Woman's Work In Music

WOMANS WORK IN MUSIC Womans WofM irv Mxisic Being an account of her influence on the art, in ancient as well as modern times a summary of her musical compositions, in the different coun tries of the civilized world and an estimate of their rank In comparison with those of men By ARTHUR ELSON Author of A Critical History of Opera and EVERETT E. TRUETTE New Revised Edition BOSTON L. C. PAGE 6 COMPANY Publishers ETHEL LEGINSKA TO TRUE TYPE OF SELF-SACRIFICING WIFE AND MOTHER IN A MUSICAL FAMILY, THIS BOOK IS AFFECTIONATELY DEDICATED BV HER SON NOTE Acknowledgments are due to Mr. Otto Fleishner, of the Boston Public Library, for his kindness in furnishing lists of periodical articles bearing on the subject of this book. THE AUTHOR. FOREWORD IN chronicling the influence of women in the field of music, after searching far and wide through rather meagre records, and in presenting the result in a most attractive and readable volume, the author, Arthur El son, has given to music lovers, as well as to those who seek enlightenment concerning all art forms and con ditions, a work which should be in every musicians library and can wifth advantage and pleasure be read by all who are in any way interested in music, whether their interest be in its history and evolution, or merely in its cultural influence. In earlier days, the influence of women in music was indirect rather than direct that is to say, it was exer cised largely through their husbands or those men composers with whom they were brought in contact. As time went on, and especially with the advent of the era of higher education for women, the situation changed, and it was found that many women possessed creative musical ability of a highorder. The result has been the production by women of many musical compositions which compare favourably with the best works of their brother composers. FOREWORD Since 1903, when this work was first published, the number of women composers has increased by leaps and bounds, until to-day a single vdume of the pro portions of the present one does not afford sufficient space for adequate mention of all who have attained prominence as musical composers. A majority of these women composers have confined their work to songs and piano music, but many of them have with notable success essayed overtures, orchestra sympho nies, more pretentious choral compositions, and even operas. In this new edition of Mr. Bisons work I have un dertaken to present those women who since the origi nal publication of the book have done fine creative work in music, and to discuss their more important compositions. There are at the present time many other women composers, not herein named, whose stars are in the ascendent and who by reason of their undoubted talent seem destined in time to attain widespread recognition and prominence in the field of music. The future of woman in the realm of creative musical art is promis ing indeed. EVERETT E. TRUETTE. Boston, Mass. February, 1931. CONTENTS CHAPTER AGS L ANCIENT AND MYTHICAL . . .11 II. MEDLEVAL 35 III. WIVES OF THE COMPOSERS . . .61 IV. CLARA AND ROBERT SCHUMANN . . .90 V. OTHER MUSICAL ROMANCES, . . . in VI. ENGLAND 132 VII. GERMANY. . . . . . . .154 VIII. FRANCE 174 IX. AMERICA 195 X. OTHER COUNTRIES 211 XL CONCLUSION 234 XII. SINCE 1903 242