A figure of lesser though more recent prominence was Sybil Sanderson. Her fame on the operatic stage is a matter of the present, in spite of her death. She inspired the composer Jules Massenet to produce many of his best works, notably the opera, "Esclarmonde," which was written with her in view as performer. Another tribute to her is found in the song, "Femme, Immortelle Été." These are but a few of the more important instances in musical history, which go to show that woman's influence is responsible for many works in connection with which her name does not appear at first glance. The actual women composers, however, form a long and honourable list, and are by no means confined to the present period of female emancipation.
England's period of musical greatness has been said to be the past and the future. During the contrapuntal epoch her music flourished as never before or since, and side by side with the Shakespearian period in literature came an era of musical glory scarcely inferior to it. During the Restoration, too, music still held its own, thanks to the genius of Purcell in opera. But no names of women are recorded, and it is only in the eighteenth century, and the latter half at that, that they begin to appear on the roll of fame.
The year 1755 witnessed the birth of two women who were gifted enough to leave worthy works behind them,—Maria Parke and Mary Linwood. The former was the daughter of a famous oboist, who gave his child an excellent training. She became well known as a pianist and singer, and among other works produced songs, piano sonatas, violin pieces, and even a concerto for piano, or rather harpsichord. Miss Linwood devoted herself more entirely to vocal compositions, and published a number of songs and the oratorio, "David's First Victory." Two operas by her were left in manuscript.
Mrs. Chazal, who flourished at a still earlier date, won reputation as an orchestral conductor. This work is hardly deemed to come within woman's sphere, but the many choral and orchestral festivals of England offered her a better chance in this direction than her sisters in other lands could obtain. Mrs. Chazal's works included overtures and an organ concerto, as well as piano and violin music. Organ compositions seem to have been fairly numerous in England a hundred years ago, and we find Jeanne Marie Guest, daughter and pupil of a well-known organist, writing a number of voluntaries and other selections, also some manuscript concertos and some piano music. Other instruments were not neglected, as may be seen from Ann Valentine's "Ten Sonatas for Harpsichord and Violin," published in 1798. Another good organist was Jane Clarke, who issued a setting of psalms, as sung at Oxford, in 1808.
Coming nearer to our own times, Elizabeth Stirling, who died in 1895, was considered one of the very best of English organists. Her works for that instrument include two grand voluntaries, a half-dozen excellent pedal fugues, eight slow movements, and many other pieces. She has done much unselfish labour in arranging selections of Bach and the other great organ masters, besides publishing songs, duets, and piano works of her own. In 1856 she tried for a musical degree at Oxford, presenting an orchestral setting of the 130th Psalm; but, although the work won high praise, no authority existed for granting a degree to a woman. Marian Millar, a composer of songs and orchestral-choral works, met with more success in hunting for the coveted "Mus. Bac." and obtained it by applying to Victoria University. Augusta Amherst Austen, another organist, has written songs and hymn tunes, while Elizabeth Mounsey, also a performer, has published songs and piano pieces as well as organ works.
Ann Shepard Mounsey (1811-91), afterward Mrs. Bartholomew, a sister of Elizabeth, is mentioned by Spohr as a child prodigy. She was a friend of Mendelssohn, who wrote his "Hymn of Praise" for her sacred concerts in London. A set of "Thirty-four Original Tunes and Hymns" may be classed as organ work, but her greatest effort took the shape of an oratorio, "The Nativity." She also wrote a sacred cantata, and many lesser vocal works, including excellent solo and ensemble songs. Emma Mundella (1858-96) received an education both long and broad, and brought forth part-songs, piano pieces, church music, and an oratorio, "The Victory of Song." Elizabeth Annie Nunn (1861-94) also produced religious works, and, besides songs and various church music, published a Mass in C.
In the early part of the nineteenth century, the mechanical skill of Sebastian Erard made the harp extremely popular. At that time English households contained harps much as they do pianos at present. Excellently adapted as it was for women's performance, it is not surprising to find women composing for it also. Elizabeth Anne Bisset, Hannah Binfield, and Olivia Dussek, afterward Mrs. Buckley, were three famous examples of female skill in writing for the instrument.
Of song composers there have been a multitude. Among the early ones, Ellen Dickson (1819-78), under the nom de plume of Dolores, won a wide reputation. Her works are still sung, the most popular being her setting of Kingsley's brook song, "Clear and cool." Frankly simple in style, but full of pretty melodies, were the songs of Mrs. Charles Barnard (1834-69), who became widely known under the pseudonym of "Claribel." With her may be classed the ballad writers, such as Mrs. Jordan (Dora Bland), who composed the "Blue Bells of Scotland," or Lady Scott (Alicia Anne Spottiswoode), the author of "Annie Laurie" and other well-known songs. Mary Ann Virginia Gabriel (1825-77) was best known by her many tuneful songs, but wrote also part-songs, piano pieces, and a number of cantatas and operettas. Charlotte Sainton-Dolby (1821-85), the famous singer and friend of Mendelssohn, was also most widely appreciated because of her songs, though her cantatas, "The Legend of St. Dorothea" and "The Story of the Faithful Soul," were often performed. Sophia Julia Woolf (1831-93) won fame by her piano pieces and her opera, "Carina," as well as through her songs.
Kate Fanny Loder, not content with songs and the opera "L'Elisir d'Amore," has composed an overture for orchestra, two string quartettes, a piano trio, piano and violin sonatas, minor piano pieces, and some organ works. Caroline Orger (1818-92) was another talented composer whose work possessed sincerity and artistic value, and was above the merely popular vein. Among her productions, which have been often performed, are tarantellas, a sonata, and other piano pieces, a 'cello sonata, a piano quartette and trio, and a piano concerto.
Alice Mary Smith (1839-84) seems to have been on the whole the foremost woman composer that England has yet produced. A pupil of Sterndale Bennett and Sir George A. Macfarren, she devoted herself wholly to composition, and made it her life-work. Her music is clear and well balanced in form, excellent in thematic material, and endowed with an expressive charm of melodic and harmonic beauty. Among her orchestral works are two symphonies, one in C minor and the other in G; four overtures, "Endymion," "Lalla Rookh," "The Masque of Pandora," and "Jason, or the Argonauts and Sirens;" a concerto for clarinet and orchestra, and an "Introduction and Allegro" for piano and orchestra. Her chamber music is also successful. It consists of four quartettes for piano and strings in B flat, D, E, and G minor, also three string quartettes. With the orchestral works should go two intermezzi for "The Masque of Pandora," finished later than the overture. Her published cantatas include "Rüdesheim," "Ode to the Northeast Wind," a strong work, "The Passions" (Collins), "Song of the Little Baltung" (Kingsley), and "The Red King" (Kingsley). Her many part-songs, duets, and solos are imbued with rare melodic charm, as may be seen from the famous duet, "Oh, that we two were maying." Her career, though none too long in years, was one of constant creative activity.
There are a number of English women who have done excellent work in the large orchestral forms, if we may count festival performances as a measure of success. Edith Greene has composed a symphony, which was well received at London in 1895. To her credit may be placed many smaller works of real merit, among them a worthy violin sonata. Amy Elsie Horrocks, born in Brazil, brought out her orchestral legend, "Undine," in 1897. She has also composed incidental music to "An Idyl of New Year's Eve," a 'cello sonata, variations for piano and strings, several dramatic cantatas, a number of songs, and many piano and violin pieces. Besides doing this, she has won fame as a pianist. Mrs. Julian Marshall, born at Rome, has produced several orchestral works, as well as several cantatas, an operetta, a nocturne for clarinet and orchestra, and a number of songs. Oliveria Louisa Prescott, a native of London and a pupil of the Royal Academy of Music, is responsible for two symphonies, several overtures, a piano concerto, and some shorter orchestral pieces, besides vocal and choral work.
Dora Bright, born at Sheffield in 1863, another student of the Royal Academy, is one of England's most gifted musicians at the present time. She became assistant teacher of piano, harmony, and counterpoint, and won many prizes, being the first woman to obtain the Lucas medal for composition. Her two piano concertos are praised by critics for their "bright and original fancy and melodious inspiration of a high order, coupled with excellent workmanship." The orchestral colouring is said to be thoroughly exquisite. A fantasia for piano and orchestra was given at the London Philharmonic Concerts in 1892, the first instance of a woman's composition being given by that orchestra. Her string quartettes have won notice, also her piano duos, a violin suite, some flute and piano pieces, and several piano solos and songs.
Alice Borton has published an "Andante and Rondo" for piano and orchestra, as well as several piano works (suite in old style) and a number of songs. Edith A. Chamberlayne has composed two symphonies, as well as a manuscript opera, a sextette for harp, flute, and strings, and various harp, organ, and piano music. Edith Swepstone has had some movements of an unfinished Symphony performed, also an overture, "Les Tenebres," at London in 1897. She has written a piano quintette and a string quartette, besides short cantatas and the usual lesser pieces for violin, piano, and voice. Marie Wurm, born at Southampton in 1860, is a successful pianist as well as composer. Her concerto in B minor is highly praised for excellent workmanship, originality, and melodic strength and charm. Among her other works are a concert overture, a string quartette, violin and 'cello sonatas, some five-voiced madrigals, with various piano pieces and songs.
Rosalind Frances Ellicott has won a place of honour among women composers. She was born in 1857, and is a daughter of the Bishop of Gloucester. Her music is not especially ecclesiastic in vein, but includes many notable secular compositions. Among her important works are dramatic, concert, and festival overtures, and a fantasia for piano and orchestra, all given at various English festivals. Of her various cantatas, the "Birth of Song," "Elysium," and "Henry of Navarre" have met with the most success. She has written two piano trios, a string quartette, and much music for 'cello, piano, and voice.
Ethel M. Smyth, who recently was brought into notice in America by the performance of her opera, "Der Wald," is one of England's talented musical women. In purely orchestral vein she has produced a serenade in D and the overture "Antony and Cleopatra," both being given at the Crystal Palace in 1890. She has shown originality in other than operatic fields, and her greatest work is a Mass in D. This is a composition of decided merit, and is full of sustained dignity and breadth of style. It is intensely modern in quality, and its expressive feeling is somewhat reminiscent of Gounod, but it is not in any sense an imitation of the great Frenchman. Her string quintette has been performed at Leipsic. She has written a violin sonata and the usual number of minor pieces and songs. Her opera has received much praise, but the final verdict rates it as rather confused and undramatic, in spite of much good music in the score.
Many women have attempted opera, but none have met with more than temporary success. In England, owing to the example of Gilbert and Sullivan, light operas and operettas have flourished to a considerable degree. Mary Grant Carmichael met with some success through her operetta, "The Snow Queen," but like Miss Smyth gave the world a more important work in the shape of a mass. Ethel Harraden, sister of the novelist, had her opera, "The Taboo," brought out at the Trafalgar Square Theatre, London, with excellent results. She has composed an operetta, "His Last Chance," besides vocal, choral, and violin pieces. Harriet Maitland Young has completed several operettas, of which "An Artist's Proof" and the "Queen of Hearts" were successfully performed. Annie Fortescue Harrison witnessed the production of her "Ferry Girl" and "Lost Husband" at London. Louisa Gray's "Between Two Stools" has been given at many places. Ida Walter's four-act opera, "Florian," received a London performance in 1886. Florence Marian Skinner has made Italy the scene of her work. Her "Suocera," in serious vein, appeared at Naples in 1877, while her "Mary, Queen of Scots," after being given at St. Remo and Turin, received a London hearing.
England is preëminently a land of musical festivals, at which choral work plays an important part. London and the larger cities have their regular series of concerts, and the size of the capital attracts outside artists, but many of the smaller towns have annual occasions, at which local talent is sure to receive a full appreciation. This accounts for the prevalence of cantatas in the English musical repertoire. Subjects of all sorts are used, and dramatic, romantic, or even simple pastoral themes appear to delight the British ear when set to music and given by some singing society.
Among the many women who have attempted this form of composition, some have already been mentioned, but a number have been satisfied with it for their only efforts in extended style. Lizzie Harland produced her dramatic cantata, "Cœur de Lion," in 1888, following it with the "Queen of the Roses" for female voices. Ethel Mary Boyce, winner of various prizes, has composed "Young Lochinvar," "The Sands of Corriemie," and other cantatas, as well as a March in E for orchestra. Miss Heale, another London aspirant, is credited with "Epithalamion," "The Water Sprite," and other choral works. Emily M. Lawrence has produced "Bonny Kilmeny" and "The Ten Virgins," both for female voices, while Caroline Holland has written the cantata, "Miss Kilmansegg," and the ballad, "After the Skirmish," for chorus and orchestra. Miss Holland has won laurels as a conductor, besides being known as a composer. All of these have done a greater or less amount of work in the small forms, for piano, voice, or violin.
Still longer is the list of women who have worked wholly in the shorter forms. Yet the absence of ambitious work must not be taken to indicate a lack of musical genius, for many of England's best known musical women rest their fame upon a few short pieces. There is a vast difference between good music and great music, and a song of real worth often outlasts an ambitious but overswollen symphony that is laid on the shelf after one hearing.
In the field of violin music, there are many women deserving mention. Margaret Gyde, after taking prizes and scholarships, produced two excellent violin sonatas, besides piano pieces, songs, and some organ music. Contemporary organists, in passing, are well represented by Kate Westrop, who has published four short voluntaries for organ. Laura Wilson Barker, wife of Tom Taylor, has entered the classical arena with a violin sonata, and has done more ambitious work in the music to "As You Like It" and the cantata "Œnone." Caroline Carr Moseley has produced several pieces for violin and 'cello, and has written one or two dainty works for toy instruments. Mrs. Beatrice Parkyns, born of English parents at Bombay, has several charming violin compositions to her credit, and the same may be said for Kate Ralph, a native of England. Emily Josephine Troup is another violin composer, who has also tried her hand at songs and piano pieces. Maggie Okey, at one time wife of the pianist De Pachmann, and now married to Maître Labori, famous as the advocate of Dreyfus, has composed a violin sonata, a violin romance, and several piano pieces. Kate Oliver is responsible for some concerted music, while Alma Sanders has produced a piano trio, a violin sonata, and a piano quartette. To-day Ethel Barns heads the list of violin composers among women.
By far the most important name in this field of woman's work is that of Agnes Zimmermann. Born in Cologne in 1847, she received her musical education in London. At the Royal Academy of Music she studied piano under Pauer and Potter, afterward attaining high rank as a performer. In composition, her teachers were Steggall and George Macfarren. She won the silver medal of the Academy, and obtained the king's scholarship twice, in 1860 and 1862. In the next year she made her London début, and a year later appeared with the Gewandhaus orchestra at Leipsic. Her fame as a classical pianist was soon established, and her excellent work in editing the sonatas of Beethoven and Mozart bore added testimony to her musical knowledge. Her compositions include a piano trio, three violin sonatas, a suite and other pieces for piano, and a number of songs. Her clear style and thorough musicianship have given these works more than a passing value, and she is reckoned to-day as one of England's leading women composers.
Still more numerous than the violin composers are the women who have shown their ability merely in the form of a few piano pieces. Almost every eminent performer is at some time tempted to express his own musical thoughts in writing. Such has been the case with Arabella Goddard, the famous pianist. Born near St. Malo, in 1838, she played in her native place at the age of four. At six she was studying with Kalkbrenner at Paris. At eight she played before Queen Victoria, and published six piano waltzes. Among her maturer works are an excellent ballade and several other piano selections. Dora Schirmacher, born in 1862, was less precocious, but won the Mendelssohn prize at Leipsic, where she studied under Wenzel and Reinecke. Her works consist of a suite, a valse-caprice, a sonata, a serenade, a set of tone pictures, and so on. Amina Beatrice Goodwin was another child prodigy, first playing in public at the age of six. She studied with Reinecke and Jadassohn at Leipsic, Delaborde at Paris, and finally with Liszt and Clara Schumann. She has published many piano selections, besides founding a pianoforte college and publishing a good book of practical hints on technique and touch. She is married to an American, Mr. W. Ingram-Adams. The list of piano composers might be extended much further, but these are the most representative names.
Of the long list of song composers, but few have produced anything of marked artistic value. Foremost among these at present is Liza Lehmann, who has recently become famous through her song cycle, "In a Persian Garden." She came of a gifted family, for her father, Rudolph, was an excellent artist, and her mother a composer of songs, which were modestly published over the initials "A. L." Her grandfather was Robert Chambers, famed by his Encyclopædia. Born in London, she studied singing with Randegger, and composition afterward with Freudenberg, of Wiesbaden, and the Scottish composer, MacCunn. She expected to make a career as a singer, but found herself so extremely nervous whenever appearing that she was forced to abandon the idea. She persevered awhile, however, and has been frequently heard in Great Britain and Germany.
In 1894 she retired and married Mr. Herbert Bedford. Only then did she begin those efforts in composition that have since met with such great success. She has published a number of songs and some piano and violin pieces, but is always thought of in connection with her cyclic setting of the Persian poet, Omar Khayyam. When she composed this, she was little known, and fortune as well as fame was a stranger to her. Oddly enough, all the London publishers refused this work, which has since then charmed two continents. Finally it was sung at her house by a gathering of musical friends, the performers being Ben Davies, Albani, Hilda Wilson, and David Bispham. They were so delighted with it that they brought it out at the Monday "Pops," and after that its success was assured. There are other song cycles by this composer, notably "In Memoriam," but none equal the "Persian Garden." It is full of rich passages of exquisite beauty, moving pathos, and strong expression.
Frances Allitsen passed a lonely childhood in a little English village. She would improvise warlike ballads for amusement, though her later works and her character are marked by gentleness of thought. She hoped to make a name by singing, but unfortunately lost her voice. Her family were all hostile to a musical career, and regarded her tastes as most heinous. She describes the scene of her youth as a place "where, if a girl went out to walk, she was accused of wanting to see the young men come in on the train; where the chief talk was on the subject of garments, and the most extravagant excitement consisted of sandwich parties." Domestic misfortunes and illness left their mark on her, but could not hinder her musical progress. She finally sent some manuscripts to Weist Hill, of the Guildhall Music School, and with his approval came to London. Her days were spent in teaching, to earn money with which to pay for her studies in the evening, but she braved all difficulties, and finally won success. She is best known in America by her songs, which are really beautiful settings of Browning, Shelley, Longfellow, Heine, and other great poets. But she is a master of orchestral technique as well. Her overture, "Slavonique," was successfully performed, and a second one, "Undine," won a prize from the lady mayoress. Her room is a delightful gallery of photographs of artists and musicians. She has a picture of Kitchener, whose example, she says, ought to cure any one of shirking; hence the mistaken anecdote that she could not work without a picture of Kitchener on her desk.
Mrs. Rhodes, known in the musical world as Guy d'Hardelot, was of French ancestry and birth. She spent her childhood in a Norman castle, and her youth in Paris and London, studying music. After marriage she met with reverses, and was forced to earn a living by teaching. She studied composition with Clarence Lucas, and gives him great credit for developing individuality. She has three excellent guiding maxims,—"Avoid familiar things, choose words so clear that people can see the picture, and be sure that the climax comes at the end."
Her songs succeed in combining the elegance and lightness of the French school with the appealing simplicity of the English. Her reputation was established with her first publication, the melancholy and dramatic "Sans Toi." Her many succeeding lyrics range from liveliest humour to deepest pathos, and all are thoroughly artistic. Widely known are "Sans Toi," "Mignon," "Vos Yeux," "Say Yes," "Chanson de Ma Vie," "La Fermière," "Valse des Libellules," and many others. Her favourite poets are Victor Hugo and Ella Wheeler Wilcox, a rather strange mixture. Her only attempt in larger form is the operetta "Elle et Lui." She is a great friend of Mme. Calvé, who is especially fond of her songs. She has accompanied Calvé on an American tour, and has appeared with her before Queen Victoria at Windsor. She sings herself with a light but attractive voice and the most perfect diction. Of late she has composed for Calvé some acting songs, such as "The Fan."
Maude Valerie White takes rank among the very best of England's song writers. Born at Dieppe in 1855, she entered the Royal Academy at the usual age, completing her studies at Vienna. During her student days she produced a mass, and at various times she has composed violin and 'cello pieces, but she has won most fame, as well as much money, by her songs. Grove considers the best of these to be the settings of Herrick and Shelley; he gives high praise to her setting of the latter's "My soul is an enchanted boat," and considers it one of the finest songs in our language. Her other lyrics include such gems as "To Mary," "Ophelia's Song," "Ave Maria," and so forth, besides a number of exquisite German and French songs. Her careful attention to the metre and accents of the words, combined with the excellence of the poetry she chooses and the real worth of her music, have won the admiration of all music lovers.
Florence Gilbert, a sister of the well-known dramatist, has won some renown as a ballad composer. She studied harmony and composition with Stainer and Prout, and after this excellent training spent much time in creative work. For a long time she let her songs remain in manuscript, out of diffidence as to their value. Finally Mme. Helen Trust, the singer, came upon them, and obtained permission to bring out the "Message to Phyllis." Its success was pronounced, and the composer was easily persuaded to issue her other works.
One of the older group of song composers is Clara Angela Macironi, whose work has been known many years. Born in 1821, she studied in the Academy, and became one of its professors. Her suite for violin and piano is well written, but she is known to the general public chiefly by her part-songs. Some of these have been sung by three thousand voices at the Crystal Palace. She has published many songs for solo voice also, but these are hardly equal in musical worth to the productions of the more recent geniuses.
Less high in standard, but vastly popular, are the songs of Hope Temple, of whose works "My Lady's Bower" and "In Sweet September" are probably familiar in many households. Edith Cooke has found a vein of dainty playfulness in "Two Marionettes" and other similar songs. The productions of Kate Lucy Ward are graceful and musicianly, while Katharine Ramsay has written some admirable children's songs. Without enumerating more, it may be worth mentioning that the famous Patti has tried her hand at composing songs, and that Lady Tennyson has set some of her husband's lyrics, although he is said to have been tone-deaf and unable to appreciate any music.
The Irish songs of Alicia Adelaide Needham are said to be exceptionally good, and thoroughly new and local in flavour. Ireland is also represented among women composers by Christina Morison, who produced a three-act opera, "The Uhlans," and wrote many songs; Lady Helen Selina Dufferin, whose songs are widely known, especially the "Lay of the Irish Emigrant;" and Lady Morgan, born in the eighteenth century at Dublin, and known through her operetta, "The First Attempt."
Scotland can show no great woman composer. There are a few ballad writers besides those already mentioned, but they are of little importance. Wales can boast one musical daughter in Llewela Davies, who won a large collection of prizes while at the Royal Academy. Her works include three sketches for orchestra, a string quartette, a number of songs, and a violin sonata that received a London performance in 1894, and was highly praised by the critics.[6]
It is only natural that the country whose composers have led the world for more than two centuries should produce many musical women. The list excels not only in point of length, but in merit and priority. It begins with the nun Roswitha, or Helen von Rossow, who flourished at the end of the tenth century, and won renown by her poetry, some of which she set to music. But in modern times many important names are found in Germany at a time when few or none appear in other countries.
Music was considered a proper relaxation for royalty, and in the eighteenth century every petty court aimed to keep its orchestra and performers, while very often the exalted hearers would try their own hands at playing or composing. Frederick the Great was especially fond of music, and played the flute with much skill and persistence, and his sister, the Princess Anna Amalie, was as gifted as her brother in a musical way. She wrote many compositions, of which an organ trio has been published in a Leipsic collection, while her cantata, "Der Tod Jesu," represents a more ambitious vein. Contemporary with her was Maria Antonia, daughter of the Emperor Charles VII., and pupil of such famous men as Porpora and Hasse. Her musical aspirations took the form of operas, of which two, "Il Trionfo della Fedelta" and "Talestri," have been published recently. Amalia Anna, Duchess of Saxe-Weimar, composed the incidental music for Goethe's melodrama, "Erwin and Elmira," and won flattering notices, though part of their praise may have been due to her rank. Maria Charlotte Amalie, Duchess of Saxe-Gotha, published several songs, and wrote a symphony for an orchestra of ten instruments.
Coming into the nineteenth century, we find the Princess Amalie of Saxony possessed of considerable talent. Her skill showed itself in the form of various pieces of church music and no less than fourteen operas, best among them "Die Siegesfahne" and "Der Kanonenschuss." The Empress Augusta herself, wife of Kaiser Wilhelm I., besides always fostering the art of music, was gifted with a talent for composing, even in the larger forms. Among her works are an overture, the ballet "Die Maskerade," and several marches, of which one is on the German army lists at present. Princess Charlotte of Saxe-Meiningen, who lived but twenty-four years, found time to compose several marches and a number of songs and piano pieces.
Among living composers, Princess Beatrice of Battenberg is the author of a number of melodious songs, also an orchestral march and some church responses. Saxe-Meiningen seems to hold its own in the present as well as the past. Princess Charlotte, daughter of the Emperor Frederick III., has composed some military and Turkish marches, also a tuneful "Cradle Song" for violin and piano. Marie Elizabeth, of the same principality, counts among her works an "Einzugsmarsch" for orchestra, a Torch Dance for two pianos, a number of piano pieces, and a Romanze for clarinet and piano.
One of the most notable female figures in German music was Maria Theresa von Paradies. Born at Vienna in 1759, she met with an accident when three years old, and became blind for life. Even with this drawback, however, her musical aptitude was so great that her parents were justified in letting her begin regular studies and procuring the best teachers for her. At the age of eleven she appeared in public, singing the soprano part of Pergolesi's Stabat Mater, and playing her own accompaniment on the organ. This interested the Empress Maria Theresa, who procured the best of teachers for her. She made such rapid progress in piano that at her first concert she was able to arouse the utmost enthusiasm by her expressive and sympathetic performance. She made a number of concert tours, winning plaudits everywhere. In Paris, where she stayed six months, she appeared at the Concerts Spirituelles, and played frequently before Marie Antoinette. After various royal audiences in England and Germany, she returned to Vienna, where she soon retired from public life, and devoted herself to teaching and composition.
Her memory was something phenomenal. It is said that she was able to play no less than sixty concertos with the most absolute accuracy, besides knowing any number of smaller piano works. Her power of concentration is also made evident by the fact that she would dictate her own compositions, note by note, without the slightest alteration. Very few, even among the great composers, have possessed this faculty. Wagner and Mendelssohn were perhaps the most gifted. Beethoven's great works were the result of much careful correction, and in some cases represent as many as six or eight revisions.
Her compositions have won praise from the greatest musicians, and show merit of a high order. Among her dramatic works, the most successful in point of performance are "Rinaldo and Alcina," a fairy opera (appreciated in its day much as "Hansel and Gretel" is in our own), the melodrama "Ariadne and Bacchus," and the pastoral operetta "Der Schulcandidat." Her other works include a piano trio, a number of sonatas and variations for piano, several songs and other vocal works, besides a few cantatas. Her remarkable gifts won her the friendship of the foremost musicians of her time. Among others Mozart admired her greatly, and dedicated a concerto to her.
Another figure of musical importance was Marianne Martinez. Born at Vienna in 1744, she began her musical studies while still a child. Her first efforts at composition were made when she was twelve years old, and met with a most favourable reception, though of course they cannot compare with her later productions. She was an excellent pianist, or what would correspond to a pianist in our day, and among her teachers on the harpsichord was Haydn himself. She became equally proficient in singing, under the great teacher, Porpora, and the historian Burney speaks of her vocal accomplishments with unstinted praise.
Among the works of her maturer period, her church music ranks highest of all. Her oratorio "Isacco," with words by Metastasio, is her worthiest production, and met with deserved success when performed at Vienna in 1788. Besides this work, she composed two other oratorios, a successful mass, a four-part Miserere, a number of psalms for four and eight voices, with orchestral accompaniment, several motets, and many other pieces of a religious character. The list of her works does not end here, but comprises symphonies, overtures, and other orchestral numbers, including several piano concertos. Taken as a whole, her works entitle her to a worthy place among women composers of all time.
Leaving the eighteenth century, the next woman composer of note is Emilie Zumsteeg. Born at Stuttgart in 1796, she soon showed that she had inherited the musical taste of her father, himself a well-known composer. On his death, six years later, the widow supported herself by keeping a music-store, where the growing daughter absorbed much knowledge of the art. Soon she began regular study, and won her way into notice by her singing and piano-playing. Her sight-reading abilities were something phenomenal, and she could play from full instrumental scores with ease. Her home became the centre of a brilliant circle, including Weber, Hummel, Lindpaintner, and poets as well as musicians. She was much prized as a teacher of piano and singing, and a personal favourite in her native city. Of her compositions, the most ambitious is an overture to the play "Die Geister Insel." She wrote also several piano pieces, among them three polonaises. But according to German authority,[7] it is her songs that have made her memory honoured. Her originality and her skill in metrical treatment have won her high praise, and many of the songs achieved wide popularity.
Leopoldine Blahetka, the Austrian pianist, was one of the most prolific of women composers. Born near Vienna in 1811, she made such rapid progress under her mother's tuition that by Beethoven's advice she was placed under Czerny in her fifth year. She pursued composition as well as piano, and when twelve years old was able to appear in Vienna and play a set of variations with her own orchestral accompaniment. Among her later teachers were Moscheles, Kalkbrenner, and Sechter. She made frequent tours, and met with universal success. The criticisms of her work include an extremely favourable notice by Schumann. In 1840 she settled in Boulogne, where she became renowned as a teacher, and led a successful career until her death in 1887.
Of her many works, the most ambitious are a piano concerto, the "Souvenir d'Angleterre" for piano and orchestra, and two sets of piano variations with orchestral accompaniment. Among her numerous examples of chamber music are found variations for string quartette and piano, two piano quartettes, a piano trio, several violin sonatas, a polonaise, and sets of variations for 'cello, violin, and flute with piano. She has composed a grand duet and a number of solos for piano, also numerous vocal duets and songs. Her operetta, "Die Räuber und die Sänger," was successfully produced at Vienna.
One of Germany's greatest women composers was Emilie Mayer. Hers was a fortunate position, for she was always well provided for, and could exercise her powers without the need to think of the financial result. She was born in Friedland in 1812, her father being "Apotheker," a position of far more importance in German towns than that held by our pharmacists. Emilie showed the usual signs of musical talent, and was given the best of teachers. After advanced work with Carl Loewe, the great ballad composer, she entered the musical life of the German capital. Here she gave a concert as her introduction, playing the piano herself, and making the programme entirely of her own compositions. On this occasion were given a concert-overture, a string quartette, Psalm 118 for voices and orchestra, and two symphonies, the "Militaire" and the B minor. This was an imposing array, but it was only a beginning, and her productive career continued until her death in 1883.
Not all of her works have been published, but all show good thematic material and an unusual sense of musical form. The list includes many dances and songs, two string quartettes, two piano quartettes, two quintettes, ten piano trios, eight violin sonatas, twelve overtures, Psalm 118 with orchestra, seven symphonies, and an operetta. This is certainly an extensive catalogue for any composer. Among the printed works, the best are the "Faust" overture, Op. 46; the violin sonatas, Op. 17 and 21, also the nocturne, Op. 48, an expressive work; the 'cello sonata, Op. 47; the piano trio, Op. 13; and for piano solo an allemande, Op. 29, that is full of masculine power and energy.
Agnes Bernouilly, a native of Berlin, was another woman who devoted herself to orchestral productions. Her works in the larger forms have been given often by the Saro orchestra and others, while her songs and piano works have received much praise from the critics. Another composer of renown was Aline Hundt, one of Liszt's best pupils, who was born in 1849, and died at the early age of twenty-four. In her short career she wrote a march for orchestra, a "Champagnerlied" for tenor solo, chorus, and orchestra, selections for viola and violin with piano, a number of male choruses, and several songs and piano pieces. Theresa Schaeffer has composed a festival overture for grand orchestra, besides many piano pieces and songs. Anna Benfey-Schuppe wrote an overture for "Götz von Berlichingen," as well as incidental music to other plays and various chamber works. Nanette von Schaden, a native of Salzburg, composed two piano concertos, as well as numerous sonatas and rondos for piano. Constanze von Buttenstein, besides issuing a number of songs and piano works, has published an "Ave Maria" for alto voice, with an orchestral accompaniment that is sometimes reduced to organ and string quartette.
Among other symphonic writers, Nina von Stollewerck, a native of Austria, is credited with two symphonies. She has written other ambitious works, besides songs and male choruses of some merit. Agnes Tyrell is another Austrian, having been born at Brunn in 1848. She pursued her studies at Vienna, where she became an excellent pianist as well as a composer. Among her works are a symphony, three overtures, and a number of smaller orchestral selections, as well as some worthy piano pieces.
Louisa Adolpha Lebeau, born at Rastatt in 1850, is undoubtedly one of the most gifted of living women composers, not only in her own country, but in the entire world. Her teachers include such famous names as Clara Schumann and Kalliwoda for piano, and Rheinberger in composition. She is an excellent pianist, and has made frequent and successful tours to all the great cities of Germany. Her appearance at the Gewandhaus concerts in Leipsic is in itself a proof of her superior attainments in this direction. She often performs her own works, which are always successful.
With the exception of symphony and opera, her compositions include practically every form used in modern music. Her Concert Overture, Op. 23, first performed in 1882, has been repeatedly given in Germany. Her Festival Overture, also, has met with a warm reception. Her piano concerto, Op. 37, is another work that is frequently heard, while the Fantasia, Op. 25, for piano and orchestra, practically another concerto, is rich in musical beauty, and contains a finale of exceptional strength. Among orchestral works with chorus, her oratorio, "Ruth," Op. 27, is a work of extreme beauty, and one which has been heard in all the important cities of Germany, Austria, and Holland. The cantata "Hadumoth" is another valuable work, showing great dramatic strength and an excellent handling of large choral effects. A concert aria for baritone and orchestra, "Im Sängersaal," is also worthy of mention.
It is her chamber music, however, that is responsible for her greatest triumphs. This is marked by the utmost clearness of thought and theme, and shows a most pleasing originality. It has been highly complimented by such a great musician as Lachner, and one of her pieces for 'cello and piano carried off first prize in a competition at Hamburg, in 1882, in which many noted composers had entered. Of great merit is a quartette, Op. 28, for piano, violin, 'cello, and viola. Another worthy work is the string quartette, Op. 34. Her trio, Op. 15, for piano, violin, and 'cello, the 'cello sonata, Op. 17, and the violin sonata, Op. 10, have been classed with the very best examples of their kind. Her other works include a number of piano pieces, among them some excellent fugues, three solos for the humble and seldom-heard viola, and a lovely romance for violin and piano.
A number of other German women have attained prominence through their concerted music. Josephine Kanzler, born at Tolz in 1780, wrote two string quartettes, besides piano sonatas and songs. She was a pupil of the famous Abt Vogler. Helene Liebmann, about fifteen years later, produced several quartettes of the same sort, as well as two piano trios and a number of violin sonatas, piano pieces, and songs. Clementine Batta has published a Melodie Religieuse for voice, piano, 'cello, and organ. Louise Kern has shown a fondness for combining violin, organ, and piano. Louise Langhans (maiden name Japha), born at Hamburg in 1826, is usually given an honourable place in the German lists of women composers. She studied with Robert Schumann, at Düsseldorf, and became famous as a pianist. Her compositions, not all published, include several string quartettes, a piano trio, sonatas, choral works, fragments of an opera, and a number of effective piano pieces. Among contemporary composers, Mathilde von Kralike has published a piano trio of some interest.
Of the women who have attempted large choral works, there are several besides those already mentioned. Baroness Bertha von Bruckenthal has received high praise for her "Grand Messe Solennelle," and for some four-voiced numbers with organ accompaniment. She has also written pieces for violin, 'cello, voice, and piano. Angelica Henn, one of Kalliwoda's best pupils, is credited with a "Missa Solemnis," also an opera, "The Rose of Lebanon," and some songs and instrumental works. Anna Pessiak-Schmerling, born in Vienna, was for many years teacher of singing at the conservatory there, and won more than a local reputation through the performance of her masses. Johanna Kinkel is responsible for a "Bird Cantata," as well as an operetta and many popular songs. Hers also is the well-known quartette, "The Soldier's Farewell." Agathe Plitt, a child prodigy in her early years, is still an excellent pianist, and has entered the lists in composition with a number of successful cantatas, psalms, motets, and other sacred works. Hermine Amersfoodt-Dyck won fame by producing the cantata, "Gottes Allgegenwart."
In the operatic field, Josepha Müller-Gallenhofer, born at Vienna in 1770, seems the pioneer. Besides her opera, "Der Heimliche Bund," she published a string quartette and many pieces for the harp, upon which she was an excellent performer. Caroline Wiseneder, of Brunswick, deserves notice for her aid to the blind, for whom she started a successful music school. Her two operas and several melodramas were published after her death. Auguste Goetze, born at Weimar in 1840, grew up to success as a singer of German Lieder, and founded an opera school at Dresden. Of her operas, "Susanna Monfort," "Magdalena," and "Eine Heimfahrt," have been frequently performed. Elise Schmezer has composed the opera "Otto der Schütz," besides a number of songs. Thekla Griebel has had her opera, "Schön Karen," produced twice within recent years. Elise Bachmann published a melodrama, "Die Macht der Musik," also some songs and piano pieces in popular vein. Among less important works, the Countess of Ahlefeldt issued the ballet, "Telemach und Calypso," in 1794. Julie von Pfeilschifter, born in 1840, is author of the grand ballet, "Vöglein's Morgengruss" and the dramatic scena, "Agneta," which have pleased Wiesbaden audiences; also a number of piano selections and songs.
Among those who have written for the violin, Francesca Lebrun, one of the earliest, was born at Mannheim in 1756. A remarkably great singer and accomplished pianist, she won laurels in composition by her musicianly piano trios and her sonatas with violin accompaniment. Pauline Fichtner, born in 1847, became one of Liszt's pupils, and won many public triumphs as a pianist. Her works, mostly piano pieces and songs, contain two fantasies for violin and piano. Marie Hendrich-Merta, five years younger, is the author of an excellent piano trio, besides the usual song and piano selections. Mary Clement has written a violin sonata and shorter pieces that have won encomiums from no less a man than Max Bruch. Henrietta Heidenreich has composed a number of violin pieces, and Mathilde Heim-Brehm has done the same. The Countess Stephanie Vrabely Wurmbrand wrote a violin sonata, also several piano works and incidental music to "Die Schöne Melusine."
In the field of piano music, Emilie Belleville-Oury is worthy of mention. Born at Munich in 1808, she made that city her residence until her death in 1880. She became extremely proficient as a pianist, and won many public triumphs. In one of Robert Schumann's criticisms is an interesting comparison between her work and that of Clara Schumann. "They should not be compared," says the great critic. "They are different mistresses of different schools. The playing of Madame Belleville is technically the finer of the two; Clara's is more impassionate.... Madame Belleville is a poetess, Clara is poetry itself." The works of this virtuoso are largely made up of transcriptions and arrangements, but contain some excellent compositions of her own.
Though not credited with any composition in larger form than songs or piano pieces, Josephine Lang won a high artistic rank among the women composers of Germany. Born at Munich in 1815, she began her piano studies when five years old, and made progress enough to allow a public appearance in her eleventh year. Four years later Mendelssohn met her and became her teacher in counterpoint and thoroughbass. He was charmed by her gifted and poetic nature, and calls her "one of the loveliest creatures I have ever seen. She has the gift," he continues, "of composing songs, and of singing them, in a degree that I have never known before." To help support her parents, she did some teaching, and sang in the royal chapel with such success that she was named for the post of royal court singer. In 1842 she married Christian Köstlin, who obtained a law professorship at Tübingen, and there she passed fourteen happy years. The death of her husband was followed by the loss of her three sons, and she was forced once more to struggle for a living. In this later period of trial and success, she published most of her compositions. The songs, amounting to a hundred and fifty in number, are remarkable for their strong feeling and expressive power, while her piano works are stamped with originality and depth of conception. Among the latter are the great "Deutscher Siegesmarsch," two mazurkas, and an impromptu, "In the Twilight." Her eulogistic biographer calls these pieces "Real pearls among piano works."