza(pseud: A Lady of Charleston, S.C.; née Crawly/Crawley)b. Baltimore, Maryland, ca. 1783—d. Charleston, South Carolina, Jan 1, 1847Eliza Crawly Murden, a teacher, poet, and composer, was the “Young Lady of



Page 147Charleston, S. C,” author of a volume of poems and the march included here.148 Born in Baltimore, sheresided in Charleston from childhood, married Jeremiah Murden, a merchant, and had one son and fourdaughters. She and her eldest daughter founded a seminary for girls in 1828, which remained inexistence, operated by her granddaughters, until just before World War I, serving as many as fivegenerations of Charleston families. The march below was evidently a popular work: four editions wereprinted between 1814 and 1825; it appeared in G.Willig’s Musical Magazine around 1815, and it wasreprinted as late as 1867 by a Cincinnati publisher (preface to score). Marches were important andpopular forms in the early republic, as much for their political uses as their musical value, beingfrequently written to honor public figures or organizations. Although intended for performance by bands,many marches were also arranged as parlor music for the piano.ANTHOLOGIES:Anthology of Early American Keyboard Music 1787–1830, Part 1, ed. J. Bunker Clark (A-REditions, 1977).March (composed for and dedicated to the United States Marine Corps by a Young Lady of Charleston,S.C.) [1815?]. Level: Mid-Intermediate. (C major/minor, 2/4, 3 pp). Justly popular, this is a charming,well-constructed work with rousing themes. In ternary form with two strains in each section, it is wellsuited for the keyboard. LH octaves, brief RH passages in thirds, scale flourishes, and occasionalornaments provide interest and a degree of challenge for the intermediate player.SOURCES: Clark, G&G, H&H, Jackson, Tick, scoreNNIEBERGALL, Julia Leeb. Indianapolis, Feb 15, 1886-d. Indianapolis, Oct 19, 1968Unlike many women who composed ragtime music, pianist Julia Niebergall maintained a career as amusician all her life. She accompanied silent movies and played for dance and physical education classesin local schools and colleges, and seems to have been one of those lucky and justly popular pianistsable to play and harmonize songs by ear. One of the leaders in Indianapolis ragtime, Niebergall was afriend of May Aufderheide (q.v.), whose father published two of Julia’s later works. An independentwoman for her time, Niebergall married and divorced early, became one of the first women inIndianapolis to own a car, and maintained her own home until her death at the ripe age of eighty-two.Her music is, not surprisingly, spirited and capable.



Page 148ANTHOLOGIES:American Women Composers, ed. Glickman (Hildegard, 1990), American Keyboard Music 1866Through 1910, ed. Glickman (G.K.Hall, 1990), Giants of Ragtime (Marks Music, 1971), Ragtime &Early Blues Piano, comp./ed. Appleby and Pickow (Amsco, 1995), and Women Composers ofRagtime, comp. Lindeman (Presser, 1985).Hoosier Rag: March Two Step [1907]. Level: Mid-Late Intermediate. (B-flat/E-flat majors, 2/4, not toofast, 3 pp). “An apt title for an Indiana rag, and one of the best.”149 A cheerful work with three themesin four sections (AA, BA, C, B). The music bubbles merrily along with a chromatic melody in smooththirds, traditional syncopated rhythms and a spare bass line.Ragtime Rediscoveries, sel. Tichenor (Dover, 1979), and Ragtimes für Klavier, ed. Kaluza (Furore,1994).Horseshoe Rag [1911]. Level: Mid-Late Intermediate. (F major, 2/4, moderato, 3 pp). A fine melody inoctaves alternates 8th notes with syncopated 16 note figures. The second section is more sedate, withrepeated 8th notes and descending scales. The trio, in B-flat, uses the same rhythm as the first section,but the melody is inverted and played in a lower register, making it surprisingly sweet. Chromatic sixthsand borrowed chords lend interesting color. Unusually, the work ends with a repeat of A in the originalkey.SOURCES: B&NB, Cohen, Hasse, H&H, Hinson, Jasen, KOM, MLA, scoresOORGER, Caroline—see REINAGLE, Caroline OrgerOTERO, Ana Hernandezb. Humacao, Puerto Rico, Jul 24, 1861—d. San Juan, Apr 4, 1905Ana Otero, a fine pianist and the first woman composer in Puerto Rico, was the fifth of eight childrenborn to Ignacio Otero, a craftsman, journalist, and music teacher. Otero and his brothers Antonio andRafael were émigrés from Cadiz, Spain, who first went to Caracas, Venezuela, and then, in 1836, toPuerto Rico. Ana’s early music teachers included her father, her mother, Carmen Hernandez, ConcepcionGadea, and Ramón Tinajero. In 1887, Otero continued her studies in Paris with Alexis Fissot andM.Teaudon, making her formal debut at the Salle Pleyel in 1889 to excellent reviews. In 1890, shereturned to Puerto Rico,



Page 149and during 1891/92 toured extensively in Venezuela, Colombia, Costa Rica, New York, Philadelphia, andBoston on the official roster of Chickering artists. Otero taught in New York for the next two years, thenreturned home to San Juan, where, with government support, she founded an Academy of Music forgirls. The only surviving example of Otero’s few compositions is her Opus 1 Waltz, below, dedicated toher father.150ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 6; series eds. Glickman and Schleifer (O.K.Hall,1998).Première Pemée Valse Sentimentale Op. 1. Level: Mid-Intermediate. (D major and related keys, 3/4, 6pp). A charming example of the 19th century stylized salon waltz. Four melodic strains in five sections,ABCDA in form; Chopinesque with a Spanish feel.SOURCES: Thompson, prefatory essay in scorePPANZERA, Magdeleine(var. Madeleine Baillot?)b. France, 1893-d.?Almost no information is available about this French composer.151COLLECTIONS:Children’s Piano Recital 1st Vol. (Editions MusicalesTransatlantiques, 1966). Level: Early-MidIntermediate. Five attractive, well-written examples of early 20th c. French writing for children;neoclassic or neo-Romantic in style, with hands close together in center of keyboard.Berceuse pour Anneleine (C major, 6/8, 1 pp). A sweet cradle song.Sicilienne (D minor, 12/8, un peu melancolique, 1 pp). Gentle country dance, with typical dottedrhythms.Le petit ruisseau chant (D major, in 4, doux and rapide, 2 pp). A snappy little etude in 8th notes,doubled at the sixth; a good many accidentals.Je suis punie (E minor, 2/4, doux et triste, 2 pp.) Slow and regretful, with sighing two-note slurs.Pastorale (F major, 6/8, 2 pp). Characteristic repeated rhythm patterns and drone bass; “shepherd’spipe” solo in center section.Children’s Piano Recital 2nd Vol. (Editions MusicalesTransatlantiques, 1966). Level: Early-MidIntermediate. Five more characteristic pieces.



Page 150Promenons-nous (E major, in 4, moderate, 1 pp). A march with occasional sprightly triplets on pickupbeats.Habanera (A major, 2/4, assez lent et très expressif, 2 pp). Characteristic tango rhythm in the bass,duplets against triplets.Carillon (E major, in 4, vif, gai, 2 pp). Bells chime fast and high in the treble register.Mon beau jouet s’est brisé (A minor, in 4, triste et doux, 2 pp). A sad hymn to a broken toy.Voici les vacances! (G major, 4/4, 2 pp). Joyful celebration of vacation time.SOURCES: Cohen, H&H, Hinsonl, KOM, NewGrovePARADIS, Maria Theresia von(var. Paradies)b. Vienna, May 15, 1759—d. Vienna, February 1, 1824Maria Paradis was named for the Empress Maria Theresa, for whom her father was imperial secretary.After Maria became blind at age three, the Empress provided her with an annual stipend which helpedpay for her musical education. She studied piano with Kozeluch, singing with Righini and Salieri, andcomposition with Salieri, Friberth, and Vogler. By age sixteen, she amazed the Viennese public with herprowess as a singer and pianist, playing at least sixty sonatas and concertos from memory; Mozart,Haydn, and Salieri all composed concertos for her.152 During a two-and-a half-year concert tour ofEurope, Paradis played in Switzerland, Salzburg (where she visited Mozart), Frankfurt and other Germancities, and then went on to Paris, where she met Valentin Haüy, a pioneering Parisian educator for theblind who was greatly interested in methods used in her education. A contemporary Parisian reviewersaid, “this gifted player is truly astonishing…More faultless, more precise, more polished playing is notknown.” 153 She next went to England, where she played for George III, then continued on to Brussels,Amsterdam, Hamburg, Berlin, and Prague. During this lengthy tour she began composing for solo pianoas well as voice. Her friend Johann Riedinger, a librettist, developed a pegboard system for her tonotate her works, which were then transcribed by a copyist. Her compositions, most of which areunfortunately lost, include five operas, three large cantatas, two piano concertos, songs, sonatas, and apiano trio.154 In 1808, Paradis opened a music school for both blind and sighted students, producingmany fine pianists and singers.SINGLE WORKS:Fantasie pour le piano forte [1807], ed. Matsushita (Hildegard; GKH reprint). Level: LateIntermediate/Early Advanced. (G major, F-sharp minor, C minor, B-flat major, 21 pp). A lengthy work insix sections, rather like a dance suite: Adagio, a prelude; Allegro, with brilliant scales;



Page 151Andante, gavotte-like; Allegro assai, more scales and octaves; Andante grazioso, a minuet; and Presto,a bravura jig in 6/8. Contains Alberti bass and other figurations of the time, while modulations toremote keys show the influence of Abbé Vogler (score preface).Sicilienne, arr. Samuel Dushkin (Schott, 1931). Level: Mid-Intermediate. (E-flat Major, 6/8, Andante, 2pp). Of dubious authenticity; neither the original manuscript nor any eighteenth-century editions exist.Dushkin claims to have found a copy in the library of a German publisher, and arranged it for piano-violin/cello duo and solo piano.155 The lyric, sentimental melody is accompanied by block chords in thestandard pastorale rhythm of alternating quarter and eighth notes, with modal shifts between major andminor chords. The ornamented melody, arranged in repeated phrase pairs, has unexpected chromaticinflections, and there are some unusual phrase extensions. In rounded binary form, A ends in therelative minor, preceded by a Neapolitan-sixth chord; B, expanded by two deceptive cadences, beginsand ends in the original tonality.ANTHOLOGIES:Great Women Composers, ed. Smith (Mel Bay, 1996).Sicilienne. Level: Mid-Intermediate. G Major, 6/8, 2 pp. Rearranged a third higher than the Dushkinversion. Two alternating textures: RH block chords over a scanty broken-chord bass, and song texture,with RH melody and LH block chords in sicilienne rhythm.Historical Anthology of Music by Women, ed. Briscoe (Indiana University Press, 1987). Sicilienne: atranscription for flute and piano by Pierre Paubon. See above.Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1998). Fantaise pour le pianoforte; see Single Works, above.SOURCES: A-Z, Baker, B&T, Grove, ClagS, Cohen, Dubal, Ebel, Eitner, ElsonA, Fetis, FRK, HAMW, H&H,Heinrich, Jackson, Jezic, Johnson, Laurence, Loesser, Mac, Meggett, N-B, Pendle, S&S, SCB, Sperber,Stern, scoresPARK(E), Maria Hester(var. Reynolds; Parke, M.H; née Reynolds)b. Sep 29, 1760—d. Hampstead, Jun 7, 1813English composer, pianist, and teacher Maria Hester Reynolds Park played harpsichord and piano inpublic concerts, and gave lessons to members of the aristocracy. She was happily married to ThomasPark, a poet and antiquarian, with whom she had five children. Her extant compositions span twenty-five years and show her to have been a competent and professional composer. They



Page 152include solo keyboard sonatas, sonatas with violin accompaniment, short choral pieces, a keyboardconcerto with strings, and a divertimento for piano and violin. Opuses 1 and 2 were published under hermaiden name, Reynolds. Her later works are often mistakenly attributed to composer Maria F.Parke, asinger, pianist, and composer also active in late eighteenth century London, who was the daughter ofoboist John Parke and married John Beardmore.156 Maria Hester Park’s works display vitality,competence, and a thorough knowledge of keyboard styles and technique.SINGLE WORKS:Maria Hester Park: Concerto for the Piano Forte or Harpsichord in E-flat Major, Opus VI, ed.Barbara Harbach (Vivace Press, 1993). Level: Early Advanced. String parts available.Maria Hester Park: Sonata in E-flat Major for Piano or Harpsichord Opus 4/2 [ca. 1790], ed.Harbach (Vivace Press, 1996). Level: Early Advanced, 14 pp. Three-movement galant work. “Afascinating addition in the study of women keyboard composers of the eighteenth century” (scorepreface). I: Allegretto (common time). Sonata form; short development opens with bravura thirty-second notes. II: Andante e cantabile (3/4). A through-composed arioso with graceful ornaments. III:Rondo (2/4). Folk song-like main theme with continuous 16th note motion. First episode has duple vs.triple cross-rhythms and LH octave tremolo; second episode is in C minor with driving sextuplets.COLLECTIONS.Maria Hester Reynolds: Three Sonatas for Harpsichord or Piano Opus 2, ed. Barbara Harbach(Vivace Press, 1999). Level: Late Intermediate. Three two-movement works, with both movements insame key, regular phrase structures with much phrase repetition, use of sequences and Neapolitan Sixthchords, scalar transitions, and LH crossings (score preface).Sonata I in E-flat (op. 2/1), 17pp. I: Allegretto (in 4). Sonata form. II: Allegro (2/4). Five-part rondo.Sonata II in F Major (Op. 2/2), 12 pp. 1: Andante cantabile e sostenuto (3/4). Lyrical with somechromaticism and unexpected harmonies. II: Spiritoso (in 4). Sonata form with two contrasting themes.Sonata III in C Major (Op. 2/3), 12 pp. I: Allegretto (common time). Sonata form. Octave melody,tremolo accompaniment, with a contrasting second theme. II: Presto (6/8) A gigue in sonata form.ANTHOLOGIES:Eighteenth Century Women Composers for the Harpsichord or Piano, Vol. I, ed. Harbach(Vivace Press, 1992).Sonata I in F Major Opus 4/1, 11 pp. Level: Late Intermediate. A two-movement work in early Classicalstyle, dedicated to the Duchess of Devonshire. I: Allegro (common time). Repeated binary form. The



Page 153theme alternates a half/quarter note motif with 16th note scales; contains broken chord and Albertibasses and simple ornaments. Two-voice texture occasionally changes to staccato triads under runningsixteenth notes. II: Minuet and trio (3/4). A calm, graceful minuet with balanced phrases and periodsflanks the more agitated trio in the parallel minor.Eighteenth Century Women Composers for the Harpsichord or Piano, Vol. II, ed. Harbach(Vivace Press, 1992).Sonata in C Major Op. VI [ca. 1796], 13 pp. Level: Late Intermediate. An energetic and typical lateClassical work in three movements, with continuous scales and broken chord figures. I: Allegro spirito(common time). Sonata-allegro form; begins with a three-octave C major scale. II: Larghetto (G major,3/4). A theme and “doubles,” or progressively faster textural variations. A two-measure cadenza of 32ndnotes ushers in the last repetition. III: Rondo allegramente (6/8). An exhilarating five-part rondo in jigtime. Episode 1 has a short passage in the parallel minor; Episode 2 is in the relative minor.Four Keyboard Sonatas by Early English Women Composers, ed. Fortino (Hildegard, 1995).Sonata II, Opus 4/2. See Single Works.SOURCES: Cohen, Ebel, Eitner, ElsonA, Fuller, Gordon, Grove, Heinrich, H&H, Hinson, Jackson, Johnson,KOM, Laurence, Meggett, MGG, S&S, Stern, wcmta5, scoresPATTIANI, Eliza19th century AmericanLittle biographical information is available about this virtuoso pianist and music teacher. Ms. Pattianiresided in Chicago and often performed her own works in concert.ANTHOLOGIES:American Keyboard Music 1866 through 1910, ed. S.Glickman, Vol. 4 of Three Centuries ofAmerican Music: A Collection of American Sacred and Secular Music, eds. Schleifer and Dennison(G.K.Hall, 1990).May Breeze: Variations Brilliante [1864]. Level: Early Advanced. (C major, 3/4-6/8, andante conespressione/brilliante/vivo allegretto, 6 pp). Two measures of arpeggios introduce the sentimentaltheme, accompanied by a cross-over waltz bass pattern. Three etude-like variations follow: rapidrepeated notes, ascending arpeggios, and chromatic scales, and bravura octaves.American Women Composers: Piano Music from 1865–1915, ed. Sylvia Glickman (Hildegard,1990).Grand National Medley with Variations [1885]. Level: Advanced. (C major/minor;common time and 2/4,allegro/allegretto/tempo di



Page 154marcia/presto, 6 pp). A challenging set of the popular variations form. Tunes include “Oh, Susanna,”“Home Sweet Home,” “The Marsellaise,” and “Yankee Doodle.”SOURCES: KOM, Tick, scoresPEJACEVIC, Dora von, Countess(var. Pejacsevich; m. von Lumbe)b. Budapest, Sep 10, 1885—d. Munich, Mar 5, 1923Dora Pejacevic, descendant of Bosnian aristocracy and daughter of a Hungarian baroness and a Croatiancount, studied piano, violin and composition at the Croatian Music Institute in Zagreb under Huml,Junek, and Kaiser. During her travels, she studied briefly with Sherwood and Petri in Berlin andCourvoisier in Munich. For the most part a self-taught composer, she developed her talents and stylethrough contact with other artists in the cultural centers of Budapest, Munich, Vienna, and Prague. Afterher marriage in 1921 to Ottomar von Lumbe, they lived in Dresden and Munich. In January of 1923,Dora gave birth to their son, but she contracted sepsis and died six weeks later. Her Marcia funèbre Op.14 for piano was performed at her funeral service. Until recently, most of Pejacevic’s compositions wereunpublished and her influence was unknown, but in 1972 her family donated her entire collection ofmanuscripts and papers to the Croatian Music Institute. Since that time, a number of her works havebeen published, and she is now credited with laying the foundation for modern Croatian chamber andconcert music, and establishing high standards of professionalism and new opportunities for Croatiancomposers.157 Schumann, Brahms, Grieg, and Tchaikovsky were her models, and her harmonic idiom islate Romantic, with occasional impressionist colors. Pejacevic composed for voice, orchestra, chamberensembles, and piano. Of her fifty-seven extant opus numbers, forty-nine are for piano solo, piano withorchestra, or chamber works with piano.158SINGLE WORKS:Impromptu and Rose, ed. Sondra Wieland Howe (Hildegard; GKH reprint). Two lovely additions tothe late Romantic repertoire.Impromptu Op. 32b [1912]. Level: Late Intermediate. (B major, 6/4, adagio/agitato con passione, 6 pp).Brahmsian. Ternary form begins with an Adagio section; the faster Agitato has many dynamic contrasts,and the Adagio returns after a dramatic transition with ff descending octaves.Rose Op. 19/5 [1904–5]. Level: Late Intermediate. (E major, 6/4, moderate con moto, 4 pp). FromBlumenleben Op. 19, a set of eight pieces named after flowers. Upward-wafting arpeggios enhance agracious, lyrical melody. “The wide range of dynamics reinforces the beautiful and compleximpressionistic harmonies” (score preface).



Page 155ANTHOLOGIES.Women Composers: Music Through the Ages, vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Impromptu and Rose; see Single Works.SOURCES: A-Z, Cohen, FRK, grovemusic, H&H, Mac, Meggett, S&S, scoresPETERSON, Clara Gottschalk(var. Gottschalk)b. ? England, October 4, 1837—d. America, ?)Little is known of Clara Peterson, besides the fact that she was a younger sister of Louis MoreauGottschalk and a stalwart defender of his works. She is reported to have produced a great deal of musicfor piano, but the title below appears to be her only extant work.159ANTHOLOGIES:American Women Composers Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990),and American Keyboard Music 1866 Through 1910, ed. Sylvia Glickman, Vol. 4 of Three Centuriesof American Music (G.K.Hall, 1990).Staccato Polka [1909]. Level: Mid-Intermediate. (G major, 2/4, vivace, 4 pp). A jaunty, clever little piecein five-part rondo form. The seven-measure introduction establishes the main rhythmic motif. LH plays astandard oom-pah bass pattern, and hops up to play alternate 16th notes in the descending melodicfigure; the entire rondo theme is played staccato. In the first episode, the rondo rhythm becomespomposo with full triads on every beat. A shortened version of A appears; then the second episode (E-flat), with a lyrical, triadic melody accompanied by staccato bass chords. A brief passage in G minor ismarked con melancholia, but the sadness is short-lived, as the irrepressible theme returns. 16th notescales in RH bring the dance to a flourishing finish.SOURCES: Cohen, H&H, KOM, Laurence, scorePITTAR, Fanny Krumpholtz(var. Mrs. Pittar; née Krumpholtz)b. London, ca. 1784/8—d. after 1823English harpist and composer Fanny Pittar was the elder of two daughters born to the famous harpistand composer Anne-Marie Krumpholtz (q.v.). Fanny’s date and place of birth as well as her parentageare uncertain: she may have been born in France between 1784–1788, during an apparent hiatus in her



Page 156mother’s career, or after her mother’s elopement and relocation to London in 1788. Further, a marriagesettlement made to her by the Earl of Hardwicke suggests that he may have been her father, ratherthan her mother’s husband, the Parisian harpist/composer Jean-Baptiste Krumpholtz.160 In any case,Miss Krumpholtz married Isaac Pittar, a diamond merchant, in 1814, and unlike her famous motherpursued music in the domestic spheres of teaching and salon performances. “Fanny Krumpholtz’sManuscript Book of Her Own Compositions for the Harp, 1811,” an autograph manuscript collectionhoused in the British Library, includes twenty-one complete works largely based on dance forms, as wellas a set of seventeen preludes probably intended as progressive teaching pieces. Five pieces in thecollection are designated as suitable for either harp or piano; two of the three extant works publishedbetween 1810 and 1817 are described below.SINGLE WORKS:Two Works for the Harp, ed. Ursula Rempel (Hildegard, GKH reprint).“Dedans mon petit Reduit,” Air, Arranged with Variations for the Harp [ca. 1815]. Level: Mid-Intermediate. (F major, in 4, andante/piu lento espressivo/vivace, 4 pp). Theme and three variationsdedicated to the memory of her mother. Following the prevailing practice, a well-known air is succeededby increasingly elaborate variations. Frequent and dramatic dynamic contrasts, rolled chords andarpeggio passages, and the special guitar effect known as pres de la table are characteristic of thedomestic music popular at the time for both piano and harp.A Military Divertimento for the Harp or Piano Forte [1817]. Level: Late Intermediate. (E-flat major, in 4and 6/8, largo/maestoso/allegretto, 8 pp). A lengthy introduction is followed by the Divertimento. Aquick-march Allegretto in rounded binary form closes the work. Martial dotted rhythms, arpeggioflourishes, passages in thirds, sixths, and tenths, and LH crossovers all add to the interest.ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3; series eds. Glickman and Schleifer (G.K.Hall,1998). The two works described above.SOURCES: Cohen, Grove, H&H, Jackson, S&S, scoresPLÉ-CAUSSADE, Simone(née Plé)b. Paris, Aug 14, 1897—d. Bagnères-de-Bigorre, France, Aug 6, 1985French pianist, teacher, and composer Simone Plé studied piano at the Paris Conservatoire with AlfredCortot and composition with Georges Caussade, whom she later married. In 1828, she became aprofessor of harmony and counterpoint at the Conservatoire, with such students as Gilbert Amy andBetsy



Page 157Jolas. Plé-Caussade’s works for organ, piano, orchestra, and chamber ensembles are described asImpressionistic in style. The works described below are skillfully written teaching pieces using earlytwentieth-century techniques.COLLECTIONS:Les Chants et Les Jeux (Éditions Henry Lemoine, 1931). Level: Nos I-VII, Mid-Late Elementary. NosXIII-XX, Early Intermediate. Twenty descriptive “songs and games” of progressive difficulty, many lessthan a page in length. The first, easiest works begin with five-finger melodies played in octaves, bothhands in the treble clef, in C, F, G, D, and A major keys, with a few modal pieces, and one each usingwhole tone and pentatonic scales. In use: a variety of tempos, articulation, dynamics, registers, textures,and moods; rhythms use 8ths and 16ths in simple meters.Les Chants de Mon Moulin (Éditions Henry Lemoine, 1957). Level: Elementary to Early Intermediate.Thirty tuneful, descriptive pieces for children, much like the first set. Some interesting modes andtextures occur, as well as incidental chromaticism and register shifts. The pieces in the second half areappropriate for Early Intermediate students.Concert à l’O. R.T. F. (Paris: Éditions Henry Lemoine, 1967). Level: Late Elementary-EarlyIntermediate, nos. 1–12. Mid-Intermediate, nos. 13–25. Twenty-five attractive, carefully crafted musicalvignettes of people and landscapes; antique, neo-Renaissance air, through use of church modes, openfifths, and repetitive rhythms.LISTED but not found in print: Fleur d’Eau (Henry Lemoine: 1958), cited in Butler’s Guide toContemporary Music.161ANTHOLOGIES.Musique et Musiciens d’Aujourd’hui Series, ed. Henri Classens (Editions L. Philippo). Level: Mid-Intermediate. Three charming two-page teaching pieces in three volumes:Vol. 1. La forêt enchantée. Dans le Nid merveilleux (The wonderful nest). Perched high in the tallesttree, birdlings sing joyous trills and arpeggios under the direction of M.Merle, the wise professor ofmusic.Vol. 2. Scènes de cirque. Danse de Baby l’Acrobate. The baby acrobat makes many mistakes (lots of“wrong” accidentals) but keeps his balance.Vol. 3. Humour. Le petit Jockey nègre. Cakewalk rhythms, dissonant bitonal writing.DUETS: Six danses pour piano 4 mains (Éditions Henry Lemoine, 1983). Level: Late Elementary to EarlyIntermediate. Précieuse, Pittoresque, Rustique, Nostalgique, Languissante, Joyeuse.SOURCES: Baker, Butler, H&H, Heinrich, KOM, Mac, Meggett



Page 158PRICE, Florence Beatrice(née Smith)b. Little Rock, Arkansas, Apr 9,1887/8—d. Chicago, Jun 3, 1953The first African-American woman to be recognized for her symphonic compositions, Florence SmithPrice studied composition and counterpoint with Benjamin Cutter and Frederick Converse at the NewEngland Conservatory, and privately with George Chadwick. She graduated with honors, receiving aTeacher’s Diploma and an Artist’s Diploma in organ, and returned to the South, where she taught atcolleges in Arkansas and Atlanta, Georgia. Price married Thomas Price, an attorney, with whom she hadthree children. Shamefully, Price was denied membership to the Arkansas Music Teachers Associationbecause of her race, and in 1927 the family moved to Chicago, hoping for an improved racial climate.Price continued her studies at Chicago Musical College and the American Conservatory of Music. In1932, she won two Wanamaker Foundation awards, for her Piano Sonata, and for her Symphony in Eminor, premiered in 1933 by the Chicago Symphony Orchestra at the Century of Progress Exposition. Aprolific composer, Price wrote art songs and arrangements of spirituals, choral music, organ and pianopieces, four symphonies, and more than sixty works for orchestra and solo instrument, including threepiano concertos and one violin concerto. Much of her music is descriptive and programmatic; though shedid not quote African-American music directly in her compositions, she often used aspects of its rhythmsand tunes: Mildred Denby Green said Price “spoke the language of the black musical idiom withauthority and blended it with the logic of traditional European music.”162 A practical musician andprolific composer, she remained active all her life as a teacher and performer, giving private lessons,playing theater organ, and writing and arranging commercial music for the radio. Today, Price isremembered best for her art songs and spirituals, performed by many of the most famous singers of hertime, including Marian Anderson, Blanche Thebom, and Leontyne Price. Her Songs to a Dark Virgin, asetting of Langston Hughes poetry, and her arrangement of the spiritual “My Soul’s Been Anchored inthe Lord” achieved great success. Although widely performed during her lifetime, very few of Price’sover three hundred works are currently available. The Sonata in E minor and the Fantasy Negre, below,are the only piano works currently in print, but many of her excellent teaching pieces are available inpublic and university libraries.163SINGLE WORKS:Dances in the Canebrakes (Affiliated Musicians, 1953. St. Louis Public Library). Level: LateIntermediate. Based on lively syncopated rhythms and big, satisfying handfuls of chords, thesewonderfully good-humored dances are as American as cornbread and greens. Solidly crafted andidiomatic, they are written in a homophonic texture, with hands alternating a good deal to accent theshort bursts of melody.



Page 159Offbeat triads and rocking 16th note figures provide the setting; staccatos, catchy bass patterns, carefuldynamic markings, and judicious jazz harmonies add local color and personality. Bubbling through thewhole fabric are irrepressible, irresistible, toe-tapping rhythms.Nimble Feet. (E major, 4/8, allegro, 3 pp). Set over a tonic pedal, through-composed with contrastingepisodes; dense texture, rich harmonies and an ostinato rhythm. A wide range of the keyboard is used;the pianist needs, a light touch as well as a hand big enough for full chords.Tropical Noon. (A major, 4/8, andantino, 4 pp). Ternary form, with a sultry calypso beat. Triadic motiveswith added seconds suggest balmy breezes through palm leaves. The contrasting middle section is abrief habanera in D minor; augmented sixth chords provide particularly nice effects.Silk Hat and Walking Cane. (F Major, 2/4, Moderate, 4 pp). Characteristic cakewalk rhythm; ternaryform. A jaunty walking bass steps down the scale, in tandem with a perky sequential melody insyncopated sixteenths. Some fun occurs with modal borrowing for a “Moorish” effect in the D minorcenter section; a series of sliding half-diminished sevenths hails the return of the main theme.Sonata in E Minor [1932], ed. Rae Linda Brown (G.Schirmer, 1997). Level: Advanced. Threemovements, 27 pp. “A large-scale, expansive work in the Romantic tradition,” with LH octaves, largechords, tenths, and polyrhythms. I: Andante-allegro (in 4/cut time). In sonata form, it begins with astately chordal introduction in dotted rhythms. First theme is confident and spiritual-like; second themeis more lyrical. II: Andante (4/8). A rondo, with a lyrical main theme and two contrasting episodes. III:Scherzo-allegro (6/8). A virtuosic and rhapsodic close, technically challenging (score preface).ANTHOLOGIES:Black Women Composers: A Century of Piano Music (1893–1990), ed. Helen Walker-Hill(Hildegard, 1992).Fantasie Negre [1929/1932]. Level: Early Advanced. A wonderfully idiomatic theme and variations onthe yearning, sorrowful spiritual, “Sinner, Please Don’t Let This Harvest Pass,” composed for Price’s pupilMargaret Bonds, who became a respected composer herself.CHECK LIBRARIES for: Cabin Song, Bright Eyes, A Morning Sunbeam, Levee Dance, Hoe Cake, Ticklin’Toes, and Rabbit Foot (Theo. Presser). The Sea Swallow, The Old Boatman, The Goblin and theMosquito (Clayton F. Summy). The Gnat and the Bee, The Rose, The Butterfly (Carl Fischer). CottonDance (Oxford Univ. Press). At the Cotton Gin (G.Schirmer). Dances in the Canebrakes (Mills Music).164



Page 160SOURCES: Ammer, Anderson, A-Z, Baker, B&NB, Boenke, B&T, ClagAm, ClagS, Fuller, Green, Heinrich,H&H, Hinson, IDBC, Johnson, Kirby, KOM, Laurence, Mac, Meggett, Pendle, S&S, Southern, Stern,Walker-Hill, scoresRREICHARDT, (Bernhardine) Juliane Benda(var. Benda)b. Potsdam/Berlin, May 14, 1752—d. Berlin, May 9, 1783Born to a large and illustrious Bohemian family of musicians, Bernhardine Juliane Benda was theyoungest of the six children of Franziska and Franz Benda, concertmaster to Frederick the Great. WhenJuliane was only six years old, their mother died. Under the tutelage of her father, she became anunusually expressive singer. In 1775, the young composer Johann Friedrich Reichardt came to Berlin asKapellmeister. He “heard Juliane Benda sing and play the piano and fell in love with her.”165 The pairwere married in less than a year, and Juliane, who had already published a number of works, continuedperforming and composing despite her duties as a wife and mother. In 1782, she published Lieder undKlaviersonaten, a promising collection of seventeen songs and two piano sonatas. During their sevenyears of marriage, Juliane Reichardt gave birth to three children: Friedrich Wilhelm, Louise, who becamea celebrated lieder composer in the next century, and Wilhelmine Juliane. Juliane Reichardt died shortlyafter the birth of her third child in 1783, and was buried on her thirty-first birthday.SINGLE WORKS:Klaviersonata, ed. Linda Moot (Hildegard; GKH reprint). Level: Late Intermediate/Early Advanced. 11pp. A three-movement work in early Classical style with frequent ornaments. I: Allegro (2/4). Thelongest and most elaborate movement, in rounded binary form with repeats. II: Alla polacca (E minor,3/4). Very brief interlude between the outer movements, it emphasizes polonaise rhythm. III: Rondeau(vivace, 2/4). A toccata-like piece with bravura arpeggio passages and figurations (score preface).ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3; series eds. Glickman and Schleifer (G.K.Hall,1998). Prefatory essay by Nancy B.Reich; Sonata ed. by Moot, above.



Page 161SOURCES: Baker, B&T, Cohen, Eitner, Fetis, H&H, Jackson, Jezic, Laurence, Meggett, NewGrove, Pendle,S&S, Stern, scoreREINAGLE, Caroline Orger(var. Orger)b. London, 1818—d. Tiverton, Devon, Mar 11, 1892Caroline Orger, English composer, pianist, and writer, was the daughter of the famous actress anddramatic writer Mary Ann Orger. Little is known of her early musical training, but Miss Orger begangiving recitals in 1840, and in 1843 performed her Piano Concerto at Hanover Square Rooms. This workis one of the earliest piano concertos written by a nineteenth century Englishwoman.166 The Society ofBritish Musicians performed a number of her chamber works, but unfortunately, none has survived. In1846, Caroline Orger married Alexander Robert Reinagle, an Oxford organist, teacher, and composer.She taught piano and continued to compose many songs and piano pieces, and in 1855 produced apedagogical treatise entitled A Few Words on Pianoforte Playing. Nigel Burton describes Orger’s music as‘the product of an original, cultured mind…characterized by unremitting psychological power.”167SINGLE WORKS:Sonata in A Major for Piano Opus 6, ed. Harbach (Vivace Press, 1999). Level: Advanced. 55 pp. Anunusual and welcome addition to 19th century sonatas, this is a difficult and well-structured four-movement work, Schubertian and massive. The long Allegro moderate (6/8) is followed by a spiritedScherzo (3/4, C major) and a tuneful Andante (A minor, common time), ending with an intricate Allegrocapriccioso (common time).168Tarantella for Solo Piano Opus 4, ed. Harbach (Vivace Press, 1998). Level: Late Intermediate/EarlyAdvanced (E minor, presto, 6/8, 15 pp). A scintillating, breath less perpetuo moto example of thetarantella genre. Preceded by a Lento introduction in 3/4, it is in ABAB form, with two themes in eachsection constructed in balanced parallel periods. Interesting, well written, and fun to play and to hear.SOURCES: Baker, Brown, B&T, Cohen, Ebel, ElsonA, Fuller, grovemusic, H&H, Hyde, Laurence, Mac,Meggett, S&S, Stern, scoresREYNOLDS, Maria Hester—see PARK, Maria Hester



Page 162RICKETTS, Estelle D.American, b. Jul 1871—d.?Almost nothing is known of this African-American woman, listed in the 1900 national census as “StellaD.Rickets, black” and living with her parents and younger brother in Darby, Pennsylvania. Mrs.N.F.Mosell referred to her as a composer in The Work of the Afro-American Woman (Philadelphia,1894). Rickert’s only extant work, the waltz below, is from the Library of Congress collection, and is theearliest known solo piano piece by a black woman.169ANTHOLOGIES:Black Women Composers: A Century of Piano Music (1893–1990), ed. Walker-Hill (Hildegard,1992).Rippling Spring Waltz [1893]. Level: Early Intermediate. (G major, 3/4, allegretto, 3 pp). A dance inmany brief sections, consisting of simple variations over an unvarying four-measure, three-chord bass: I,ii, V7, I. Scalar patterns predominate. The tunes are unexceptional, but the movement is graceful.SOURCES: H&H, KOM, Walker-Hill, scoreRIESE, Hélène—see LIEBMANN, Hélène RieseROGERS, Clara Kathleen(née Barnett; stage name Clara Doria)b. Cheltenham, England, Jan 14, 1844—d. Boston, Mar 8, 1931Singer, composer, teacher and writer Clara Barnett first studied music with her mother, daughter of thecellist Robert Lindley, and her father, John Barnett, a composer of operas and songs. She entered theLeipzig Conservatory at age twelve, where she studied piano with Moscheles, Plaidy, and Hans vonBülow, harmony with E.F.Richter, and singing with Hermann Goetz, but was barred from attendingcomposition classes because of her gender. Among her chamber works is a fine string quartet written atthe age of fourteen, which supposedly helped break down the barrier against women at the LeipzigConservatory, but only after she had gone on to become famous. Making her professional debut in Italyas an operatic soprano under the name Clara Doria, she continued her concert career in England andAmerica. In 1873, Clara settled in Boston to compose and teach, and married Henry M.Rogers, a Bostonlawyer. She wrote extensively on the art of singing and teaching, and in 1902 was appointed Professorof Voice at the New England Conservatory. Active in the Boston music community, Rogers founded aBach Club and gave weekly musicales at her home, frequented by such musical luminaries as EdwardMacDowell,



Page 163George Chadwick, Benjamin Lang, and Arthur Foote. Rogers composed about one hundred songs, butonly a few works for piano.SINGLE WORKS:Romanza Op. 31 [1894], ed. Judith Radell and Delight Malitsky (Hildegard; GKH reprint). Level:Mid/Late Intermediate. (F minor, 3/4, larghetto, 9 pp). A late Romantic character piece. Lyric, inventiveand idiomatic, in extended rondo form.ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990),and American Keyboard Music 1866 Through 1910, ed. Sylvia Glickman, Vol. 4 of Three Centuriesof American Music (G.K.Hall, 1990).Scherzo in D Op. 32 [1882]. Level: Mid-Intermediate. (D major, 3/8, allegro giocoso, 4 pp). Standardscherzo and trio form, with each section in rounded binary. Lively theme consists of descending staccatotriads and a dotted-note figure. In the Trio (B minor/D major), RH 16th note figures are accompaniedby a divided-chord bass, and punctuated by frolicsome leaps to higher grace-noted tones.Women Composers: Music through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). Romanza Op. 31—see Single Works.SOURCES: Ammer, Baker, B&NB, B&T, ClagAm, ClagS, Cohen, ElsonL, Fuller, G&G, H&H, KOM,Laurence, Mac, Pendle, S&S, Stern, scoreRUDISILL, Bess E.Late 19th century AmericanBess Rudisill was a St. Louis ragtime pianist and composer. Among her compositions are these rag-timemarches and two-steps, published from 1900 to 1912 in Chicago and St. Louis: Ain’t I Lucky; BrightEyes; Burning Rags; The Eight O’Clock Rush; Polka Dot; and Way Down East.170ANTHOLOGIES:Ragtime Rediscoveries: 64 Works from the Golden Age of Rag, sel. Tichenor (Dover, 1979) andRagtimes für Klavier, ed. Kaluza (Furore, 1994).The Eight O’Clock Rush Rag, arr. Don Bestor [1911]. Level: Mid-Late Intermediate (G/C majors, 2/4,tempo di Rag, 3 pp). “An intriguing descriptive rag (whose) eccentric syncopations and bass rumblingssuggest the sounds of the hectic early morning hours” (score preface). Delightful work; cover shows acrowded streetcar under a clock.SOURCES: Hasse, Hinson, KOM, score



Page 164SSAMUEL, Madame L.(née Marguerite Elie)b. Paris, fl. America, late 19th c.Marguerite Elie achieved recognition in the United States as a virtuoso pianist and teacher, signing hercompositions as “Mme L.Samuel” after her marriage.ANTHOLOGIES:Piano Music from New Orleans, 1851–1898, comp. John Baron (Da Capo, 1980).Vers le Soir (Twilight), Poésie Musicale [1878]. Level: Late Intermediate (D-flat/G-flat majors, 3/4,moderate, 5 pp). A charming and graceful salon piece in ternary form. Ornaments and figurations showthe influence of Liszt and Chopin.SOURCES: Cohen, H&H, Panzeri, Stern, scoreSAVAGE, Janeb. ? London, 1752/3—d. Camberwell, London, Nov 9, 1824171Jane Savage was the daughter (and probably student) of William Savage, a Gentleman-in-Ordinary inthe Chapel Royal. She was a virtuoso keyboard player and composer in the galant style of the late 18thcentury, and according to the title page of her Opus 2 sonatas, “Organist of the Asylum” (scorepreface). Her compositions date from before her 1793 marriage to Robert Rolleston, “a respectablemerchant of Mincing Lane.”172 Savage composed popular keyboard music, songs, and a cantata settingof poems by her mother, Strephan and Flavia.SINGLE WORKS:Six Sonatas for Piano or Harpsichord, Op. 2 [1783, as “Six Easy Lessons for Harpsichord or PianoForte”], ed. Harbach (Vivace, 1996). Level: Late Intermediate. Worthy additions to the repertoire of theperiod: six three-movement sonatas (No. IV has only two) (G, F, C, B-flat majors, 5–7 pp. each).Written in typical galant style, with two-voice textures, energetic rhythms and constant 16th notefigures, ornamented triadic and scalar melodies, broken-chord and Alberti basses, and predominantlybinary forms. Movements 1 and 3 are in duple meter;



Page 165the middle movements generally use triple meter and the relative minor. Harmony consists of primarytriads with occasional secondary dominants. This Urtext edition contains suggested metronome settings,but no fingerings and few dynamic or articulation markings.Rondos I, III, and V from Six Sonatas for Harpsichord or Pianoforte Op. 3, ed. Deborah Hayes(Hildegard; GKH reprint). Level: Mid-Intermediate. “Attractive and subtly expressive, with intriguingsurprises within the Classical homophonic texture” (score preface).Rondo I. Grazioso. (G major, 2/4, 4 pp). A contredanse with rondo theme and three episodes in relatedkeys.Rondo III. Andantino. (C major, common time, 4 pp). Plaintive quality with sighing appogiaturas andchromaticism.Rondo V. Amoroso. (F major, common time, 4 pp). “Dreamy and floating” (preface).ANTHOLOGIES:Women Composers: Music Through the Ages, vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1997). Rondos I, III, and V, ed. Deborah Hayes; see above.SOURCES: Brown, Cohen, Eitner, grovemusic, Heinrich, H&H, Hinson, Jackson, KOM, Meggett, MGG,S&S, Stern, scoreSCH-L-N, MademoiselleGerman, fl. mid-18th c.No information is available about this composer.ANTHOLOGIES:Musikalisches Allerley von verschiedene Tonkunstlem, 1ste Sammlung (Alamire, 1992. NewYork:OMI Facsimile Editions), 119, 149. 2 Menuets [Berlin: Birnstiel, 1761]. Level: Early Intermediate (Dmajor, 3/4, one page each). Two melodious minuets in standard binary dance form. Two-voice texturewith simple but skillful counterpoint; ornaments at cadences. RH is written in C-clef, making it a goodtransposition exercise for today’s student.SOURCES: Jackson



Page 166SCHUMANN, Clara Josephine(née Wieck)b. Leipzig, Sep 13, 1819—d. Frankfurt, May 20, 1896Clara Wieck Schumann, one of the greatest pianists of the nineteenth century, was a child prodigy bothas pianist and composer. Clara’s mother, a singer and pianist from a family of professional musicians,divorced Friedrich Wieck, a music teacher and businessman, when Clara was five years old. Her fatherretained custody of Clara and supervised every aspect of her education and early career. He himselftaught her piano, and provided her with the best teachers available in composition, voice, violin,instrumentation, counterpoint and fugue, as well as ensuring her systematic exposure to concerts andoperas. Clara made her formal debut in the Leipzig Gewandhaus at the age of eleven, performed inParis at twelve, and pursued an extremely successful career as a concert pianist for over sixty years.Indeed, her performing career and the magnitude of her repertoire may be unequaled.173 Renownedthroughout Europe for her brilliant technique and musical sensitivity, in 1838 she became the firstforeigner honored by the Viennese Empress with the title Kammermusikerin.174 In 1840, Robert andClara were wed after a bitter legal battle with Clara’s father. Clara subsequently bore eight children, butcontinued concertizing, composing, and teaching. Robert died young, and Clara’s earnings were the solesupport of her children and grandchildren during most of her life. Considered the peer of such pianistsas Liszt, Thalberg, and Anton Rubenstein, Schumann played the showy, virtuosic works popular at thetime, but also programmed serious music by Bach, Scarlatti, Schubert, Mendelssohn and Beethoven, andshe was a staunch supporter of Chopin, Robert Schumann, and Brahms, her closest friend for the lastforty years of her life. Clara Schumann is credited with being one of the first to present an entireevening of solo piano music, and of playing a program from memory. She was as influential a teacher asa performer, holding from 1878–1892 the position of principal piano teacher of the Frankfurt HochschenConservatory. Many of Schumann’s compositions, widely published in her lifetime, are available inmodern editions, and comprise around fifty solo works in sixteen opus numbers for piano. Schumannalso wrote cadenzas to Mozart and Beethoven concertos, a few orchestral and chamber pieces, andmany lovely lieder. In her use of bold harmonies and rhythmic freedom, she displayed some of the moreadvanced tendencies of her day, as well as the intimate expression, extra-musical associations, phraseelisions, and melodic ornamentation found in Mendelssohn and Chopin. Although Clara Schumannbelieved her compositions to be inferior to those of her husband and other male composers, she lovedto compose, and her music displays a great joyfulness, a real gift for melody, and a strong sense ofstructure. Intrinsically pianistic, they lie beautifully under the hand and are a delight to play.



Page 167SINGLE WORKS:Quatre Polonaises pour le Pianoforte Op. 1/1-4, ed. Babette Hierholzer (Ries & Erler, 1987. AlsoCarl Fischer, 1987, and Hofmeister, 1996, ed. Draheim & Nauhaus). Level: Late Intermediate. Four briefand joyous examples of the dance written by the nine-year-old Clara, in standard compound ternaryform: polonaise-trio-polonaise, with two repeated parts to each section. The trios, with contrasting keysand themes, are generally more delicate than the robust, forthright polonaise sections. Each dance istwo pages long and in triple meter, with the characteristic polonaise rhythms: the ostinatoaccompaniment (1 &a 2& 3&), strong downbeats, and occasional triplet figures. The melodies containathletic leaps, occasional ornaments, and some brilliant arpeggios and scale passages.E-flat Major Opus 1/1. LH bass octaves on alternating chord tones support RH interrupted theme. A-flatTrio, delicato, has chirping grace notes on every tone, giving the effect of violin double-stops.C major Opus 1/2. A foreshadowing of Johann Strauss: a gay melody with turns, grace notes and scalarpassages and a contrasting Trio, con delicatezza. Shorter than the others (16-bar sections).D Major Opus 1/3. Longest of the group. An ascending alto scale followed by hops to chord tones,including a RH cross-over leap of four octaves. The trio melody is as lovely as a Chopin nocturne or aBellini aria.C Major Opus 1/4. Polonaise theme: ascending tonic arpeggio to an appogiatura is perfectly balanced bya descending dominant arpeggio to another appogiatura. In the vivace trio, scherzo-like, an ascendingstaccato scale is followed by an abrupt drop of an octave.Caprices en forme de Valse pour le Piano Op. 2/1-9 [1831–2], ed. Joachim Draheim and GerdNauhaus (Leipzig: Hofmeister Musikverlag, 1996). Level: Mid- to Late Intermediate. Nine brief (1–3 pp)and spirited waltzes written during Clara’s first major concert tour. Gay, graceful melodies, like Parisianopera tunes; a clear understanding of structural harmony and ternary form, with two related themes ineach section.Op. 2/1. Level: Late Intermediate. (C major, allegro moderato, con fuoco). Staccato alto theme, playedby thumb and second finger, is framed by a waltz bass and repeated soprano chord tones. A perky hopon beat one lands with a thump on the accented second beat. Both hands have some octave eighthnote passages.Op. 2/2. Level: Mid-Intermediate. (D major, allegro moderato, con grazia). A “noodling” melody indotted-eighths moves around the tonic by neighboring half and whole steps. LH melody in “B;” codafades away gracefully.Op. 2/3. Level: Late Intermediate. (E-flat major, andantino). A gracious little theme: a dotted-notesequence rises to an appogiatura, resolves by step. Octave passages in both hands; one RH crossover ofseven bars.



Page 168Op. 2/4. Level: Level: Late Intermediate. (A-flat major, 3/8, allegro, espressivo). Rushing sixteenthnotes in a chromatic turning figure leap up to rolled octaves, while the bass plays wide arpeggios. Thefigure is inverted, and the left hand takes the melody in the first half of “B.”Op. 2/5. Level: Late Intermediate. (B-flat major, 3/4, allegretto). Eight measures of fanfare begin thisflashy little work. A rising alto melody, some parallel sixths and thirds, and a repeated-note passageincrease the level of brilliance.Op. 2/6. Level: Late Intermediate. (C major, allegro risoluto, marcato). Reminiscent of Beethoven.Double octaves outline a C-minor triad; the mood then lightens up with double grace notes and parallelsixths over a standard waltz bass.Op. 2/7. Level: Mid-Intermediate. (A-flat major, allegro ma non troppo). Anticipatory grace-note chirpson chord tones contrast with a swirling, arched theme. In “B,” sobbing grace notes ornament adescending F minor scale, for a double-stop effect.Op. 2/8. Level: Late Intermediate. (E-flat major, 3/8, allegro assai). Rapid contrasts in dynamics,register, tempo, and key make this a miniature ballad for the dance.Op. 2/9. Level: Mid-Intermediate. (D-flat major, allegretto, risoluto). Less than a page long. The strongopening theme rises in a series of appogiaturas for four measures, and then runs back down in eighthnotes to a resolution in F minor.Valses romantiques pour le Pianoforte Op. 4 [1838], ed. Draheim and Nauhaus (Leipzig: FriedrichHofmeister, 199). Level: Early Advanced. (C major, allegro, 3/4, 11 pp). Chopinesque brilliance, withrepeated octaves, grace notes, staccatos and graceful slurs. Continuous short dances joined together,like a sectional ballroom piece, with strains in C, F, B-flat, A-flat, and G, and a dazzling, fiery coda.Quatre Pièces Caractéristiques pour le Pianoforte Op. 5/1-4 [1836], ed. Joachim Draheim andGerd Nauhaus (Leipzig: Hofmeister, 1996).Impromptu: Le Sabbat Opus 5/1. Level: Early Advanced. (A minor, 3/8, allegro furioso, 5 pp). A“grotesque” also known as Hexentanz [Witch’s Dance], with rapid repeated notes, hands doubling two-note slurs and grace-noted octaves, and plenty of accents and dynamic contrast.Caprice à la Boleros Opus 5/2. Level: Early Advanced. (E minor/major, 3/4, presto, 9 pp). Repeatednotes, accents, grace notes, and rolled chords on downbeats suggest a fiery Spanish dance.Romance Opus 5/3. Level: Late Intermediate. (B major/minor, 3/4, andante con sentimento, legato edolce, 2 pp). Included in many anthologies. A miniature ballade. Homophonic texture; inner-voice eighthnotes provide movement. ABA form; a static, contemplative motif contrasts with a more urgent, scalarone. Center section is in D major; the mood changes at the end, closing in B minor.



Page 169Scène fantastique: Le Ballet des Revenants [Ghost ballet] Opus 5/4. Level: Early Advanced. (B minor/Gmajor, common time-2/4, 6 pp). Another “grotesque,” with LH octaves, accents, staccatos, and rapidchordal leaps; “spooky” themes, and dramatic contrasts.Soirées Musicales pour le Pianoforte Op. 6/1-6 [1835–6], ed. Draheim and Nauhaus (Hofmeister,1996. Also ed. Glickman, Hildegard, 1996). Imaginative character pieces in the style of Mendelssohn andChopin. Robert Schumann said they contain “a wealth of unconventional resources.”Toccatina Op. 6/1. Level: Early Advanced. (A minor/major, 3/4, presto, 6 pp). An etude in brokendouble notes, skittering up and down the keyboard. Ternary, with fleeting, leggiero outer sectionsflanking a lyric center.Notturno Op. 6/2. Level: Late Intermediate-Early Advanced. (F major, 6/8, andante con moto, 5 pp). Alovely work in song-without-words texture; sweet, melancholy, and graceful; similar to Field or Chopin.Mazurka Op. 6/3. Level: Mid-Late Intermediate. (G minor, 3/4, con dolore e legato, 3 pp). Ternary form,with contrasting halves in each section. Plaintive theme, with the characteristic dotted rhythm on beatthree accompanied by a waltz bass. Center section (G major) is a shepherd’s pastorale, complete withdrone bass. “A” returns with double-stop grace notes, and borrowed chords accompany as the bassdescends by half-step and the melody climbs to a fermata, sforzando. The piece then folds back onitself, dying away to a pianissimo flatted-H chord, then closing with a flourish, a tempo.Ballade Op. 6/4. Level: Late Intermediate/Early Advanced. (D minor, andante con moto, common time,6 pp). Varied bass figurations in this ternary work include an ostinato chord progression, pedal points,“pizzicato” scales. Rich, warm harmonies, ornamented melodies, sweet double note figures.Mazurka Op. 6/5. Level: Late Intermediate. (G major, 3/4, con moto, 4 pp). Heroic theme, with arousing dotted-note pickup followed by triplets on the downbeat, all in ornamented parallel thirds. “B”section (E major) is more lyric. A five-bar trill, diminuendo, brings “A” back. Polonaise Op. 6/6. Level:Late Intermediate. (A minor/major, 3/4, non troppo allegro, 5 pp). Characteristic polonaise rhythm, withrich harmonies and rousing martial themes, full of nationalistic fervor.Variations de Concert Op. 8 [1837] (Boca Raton, FL: Masters Music, M 2580, n.d.). Level: Advanced.A bravura crowd pleaser, with brilliant flourishes, arpeggios, chromatic runs, wide leaps, and fastpassages in thirds and sixths.Quatre Pieces Fugitives Op. 15/1-4, ed. Joachim Draheim (Wiesbaden: Breitkopf & Härtel, 1993).Four character pieces dedicated to Clara’s half-sister, Marie Wieck; among Clara Schumann’s best-knownworks.Opus 15/1. Level: Late Intermediate. (F major, common time, larghetto, 2 pp). A lyric song withoutwords, with a sequential, yearning melody



Page 170reaching up to appoggiature. Pedaling with bass tones provides lush harmonic texture. Contains adevelopment section, with fragmented motive and modulations. At the close, a diminished-seventhchord over a tonic pedal resolves to a tonic chord with added sixth for a lovely effect.Opus 15/2. Level: Late Intermediate/Early Advanced. (A minor, 9/8, un poco agitato, 3 pp). Tenortheme gallops up the scale in staccato triplets; the driving triplets continue in both melody andaccompaniment. Rounded binary form, with a short development.Opus 15/3. Level: Late Intermediate. (D major, 3/4, andante espressivo, 3 pp). Opening theme is aserene, gently arching hymn in balanced periods. Transition and cadenza lead to a fretful middle section(F-sharp minor, poco animato) with delayed resolutions and anxious sixteenth note figures echoedbetween the hands. After another brief cadenza, “A” returns, and the two conflicting themes areresolved in the twelve-measure coda.Opus 15/4. Level: Late Intermediate/Early Advanced. (G major, 3/4, scherzo, 3 pp). A lively littlescherzo and trio, with each section in repeated binary form. The more sedate Trio is in the relativeminor.Preludes and Fugues for Piano, Op. 16/1-3 [1847], ed. Harbach (Vivace, 1994; also ed. Glickman,Hildegard, 1997; also Masters Music, n.d.). Level: Late Intermediate. Three well-crafted preludes andfugues composed during the Schumann’s joint study of counterpoint. Good Romantic examples of theBaroque form; fine legato studies.G Minor Opus 16/1. Level: Late Intermediate. Prelude (3/4, andante, 6 pp): A poignant, hesitant melodyover a slow-moving and a countermelody in the tenor. Fugue (3/4, allegro vivace, 3 v.). Subject openswith a single quarter note on the dominant, followed by three vigorous measures of running sixteenthnotes.B-flat Major Opus 16/2. Level: Late Intermediate. Prelude (3/4, allegretto, 6 pp). A dreamy melody inABA form, suspended over ascending eighth note arpeggios; occasional secondary dominants and aNeapolitan II provide harmonic interest. Fugue (3/4, andante, sempre legato, 4 v,). A four-square,North German work, with a sturdy theme formed of two ascending fourths followed by a descendingminor third to an altered tone, and then a stream of eighth notes.D Minor Opus 16/3. Level: Late Intermediate. Prelude (common time, andante, 6 pp). A serene chorale,half-notes, ties, and suspensions giving it the look of an organ prelude in 2/2. The long-breathed,arching opening theme begins with a leap of a fourth, reaches up another fourth, and then steps down,ending on the leading-tone a sixth below its starting point. Fugue (common time, andante con moto, 4v.). The fugue theme has a similar shape and rhythm, but opens with a third and then climbs higherand faster. The final entrances and the stretto are marked by tonic and dominant pedal tones.



Page 171Variations on a Theme by Robert Schumann Op. 20 (Alfred 1200; Süddeutscher). Listed as asingle work in Hinson’s Guide, 3rd edition. See Collections: Ausgewählte Klavierwerke.Drei Romanzen, Op. 21/1-3 [1853], ed. Joachim Draheim (Wiesbaden: Breitkopf & Härtel, 1996).Another attractive group.Romanze Op. 21/1. Level: Early Advanced. (A minor, common time, andante, 5 pp). Rhapsodic gypsyviolins in a Brahmsian texture.Romanze Op. 21/2. Level: Late Intermediate. (F major, 2/4, allegretto, sehr zart zu spielen). Airy anddelicate detaché chords, interspersed with sixteenth-rests. The tender, cheerful melody is reminiscent ofMendelssohn; development moves through four key centers, and the coda has a fully-diminishedseventh chord; some LH crossovers.Romanze Op. 21/3. Level: Early Advanced. (G minor, 3/8, agitato, 8 pp). Ternary; slower center section,more lyric, is in the parallel major. Main theme contains restless chromatic scale figures.Sonate in g-moll [1841–2], ed. Gerd Nauhaus (Breitkopf & Härtel, 1991). Level: Advanced. Fourmovements, 24 pp. “A singularly attractive, harmonically captivating, and pianistically demanding piece,which does full honor to its composer. Besides Weber and Schubert, the work’s ‘godfathers’ should alsoinclude Chopin and Robert Schumann” (score preface). I: Allegro (common time). II: Adagio (E-flatmajor, 3/4, con espressione e ben legato). III: Scherzo (and Trio) (G major, 3/4,leggieramente/einfach). IV: Rondo (2/4).COLLECTIONS:Clara Wieck Schumann: Ausgewählte Klavierwerke, Urtext, ed. Janina Klassen, fingering byHans-Martin Theopold (Henle Verlag, 1986).Quatre Pieces Caractéristiques Op. 5/1-4; Aus Soirèes musicales Op 6/1, 2, 4, 5; Drei Romanzen Op.21: see Single Works, above.Scherzo Opus 10 [1838], Level: Advanced. (D minor, 3/4, scherzo con passione, 10 pp). Dramatic andshowy work, popular with Parisian audiences. Really a rondo/scherzo with two contrasting trios(episodes). Clara said: “It is not too long, I believe, since it goes very fast, ‘appassionato que possible.’ Ilike the final repetition of the theme to the end of the piece best…but don’t cut the misterioso as this isthe most beautiful part of the entire piece” (score preface).Trois Romances Op. 11/1-3 [1839]. A satisfying group of miniature character pieces, dedicated toRobert Schumann the year before their marriage.I. Op. 11/1. Level: Early Advanced. (E-flat minor, 3/4, andante, 4 pp). Embodies romantic longing,

and serves as a prelude to the other two.II. Op. 11/2. Level: Early Advanced. (G minor, common time, andante/allegro passionate, 7 pp).

Affecting; full of rubato.III. Op. 11/3. Level: Late Intermediate. (A-flat major, 3/4, moderato, 4 pp). In five-part rondo form

(ABACA). Theme: a harmonized scale climbs a ninth and returns, over a tonic pedal. First episode isa wistful little waltz in F minor; second is a “wrong note” scherzo in D-flat



Page 172major, with late-resolving appogiature and a jerky, off-beat bass. “A” returns and dissolves into a coda.Variationen Op. 20 [1853]. Level: Advanced. (F-sharp minor, ziemlich langsam, 2/4, 10 pp). Clara’sseven ambitious variations on a theme by Robert Schumann, from his Bunte Blätter Op. 99. “Flowingmelodies, vivid harmonies, interesting rhythms, and some beautiful pedal effects. Its innate charm andfine construction make it an ideal work for a recital program.”175Romanze ohne Opuszahl [1853]. Level: Late Intermediate. (A minor, 3/4, 3 pp). Ternary form. Theopening theme, like a gypsy duet, is a restless motive in thirds, over a tonic pedal, with a contrastinglyrical transition. Broad center section (A major) has longer phrases in a smoothly arching melody, overa Brahmsian triplet accompaniment.Clara Schumann: Piano Music, sel./intro Nancy B.Reich (Dover, 2000). Thirteen of Schumann’s mostpopular works, all available in other editions. Op. 5/1, Op. 15/1-4, Op. 16/1–3: see Single Works. Op.11/2, Op. 20, Op. 21/1-3: see Ausgewählte Klavierwerke.Clara Schumann: Preludes, Exercises and Fugues, ed. Valeric Woodring Goertzen (Hildegard,2001).Three Fugues on Themes of Sebastian Bach [1845]. Level: Mid-Late Intermediate. (E-flat major/Emajor/G minor, 4/4-4/2-3/4, 3–5 pp). Three interesting and extremely capable four-voice fugues onBach subjects from Book II, W.T.C.Prelude and Fugue in F-sharp Minor [1845]. Level: Early Advanced. (F-sharp minor, common time-3/4,7 pp). Given to Robert Schumann on his birthday, 1845.Praeludien. (Seven Exercises, eleven Preludes). Clara Schumann began her daily practice by playing theexercises before her scales. Preludes are examples of her improvised introductions and interludes toshort serious pieces by Chopin, Mendelssohn, and Bach.Einfach Praeludien für Schüler [Simple preludes for students]. Two brief harmonic progressions in C andA-flat major, perhaps intended as framework for improvised preludes.Clara Wieck Schumann: Selected Piano Music, preface by Susskind (repr. edition: Da Capo Press,1979). Op. 5/1-4, Op. 6/1-6, Op. 8, Op. 16/1-3: see Single Works. Scherzo Op. 10, Op. 11/1-3: seeAusgewählte KlavierWerke.Romantische Piano Music, Vol. I, ed. Franzpeter Goebels (Bärenreiter, 1967). Op. 16 and Op. 21/3:see Single Works. Op. 20: see Ausgewählte Klavierwerke.Romantische Piano Music, Vol. II, ed. Goebels (Bärenreiter, 1976). Op. 3, Op. 5/3, Op. 15/1-4: seeSingle Works. Op. 11/1–3, Op. 21/1: see Ausgewählte Klavierwerke.Scherzo II Op. 14. Level: Early Advanced, (C minor, 3/4, con fuoco, 8 pp). Exhilarating and heartfeltmelodies; compound ternary form (scherzo



Page 173and trio), with two themes in each section. Opening arpeggiated theme sweeps from hand to hand;middle section is a tranquil chorale in the relative major.Romanze in h-moll (WoO) [Christmas 1856]. Level: Early Advanced. (B minor, 2/4, langsam, 4 pp).Ternary form. Rich romantic harmonies. Opening theme, a syncopated, descending motif of sad longing,is accompanied by a lacy texture of broken duplets. Repeated triplet chords increase the urgency in theG-major middle section.ANTHOLOGIES:At the Piano with Robert and Clara Schumann, ed. Maurice Hinson (Alfred, 1988). Op. 5/3, Op.6/1 and 3, Op. 15/1, Op. 16/2: see Single Works. Op. 20: see Ausgewählte Klavierwerke.At the Piano with Women Composers, ed. Hinson (Alfred, 1990). Mazurka Op. 6/5: see SingleWorks.Contemporaries of Schumann, sel/ed. Kurt Hermann (Hinrichsen, n.d.). Larghetto (Vier flüchtigeStücke) Op. 15/1: see Single Works.Frauen Komponieren, ed. Rieger/Walter (Schott, 1992). Andante con sentimento: see Quatres PiècesCaractéristiques Opus 5/3.Great Women Composers, ed. Smith (Mel Bay, 1996). Andante con sentimento: see Quatres PiècesCaractéristiques Opus 5/3. Mazurka: see Soirées Musicales Op. 6/5. Präludium II: see Preludes andFugues Op. 16/2.Historical Anthology of Music by Women, ed. James Briscoe (Indiana University Press, 1987).Variations on a Theme by Robert Schumann Op. 20: see Ausgewählte Klavierwerke.Johannes Brahms und Seine Freude, ed. J.Draheim (Wiesbaden: Breitkopf & Härtel, 1983). DreiRomanzen Op. 21/1-3: see Single Works.Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999). See Collections: Preludes, Exercises and Fugues, ed. Goertzen.LISTED but not found in print: Three Kleine Klavierstücke, containing Two Romances [1885–86] andAndante con sentimento [1838], ed. Marciano (Doblinger), and Souvenir de Vienne Op. 9 [1837–38](Diabelli), cited in Hinson’s Guide, 3rd ed.SOURCES: Ammer, A-Z, Baker, B&T, ClagS, Cohen, Dubal, Ebel ElsonA, ElsonL, Faurot, FRK, Gillespie,Gordon, Grove, H&H, Hinson, Hutcheson, Hyde, Jezic, Johnson, Kenneson, Kehler, Kirby, KOM,Laurence, Mac, Magrath, Meggett, MGG, MLA, N-B, Pendle, S&S, SCB, Schonberg, Sperber, Stern, scores



Page 174SCOTT, Clara H.Jonesb. Elk Grove, Illinois, Dec 3, 1841—d. Dubuque, Iowa, Jun 21, 1897Clara Jones Scott, composer and hymnist, attended C.M.Cady’s Musical Institute in Chicago, and at theage of eighteen began teaching music at the Ladies’ Seminary in Lyons, Iowa. In 1861, she marriedHenry Clay Scott, and in 1882 became the first woman to publish a collection of anthems, the RoyalAnthem Book. Her well-loved hymn, “Open my eyes, that I may see Glimpses of truth thou hast for me,”still appears in many hymnals. Scott wrote sacred and secular vocal and choral music, as well as anumber of pieces for piano. On a visit to Dubuque in 1897, she was thrown from a buggy by a runawayhorse and killed.ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990),and American Keyboard Music 1866 Through 1910, ed. Glickman, Vol. 4 of Three Centuries ofAmerican Music (G. K.Hall, 1990).Twilight Fancies (1875). Level: Late Intermediate. (D-flat major, 6/8, andante cantabile, 6 pp).Attractive writing distinguishes this sentimental salon piece with four contrasting strains. Thesymmetrical opening theme gracefully stretches up and then returns on descending triads. The secondtheme (A-flat major) has graceful treble scales and bass arpeggios. Theme 3 (piu mosso) is aconversation in B-flat minor: RH plays two measures in the soprano, then crosses into the bass for theanswer, as LH murmurs on repeated triads. Theme 4 returns to tonic key, with the melody in rolledharp-like chords and a double waltz bass in each bar; then the first section is repeated.SOURCES: ClagH, ClagS, Cohen, H&H, KOM, Laurence, Stern, scoreSENFTER, Johannab. Oppenheim am Rhein, Nov 27, 1879—d Oppenheim, Aug 11, 1961Johanna Senfter, a member of the wealthy bourgeoisie, was educated at a private girls’ school inFrankfurt and studied music from an early age. When only sixteen, she became a student at theprestigious Hoch Conservatory in Frankfurt, where she studied piano, violin, organ, and compositionwith, respectively, Carl Friedberg, Adolf Rebner, Heinrich Gelhaar, and Iwan Knorr. After eight years oftraining in the conservative Romantic school, Senfter went to the Royal Conservatory in Leipzig, whereshe studied with Max Reger from 1908–1910, receiving the Arthur Nikisch prize in 1910 for best studentcomposition. Reger’s



Page 175style of combining Bach’s polyphony with Brahms’ sonorities and motivic treatments was a significantinfluence on Senfter. Her extensive output of 134 individual works includes nine symphonies, concertosfor piano, violin, viola and cello, a large amount of chamber and choral music, and a great many piecesfor piano. At age 81, Senfter died in Oppenheim, her home town.SINGLE WORKS:Drei Stücke für Klavier Op. 77 (Heinrichshofen’s Verlag, 1987). Level: Early Advanced. Written ratherlate in the composer’s life, these works explore the boundaries of tonality and show the influence ofBrahms and Reger.I: Geschwind (C-sharp minor/major, 3/8, 8 pp). A playful scherzo.II: Ruhig (F major, common time, 6 pp). A gentle, heart-felt love song, extremely lyric.III: Lustig. (D-flat major, 3/4, 6 pp). A cheerful Ländler.Vogelweise (Bird Song), ed. Christiane Maier (Schott, 1999). Level: Late Intermediate. (G minor, 2/4,allegretto, 5pp). Written during Senfter’s student years, this is a descriptive character piece in lateRomantic style, perhaps inspired by actual bird calls. The theme consists of five repeated tones followedby a twittering cluster of 32nd notes. A good study in close hand position work and subdivisions of thebeat.COLLECTIONS:Ausgewählte Werke (Selected Works), ed. Christine Maier (Schott, 1997). A collection showing therange and development of Senfter’s technique as a composer, from technically simpler, romanticcharacter pieces to more complex writing exploring the limits of tonality (score preface).Klavierstudie [1898]. Level: Late Intermediate. (E minor, common time, allegro, 4 pp). Reminiscent ofChopin etudes, with a cantabile bass melody and RH double note figures.Sechs kleine Stücke für Anfänger. Level: Mid-Intermediate. (E/D major, D/A/B minor, simple meters, 1–2pp). Early character pieces for students. Wiegenliedchen [Cradle song], Morgenspaziergang [Morningwalk], Erster Schmerz [First hurt], Im Kahn [On the river barge], Lustige Begehenheit [Merryhappenings], Ernste Gedanken [Grave thoughts].Berceuse (C-sharp minor, 2/4, 4 pp), Mazurka (F minor, 3/4, 3 pp), Vogelweise (G minor, 2/4, 5 pp),and Scherzo (D minor, common time, 9 pp). Level: Late Intermediate/Early Advanced. Four descriptivecharacter pieces written during her student years. Late Romantic style song forms, periodic construction,smooth melodies, clear-cut rhythms and harmonies. The Scherzo is in rondo form.Three Passacaglias (Nos 5, 7, 8) and three Fugues (Nos 4, 5, 7). Level: Advanced. From her two cycles,Neun Passacaglien and Sieben Fugen für Klavier, probably written when Senfter was studying with Max



Page 176Reger. Remarkable polyphonic technique, with a wealth of melodic, harmonic, and rhythmic ideas, broadcantabile themes, and inventive counterpoint.Drei Klavierstücke Op. 83 [1937–38]. Level: Late Intermediate/Early Advanced. Orchestral quality, withoctave doublings, expressive harmonization, polyphonic writing and unison passages, wide melodicleaps, complex rhythms, subtle phrasing and dynamics. I: Gemächlich [comfortably] (F major, 3/4, 4pp). II: Ziemlich ruhig [rather peaceful] (B major, common time, 4 pp). III: Wiegend [rocking] (G major,3/4,4 PP).Zwei Klavierstücke Op. 129 [1957]. Level: Late Intermediate/Early Advanced. Composed at the age of78. Mature, expressive writing, with melodic and harmonic invention, expressive chromaticism. I: Ruhig[restfully] (F major, 3/4, 4 pp). II: Lebhaft [lively] (A minor, 3/8, 6 pp). A scherzo.SOURCES: A-Z, Boenke, Cohen, H&H, KOM, Mac, SCB, S&S, Sperber, scoresSHEPHERD, Adaline(var. Adeline)b. Algona, Iowa, Aug 19, 1883—d. Milwaukee, Wisconsin, Mar 12, 1950Born in Iowa, ragtime composer Adaline Shepherd lived in Milwaukee most of her life. She begancomposing in her early twenties, and although she lived to be sixty-seven, wrote most of her musicbefore she was thirty-five. In 1908, William Jennings Bryan used her immensely popular Pickles andPeppers Rag as his campaign song. Wireless Rag (1909) and Live Wires (1910) reflected the newtechnology of the time. In 1910, Shepherd married an insurance company executive, Fred ShermanOlson. They had three children, and were comfortably well off. After her publication of Victory March in1917, she apparently gave up composing, but continued to play the piano in spite of arthritis.ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990)and At the Piano with Women Composers, ed. Hinson (Alfred, 1990).Wireless Rag [1909]. Level: Late-Intermediate (E-flat major, 2/4, not too fast, 3 pp). This unusual rag isa theme and three melodic variations over an ostinato bass, with a closing section in the subdominantkey. In variation 1, octaves with grace notes replace block chords. Next, the syncopated sixteenths.Finally, the theme sounds an octave lower with simpler voicing and even more syncopation. In the finalsection, full block chords on every eighth note accelerate to the end.



Page 177Ragtime & Early Blues Piano, comp./ed. Appleby and Pickow (Amsco, 1995) and WomenComposers of Ragtime, comp. Lindeman (Theodore Presser, 1985).Pickles and Peppers. A Rag Oddity. [1906]. Level: Mid-Intermediate (A-flat major, 2/4, not too fast, 5pp). In 1908 alone, this immensely popular rag sold 200,000 copies, and continued selling through1913; at least one piano roll and four recordings were made of it. It contains three strains; in thealtered repeat of C, the genteel 8th note motif becomes a rowdy, syncopated sixteenth note figure,changing the cakewalk to a stomp. Wireless Rag [1909]. See above.American Keyboard Music 1866 Through 1910, ed. Sylvia Glickman, Vol. 4 of Three Centuries ofAmerican Music (G.K.Hall, 1990). Pickles and Peppers.SOURCES: B&NB, Hasse, J&T, KOM, MLA, scoresSLOMAN, Jane(var. Torry, Sloman Torry)b. England, 1824—d. United States, after 1866In 1839, Jane Sloman emigrated from England with her parents, becoming one of the first female pianovirtuosi to perform in the United States. A prodigy who played opera overtures at age five, she studiedin England with Madame Dulcken, pianist to Queen Victoria. Her New York debut concert in 1841 markedthe beginning of ten years of extremely successful concertizing. Contemporary reviewers noted herextraordinary talent and ease of execution, as well as her “grace, sentiment, expression, andpathos.”176 As a composer, Sloman appears to have been entirely self-taught. After 1850, shepublished her compositions under the name Sloman Torry, and they appeared in print until 1902. Extantworks include nine hymns in The Melodist, a song collection described on its title page as “selectedgems from celebrated composers arranged for the use of female seminaries.”177 Twenty-two othersongs written in a cultivated, full-blown Romantic style are in existence, including Titania, BarbaraFritchie, Queen of the Night, Take Back the Ring, and The Maiden’s Farewell. Four keyboard works havebeen located, including the only one in modern print, below.ANTHOLOGIES:American Women Composers: Piano Music from 1865–1915, ed. Glickman (Hildegard, 1990),and American Keyboard Music 1866 Through 1910, ed. Glickman, Vol. 4 of Three Centuries ofAmerican Music (G. K.Hall, 1990).



Page 178La Favorite: Etude Mazurka [1866]. Level: Early Advanced (F/B-flat/E-flat majors, 2/4, allegro marcato,4 pp). In mazurka form, an enjoyable etude in right hand octaves with inner thirds. The introduction isformed of three ascending chromatic scales and some graceful twitters, while the main theme would notbe out of place in Verdi’s La Traviata. Two contrasting sections are followed by a repeat of the openingidea.SOURCES: Ammer, B&NB, Cohen, H&H, KOM, Laurence, Mac, Pendle, Stern, Tick, scoreSTIRLING, Elizabethb. Greenwich, England, Feb 26, 1819—d. London, Mar 25, 1895Organist Elizabeth Stirling studied piano, organ, and composition at the Royal Academy of Music inLondon with W.B.Wilson, Edward Holmes, George MacFarren, and J.A.Hamilton. In 1837, when onlyeighteen years old, she gave a lengthy and remarkable organ recital of Bach’s works, including fivepreludes and fugues and three trios. All the pieces required extensive use of the pedals, unusual for thatperiod of English organ playing; Meggett credits her with introducing the pedal board in England.178 Atage twenty, Stirling embarked on a successful forty-year career as a church organist and recitalist, withwell-paid positions in two prominent London churches (All Saints’, Poplar, and St. Andrew’s,Undershaft). In 1856, her Psalm 130 for five-part chorus and orchestra passed the examination for theMusic Baccalaureate at Oxford, but the university refused to grant the degree, declaring that womenwere not eligible.179 In 1863, Sterling married Frederick Bridge, bass soloist and choirmaster at St.Andrew’s, and twenty-two years her junior. Sterling wrote many organ works, including arrangements ofHandel, Bach, and Mozart pieces, over fifty part-songs, an unpublished opera, and a few pieces forpiano. Some of Sterling’s organ works have been reprinted, but none of her piano pieces is available inmodern edition.AVAILABLE ORGAN WORKS:English Romantic Classics for Organ, ed. Barbara Owen (Belwin-Mills, 1984). Air with VariationsRomantic Pieces for Organ, ed. Barbara Harbach (Vivace Press, 1996).Six Fugues for Organ, ed. Harbach (Vivace Press, 1997).Six Pedal Fugues, ed. Owen (Belwin-Mills, 1984).Women Composers: Music through the Ages, Vol. 6, series eds. Glickrnan and Schleifer (G.K.Hall,1999). Moderate and Maestoso, ed. Barbara Owen.SOURCES: Baker, Brown, B&T, ClagH, ClagS, Cohen, Ebel, ElsonA, Fuller, grovemusic, H&H, Heinrich,Hyde, Laurence, Mac, Meggett, S&S, Stern, score



Page 179SZYMANOWSKA, Maria Agata(née Wolowska)b. Warsaw, Poland, Dec 14, 1789—d. St. Petersburg, Russia, Jul 24, 1831Maria Szymanowska, the first Polish pianist to gain a European reputation, received a fine musicaleducation with Lisowski, Gremm, and Lessel in Warsaw, and later, with Elsner, Cherubini, Hummel, and,according to some sources, John Field.180 In 1810, she made debuts in both Warsaw and Paris, andmarried the landowner Josef Szymanowski. They had three children together, but because he objectedto her career, she left him after ten years of marriage, taking her children with her and supporting themby concertizing widely to great acclaim. In 1822, the Tzar of Russia appointed “the female Field” courtpianist in St. Petersburg, and she continued touring the continent, England, and Russia. Her cantabileplaying, based on the bel canto singing style of the day, was widely hailed as a brilliant innovation, andher command of dynamics was especially renowned. Hummel, Field, and Cherubini all dedicated worksto her, and Schumann praised her twelve Concert Etudes. Szymanowska’s music embodies two earlyRomantic ideals: an emphasis on the individual, evident in her virtuoso works, and patriotism, in her useof folk melodies and dances. She composed more than one hundred works, including some songs andchamber music and nearly ninety compositions for the piano: nocturnes, waltzes, preludes, fantasies,variations, caprices, and etudes, as well as mazurkas and polonaises. Impressively, most of her workswere published during her lifetime by the major publishers in Europe and Russia.181 Credited with beingone of the first to write concert music based on Polish dance forms, Szymanowska was of enormousinfluence on the young Chopin. In 1828, she ceased touring and settled in St. Petersburg, where shekept a brilliant salon for musical and literary cognoscenti and Polish expatriates. In July of 1831, shebecame ill with cholera one afternoon, and died the following morning.SINGLE WORKS:25 Mazurkas [1820], ed. Irene Poniatowska (Hildegard Publishing, 1993). Level: Mid-Intermediate.Unlike Chopin’s later stylized examples of the genre, Szymanowska’s twenty-five mazurkas retain thesimplicity and lively character of the original dance, and represent some of her finest work. Folkloricpatterns include characteristic rhythmic figures, irregular accents on beats two and three, and leaps toappogiaturas. All are in 3/8, with no tempo indications; constructed in symmetrical eight-bar periods,each dance is one page long. Sixteen are in ternary form, seven binary, one in five parts, and one hasonly a single section. All except two remain in their major keys, and all employ primary chords in simpleaccompaniment patterns, with sectional movement governed by tonic-dominant relationships.



Page 180Caprice sur la Romance de Joconde pour le Pianoforte [1819] (Hildegard; GKH reprint). Level:Early Advanced. (E major, 6/8, 11 pp). An imaginative study based on French opera themes, full ofmelodic embellishment and improvisational effects.Cinq Danses pour Piano, ed. Regina Smendzianka (PWM, 1985). Level: Mid-Intermediate. Fivetuneful, brief and lively dances of the period, in ternary form. Except for the first 2-page work, each isone page long; all are in a quick 2/4 except for the final “Quadrille” in 3/8. Turns and grace notesornament the melodies, which supported by primary chords in basic accompaniment patterns. Thisedition includes fingerings, metronome indications, and pedal markings.Three Etudes ed. Anne Swartz (Hildegard; GKH reprint). Level: Advanced. From Vingt exercises etpreludes pour le pianoforte.Etude No. 6 in C major. A study in changing-note melody over static repeated chords; ornamentedmelodic writing.Etude No. 12 in E-flat Major. Bravura divided chords in contrary motion.Etude No. 17 in B-flat Major. Rapid parallel thirds and sixths in scales and chromatically alteredpassages.COLLECTIONS:Character Pieces (Hildegard; GKH reprint). Level: Mid Intermediate. Court dances popular in early19th c. Russia created a market for Szymanowska’s compositions. This collection contains No. 2 in B-flatmajor from Six Menuets pour le Pianoforte, and the following from Dix-huit Danses: No. 1, Polonaiseand Trio in C major; No. 5, Valse in E-flat Major; No. 6, Valse in A major; No. 7, Valse for three handsin B-flat Major; No. 8, Valse in F major; Nos 9, 10, 11, 12, Anglaises in E-flat, B-flat, and A-flat Major.Maria Szymanowska: Music for Piano, ed. Sylvia Glickman (Hildegard, 1991).Contradanse in A flat major. See Single Works, Cinq Danses.Etude in F major. Level: Late Intermediate. (6/8, vivace, 3 pp). An invigorating study in RH arpeggiosequences, with accents.Etude in D minor. Level: Late Intermediate. (6/8, risoluto, 3 pp). Legato fingering in continually shiftinghand positions, for soprano and alto voices.Etude in C major. Level: Late Intermediate/Early Advanced. (3/8, vivace, 8 pp). A study in balance andendurance, with legato outer voices supported by fluttering alto and tenor; occasional LH octaves.Menuet in E major. Level: Late Intermediate. (3/4, allegro ma non troppo, 4 pp). This unusual minuethas two trios. LH octaves support the opening stepwise melody played in thirds. First trio has an archingmelody accompanied by block chords; second trio has a harp-like accompaniment, and the melody is inoctaves in second half.



Page 181Polonez in F minor. Level: Late Intermediate. (3/4, moderate, 3 pp). Fervently nationalistic dance incompound ternary form, evoking the spirit of a gypsy orchestra. The impassioned melody, harmonized inthirds and sixths, is characterized by modal scales and sudden octave leaps, and accompanied bythrumming octaves and divided chords. Turns, trills and alternating 16th notes add to the brilliance. TheTrio (D-flat major) is calmer and more lyric. A truly delightful and unpretentious work, full of fire andromance and lying well under the hand.Four Valses for Three Hands (for two people).Maria Szymanowska: Album per pianoforte, ed. Maria Szmyd-Dormus (PWM, 1990). Interestingpieces from Szymanowska’s rich and varied output, aiming to evoke an epoch (score preface).Contents: Vingt Exercices et Preludes: Nos 1, 3, 8, 9, 12, 13, 14, 15, 18. Vingt-quatre Mazurkas: Nos 1,2, 8, 17, 19, 20. Danse Polonaise. Dix-huit Danses: One Polonaise, two Anglaises, three Valses. SixMenuets I, V. La Murmure: Nocturne. Fantaisie in F Major.ANTHOLOGIES:At the Piano with Women Composers, ed. Hinson (Alfred, 1990), Frauen Komponiereo, ed.Rieger/Walter (Schott, 1992), Great Women Composers, ed. Smith (Mel Bay, 1996), and HistoricalAnthology of Music by Women, ed. Briscoe (Indiana University Press, 1987).Nocturne [1828/31]. Level: Late Intermediate/Early Advanced. (B-flat major, 12/8, moderate, 6 pp).Published posthumously in 1852. Similar to but more elaborate than Field’s nocturnes; arpeggiation,atmospheric pedal points, and the gracefully ornamented melody foreshadow Chopin. In rondo/variationform. The accompaniment undergoes figural variations with patterns and harmonies much moresophisticated and imaginative than in earlier works. Contrasting episodes provides contrast, and the finalreprise of the opening theme is in RH octaves for the right hand, with a harp-like accompaniment.Women Composers: Music Through the Ages, Vol. 3, series eds. Glickman and Schleifer (G.K.Hall,1999). Caprice sur la Romance de Joconde pour le Pianoforte, Character Pieces, and Three Etudes. SeeSingle Works, above.LISTED but not found in print: Album of Piano Music: Maria Szymanowska, ed. Josef and Maria Mirsy(PWM, 1953). Contents: Polonaise f; Menuet E; Le Murmure; Song Setting; 7 Etudes (F, E-flat, d; rev. d,E, C, E-flat). Listed in Hinson’s Guide, 3rd ed., 763, and Jackson, 459.SOURCES: A-Z, Baker, Boenke, Cohen, Dubal, Ebel, ElsonA, FRK, Gordon, Grove, H&H, Hinson, Jackson,Johnson, Kirby, KOM, Laurence, Mac, Magrath, Meggett, MGG, MLA, Pendle, S&S, SCB, Schonberg,Sowinski, scores



Page 182TTAILLEFERRE, (Marcelle) Germaine(née Taillefesse)b. Parc-St-Maur-des-Fossés nr. Paris, Apr 19, 1892—d. Paris, Nov 6, 1983Germaine Tailleferre, the only female member of “Les Six,” entered the Paris Conservatoire against herfather’s will in 1904, where she proceeded to win first prizes for solfege, harmony, counterpoint, andaccompaniment. A piano prodigy, she studied with Eva Sautereau-Meyer, Widor, Estyle, and Dallier.Because her father refused to support her, the young girl gave music lessons to pay her professors andsupport herself; she had, in fact, a lifetime of financial hardship. In Georges Caussade’s 1913counterpoint class, she met Auric, Honegger, and Milhaud, her future cohorts in “Les Six,” the group ofdiverse French composers united in their dislike of Wagner and Impressionism. Erik Satie praised herwork, calling her his “musical daughter,” and Alfred Cortot played her piano music at concerts inLondon. Other influences on Tailleferre’s style include Stravinsky, Fauré, and especially Ravel, withwhom she studied orchestration; they remained in close contact during the 1920s. As the editor of sixvolumes of eighteenth-century French and Italian arias (in Les Maitres du Chant, 1924–1927), she grewto admire French composers of the eighteenth century, and her unique style, which retained itsspontaneity and freshness throughout her life, displays some of the conciseness and qualities ofmovement found in Couperin and D.Scarlatti. During World War II, Tailleferre lived in the United States,but she returned to France, and her last position was professor of accompaniment at the ScholaCantorum from 1970 to 1972. A prolific and practical composer who worked to commission, her morethan three hundred works include operas, ballets, incidental theater and radio music, many film andtelevision scores, works for orchestra and wind band, choral music and songs, and piano pieces.Occasionally using extended tertian sonorities and some mild polytonality, the hallmarks of Tailleferre’sworks are a gift for soaring melody, pastel hues and simple lines, natural musicianship, and solidcraftsmanship. Her music, which she was far too apt to denigrate, is modernistic, charming, and joyfullymusical; the small teaching pieces are as appealing, with as much integrity of workmanship, as thelarger works. Tailleferre outlived all the other members of “Les Six,” and received among other awardsthe Grande Medaille d’Argent de la Ville de Paris, the Prix Italia, the Grand Prix Musicale, the Grand-Croix de l’Ordre du Mérite, the Officier de la Légion d’Honneur, and the Prix Montaigne.



Page 183SINGLE WORKS:3 Sonatines pour Piano [1975–78 ?] (Editions Henry Lemoine, 1993). Level: Late Elementary/EarlyIntermediate. (C/F major, E minor, simple meters, 3 pp each). Three short movements in each charmingwork; rounded binary forms, sparse textures, simple, repetitive melodies in narrow ranges, and simpleaccompaniments. Close position hands frequently share treble clef. Suggested fingerings, but nopedaling and few dynamic or articulation indications.Deux Pieces pour Piano (Henry Lemoine, 1997). Level: Early Intermediate. Two brief, quintessentiallyFrench works reminiscent of Satie and Poulenc.Larghetto. (C-sharp minor, common time, 4 pp). Improvisational “prelude” effect, with modal borrowing;spare 3- and 4-voice texture, with a continual 8th note murmur under a conjunct double-note melody.Hands are in close position in the upper middle register.Valse Lente. (C-sharp minor/E major, 3/4, 2 pp). Modal with chromatic borrowings, in ternary form.Gentle movement and sparse texture is not unlike Satie’s third Gymnopédie. Also arranged by thecomposer for two pianos (elementary).Enfantines pour piano [1975–78] (Henry Lemoine, 1993). Level: Late Elementary/Early Intermediate(15 pp). Thirteen brief character pieces composed for pupils of the École Alsacienne in Paris, in easykeys, simple meters, and dance patterns. Enfantines, Sautillé, Danse des bonnes femmes (jig),Berceuse, Valse, Scarlatina (perhaps a tarantella), Pastourelle, Galop, Berceuse du menerou, Gavotte,Poursuite, Adage, Course.Fleurs de France: Pieces Faciles pour Piano (Éditions Henry Lemoine, 1962). Level: EarlyIntermediate. In this charming musical nosegay, eight vignettes depict the flowers in different regions ofFrance. Only one or two pages long, each is a fresh, delicate miniature in two-voice textures, tinted withImpressionist colors, folk-dance rhythms and melodies, and neo-classical forms. The use of modes andrepeated phrase pairs creates an air of the Renaissance.Jasmin de Provence. (G minor, 6/8, andantino, alla Siciliana). The gentle old-fashioned melody inAeolian and Dorian modes seems to give off a faint, dry scent. In typical Sicilian rhythm, the form is aperfect arch of four-measure phrases: aa, bb, c, aa, aa.Coquelicot de Guyenne. (D major, 2/4, allegro brilliante). A corn poppy, painted in bright, gay colors.The melody is played in thirds by the right hand, with accents on the second beat and chords on beatone. Four-part chords in the middle are reminiscent of Ravel’s Sonatine: a major chord drops a fourth,to a minor seventh chord.Rose d’Anjou. (G minor, 6/8, andantino tranquillo). Repeated notes, a rocking rhythm, and grace notesmake a charming, serene picture. Some altered dominants appear in the transition section.



Page 184Tournesol de Languedoc. (C major, 2/4, allegro grazioso). The brazen sunflower is painted in bold,cheerful strokes, with hands doubling two octaves apart, alternating with piano seventh chords in hymntexture.Anthémis du Rousillon. (G major, 4/4, andantino). Six-bar theme constructed of two motifs, AAB. Majorand Phrygian modes provide color, accompanied by murmuring eighth notes in a spinning-wheelpattern.Lavendin de Haute-Provence. (E minor, 2/4, allegretto grazioso). Gracefully rocking pairs of eighth notesform both melody and accompaniment; half-diminished 7th chords in the block chords at bridge andending.Volubilis du Béam. (F major, 3/4, andante cantabile). The only piece in triple meter, this portrait of aconvolvulus uses major and mixolydian modes in slowly turning spirals. Fragmented motive is used in along transition back to the original theme.Bleuet de Picardie. (B-flat major, 2/4, allegramente). Blue-bottle, cornflower, or bachelor-button, thisgrows wild on the American prairie and roadside as well as in Picardy. A breezy, free feeling permeatesthis final vignette, characterized by wider intervals and rolling rhythms.Seule dans la forêt [Alone in the woods] (G.Billaudot, 1953). Level: Late Elementary/EarlyIntermediate. (D minor, 2/4, moderato, 2 pp). A fresh, appealing teaching piece: entrancing melody,piquant harmony, beautifully crafted. Ternary form, close two-voice texture in upper registers.ANTHOLOGIES:Album des Six: Six Pieces for Solo Piano (Masters Music, 1996).Pastorale [1919]. Level: Late Intermediate. (D major, 5/8-6/8, enjoué [jovial], 2 pp). Dedicated toMilhaud, this enjoyable and chromatically adventurous work has distinctive metrical alternations, astaccato melody, and a running sixteenth note accompaniment.A L’Exposition, ed. R.Deiss (Broude Bros., 1937). A collection of works by eight early 20th c. Frenchcomposers: Auric, Delannoy, Ibert, Milhaud, Poulenc, Sauguet, Schmitt, and Tailleferre.Au Pavilion d’Alsace [1937]. Level: Early Advanced. (G-flat/B major, 3/4–3/8, moderato/allegro, 10 pp).Cheerful, spirited binary dance, written in three staves throughout; dotted rhythms over a tonic droneare reminiscent of a pastoral minuet or musette, followed by a quicker passepied.Musique et Musiciens d’Aujourd’hui, ed. Henri Classens (Philippo, 1953). Level: LateElementary/Early Intermediate. Two descriptive teaching pieces. Vol. 1 Dans la Clairière [In the forestglade]. Vol. 2: Valse pour le Funambule [Tightrope dancer’s waltz].Women Composers: Music Through the Ages, Vol. 6, series eds. Glickman and Schleifer (G.K.Hall,1999).Pastorale en la flat, ed. Janelle Gelfand. Level: Late Intermediate. (A-flat major, 5/8, allegro, 5 pp). Atruly gratifying piece with two of



Page 185Tailleferre’s favorite devices: a smoothly arching melody in 5/8, harmonized in parallel sixths over atonic pedal. Frequent meter changes, flowing movement, pastel colors, and some early 20th c.ambiguities: parallel fourths and fifths, hemiolas, bitonality, modal borrowing.DUETS:Deux Valses and Image (Lemoine, 1927). Jeux de Plein Air and Premières Prouesses (Jobert, n.d). SuiteBurlesque (Lemoine, 1980).SOURCES: Ammer, A-Z, Baker, Boenke, ClagS, Cohen, Friskin, FRK, Gillespie, Gordon, Grove, HAMW,H&H, Hinson, Hutcheson, Johnson, Kirby, KOM, Laurence, Mac, Magrath, Meggett, MGG, N-B, Pendle,S&S, SCB, Stern, scoresTENGBERGEN, Maria Elizabeth van Ebbenhorst(var. Ebbenhorst-Tengbergen)b. Hoorn, the Netherlands, Jul 11, 1885—d. ?Dutch organist, lyricist, and teacher Maria Tengbergen first studied with her aunt, Maria ElizabethGerlings, and later with Jean Baptiste de Pauw and Steven van Groningen. She studied harmony withSem Dresden and counterpoint with Wilhelmina ter Huppen in Amsterdam. Besides writing manychildren’s songs to her own lyrics, she composed an operetta, a suite for violin and piano, and teachingpieces for piano.SINGLE WORKS:50 Polyphonic Pieces for Piano (Broekmans & van Poppel, n.d.). Level: Early to Mid-Intermediate.Fifty progressive tonal studies in two-voice counterpoint, each two lines long and deceptively easy-looking, using a wide variety of contrapuntal techniques: imitation, canon at the octave, 2nd, 3rd, 5th,and 6th; contrary motion, mirror-writing, textural inversion, and augmentation. Close-position handsfrequently share the treble register; rhythms are progressively complex, but in simple meters and avariety of tempos. Articulations include legato, staccato, two-note slurs, accents, and non-legato;copious dynamic markings range from piano to forte, with many indications of mood as well. Goodintroduction to the art of counterpoint.More studies for beginners: Bedenkseltjez aan de Piano, Klimmen en Dalen, Muzikale Bouwstenen: 30Studies for piano, and Oude Wysjes voor Jonge Handen, all published by Broekmans & Van Poppel.SOURCES: Cohen, H&H, KOM



Page 186TIDEMAN-WIJERS, Bertha(née Wijers, Albertha Wilhelmina)b. Zutphen, Netherlands, Jan 8, 1887—d.?Dutch pianist and composer Bertha Wijers first studied with her mother and sister. As a teenager at theStern Conservatory in Berlin, she studied with Max Loewengard and Wilhelm Klatte, and Ernst vonDohnányi and Richard Roessler were her teachers at the Berlin Hochschule für Musik. Tideman-Wijerslived in the Dutch East Indies for seventeen years, but returned to her native Holland in 1929. Hercompositions include songs, chamber music, and piano pieces, all published before 1952.SINGLE WORKS:“Oostersche Impressie” [1920] (Donemus, 1980). Level: Late Intermediate/Early Advanced. (Cminor, 6/8, allegretto, 4 pp). Facsimile of the autograph score, with eight systems per page; ratherdifficult to read. A pleasing ostinato rhythm, with dance figures; some duple vs. triple effects. Tonal, butchromatically adventurous.SOURCES: Cohen, H&H, KOMTURNER, Elizabethfl. London, 1750s–1780sVery little is known about Elizabeth Turner, except that she published sacred choral music and songsettings of English poetry in popular magazines in 1750s London. The harpsichord lessons below werepublished as “A collection of [19] songs with symphonies and a thorough bass; with six lessons for theharpsichord.”COLLECTIONS:Six Lessons for Harpsichord or Piano [1756], ed. Barbara Harbach (Vivace Press, 1993). Level: LateIntermediate/Early Advanced. (G/D/B-flat/A/F majors, G minor, 9–12 pp. each). Six late Baroque/Rococosonatas for harpsichord. The three-movement works are predominantly in binary dance forms, withslower middle movements in the parallel minor. Texture is two-voice, predominantly continuous 16thnotes in scale and arpeggio patterns, with standard accompaniments. Tempos are rapid and ornamentsare frequent. Beautifully clear Urtext edition.SOURCES: Cohen, Gordon, Heinrich, H&H, Hinson, Jackson, score



Page 187VVALENTINE, Annb. Leicester, England, Jan 11, 1762—d. Leicester, Oct 13, 1842Ann Valentine, a member of a prominent family of musicians in Leicester, was an organist, music-seller,and composer. Christened on March 15, 1762, Ann was the daughter of Tabitha and John Valentine 11,teacher, composer, and instrument seller, and Leicester’s principal musician. Ann made her harpsichorddebut at a family concert in Rugby. In 1785, she was appointed organist at St. Margaret’s Church,Leicester, a post she held nearly fifty years. Judging by their subscription lists, her compositions, whichincluded chamber and keyboard music, were popular works of the time. Two publications from 1798 arecurrently available in modern editions: Ten Sonatas for the Piano Forte or Harpsichord with anAccompaniment for the Violin or German-Flute Op. 1, ed. Calvert Johnson (ClarNan Editions, 1994), andthe variously named Monny Musk (Money musk, Monny Music), described below.182ANTHOLOGIES:Women Composers: Music Through the Ages, Vol. 3; series eds. Glickman and Schleifer (O.K.Hall,1998).Monny Musk, Arranged as a Rondo for the Piano Forte [1798], ed. Deborah Hayes. Level: Mid-Intermediate. (F major, common time, allegro assai, 6 pp). A standard five-section rondo based on apopular Scottish tune. Generally in two-voice texture, the lively dance tune consists of a continuousdotted “Scotch” rhythm with an ornamented beat in every measure. Triplet figures provide melodic andrhythmic contrast during the episodes. An energetic and enjoyable work for harpsichord or piano.SOURCES: Boenke, Brown, Cohen, Ebel, ElsonA, H&H, Heinrich, Jackson, Laurence, Mac, Meggett, MGG,New Grove, S&S, Stern, score prefaceVELLÈRE, Lucie(née Weiler)b. Brussels, Dec 23, 1896—d. Brussels, Oct 12, 1966As a child, Vellère studied piano and solfege with her father; later musical studies were violin with EmileChaumont, and harmony and composition with Paul Miry and Joseph Jongen. She had a career as apharmacist, instead of



Page 188following the usual path for composers. Vellère composed more than one hundred works over a span offorty-five years, but belonged to no particular school of composition.183 Her music received severalawards, including the 1935 first prize from the National Committee for the Promotion of Belgian Music,and in 1937, the Brabant Prize. In 1957, she won the only prize awarded by the American section of theInternational Council for Women, with Air de Syrinx for a capella choir. Her compositions include musicfor orchestra, many vocal and chamber works, and piano pieces. Impressionist influences can be tracedin her modal and sometimes atonal harmonic language, and her writing is marked by cleverness andtaste.SINGLE WORKS:Deux Danses (CeBeDeM, n.d.). Level: Late Intermediate/Early Advanced.I. (D minor [modal], modérément animé, 2/4, 4 pp). Staccatos alternate with short slurs in this

vivacious dance. In rounded binary form with two contrasting rhythmic motives. Two-voice imitativetexture with occasional triads or octave; modal harmony is modal with many borrowed chords; tonic-dominant relationships exist, but the key center is perpetually shifting.

II. (A-flat/E major [modal], gracieusement sans presser, 6/8–4/8–3/8, 4 pp). Dotted half-notesaccompany a stepwise melody set in shifting meters and unsymmetrical phrases. Neo-classic instyle; cadences are marked by hemiolas, in three beats instead of two, as in Renaissance courantes.

Sonatine (CeBeDeM, 1960). Level: Late Intermediate/Early Advanced. Three movements, 14 pp. Dancerhythms, modal and chromatic harmonies, shifting meters, and thin textures. Facsimile manuscript isdifficult to read.Trois Tanagra [1918] (Editions Musicales de L’Art Belge, n.d.). Level: Late Intermediate/EarlyAdvanced. Three dance portraits.I. Danseuse [Female dancer]. (A-flat major, 3/4 valse lente, 3 pp). A markedly rhythmic waltz with

shifting meters and tonal centers, melody in RH octaves.II. La Porteuse d’Offrandes [The portress of offerings], (E minor, 2/4, très calme, 4 pp). Sweet melody

in a simple arpeggiated texture, shared between the hands. Ternary form, with an exciting middlesection.

III. Bacchante [Orgiastic dance]. (A minor, 6/8, vif, 4 pp). Driving, primitive rhythms; good contrasts ofdynamics and register; exciting accelerando to the end.

SOURCES: Boenke, Cohen, FRK, H&H, Johnson, K800, S&S, Zaimont



Page 189VTLLEBLANCHE, Madame de(née Dreux)late 18th century FranceNothing is known about this composer, except that after her untimely death at age twenty-four, herhusband published her sonatas as a memorial. She may have studied piano or composition with NicholasHüllmandel, who dedicated his Opus 6 to her. Composers Armand de Villeblanche, Pitre-MichelVilleblanche, and Zoï Villeblanche were all active in the eighteenth and nineteenth centuries, but it isunclear if any relationships exist with this composer.COLLECTIONS:Four Sonatas for Piano or Harpsichord [1782], ed. Calvert Johnson (Vivace Press, 1993). Level:Late Intermediate/Early Advanced. Late galant or early Classical works, with scalar and triadic melodies,two-voice textures, and continuous subdivided rhythms. Phrases are short, and the sonata-allegro formis in its developmental stage. Accompaniment patterns include Alberti bass, broken-chord, and tremolooctaves. Beautifully clear Urtext edition with no editorial intrusions; excellent prefatory material includesa discussion of ornaments.Sonate I in C Minor, 16 pp. I: Allegro (cut time). Binary form, with parallel thirds in the right hand. II:Andante (E-flat major, cut time). III: Presto (C minor, 6/8). A jig.Sonate II in B-flat Major, 14 pp. I: Allegro (2/4). II: Menuetto and trio (F major, 3/4). Ternary form. III:Allegro (B-flat major, 2/4).Sonate III in C Major, 16 pp. I: Allegro moderato (3/4). II: Andante (C major, 2/2). III: Presto (C major,6/8).Sonate IV in D Major, 9 pp. I: Allegro maestoso (2/4). II: Andantino (D major/minor, 2/4).SOURCES: G&F, Hinson, Jackson, scoreVOLKART-SCHLAGER, Kätheb. Vienna, Feb 7, 1897-d. ?Austrian concert pianist, composer, and teacher Käthe Volkart-Schlager graduated from the StuttgartMusic Academy in 1917, after studying piano with Max Pauer and Wilhelm Kempf and composition withJoseph Hass. She continued her studies until 1929, after that giving concerts and advanced courses forteachers in Sweden, Finland, and Turkey. From 1947 to 1969, she taught composition and improvisationin Stuttgart, and became the head of the music teaching department. Volkart-Schlager composedchamber and vocal works and teaching pieces for the piano.



Page 190SINGLE WORKS:Für Kleine Leute [For little people] (Willy Müller Süddeutscher Musikverlag, 1938). Thirty briefprogressive pieces for beginners, in two-voice textures and many keys.SOURCES: A-Z, Cohen, FRK, H&H, Heinrich, KOM, SCBVON ZIERITZ, Grete—see ZIERITZ, Grete vonVUIET, Caroline—see WUIET, CarolineWWERTHEIM, Rosyb. Amsterdam, Feb 19, 1888—d. Laren, the Netherlands, May 27, 1949Dutch composer Rosy Wertheim earned a piano teaching certificate in 1912 from the KoninklijkeNederlandse Toonkunstenaars Vereniging. She then studied harmony and counterpoint with BernardZweers and Sem Dresden. As an instructor at the Amsterdam Muzieklyceum, she taught piano andsolfège and directed choirs; her earliest compositions were for chorus. Concerned about the plight of thepoor, Wertheim gave piano lessons to poor children, conducted a children’s chorus, and supported anumber of families herself, as well as conducting the Jewish women’s chorus of the ReligieusSocialistisch Verbond in Amsterdam. Her first compositions were songs and choral works. Attracted bymusic of Debussy, Stravinsky, and Ravel, she lived in Paris from 1929–1935, and studied briefly withAubert. Among the many composers who gathered in her home in Paris were Elsa Barraine, Honegger,Ibert, Messiaen, and Jolivet. She spent a year each in Vienna and the USA, and then returned toAmsterdam in 1937, where she spent World War II in hiding. Her works include orchestral, chamber andchoral music, as well as a few pieces for piano.SINGLE WORKS:6 Morceaux de Piano (Amsterdam: Broekmans & van Poppel, n.d.). Level: Late Intermediate/EarlyAdvanced. Each of these six interesting pieces is dedicated to a different person, with theoretician PaulPisk as the first dedicatee. In simple ternary form, they use chromaticism and shifting modal harmonies,melodic motives of descending tetrachords, characteristic repeated rhythms, and unsymmetrical phrases.



Page 1911. Marche. (Common time, allegro energico, 4 pp). Dotted rhythms and triplets, two-voice counterpoint,

some homophony, and lots of chromaticism.2. Etude. (2/4, leggiero, 4 pp). Dissonant triads are played by hands sharing the same position on

alternating sixteenth notes, in a mad sprint across the pages. Some quartal harmony and suddendynamic changes are used; the melody is made up of repeated phrase pairs.

3. Jeu d’Enfants. (E-flat, 4/4, allegretto, 2 pp). The simple theme, created from a descendingtetrachord, is like children humming as they play. The middle section suggests the internationaltaunting tune, but uses fourths and fifths.

4. Berceuse Slav. (E-flat minor, 3/4, molto cantando, 3 pp). In this Slavic lullaby, a wide arpeggiatedbass is rocking underneath the melody, harmonized in parallel triads. In the center section, markedpiù animato, the key changes to B major, and the right hand plays a rippling sixteenth note pattern.

5. Danse champêtre. (F major, 3/4, moderato, 2 pp). Hands play close together in this pert countrydance. Contrasting articulations suggest nods and bows, steps and skips. Meters change frequently,and the harmony is full of modal borrowing.

6. Petite Valse. (E major, 3/4, moderato, 2 pp). In this delicate piece, a sketchy waltz bass of openfifths supports the flirtatious conjunct melody, ornamented with grace notes. LH plays a second,broader motive, with RH tweaking seconds on the offbeats. In the brief development section, thethemes appear in E-flat, the enharmonic spelling of the leading-tone. The work gradually fades intothe distance.

SOURCES: A-Z, Cohen, Fetis, grovemusic, H&H, KOM, S&S, SternWEYRAUCH, Anne de(var. Von Weyrauch, Anna Julie)Early 19th century GermanIn 1794, a Madame de Weyrauch was the “First Singer” in the ducal Hoftheater at Weimar. It is unclearwhether this was Anna Julie or Sophie Auguste von Weyrauch. In any case, the composer wrote threeetudes and a number of dances for pianoforte.ANTHOLOGIES.Nineteenth Century German Keyboard Music, intro. Martha Furman Schleifer (Hildegard). Worksby Lang, Langhans, and de Weyrauch. De Weyrauch’s etudes are worthy musical additions to the earlyRomantic repertoire.



Page 192Three Études. Level: Early Advanced.No. 1 (A-flat major, common time, allegro giusto, 5 pp): A tour-de-force in double notes for the righthand.No. 2 (E major, common time, andante grazioso, 3 pp): Hands in triplet parallel tenths.No. 3 (A major, 3/4-6/8, andantino con sentimento/piu animate, 8 pp). In two sections. A serene,ornamented melody, like a nocturne, changes to a fluttering ballatella with rapidly alternating octavesand double notes for the right hand.SOURCES: Cohen, Eitner, H&H, Jackson, scoreWHITEHURST, Stella(var. Whitehurst)fl. New Orleans, late 19th centuryNo information is available about this composer.ANTHOLOGIES:Piano Music from New Orleans, 1851–1898, comp. John Baron (Da Capo, 1980).“Rex.” March-Two-Step (Souvenir de Carnival) [1897]. Level: Mid-Intermediate. (B-flat/E-flat majors,6/8, tempo di marcia, 5 pp). Dedicated to the King of the Carnival and his Krewe, this march wasprobably written for use in Mardi Gras parades. Constructed in compound ternary form (aba-cdc-aba),the march proper and its E-flat Trio each have two repeated strains, with second strains in the relativeminor keys. The main march theme is similar to “A Bicycle Built for Two,” while the Trio is very Sousa-esque, adding up to a thoroughly enjoyable piece of Americana.SOURCES: scoreWUIET, Caroline(var. Vuiet, Wulet, Vuyet; m. Auffdiener; pseud. Donna Elidora)b. Rambouillet, France, 1766—d. Paris, 1835Child prodigy Caroline Wuiet first studied with her father, an organist. After obtaining the patronage ofMarie Antoinette, she studied music with Grétry, literature with Beaumarchais, and art with Greuze, andsubsequently became an honorary member of the French Academy. Wuiet was arrested during theRevolution, but fled to Holland and England, returning to Paris society afterward. She married a ColonelAuffdiener, lived with him for a time in



Page 193Lisbon, and then returned to France, where she continued to compose and write fiction for the theater.Her writings include comedies and operas, and she composed works for keyboard and chamberensembles.ANTHOLOGIES:Marie-Emmanuelle Bayon and Caroline Wuiet: Operatic Transcriptions for Keyboard, ed.Calvert Johnson (Vivace Press, forthcoming).Ouverture de l’heureux Stratagême. Level of difficulty: Medium. Transcribed for pianoforte with adlibitum violin accompaniment by the composer. (Notes on publication by Calvert Johnson).SOURCES: Cohen, Ebel, Fetis, G&F, H&H, Jackson, Laurence, Mac, NewGrove. S&S, SternZZIERITZ, Grete von(var. Von Zieritz)b. Vienna, Mar 10, 1899-d?From 1912 to 1917, the Austrian composer and pianist Grete von Zieritz studied at the StyrianConservatory in Graz with Hugo Kroemer and Roderich Mojsisovics. She continued her education inBerlin with Martin Krause and Rudolf Maria Breithaupt, and from 1919 to 1921 was herself a teacher atthe Sternschen Conservatory there. In 1921, her Japanese songs for soprano and piano attractedattention. From 1926 to 1931, she studied with Franz Shreker at the Berlin Hochschüle für Musik, whomshe credits with allowing her to follow her inner voice and develop her individual style. In 1928, shereceived both the Mendelssohn Prize in composition and the Schubert Grant from the ColumbiaPhonograph Company. Von Zieritz frequently performed her distinctive compositions during extensivetours of Germany and other countries. Her prestigious awards include the title of Honorary Professor,bestowed upon her in 1958 by the Austrian president; she was the first woman to receive that honor. Inthe late 1970s, she received the Austrian Ehrenkreuz für Wissenschaft und Kunst, and theVerdienstkreuz am Bande der Bundesrepublik Deutschland. Her substantial volume of work includeschamber music, orchestral, choral and solo vocal pieces, as well as compositions for piano and othersolo instruments. Von Zieritz’ music is strongly individual and picturesque, using clear forms, vivid colors,and tonal, with twentieth-century harmonies. In her own words, von Zieritz said, “Before 1945 it wasmale composers’ claim to dominance, and after 1945 the prevalence of the ‘New Music,’ that time andagain placed obstacles in my way. 1 always remained deaf and blind to fashionable trends because Ifollowed my inner voice, and that caused me a lot of problems over the years.”184



Page 194SINGLE WORKS:Präludium und Fugue (Ries & Erler, 1926). Level: Early Advanced. (C minor, 4/2-2/2-4/4 and 3/4,maestoso/ruhiger and allegro energico, 9 pp). A tremendously clever, interesting, and skillfully writtentwentieth century work. The imposing Prelude, in ternary form, changes meter and tonal centersfrequently, enhancing the improvisatory effect. Bitonal scales, doubled at the seventh, alternate withstrong thick chords. Triplets usher in a metric feel and a surprisingly sweet, romantic passage; then amore peaceful section enters in the relative major, a processional with an ostinato rhythm. This growsexcited, turning into doubled chromatic octaves, and the original theme returns, finishing in ff octaves.The angular four-voice Fugue theme opens with an upward leap of a minor 9th, followed by a pair ofascending 3rds and a descending major 7th , repeated a third lower.SOURCES: A-Z, Boenke, Cohen, grovemusic, H&H, Heinrich, Kehler, KOM, Mac, MacAuslan, Pendle,rieserler online, SCB, Sperber, S&S, SternZUYLEN, Belle van—see CHARRIÈRE, Isabella de



Page 195Notes1. Malcolm Brown, in The Norton/Grove Dictionary of Women Composers, ed. Julie Ann Sadie and Rhian

Samuel (New York: W.W.Norton & Co., 1995), 3, claims the pseudonym was derived from thekettledrum part in Glinka’s opera Ruslan and Lyudmila (A-D-A). However, M.Lobanova, in Die Musikin Geschichte und Gegenwart (Kassel: Bärenreiter, 1949–1968; repr. 1994), 97, claims the composeradopted the pseudonym on the advice of Prince V.Odoevskij.

2. Lobanova, ibid., 97.3. Brown, in Sadie & Samuel’s Norton/Grove Dictionary, 3.4. Antje Olivier and Karin Weingartz, eds., Frauen als Komponistinnen: Eine Bestandsaufnahme, 2nd ed.

(Düsseldorf: Frauenmusik-Vertrieb, 1987).5. For a more extensive biography, see Sophie Fuller, The Pandora Guide to Women Composers: Britain

and the United States 1629-Present (London: Harper Collins Publishers, 1994), 36–37.6. For works housed in special library collections, see Helen Walker-Hill, Music by Black Women

Composers: A Bibliography of Available Scores (Chicago: Center for Black Music Research, 1995), 8.7. William Newman, The Sonata in the Classic Era (Chapel Hill: The University of North Carolina Press,

1963), 465–466.8. Glickman gives Aug. 25, 1782 as a possible date of death in “Marianna von Auenbrugger,” vol. 3 of

Women Composers: Music through the Ages, series eds. Sylvia Glickman and Martha FurmanSchleifer (New York: G.K.Hall, 1998), 142–143, n. 4. Other sources believe she died in 1786. Also inquestion is the publication date of the



Page 196sonata: Harbach, in the preface to Women Composers for the Harpsichord (Elkan-Vogel, 1986), listsit as ca. 1781.

9. David A.Jasen and Trebor Jay Tichenor, Rags and Ragtime (New York: Seabury Press, 1978), 148.10. John Edward Hasse, “May Aufderheide,” vol. 1, The New Grove Dictionary of American Music, ed.

H.Wiley Hitchcock and Stanley Sadie (London: Macmillan, 1986), 90–91.11. For a more complete biography, see “May Aufderheide and the Ragtime Women,” by Max Morath,

from John Edward Hasse’s Ragtime: Its History, Composers, and Music (New York: Schirmer Books,1985), 154–165.

12. Jasen and Tichenor, Rags and Ragtime, 149.13 Harold C.Schonberg, The Great Pianists from Mozart to the Present (New York: Simon and Schuster,

1963), 336.14. Marcia Citron, “European Composers and Musicians, 1880–1918,” in Women & Music, A History, ed.

Karin Pendle (Bloomington: Indiana University Press, 1991), 130.15. For a complete listing of the published and unpublished piano works of Bäcker-Grondahl, see Jane

M.L.Iverson, “Piano Music of Agathe Bäcker-Grondahl” (D.A. dissertation, University of NorthernColorado, 1993), appendices.

16. Iverson, ibid., believes the twenty works in Opus 30 and Opus 33, based on Norwegian folk songs,dances, and stories, comprise some of Backer-Grøndahl’s most important pedagogic work. Judgingfrom their titles and Iverson’s evaluation of technical requirements, they appear to be very similarto the Fantasistykker discussed in this volume. Unfortunately, this author was unable to locatecopies in print by time of writing.

17. Baker’s Biographical Dictionary of Musicians, 8th ed., rev. Slonimsky (New York: Schirmer, 1992),90.

18. For an extensive list of Badarzewska’s piano works, see Aaron Cohen’s International Encyclopedia ofWomen Composers (New York: R.R.Bowker Co., 1981), 26.

19. Deborah Hayes, “Cecilia Maria Barthelemon,” Women Composers: Music through the Ages, vol 3,series eds. Glickman and Schleifer (New York: G.K.Hall, 1998), 213.

20. A modern edition of the accompanied sonatas is available: Cecilia Maria Barthélemon: AccompaniedKeyboard Sonatas, ed. Calvert Johnson (ClarNan Editions, 1993).



Page 19721. Christine Ammer, Unsung, A History of Women in American Music (Westport, Conn.: Greenwood

Press, 1980), 124.22. J.Michele Edwards, “Modern Music in the Americas,” in Women & Music, ed. Pendle, 212.23. David Dubal. The Art of the Piano: Its Performers, Literature, and Recordings (New York: Summit

Books, 1989), 428.24. For lists of teaching pieces and thorough analyses of Bauer’s solo piano works in chronological

order, see Nancy Stewart, “The Solo Music of Marion Bauer” (Ph. D. diss., University of Cincinnati,1990), 87–215.

25. Maurice Hinson, Guide to the Pianist’s Repertoire, 3rd edition (Bloomington: Indiana UniversityPress, 2000), 81. James Friskin and Irwin Freundlich, Music for the Piano (New York: Dover, 1973),253.

26. Deborah Hayes, “Marie-Emmanuelle Bayon, Later Madame Louis, and Music in Late Eighteenth-Century France,” in College Music Symposium 30, no. 1 (1990): 17.

27. For a complete catalog of her solo piano works, see Jeanell Wise Brown, Amy Beach and HerChamber Music: Biography, Documents, Style (Metuchen, N.J.: Scarecrow Press, 1994), 348–353.

28. Adrienne Fried Block, ed., Amy Beach Piano Music, (New York: Dover, 2001), score preface.29. Ibid.30. David Dubal, ed., Album of American Piano Music from the Civil War through World War I (New

York: International, 1995), score preface.31. Block, Amy Beach Piano Music, score preface.32. The complete opus may contain eight works: see Jane Magrath, The Pianist’s Guide to Standard

Teaching and Performance Literature (Van Nuys, Calif.: Alfred Publishing Co., 1995), 123.33. Colette S.Ripley, in “Mlle Benaut,” vol. 3, Women Composers, eds. Glickman and Schleifer, 201–

202.34. Cohen, International Encyclopedia, 48.35. Donald Jay Grout, A Short History of the Opera, 3rd edition (New York: Columbia University Press,

1988), 384.36. All biographical information is from the prefatory essay by the composer’s daughter, Edith Borroff,

“Marie Christine Bergersen,” in Women Composers. Vol. 6, eds. Glickman and Schleifer, 498–501.



Page 19837. Helen Metzelaar, “Gertrude van den Bergh,” in Vol. 3, Women Composers, eds. Glickman and

Schleifer, 330–331.38. L.Polansky and J.Kennedy, “Johanna (Magdalena) Beyer,” grovemusic (online New Grove Dictionary,

2001).39. Helen Metzelaar, “Jeanne Beijerman-Walraven,” The Norton/Grove Dictionary, eds. Sadie and

Samuel, 55–56.40. Calvert Johnson, ed., Marie Kiene Bigot de Morogues (Pullman, Wash.: Vivace Press, 1992), score

preface, 4.41. Soon-Bok Lee, “Marianne Martinez, Marie Bigot, and Maria Szymanowska: An Examination of

Selected Keyboard Works in Historical Perspective” (D.M.A. diss., University of Washington, 1994),70.

42. Barbara Harbach, Elizabeth Billington: Six Sonatas, Op. 2, (Pullman, Wash.: Vivace Press, 1995),score preface.

43. Stanley Sadie, The New Grove Dictionary of Music and Musicians, 3rd ed., vol. 2, (London:Macmillan, 2000), 705–6.

44. Cohen, 82.45. Unlike all other sources, Freia Hoffman in Grovemusic (online New Grove) lists d.o.b. as 15 Nov

1809, d.o.d. 17 Jan 1885.46. Marcia Citron, “European Composers and Musicians, 1800–1900,” in Women & Music, ed. Pendle,

110–111.47. Sally Fortino, “Anna Bon,” Women Composers, eds. Glickman and Schleifer, 16–18.48. Adrienne Fried Block, “Women in American Music, 1800–1918,” in Women & Music, ed. Pendle,

159.49. Respectively, Sadie & Samuel, 75; Stanley Sadie, New Grove, Vol. 1:45; and Joan Meggett,

Keyboard Music by Women Composers: A Catalog and Bibliography (Westport, Conn.: GreenwoodPress, 1981), 47.

50. Sadie and Samuel, Norton/Grove Dictionary, 76.51. Marcia J.Citron, “European Composers and Musicians,” in Pendle, 131.52. Diane Peacock Jezic, in Women Composers: The Lost Tradition Found, 2nd ed. (New York: Feminist

Press, 1994), 141, believes Boulanger had Crohn’s disease. Ammer, in Unsung, 134, reports shedied of tuberculosis.

53. Cited in Meggett, 48.



Page 19954. Madeleine Goss, Modern Music-Makers: Contemporary American Composers (Westport. Conn.:

Greenwood Press, 1970), 87.55. Sophie Fuller, “Dora Bright,” Vol. 6, Women Composers, eds. Glickman and Schleifer, 322.56. For charming photographs of the young mother with her children, see the sympathetic biography by

Marta Milinowski, Teresa Carreño: “by the grace of God” (New Haven: Yale University Press, 1940),145,263.

57. John Jerrould claims she also studied with Bizet and Saint-Saëns; see his “Piano Music of CécileChaminade,” American Music Teacher 37, no. 3 (January 1988): 46.

58. Cited by C.Leonard-Stuart, Selected Pieces (Boca Raton, Fla: Well-Tempered Press, n.d. Reprint ofSchirmer 1899 edition), score preface.

59. For a classified list of works, see Marcia J.Citron, Cécile Chaminade: A Bio-Bibliography (Westport,Conn.: Greenwood Press, 1988), Appendix 11, 210–215.

60. Jezic, 134.61. Jerrould, “Piano Music of Chaminade,” 22–23.62. Ibid.63. Chaminade, Etude 26 [Dec. 1908]: 759, as cited by Hinson, score preface. At the Piano with

Women Composers (Van Nuys, Calif.: Alfred Publishing, 1990), 8–9.64. Hélène Teysseire-Wuilleumier, liner notes to recording, Schweizer Komponisten, Concerto Op. 7

(Switzerland: Communauté de travail pour la diffusion de la musique suisse, 1964?). Sonata No. 3pour clavecin by de Charrière, with Germaine Vaucher-Clerc on harpsichord.

65. KOM: Komponistinnen im Musikverlag: Katalog lieferbaren Musikalien, ed. Clara Mayer (Kassel:Furore Verlag, 1996).

66. The “additional keys” in the title refer to ottava treble notes on the newer pianos of the period.J.Bunker Clark, in The Dawning of American Keyboard Music (New York: Greenwood Press, 1988),111, refers to a set of variations on “Adeste fideles” by Sophia Corri Dussek, pub. in the U.S. in the1820s; possibly that is actually the 2nd mvmt. of her sister-in-law’s work. Conversely, perhaps thiswork was composed by Sophia Dussek; or perhaps both women wrote variations on the populartune.

67. James W.Bastien, How to Teach Piano Successfully (San Diego: General Words and MusicCompany, 1995), 149.



Page 20068. Hermann Mendel und August Reissman, Musikal. Conversationslexikon, 11 Bde. (Berlin-New York,

1870–1879), 143, as cited in preface to Marche Solennel (Bremen: Eres Edition, 1992). Trans. bythis author.

69. Editors, cover of Marche solennel, trans. by this author.70. There is confusion concerning the date of her death. Several sources state she died around 1830,

Baker 8th edition says “after 1828,” and the rest of the references claim she lived until 1847.71. Grovemusic online, February 2001.72. Martha Secrest Asti, ed., Eighteenth Century French and English Music for the Harpsichord,

(Hildegard, 1998), score preface.73. Jackson, 441.74. Hinson, Guide, 3rd edition, 858.75. Bea Friedland, Louise Farrenc, 1804–1875: Composer, Performer, Scholar (Ann Arbor, Mich.: UMI

Research Press, 1980), 111–117.76. Jezic, 125.77. Antje Olivier and Karin Wiengartz-Perschel, Komponistinnen von A-Z (Düsseldorf: Tokkata Verlag,

1988). Translation by this author.78. Louis C.Elson, The History of American Music, New York: Macmillan Company, 1915), 307.79. Anya Laurence, Women of Notes: 1,000 Women Composers Born Before 1900 (New York: Richards

Rosen Press, 1978), 20. Gene Claghorn, Women Composers and Songwriters: A ConciseBiographical Dictionary (Lanham, Md.: Scarecrow Press, 1996), 79.

80. Dorothy Gaynor Blake, the composer’s daughter and herself a composer, in Ernst C.Krohn’s MissouriMusic (New York: Da Capo Press, 1971), 109–110.

81. Helen Walker-Hill, ed., Black Women Composers: A Century of Piano Music (1893–1990) (Hildegard,1992), score preface.

82. Julie Ann Sadie, Sadie & Samuel’s Norton/Grove Dictionary, 207.83. Judith Tick, American Women Composers before 1870 (University of Rochester Press, 1995), 66.84. Martha Secrest Asti, “Elizabeth Hardin,” Vol. 3, Women Composers, eds. Glickman and Schleifer, 34.



Page 20185. Elaine Keillor, in Sadie, Vol. 11, New Grove, 68.86. Sylvia Glickman, ed., American Keyboard Music 1866 through 1910, Vol. 4 of the series Three

Centuries of American Music: A Collection of American Sacred and Secular Music, gen. eds.Schleifer and Dennison (Boston: O.K. Hall, 1990), xxviii.

87. For an index to Hensel’s published and unpublished works, see Marcia J. Citron, ed.. The Letters ofFanny Hensel to Felix Mendelssohn (New York: Pendragon Press, 1987), 679.

88. Camilla Cai, “Fanny Mendelssohn Hensel,” in Vol. 6, Women Composers, eds. Glickman andSchleifer, 21–27.

89. Sarah Rothenberg, CD liner notes for Das Jahr, New York: Rebot Corporation/ArabesqueRecordings, 1996.

90. Victoria Ressmeyer Sirota, “The Life and Works of Fanny Mendelssohn Hensel” (D.M.A. diss.,Boston University, 1981), 151.

91. Magrath, The Pianist’s Guide, 189.92. The variant spelling of her name may have been a misreading of the German double ess.93. Malcolm MacDonald, Brahms (New York: Schirmer Books, 1993), 130, 237.94. Nancy B.Reich, Clara Schumann: The Artist and the Woman (Ithaca, N.Y.: Cornell University Press,

1985), 206.95. Joachim Draheim, Johannes Brahms und seine Freunde (Wiesbaden: Breitkoph & Härtet, 1983),

score preface. Trans. by this author.96. Glickman, American Keyboard Music, xvi.97. For a copy of Dreams, see Tick, American Women, 164.98. Glickman, Vol. 4 , American Keyboard Music, xxviii.99. John Gillespie and Anna Gillespie, A Bibliography of Nineteenth-Century American Piano Music with

Location Sources and Composer Biography-Index. Music Reference Collection, Number 2.(Westport, Conn.: Greenwood Press, 1984), 266.

100. Tick, 126.101. Philip Hale, ed.. Famous Composers and Their Works (Boston: J.B.Millet Company, 1906), 135.

Holmès became a naturalized French citizen in March 1879.102. Olivier and Wiengartz-Perschel, Komponistinnen von A-Z, 154.



Page 202103. Christel Nies, ed., Rêverie Tzigane (Kassel: Furore Edition, 1989), score preface.104. Martha Furman Schleifer, “Helen Hopekirk,” in Women Composers, Vol. six, eds. Glickman and

Schleifer, 286.105. Edith Borroff, “Elisabeth-Claude Jacquet de la Guerre: Composer and Harpsichordist,” in Women in

Music: An Anthology of Source Readings from the Middle Ages to the Present, ed. Carol Neuls-Bates (Boston: Northeastern University Press, 1996), 62.

106. Carol Henry Bates, ed., Jacquet de La Guerre: Pieces de Clavecin, in Le pupitre, Ixvi (Paris: Heugel& Cie, 1982), score preface, xii.

107. Borroff, in Neuls-Bates, 63–64.108 Bates, score preface, xiii.109. Ibid.110. Hinson, Guide, 3rd edition, 362. John Gillespie, Five Centuries of Keyboard Music (New York:

Dover Publications, 1965), 91.111. Lea Schmidt-Rogers says the Association Marie Jaëll of Paris has reissued Le toucher (the three-

volume method book) and Sept pieces facile for solo piano. For a list of piano works, see thepreface to the score French Character Pieces, ed. Schmidt-Rogers (Hildegard, 1998).

112. Lea Schmidt-Roger, “Marie Jaëll,” in Vol. six of Women Composers, eds. Glickman and Schleifer,148.

113. Helen Walker-Hill, ed., Black Women Composers (Hildegard, 1992), score preface, 4.114. Dates are from Mayer’s Komponistinnen, 27.115. Trebor Jay Tichenor, score preface. Ragtime Rarities: Complete Original Music for 63 Piano Rags

(New York: Dover Publications, 1975).116. Sylvia Glickman, ed., American Women Composers: Piano Music from 1865–1915 (Hildegard,

1990), score, 65.117. Ursula Rempel, “Madame Krumpholtz,” Vol. 3, Women Composers, ed. Glickman and Schleifer, 55.

Encyclopedic accounts of Krumpholtz’s life vary considerably. Grovemusic (online) gives herbirthdate as Aug. 10, 1766, while many sources claim she died after 1824. Anne-Marie had twodaughters. Fanny, the elder, was also a harp composer (q.v.), while V.Krumpholtz, who publishedharp music in London in the 1820s, may have been Fanny’s younger sister; see Sadie & Samuel,255.



Page 203118. She may have performed as late as 1803. See Sadie and Samuel, 254.119. Roswitha Sperber, ed., Women Composers in Germany (Bonn: Inter Nationes, 1996), 39.120. Adel Heinrich, Organ and Harpsichord music by Women Composers (New York: Greenwood Press,

1991), 290.121. For a list of works including cadenzas and realizations, see Denise Restout, “Wanda Landowska,”

in Women Composers, Vol. 6, eds. Glickman and Schleifer, 382–386.122. Schonberg, 397.123. Or Frau Berlinghof-Wagner; see Albert E.Wier, comp./ed., Macmillan Encyclopedia of Music and

Musicians (New York: Macmillan Company, 1938), 1013.124. Mendelssohn, as cited by Arthur Elson, Woman’s Work in Music (Boston: L. C. Page), 170.125. Ammer, 86.126. For a complete chronological listing of Lang’s works, see Judith Ann Cline, “Margaret Ruthven

Lang: Her Life and Songs” (Ph.D. dissertation, Washington University, 1993), 155–172.127. Ammer, 88.128. Elson, Woman’s Work, 166.129. Neuls-Bates, ed., Women in Music, 167.130. Heide Boenke, Flute Music by Women Composers: An Annotated Catalog (Westport, Conn.:

Greenwood Press, 1988), 68.131. Neuls-Bates, 167.132. Birthdate was obtained from the Catalogue Musique pour piano (Paris: Editions Durand, Janvier

1995), 24.133. Albert E.Wier, Macmillan Encyclopedia of Music and Musicians. 1033.134. Eve R.Meyer, “Hélène Riese Liebmann,” Women Composers, vol. 3, ed. Glickman and Schleifer,

340.135. Hinson gives her dates as ca. 1780–1840, in his Guide, 3rd ed., 896.136. Wier, in Macmillan Encyclopedia, 1061, lists Thomán, not Thomas, as one of Linz’s teachers.



Page 204137. Barbara Garvey Jackson, “Musical Women of the Seventeenth and Eighteenth Centuries,” in

Women & Music, ed. Pendle, 86.138. For Charles Burney’s account, see “Marianne von Martinez: Composer and Singer,” in Women in

Music, ed. Neuls-Bates, 80–85.139. A bibliography of Austrian music written sixty-five years after Martinez’ death states she wrote

thirty-one sonatas. See Karen Lynn Fremar, “The Life and Selected Works of Marianna Marlines(1744–1812),” (Ph.D. dissertation, University of Kanasas, 1983), 45.

140. Cohen, 474.141. Dubal, 179.142. Schonberg, 246.143. Cohen, 474.144. Eitner, Robert, ed., Biographisch-Bibliographisches Quellen Lexikon der Musiker und

Musikgelehrten christlicher Zietrechnung bis Mitte des neunzehnten Jahrhunderts, 11 vols (Leipzig:1900–04. Rev. 2nd ed. with supplement, Graz: Akademisch Druck-und Verlagsanstalt, 1959–60),442, trans. by this author.

145. Olivier and Weingartz-Perschel, A-Z, 220, trans. by this author.146. Julie Ann Sadie, “Montgeroult, Hélène,” New Grove (grovemusic online, 1/24/01).147. Calvert Johnson, ed., Hélène Montgeroult, Sonatas for Piano (Pullman, Wash.: Vivace Press, 1994),

score preface.148. See Jackson, 240, 414. Murden was identified as “Lady of Charleston, S.C.,” by Richard J.Wolfe in

Secular Music in America, 1801–1825: A Bibliography, 3 vols. (New York: New York Public Library,Astor, Lennor, and Tilden Foundations, 1964).

149. Jasen and Tichenor, 162.150. Sylvia Lamoutte de Iglesias, “Ana Otero,” vol. 6, Women Composers, eds. Glickman and Schleifer,

311.151. It is possible that she is the talented pianist referred to as Madeleine Baillot, wife of Swiss/French

baritone Charles Panzéra (1896–1976); see his entry in Sadie’s New Grove 2000, 49.152. Dubal, 198: Mozart composed his B-flat Concerto K. 456 for Paradis.



Page 205153. “Spectacles: Concert Spirituel,” Mercure de France, Apr. 24, 1784, pp. 176–77, as cited in Women

in Music, ed.Neuls Bates, 85–86.154. Barbara Garvey Jackson, “Musical Women of the Seventeenth and Eighteenth Centuries,” in

Women & Music, ed. Pendle, 88–89.155. Hidemi Matsushita believes the Sicilienne is spurious, probably written by Dushkin himself; see

Paradis entry, Sadie and Samuel, 359–361.156. Olive Baldwin and Thelma Wilson, “Park, Maria Hester,” Sadie and Samuel, 361.157. Sondra Wieland Howe, “Dora Pejacevic,” in Women Composers, Vol. 6, eds. Glickman and

Schleifer, 431–433.158. Olivier and Weingartz, A-Z, 242.159. Laurence, 20.160. Ursula Rempel, “Fanny Krumpholtz Pittar,” Women Composers, Vol. 3, eds. Glickman and

Schleifer, 263. Cohen suggests that Fanny may be the same person as Charlotte Esprit, born Feb.28, 1785; see his International Encyclopedia, 386.

161. Stanley Butler, Guide to the Best in Contemporary Piano Music: An Annotated List of Graded SoloPiano Music Published Since 1950, 2 vols. (Metuchen, N.J.: Scarecrow Press, 1973).

162. Mildred Denby Green, Black Women Composers: A Genesis (Boston: G.K. Hall, 1983), 35.163. Much of Price’s music is housed in a Special Collection at the University of Arkansas Library in

Fayetteville. For a complete listing of library collections, see Walker-Hill, Bibliography of AvailableScores, 15.

164. For succinct descriptions of these intermediate-level teaching pieces, see Kim Nagy, “FlorencePrice Music as Teaching Pieces,” Clavier, Volume 34, No. 1, January 1995.

165. Barbara Jackson, in Pendle, 84.166. Derek Hyde, New Found Voices: Women in Nineteenth Century English Music, 3rd ed., (Aldershot,

England: Ashgate, 1997), 53.167. Nigel Burton, “Orger, Caroline,” in Sadie & Samuel, 355.168. Fuller, 266.169. Helen Walker-Hill, ed., Black Women Composers, A Century of Piano Music, (Hildegard, 1992),

score preface.



Page 206170. Hasse, Ragtime: Its History, 373.171. Rachel E.Cowgill, “Savage, Jane,” in grovemusic.com, 1/24/01.172. Meggett, 148.173. Dubal, 236.174. Cohen, 415.175. Maurice Hinson, At the Piano with Robert and Clara Schumann (Alfred, 1988), score preface.176. Tick, 189–190.177. Ibid., 38.178. Meggett, 159.179. In fact, women were not permitted to receive music degrees from Oxford until 1921, sixty-five

years later; see Fuller, 298.180. This is disputed in Cohen, vol. 2. 455, and by Szmyd-Dormus in notes to her collection,

Szymanowska Album per pianoforte (score preface).181. Soon-Bok Lee, “Marianne Martinez, Marie Bigot, and Maria Szymanowska: An Examination of

Selected Keyboard Works in Historical Perspective” (D.M.A. diss., University of Washington, 1994),96.

182. Deborah Hayes, “Ann Valentine,” Vol. 3, Women Composers, eds. Glickman and Schleifer, 148–149.

183. Judith Lang Zaimont and Karen Famera, eds., Contemporary Concert Music by Women: ADirectory of the Composers and Their Works (Westport, Conn: Greenwood Press, 1981), 127.

184. Sperber, 45.



Page 207Selected BibliographyAmmer, Christine. Unsung: A History of Women in American Music. Contributions in Women’s Studies,Number 14. Westport, Conn.: Greenwood Press, 1980.Anderson, E.Ruth, comp. Contemporary American Composers: A Biographical Dictionary. Boston:G.K.Hall, 1976.Avins, Styra. Johannes Brahms: Life and Letters. Oxford: Oxford University Press, 1997.Bastien, James W. How to Teach Piano Successfully. San Diego: General Words and Music, 1995.Block, Adrienne Friede, and Carol Neuls-Bates, eds. Women in American Music: A Bibliography of Musicand Literature. Westport, Conn.: Greenwood Press, 1979.Boenke, Heide M., comp. Flute Music by Women Composers: An Annotated Catalog. Music ReferenceCollection, No. 16. Westport, Conn.: Greenwood Press, 1988.Borroff, Edith. Music Melting Round: A History of Music in the United States. New York: Ardsley House,1995.Bowers, Jane, and Judith Tick, eds.. Women Making Music: The Western Art Tradition, 1150–1950.Urbana: University of Illinois Press, 1987.Briscoe, James. Historical Anthology of Music by Women. Bloomington: Indiana University Press, 1987.



Page 208Brown, Jeanell Wise. Amy Beach and Her Chamber Music: Biography, Documents, Style. Metuchen, N.J.:Scarecrow Press, 1994.Brown, J.D., and S.S.Stratton. British Musical Biography: A Dictionary of Musical Artists, Authors, andComposers Born in Britain and Its Colonies. Birmingham: Stratton. 1897. Reprint, New York: Da CapoPress, 1971.Butler, Stanley. Guide to the Best in Contemporary Piano Music: An Annotated List of Graded Solo PianoMusic Published Since 1950. 2 vols. Metuchen, N.J.: Scarecrow Press, 1973.Citron, Marcia J. Cécile Chaminade: A Bio-Bibliography. Westport, Conn.: Greenwood Press, 1988.______, ed. The Letters of Fanny Hensel to Felix Mendelssohn. New York: Pendragon, 1987.Claghorn, Charles Eugene. Biographical Dictionary of American Music. West Nyack, N.Y.: ParkerPublishing, 1973._______. Women Composers and Hymnists: A Concise Biographical Dictionary. Lanham, Md.: ScarecrowPress, 1984.Claghorn, Gene. Women Composers and Songwriters: A Concise Biographical Dictionary. Lanham, Md.:Scarecrow Press, 1996.Clark, Donna Elizabeth Congleton. “Pedagogical Analyis and Sequencing of Selected Intermediate-LevelSolo Piano Compositions of Amy Beach.” D.M.A. diss., University of South Carolina, 1996.Clark, J.Bunker. The Dawning of American Keyboard Music. Westport, Conn.: Greenwood Press, 1988._______, ed. American Keyboard Music Through 1865. Vol. 3, Three Centuries of American Music: ACollection of American Sacred and Secular Music, gen. eds.. Martha Furman Schleifer and Sam Denison.Boston: G.K.Hall: 1990._______, ed. Anthology of Early American Keyboard Music 1787–1830. Part I. Madison, Wis.: A-REditions, 1977.Cline, Judith Ann. “Margaret Ruthven Lang: Her Life and Songs.” Ph.D. diss., Washington University,1993.Cohen, Aaron I. International Encyclopedia of Women Composers. New York: R.R. Bowker, 1981._______. International Encyclopedia of Women Composers. 2nd ed. 2 vols. New York: Books & Music,1987.



Page 209Dubal, David. The Art of the Piano: Its Performers, Literature, and Recordings. New York: SummitBooks, 1989.Eitner, Robert, ed. Biographisch-Bibliographisches Quellen Lexikon der Musiker und Musikgelehrtenchristlicher Zietrechnung bis Mitte des neunzehnten Jahrhunderts. 11 vols. Leipzig: 1900–1904. Revised2nd edition with supplement, Graz: Akademisch Druck-und Verlagsanstalt, 1959–1960.Elson, Arthur. Modern Composers of Europe. Boston: L.C.Page, 1904._______. Woman’s Work in Music. Boston: L.C.Page, 1903.Elson, Louis C. The History of American Music. Revised edition. New York: Macmillan, 1915.Ericson, Margaret D. Women and Music: A Selective Annotated Bibliography on Women and GenderIssues in Music, 1987–1992. New York: O.K.Hall, 1996.Faurot, Albert. Concert Piano Repertoire: A Manual of Solo Literature for Artists and Performers.Metuchen, N.J.: Scarecrow Press, 1974.Fetis, François. Biographie universelle des musiciens et bibilographie generate de la musicique. 10 vols.Paris: Firmin Didot Frères, 1866–1879. Reprint (2nd ed.) with supplements by Arthur Pougin, Brussels:Edition Culture et Civilisation, 1973.Fierro, Nancy. “Maria Szymanowska: Chopin’s Predecessor.” Clavier 23, no. 4 (April 1984): 16–23.Floyd Jr., Samuel A. International Dictionary of Black Composers. 2 vols. The Center for Black MusicResearch, Columbia College. Chicago: Fitzroy Dearborn Publishers, 1999.Fremar, Karen Lynn. “The Life and Selected Works of Marianne Martines.” Ph.D. diss., University ofKansas, 1983.Friedland, Bea, Louise Farrenc, 1804–1875: Composer, Performer, Scholar. Ann Arbor, Mich.: UMIResearch Press, 1980.Friskin, James, and Irwin Freundlich. Music for the Piano: A Handbook of Concert and TeachingMaterials from 1580 to 1952. New York: Dover Publications, 1973.Fuller, Sophie. The Pandora Guide to Women Composers: Britain and the United States 1629-Present.London: Harper Collins, 1994.Gibson, Nora. “Women Composers of Keyboard Music: An Historical Overview.” American Music Teacher35, no. 2 (Nov/Dec 1985): 51–54.



Page 210Gillespie, John. Five Centuries of Keyboard Music. New York: Dover Publications, 1965.Gillespie, John and Anna Gillespie. A Bibliography of Nineteenth-Century American Piano Music withLocation Sources and Composer Biography-Index. Music Reference Collection, Number 2. Westport,Conn.: Greenwood Press, 1984.Glickman, Sylvia, ed. American Keyboard Music 1866 Through 1910. Vol. 4 of Three Centuries ofAmerican Music: A Collection of American Sacred and Secular Music, gen. eds. Martha Furman Schleiferand Sam Dennison. Boston: G.K. Hall, 1990.Glickman, Sylvia, and Martha Furman Schleifer, eds.. Women Composers: Music Through the Ages. 12vols., in progress. New York: G.K.Hall, 1996–200-.Gordon, Stewart. A History of Keyboard Literature: Music for the Piano and Its Forerunners. New York:Schirmer Books/Simon & Schuster Macmillan, 1996.Gordy, Laura Ann. “Women Creating Music, 1750–1850: Marianne Martinez, Maria Theresia von Paradis,Fanny Mendelssohn Hensel, and Clara Wieck Schumann.” D.M.A. diss., University of Alabama, 1987.Goss, Madeleine. Modern Music-Makers: Contemporary American Composers. Westport, Conn.:Greenwood Press, 1970.Green, Mildred Denby. Black Women Composers: A Genesis. Boston: G.K.Hall, 1983.Grout, Donald Jay. A Short History of the Opera. 3rd edition. New York: Columbia University Press,1988.Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sourceswith Commentary. Vol. 1 (Commentary). Ann Arbor, Mich.: UMI Research Press, 1979.Gustafson, Bruce and David Fuller. A Catalogue of French Harpsichord Music, 1699–1780. Oxford:Clarendon Press, 1990.Hale, Philip, ed. Famous Composers and Their Works. Boston: J.B.Millet, 1906.Hasse, John Edward, ed. Ragtime: Its History, Composers, and Music. New York: Schirmer Books, 1985.Hayes, Deborah. “Some Neglected Women Composers of the Eighteenth Century and Their Music.”Current Musicology, 39 (1985): 42–65.



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Page 215Thompson, Donald and Annie F.Thompson. Music and Dance in Puerto Rico from the Age of Columbusto Modern Times: An Annotated Bibliography. Metuchen, N.J.: Scarecrow Press, 1991.Tick, Judith. American Women Composers before 1870. Ann Arbor, Mich: UMI Research Press, 1983.Tillard, Francoise, trans. Camille Naish. Fanny Mendelssohn. Portland, Ore.: Amadeus Press, 1992.Walker-Hill, Helen. Music by Black Women Composers: A Bibliography of Available Scores. Chicago:Center for Black Music Research, Columbia College, 1995._____. Piano Music by Black Women Composers: A Catalog of Solo and Ensemble Works. Westport,Conn.: Greenwood Press, 1992.Wier, Albert E., comp./ed. The Macmillan Encyclopedia of Music and Musicians in One Volume. NewYork: Macmillan Company, 1938.Wolfe, Richard J. Secular Music in America, 1801-1825: A Bibliography. 3 vols. New York: The New YorkPublic Library. Astor, Lennox, and Tilden Foundations, 1964.Zaimont, Judith Lang and Karen Famera. Contemporary Concert Music by Women: A Directory of theComposers and Their Works. Westport, Conn.: Greenwood Press, 1981.



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Page 217Composer IndexesI. Composers and DatesAdaiëwsky, Ella Georgiyevna, 1846–1926Adair, Yvonne, 1897-?Agnesi-Pinottini, Maria, 1720–1795Aldridge, Amanda Ira, 1866–1956Auenbrugger, Marianna von, –1781/1786Auernhammer, Josepha von, 1756–1820Aufderheide, May Frances, 1888–1972

Backer-Grøndahl, Agathe, 1847–1907Badarzewska, Thekla, 1834–1862Barthélemon, Cecilia Maria, 1769-after 1840Bauer, Katerina, 1785-?Bauer, Marion Eugenie, 1887–1955Bayon, Marie-Emmanuelle, 1746–1825Beach, Amy Marcy Cheney (Mrs. H.H.A.Beach), 1867–1944Beekhuis, Hanna, 1889–1980Benaut, Mademoiselle, 1778-?Bergersen, Marie Christine, 1894–1989Bergh, Gertrude van den, 1793–1840Beyer, Johanna Magdalena, 1888–1944Beyerman-Walraven, Jeanne, 1878–1969Bigot de Morogues, Marie, 1786–1820Billington, Elizabeth Weichsell, 1765–1818Blackwell, Mary Edward, 1887–1987Blahetka, Marie Léopoldine, 1811–1887Bolen, Grace M., late 19th c.Bon di Venezia, Anna, 1739-after 1767Bond, Carrie Jacobs, 1862–1946Bonis, Mélanie, 1858–1937Bordewijk-Roepman, Johanna, 1892–1971Bosnians, Henriëtte Hilda, 1895–1952Boulanger, Lili, 1893–1918Branscombe, Gena, 1881–1977Bright, Dora, 1863–1951Buckley, Olivia Dussek, ca. 1799–1847Burgess, Mattie Harl, late 19th c.

Campbell, Caroline, fl. 1780sCandeille, (Amélie) Julie Simons, 1767–1834Carreño, Teresa, 1853–1917Chaminade, Cécile, 1857–1944Charrière, Isabella Sophie (Belle van Zuylen), 1740–1805Cianchettini, Katerina Veronika Dussek, 1769–1833Claude, Marie, 1895-?Cobb, Hazel, 1892–1973Colaço Osorio-Swaab, Reine, 1881–1971Courtaux, Amanda, O.P., 1859–1941



Page 218Cozad, Irene, late 19th c.Czermak, Wilma, 1845-?

Dohyns, Geraldine, late 19th c.Dussek, Sophia Corri, 1775–1830/1847

Eckhardt-Gramatté, Sophie, 1898–1974Edelmann, Mademoiselle, late 18th c.

Farrenc, Louise Dumont, 1804–1875Freer, Jane, fl. 1770sFromm-Michaels, Use, 1888–1986Fuglsang-Visconti, Use, 1895-?

Gainsborg, Lolita Cabrera, 1895/6–1981Gambarini, Elisabettade (Mrs. Chazal), 1731–1765Gaynor, Jessie Love, 1863–1921Giblin, Irene, 1888–1974Giles, Imogene, late 19th c.Gnesina, Helena Fabianovna, 1874–1967Goodwin, Anna Gardner, 1874-after1900Guest, Jane Mary (Mrs. Miles), ca. 1762–1846Gutierrez-Ponce, Maria, 1880–1915

Hagen, Joanetta van, 1750–1809Harding, Elizabeth, ca. 1750–1780Harrison, Susie Frances, 1859–1935Hecksher, Céleste de Longpré, 1860–1928Hensel, Fanny Mendelssohn, 1805–1847Herr, Miss Marie, fl. 1874Herzogenberg, Elisabeth von, 1847–1892Hildegard von Bingen, Saint, 1098–1179Hodges, Faustina Hasse, 1822–1895Hohnstock, Adele, 19th c.Holmès, Augusta, 1847–1903Hopekirk, Helen, 1856–1945Howe, Mary Carlisle, 1882–1964

Jacquet de La Guerre, Elisabeth-Claude, 1665–1729Jaëll-Trautmann, Marie, 1846–1925

Kinney, Viola L., ca. 1890-?Kocher-Klein, Hilda, 1894–1974Koninsky, Sadie, late 19th c.Krumpholtz, Anne Marie Steckler, ca. 1755–1813Kuyper, Elisabeth, 1877–1953

Lady, A, 18th c.Lady, A (of Philadelphia), early 19th cLady, A Canadian, fl. 1841Landowska, Wanda, 1879–1959Lang, Josephine Caroline, 1815–1880Lang, Margaret Ruthven, 1867–1972Langhans-Japha, Louise, 1826–1910Le Beau, Luise Adolpha, 1850–1927Lefevre Lebout, Jeanne, 1886-?Leleu, Jeanne, 1898–1979

Liebmann, Hélène Riese, 1796-after 1835Likoshin, Ekaterina, fl. 1800–1810Linz, Martha, 1898-?

Mana-Zucca, 1884–1981Martinez, Marianne von, 1744–1812Mary, 19th c.Menten Sophie, 1846–1918Merelle, Mademoiselle, fl. 1800Mesritz Van Velthuysen, Annie, 1887–1965Montgeroult, Hélène de, 1764–1836Murden, Eliza Crawly, (A Young Lady of Charleston, S.C.), ca. 1783–1847

Niebergall, Julia, 1886–1968

Otero, Ana Hernandez, 1861–1905

Panzera, Magdeleine, 1893-?Paradis, Maria Theresia von, 1759–1824Park, Maria Hester Reynolds, 1760–1813Pattiani, Eliza, 19th c.Pejacevic, Dora von, 1885–1923Peterson, Clara Gottschalk, 1837Pittar, Fanny Krumpholtz, 1784–1823Plé-Caussade, Simone, 1897–1985Price, Florence, 1887–1953

Reichardt, Juliane Benda, 1752–1783Reinagle, Caroline Orger, 1818–1892Ricketts, Estelle D., 1871-?



Page 219Rogers, Clara Kathleen, 1844–1931Rudisill, Bess E., late 19th c.

Samuel, Madame L., late 19th c.Savage, Jane, 1752–1824Sch-L-N, Mademoiselle, fl. mid-18th c.Schumann, Clara Wieck, 1819–1896Scott, Clara H.Jones, 1841–1897Senfter, Johanna, 1879–1961Shepherd, Adaline, 1883–1950Sloman Torry, Jane, 1824–1866Stirling, Elizabeth, 1819–1895Szymanowska, Maria, 1789–1831

Tailleferre, Germaine, 1892–1983Tengbergen-Ebbenhorst, Maria van, 1885-?,Tideman-Wijers, Bertha, 1887-?Turner, Elizabeth, fl. 1750s-1780s

Valentine, Ann, 1762–1842Vellere, Lucie, 1896–1966Villeblanche, Madame de, late 18th c.Volkart-Schlager, Käthe, 1897-?

Wertheim, Rosy, 1888–1949Weyrauch, Anna Julie von, fl. early 19th c.Whitehurst, Stella, fl. late 19th c.Wuiet, Caroline, 1766–1835

Zieritz, Grete von, 1899-?II. Couotry of OriginAustria/Czechoslovakia/HungaryAuenbrugger, MariannaAuernhammer, JosephaBlahetka, Marie LeopoldineCianchettini, Katerina VeronikaCzermak, WilmaLinz, MartaMartinez, Marianne vonParadis, Maria Theresia vonPejacevic, Dora vonVolkart-Schlager, KätheZieritz, Grete vonBranscombe, GinaHarrison, Susie Frances

Denmark/NorwayBacker-Grøndahl, AgatheFuglsang-Visconti, Use

FranceBayon, Marie-EmmanuelleBenaut, MlleBigot De Mirogues, MarieBonis, MelanieBoulanger, LiliCandeille, Julie

Chaminade, CécileClaude, MarieCourtaux, AmandaEdelmann, MlleFarrenc, LouiseHolmès, AugustaJacquet de la Guerre, Elizabeth-ClaudeJaëll-Trautmann, MarieKrumpholtz, Anne MarieLefevre-Lebout, JeanneLeleu, JeanneMerelle, MlleMontgeroult, HélenePanzera, MagdeleinePlé-Caussade, SimoneSamuel, Mme L.Tailleferre, GermaineVilleblanche, Mme deWuiet, Caroline

GermanyBauer, KaterinaBeyer, JohannaFromm-Michaels, UseHensel, Fanny MendelssohnHerzogenberg, Elizabeth vonHildegard von BingenKocher-Klein, HildaLang, JosephineLanghans, LouiseLe Beau, Luise



Page 220Liebmann, HélèneMenter, SophieReichardt, Juliane BendaSch-l-n, MlleSchumann, ClaraSenfter, JohannaWeyrauch, Anna von

Great BritainAdair, YvonneAldridge, AmandaBarthélemon, CeciliaBillington, ElizabethBright, DoraBuckley, Olivia DussekCampbell, CarolineDussek, Sophia CorriFreer, JaneGambarini, Elisabetta deGuest, JaneHarding, ElizabethHodges, FaustinaHopekirk, HelenLady, A (18th c.)Park, Maria HesterPittar, Fanny KrumpholtzReinagle, Caroline OrgerRogers, ClaraSavage, JaneSloman, JaneStirling, ElizabethTurner, ElizabethValentine, Anne

Hispanic: Venezuela, Mexico. Puerto RicoCarreño, TeresaGutierrez-Ponce, MarieOtero, Ana

ItalyAgnesi-Pinottini, MariaBon Di Venezia, Anna

Netherlands/BelgiumBeekhuis, HannaBergh, Gertrude Van DenBeyerman-Walraven, JcanneBoredewijk-Roepman, JohannaBosnians, HenrietteCharrière, Isabella (Belle Van Zuylen)Colaço Osorio-SwaabHagen, Joanetta Catherine vanKuyper, ElisabethTengbergen, Maria EbbenhorstMesritz van Velthuysen, AnnieTideman-Wijers, BerthaVellere, Lucie

Wertheim, Rosy

PolandBadarzewska, TheklaLandowska, WandaSzymanowska, Maria

RussiaAdaiëwsky, Ella GeorgiyevnaEckhardt, Gramatté, Sophie-CarmenGnesina, HelenaLikoshin, Ekaterina

United StatesAufderheide, MayBauer, MarionBeach, AmyBergersen, MarieBlackwell, Mary EdwardBolen, GraceBond, Carrie JacobsBurgess, MattieCobb, HazelCozad, IreneDobyns, GeraldineGainsborg, LolitaGaynor, JessieGiblin, IreneGiles, ImogeneGoodwin, AnnaHecksher, CelesteHerr, Miss MarieHohnstock, AdeleHowe, MaryKinney, ViolaKoninsky, SadieA Lady of PhiladelphiaA Young Lady of CharlestonLang, Margaret RuthvenMana-ZuccaMaryMurden, ElizaNiebergall, Julia



Page 221Pattiani, ElizaPeterson, Clara GottschalkPrice, FlorenceRicketts, EstelleRudisill, BessScott, ClaraShepherd, AdalineWhitehurst, StellaIII. Musical Eras/StylesMedieval and BaroqueHildegard von Bingen, SaintJacquet de La Guerre, Elisabeth-Claude

ClassicalAgnesi-Pinottini, MariaAuenbrugg[er], Marianna vonAuernhammer, Josepha vonBarthélemon, CeciliaBauer. KaterinaBayon, Marie-EmmanuelleBenaut, MademoiselleBillington. Elizabeth WeichsellBon di Venezia, AnnaCampbell, CarolineCandeille, Julie SimonsCharrière, Isabella SophieCianchettini. Veronika DussekDussek, Sophia CorriEdelmann, MademoiselleFreer, JaneGambarini, Elisabetta deGuest, Jane (Mrs. MilesHagen, Catherine Elizabeth vanHardin(g), ElizabethKrumpholtz, Anne MarieLady, ALikoshin, EkaterinaMartinez, Marianne vonMerelle, MademoiselleMontgeroult, Hélene deParadis, Maria Theresia vonPark, Maria Hester ReynoldsReichardt, Juliane BendaSavage, JaneSch-l-n, MademoiselleTurner, ElizabethValentine, AnnVilleblanche, Madame deWuiet, Caroline

RomanticBadarzewska, TheklaBergh, Gertrude van denBigot de Morogues, MarieBlahetka, Marie LéopoldineBuckley, Olivia DussekFarrenc, Louise Dumont

Hensel, Fanny MendelssohnHodges, Faustina HasseHohnstock, AdeleLady, A (of PhiladelphiaLady, A CanadianLang, Josephine CarolineLiebmann, Hélène RieseMaryMurden, Eliza Crawly, (A Young Lady of Charleston, S.CPeterson, Clara GottschalkPittar, Fanny KrumpholtzReinagle, Caroline OrgerRogers, Clara KathleenSchumann, Clara WieckSloman Torry, JaneStirling, ElizabethSzymanowska, MariaWeyrauch, Anna Julie von



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Late RomanticAdaiëwsky, Ella GeorgiyevnaAldridge, Amanda IraBacker-Grøndahl, AgatheBeach, Amy Marcy CheneyBond, Carrie JacobsBright, DoraCarreño, TeresaChaminade, CécileCourtaux, Amanda, O.PCzermak, WilmaGainsborg, Lolita CabreraGaynor, Jessie LoveGood win, Anna GardnerGutierrez-Ponce, MariaHarrison, Susie FrancesHecksher, Céleste de LongpréHerr, Miss MarieHerzogenberg, Elisabeth vonHolmès, AugustaHopekirk, HelenJaëll-Trautmann, MarieKinney, Viola L.Kuyper, ElisabethLandowska, WandaLang, Margaret RuthvenLanghans-Japha, LouiseLe Beau, Luise AdolphaMana-ZuccaMenter, SophieOtero, Ana HernandezPattiani, ElizaPejacevic, Dora vonRicketts, Estelle D.Samuel, Mme L.Scott, Clara H.JonesSenfter, JohannaWertheim, RosyWhitehurst, Stella

Impressionist and Early 20thc.Adair, YvonneBauer. Marion EugenicBeach, Amy (later works)Beekhuis, HannaBergersen, Marie ChristineBordewijk-Roepman, JohannaBosmans, Henriëtte HildaBeyer, Johanna MagdalenaBoulanger, LiliBeyerman-Walraven, JeanneBlackwell, Mary EdwardBonis, MélanieBranscombe. GenaClaude, MarieCobb, Hazel

Colaço Osorio-Swaab, ReineEckhardt-Gramatté, SophieFromm-Michaels, UseFuglsang-Visconti, UseGnesina, Helena FabianovnaHowe, Mary CarlisleKocher-Klein, HildaLefevre-Lebout, JeanneLeleu, JeanneLinz, MarthaMesritz van Velthuysen, AnniePanzera, MagdeleinePlé-Caussade, SimonePrice, FlorenceTailleferre, GermaineTengbergen, Maria van EbbenhorstTideman-Wijers, BerthaVellere, LucieVolkart-Schlager, KätheZieritz, Grete von

RagtimeAufderheide, May FrancesBolen, Grace MBurgess, Mattie HarlCozad, IreneDobyns, GeraldineGiblin, IreneGiles, ImogeneKoninsky, SadieNiebergall, JuliaRudisill, Bess E.Shepherd, Adaline


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Page 223About the AuthorPAMELA YOUNGDAHL DEES is an Associate Professor in the Department of Fine and Performing Arts atSaint Louis University, where she teaches studio piano, music theory, class voice, opera history, and thehistory of women composers. She also serves as vocal coach and musical director for university andcommunity theater productions.

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