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  • Furore Verlag: Music by women composers
    New York on the basis of compositions she submitted to them Here she was taught among others by the conductor Georg Szell and Stefan Wolpe Ursula Mamlok has received many awards from the National Endowment for the Arts for example and commissions for pieces from the Koussevitzky Foundation and ensembles for New Music In May 2003 she received the Presidential Medal in recognition of her 35 years as professor and composer at the Manhattan School of Music in New York City Ursula Mamlok lives and works in New York Werke 25 plus piano solo 27 works by contemporary women composers More Myriam Lucia Marbé No description available No description available Werke Annäherung II an sieben Komponistinnen More Ljubica Maric 18 03 1909 in Kragujevac 17 09 2003 in Belgrad Ljubica Maric was born on March 18 1909 in Kragujevac She was the most important artist in the 20th century Serbian music After completing her training in Belgrade Ljubica Maric pursued her musical education at the State Conservatory in Prague In 1933 she spent one year studying piano with Emil Seling in Berlin After her return to Yugoslavia she taught music theory at the Music Academy of Belgrade In the years after the Second World War Ljubica Maric devoted herself to researching Serbian folk music and ancient orthodox church music this enabled her mature compositional style to reach complete expression in the 50 s and 60 s The most important characteristic of her work is the specific synthesis of the heritage of folk music ancient medieval Byzantine musical thought and a modern sensibility to sound I have learned everything from folk music Ljubica Maric declared One of the profound spurces of inspiration contributing to the composer s specific style is the Octoëchos a volume of medieval Serbian religious songs based on Byzantine church music and arranged in eight voices modes according to their scale structure She is the very first composer in the history of music who used church melodies from the Byzantine music for creating non liturgical compositions In the 80 s and 90 s Ljubica Marc devoted herself mainly to chamber music creating exceptional works like Song for the Flute Invocation Monodia Octoicha From the Darkness Chanting Asymptote Archaia Torso which while plunging in an ever new but recognizable and individual manner into the ancient depths of the past creatively speaking witness authentically to their own time Besides her compositions the versatile talent of Ljubica Maric is also expressed in her drawings graphic art and literature including Tablice tables a volume of poetic philosophic aphorisms Her works are published by the publishing house Furore Verlag Ljubica Maric died on September 17 2003 in Belgrade Werke Annäherung IX an sieben Komponistinnen Archaia Archaia II Asymptote Asymptote From the Darkness Chanting Cantata Invocation Klaviermusik I Klaviermusik II Monodia Octoicha Music for Orchestra Music for Orchestra Octoicha I Octoicha I for symphony orchestra Ostinato super Thema Octoicha Passacaglia Sonata Sonata fantasia Song for the Flute Song for the Flute Songs of Space The Enchantress on the eight eclogue by Virgil 1964 The Threshold of Dream The Wondrous Milligram Three Folk Songs Torso Wind Quintet pian é forte Music for piano More Marianna Martines 1744 in Wien 1812 Marianna Martines sometimes referred to as Maria Anna or Anna Katharina her baptismal name was born in Vienna in 1744 the daughter of Nicolò Martines also spelled Martinez a Neapolitan of Spanish descent knighted by the Empress Maria Theresia and serving as a master of ceremonies to the papal nuncio His privileged social position in the Viennese diplomatic circles enabled him to procure the best possible instruction for his daughter Her education was supervised by Pietro Metastasio the court poet and famous librettist who occupied an apartment in the Martines house From him the young Marianna learned languages literature and music Beginning in 1753 Metastasio arranged for Marianna to be taught singing piano theory and composition She had voice lessons with Nicolò Porpora keyboard and theory with Haydn who at the time was also living in the Martines house and advanced composition with Giuseppe Bonno and Johann Adolf Hasse Marianna was admired for her talents as a pianist singer and composer at an early age In 1772 Charles Burney passed through Vienna in one of his musical tours and reported After the high encomiums bestowed by the Abate Taruffi on the talents of this young lady I was very desirous of hearing and conversing with her and Metastasio was soon so obliging as to propose her sitting down to the harpsichord which she immediately did in a graceful manner without the parade of diffidence or the trouble of importunity Her performance indeed surpassed all that I had been made to expect She sung two arias of her own composition to words of Metastasio which she accompanied on the harpsichord in a very judicious and masterly manner and in playing the ritornels I could discover a very brilliant finger The airs were well written in a modern style but neither common nor unnaturally new The words were well set the melody simple and great room was left for expression and embellishment but her voice and manner of singing both delighted and astonished me After these two songs she played a very difficult lesson of her own composition on the harpsichord with great rapidity and an precision And a few days later Burney wrote Mademoiselle Martinez was at her musical studies and writing she directly complied with my request of sitting down to the harpsichord and then played me a very pretty harpsichord sonata of her own which was spirited and full of brillant passages After Metastasios death in 1782 Marianna used part of the large fortune she inherited from him to hold elaborate musical soirées in her home She appeared as a singer and pianist even playing piano duets with Mozart These weekly musical evenings played an important role in the artistic life of Vienna In the 1790 s she also invested money in her own singing school as a way to encourage young women to study music Marianna Martines left a large body of works in many different genres Her vocal output includes masses an oratorio motets litanies psalms cantatas and arias These were all written in either Latin or Italian many on texts by Metastasio She wrote fewer instrumental works but these do encompass a symphony an orchestral ouverture at least three piano concertos and sonatas for the harpsichord or fortepiano of which only three have survived All of her compositions were strongly influenced by the Italian melodic style Although she is practically unknown today Marianna enjoyed considerable recognition in her lifetime In addition to the praise she received from such notables as Dr Burney she was admitted into two musical societies which honoured her talents as a performer and composer the Accademia Filarmonica of Bologna and the Viennese Tonkünstler Societät Unfortunately only two short works were published during her lifetime her keyboard sonatas in E Major and A Major appeared in an anthology in Nuremberg between 1756 1765 Werke Annäherung IV an sieben Komponistinnen Aria Arias from Opera and Oratorio Dixit Dominus Dixit Dominus In Exitu Israel de Agypto Psalm score Isacco Figure del Redentore Isacco Figure del Redentore score Isacco Figure del Redentore Oratorio Isacco Figure del Redentore Oratorio score Isacco Figure del Redentore Oratorio score Konzert für Klavier und Orchester A Dur Laudate Pueri Dominum Psalm 112 Laudate Pueri Dominum Psalm 112 choir score Laudate Pueri Dominum Psalm 112 score Quarta Messa Quarta Messa Quarta Messa Quarta Messa Quarta Messa for soli choir and orchestra 1765 Sonata da Cimbalo G Dur 1769 More Bernadetta Matuszczak 10 03 1937 in Torun Polen Bernadetta Matuszczak studied Theory of Music and Piano at the State University of Music in Posen She studied Composition at the State University of Music in Warsaw and completed her studies with Nadia Boulanger in Paris Bernadetta Matuszczaks composition is characterized by a strong interest in literature and a musical imagination with a precise feel for rhythm and drama She received several awards while still a student such as the Grzegorz Fitelberg Prize in 1966 and the prize of the Jeunesses Musicales in 1967 er works include chamber music orchestral vocal and choral pieces several operas and opera oratorios Her compositions are mainly performed in Poland In Germany she played for example at the May Festival in Wiesbaden in 1972 Bernadetta Matuszczak lives in Torun as a free lance composer At Furore KONTRASTE for piano see fue 4660 25 plus piano solo Werke 25 plus piano solo 27 works by contemporary women composers More Emilie Mayer 14 05 1812 in Friedland 04 10 1883 in Berlin Emilie Mayer who was born in 1812 in Friedland Mecklenburg and died in 1883 in Berlin is one of the most remarkable German women composers of the 19th century In an era when women composers were generally only permitted to perform their works in a domestic setting preferably that of a salon Emilie Mayer practised her vocation as a full time profession Besides her musical talent her extraordinary career can be attributed to the unusual circumstances of her biography In 1840 Mayer s widowed father for whom Emilie as the oldest unmarried daughter kept house committed suicide This was a turning point in her life Largely freed from family duties and financially independent at nearly 30 years of age she decided to leave the provinces and pursue a career as a professional woman composer She received her training from some of the leading music theorists of her day Carl Loewe 1796 1869 in Stettin and Adolf Bernhard Marx 1795 1866 and Wilhelm Wieprecht 1802 1872 in Berlin In the face of the general restrictions on women s access to composition studies at universities and conservatoriums the quality of her education is the result of the individual backing given by her teachers to a comprehensive musical education for women Marx appears to have been particularly dedicated in this respect In an article published in the Berlin Musikzeitung Echo in 1856 he argued for a thorough musical training for women and made it clear that he not only lent them his verbal support but also took practical steps for their advancement Even during the years she spent studying Mayer took up musical genres which were generally deemed too difficult and unseemly for women In the reviews produced by musical experts multi part compositions often gave rise to the question of whether women were fundamentally equal to the demands of combining unrelated musical thoughts in a meaningful way Emilie Mayer s works cover a remarkable number of these unfeminine genres 8 symphonies 7 concert overtures including the successful overture to Faust op 46 a piano concerto a Rondo militaire and a broad oeuvre of string and piano chamber music What is characteristic of the chronological and stylistic classification of Emilie Mayer s works is her occupation with one or only a few genres over a longer period Initially she wrote mainly Lieder with a singing voice very much in keeping with her teacher Loewe The 1st and 2nd symphonies also date from her early time in Stettin in the 1840s The Symphony no 3 in B minor written in 1850 reveals an interest in Beethoven s tonal language which is also discernible in the string quartets The eight string quartets contained in the bequest were written before 1858 Mayer s compositional leanings towards Beethoven were motivated and endorsed by her teacher Adolf Bernhard Marx who still exerted considerable influence over her during this period Werke String Quartet A Major 1856 28 String Quartet B flat major 1855 25 String Quartet G major Symphony No 5 f minor Symphony No 5 f minor More Ruth McGuire 1941 in Baltimore USA Ruth McGuire started piano lessons at the age of three instruction in theory and the organ was added when she was ten She studied music in the USA from 1958 to 1962 and continued her studies after her move to Vienna at the University of Music there From 1963 and 1974 her time was mainly taken up by her eight children and she took sporadic lessons in the harpsichord In 1979 she resumed her studies of ecclesiastical music organ and composition at the University of Music in Vienna and has been giving concerts as a soloist accompanist and continuo player in and around Vienna since 1977 She has initiated planned and organized numerous series of concerts was organist in a number of churches in Vienna and has devoted herself to the introduction of new works for the organ Her compositions for which she won several prizes and awards right from her youth are performed in Austria and elsewhere in Europe Ruth McGuire has received many scholarships such as the state scholarship for composition of the Republic of Austria in 1994 and 2000 At Furore 5 LYRISCHE MINIATUREN for piano see fue 4660 25 plus piano solo Werke 25 plus piano solo 27 works by contemporary women composers More Sibylle Mertens Schaafhausen 1787 1857 Sibylle Mertens Schaaffhausen was the first born child of the banker Johann Abraham Anton Schaaffhausen She goes down in the annals of history as the Rhine Countess Undoubtedly the name stands for her exemplary noblesse and culture as well as for her social commitment which she demonstrates for instance during the cholera epidemic in Genoa in 1835 As a token of thanks King Carlo Alberto had a coin minted bearing her name Sibylle Mertens Schaaffhausen as she is called after her marriage to Louis Mertens successor to her father in the bank gives lavish parties attended by everyone of standing and reputation In her jewel and darling the term of endearment she uses to describe the estate she receives above all her bosom friend the Westphalian poetess Annette von Droste Huelshoff known for her novella Die Judenbuche This profound even unsettling story reveals something of the writer s gift of second sight a gift she has in common with the Rhine Countess who is also able to foresee future events Heinrich Heine who was a student in Bonn at that time later made fun of Sibylle in his Memoiren when he alludes to her predilection for the Carneval and the Rhine dialect Cologne is the Tuscany of a classically bad German pronunciation and Koebes that is Jacob conspires with Marizzebill that is Maria Sibylle in a dialect sounding like and almost smelling of rotten eggs The news had presumably travelled from Weimar to Plittersdorf namely via Sibylle s friend Ottilie von Goethe that the pert student with the green satchel had made a fool of her father in law Johann Wolfgang Hence the doors to the house of Marizibill the name she had given herself in the Carneval newspaper of 1823 are closed to Heine Arthur Schopenhauer This world negator on account of his positive attitude to life Egon Friedell characterised him thus in his History of Modern Civilization even went as far as bringing an action against her over a gift made by Sibylle to his sister Adele Adele Schopenhauer and her mother Joanna Schopenhauer both writers were along with Annette von Droste Huelshoff regular guests in the Auerhof and in the Zehnthhof in Unkel on the other side of the Rhine which also belonged to the Mertens They were finally joined by kindred souls in the persons of Anne Jameson from England and Wilhelm Wach s sister Henriette Paalzow thus closing this circle of spiritual kinship The period of Metternich now also draws to a close When Adele Schopenhauer dies in 1849 and Sibylle loses her inheritance to her stepbrothers and sisters there is nobody here to keep her anymore and she leaves for Rome where she died on October 22 1857 It is here that she also lies buried her grave is located in the so called Cemetery of the Germans See also Von Goethe inspiriert gleichnamiger Notenband und CD auf CD siehe CD Werke Inspired by Goethe Songs by women composers of the 18 th and 19 th Centuries Christmas Carols by Women Composers Vol 3 More Haruna Miyake 20 09 1942 in Tokio Haruna Miyake Haruna Shibata wurde am 20 September 1942 in Tokio in einer Familie von Intellektuellen geboren Ihr Vater war Forscher auf dem Gebiet der Physik und der Medizin ihre Mutter Schauspielerin Als einziges Kind erfuhr sie die ungeteilte Förderung der Eltern die sie sehr darin unterstützten ihr musikalisches Talent auszubilden Sie begann ihre Karriere als Pianistin bereits 1956 und debütierte mit einem Klavierkonzert von Mozart begleitet vom Tokioter Sinfonieorchester Während ihrer Teenagerzeit lebte Haruna Miyake drei Jahre mit ihrer Familie in La Jolla in Kalifornien Zurück in Tokio besuchte sie eine fortschrittliche Hochschule in der die Studenten im demokratischen Geist der Nachkriegszeit dazu ermutigt wurden sich frei zu entfalten Miyake entschied sich in den USA Musik zu studieren An der New Yorker Juilliard School studierte sie Komposition bei Vincent Persichetti Mit der Abschlussarbeit Poem for String Orchestra Six Voices errang sie 1964 den Edward Benjamin Preis Die Alice Tully Hall im New Yorker Lincoln Center wurde 1969 mit dem eigens bei ihr in Auftrag gegebenen Werk Six Voices in June eröffnet Nach ihrer Rückkehr nach Tokio produzierte und leitete sie von 1977 1985 eine experimentelle Konzertserie unter dem Titel Die moderne Musik das bin ich im Club Jean Jean im Tokioter Stadtteil Shibuya Werke Annäherung X More Aleida Montijn No description available No description available Werke Annäherung I an sieben Komponistinnen More Elise Müller 1782 1849 The life and works of the pianist pedagogue and composer Elise Müller 1782 1849 have not yet been adequately researched In Bremen where she was born and lived her entire life she founded a girls school at which she taught languages history and geography in addition to music With her brother she helped found the Singakademie in Bremen From 1833 until her death she corresponded with Karl August Varnhagen von Ense A song of hers appears here for the first

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  • Furore Verlag: Music by women composers
    das IRCAM nach Paris zu Tristan Murail Werke Annäherung VI an sieben Komponistinnen More Julia Niebergall 1886 1968 Julia Niebergall 1886 1968 wrote several rags and most were published by the Aufderheide publishing firm It may seem unusual to have women composing ragtime but there were actually quite a number of women who composed Julia Lee Niebergall was a talented friend of composer May Aufderheide whose father eventually published two of her works Julia was born into a musical family as her Dad played the double bass occasionally even with the Indianapolis Philharmonic her sister took to the piano and her brother was a percussionist She was a truly independent woman who married young shortly after finishing school but soon found out that marriage was not for her and divorced young as well keeping her maiden name After success with her Hoosier Rag which was eventually published by Jerome Remick in Detroit she wrote only two more piano rags both published by J H Aufderheide Julia also acted as an arranger for the firm for a period of time During the 1910s and 1920s Ms Niebergall was a professional pianist focusing mostly on playing for movies at the Colonial Theatre

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  • Furore Verlag: Music by women composers
    been awarded composition scholarships from the Department of Education and Science 1971 74 and the German Academic Exchange Service 1975 78 She has been recipient of various prizes and distinctions from the Gedok Leni Neuenschwander Prize 1998 for Gleichsam einem Garten from the Bach Academy in Stuttgart for Stabat Mater from the town of Hamlyn Hameln Germany for An English Suite and the Stuttgart Composition Prize for Tomba di Bruno Many of her works have been commissions from soloists chamber ensembles and radio stations mainly in Germany Great Britain and Australia Various publications in the field of music theory analyses theory of harmony editing Vivienne Olive is member of the board of directors of the Internationaler Arbeitskreis Frau und Musik Women in Music Germany since 1995 Since 1979 she has been lecturer for Music Theory and Composition at the Hochschule für Musik Nuremberg formerly Meistersingerkonservatorium Germany Between 1993 and 1995 she was on leave of absence in Australia at the University of Ballarat and the James Cook University Townsville where she headed the University s Music Academy and also staged the music festival Contempofest 94 In August September 2005 she was Composer in Residence in Bundanon New South Wales Australia Vivienne Olives works are published by the publishing house Furore Verlag To compose is for Vivienne Olive first and foremost a personal experience a way of expressing herself When asked in an interview what she thought about contemporary music being elitist and only being accessible to a small group of experts she answered that the listener can be reached on two levels the intellectual one and the emotional one The main point of her message is directed at the feelings surrounding the soul of her audience Foto Volker Blumentaler More information about Vivienne Olive Werke is the flower of the heart of man 25 plus piano solo 27 works by contemporary women composers A Short Fantasy on Lullay Lulla for alto saxophone and saxophone quartet An English Suite score An English Suite parts big set An English Suite small set of parts And no birds sing Annäherung II an sieben Komponistinnen Another Silly Love Song reduced version Another one for J P for guitar Another silly Love Song Aria Arias from Opera and Oratorio At all at all Bush Gin Rag C Caroline Chisholm Scenes from her Life Musical Ceilidh Context Das hässliche Entlein The ugly Duck Der Schwan Fantasy on the folk song A poor wayfaring stranger Fioriture 2005 Five Australian Landscapes Fundevogel Fairy tale opera in eight scenes Fundevogel Fairy tale opera in eight scenes score I love a sunburnt country In Context In den Nachmittag geflüstert Klangfarben La Palmera Music for Flute and Piano Light winged Dryad of the Trees Love Came So Lightly Lusciniae Lacrimae Magnificat Mushrooms Music for Tuba and Orchestra SAMSON Music for Tuba and Orchestra SAMSON Music for two Saxophones and Orchestra Music for two Saxophones and Orchestra 12 Of broken wings and artificial flowers for bariton and piano Of broken wings and

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  • Furore Verlag: Music by women composers
    in the British Library in London under the shelfmark g 1032 and contains both the existing divertimenti and sonatas The sonatas may also be performed on other instruments recorders flute oboe as was common practice among other composers of the period Not only the harpsichord but also a positive organ a cello or a bassoon a theorbo and a violin double bass particularly recommendable to reinforce the figured bass in the prima parte can be used to play the figured bass part The facsimile print is in good legible condition with frequent phrasing and trill instructions and precise figuring and contains few errors The articulations and trill marks have been reproduced as in the original The editor has only added phrasing suggestions at the beginning of the individual movements which should be adopted by all the parts if need be It has been left to the individual performer to add ornaments and trills in period style Werke Triosonaten Vol I Sonates Triosonaten Vol II Divertimenti da camera More Sibylle Pomorin 16 02 1956 in Altoberndorf Sibylle Pomorin was born on february 16 1956 in Altoberndorf in the southern part of Germany She studied flute and saxophone from 1975 to 1980 at the Staatliche Hochschule für Musik in Münster Westfalen At the same time she played in several chamber music ensembles and jazz groups For these groups she also composed From 1983 she toured with numerous musicians Peter Brötzmann Joëlle Léandre William Parker Yosuke Yamashita Chris Cutler Conny Bauer and others In 1984 1985 she studied composition with Ernst Bechert in Hamburg and attended several workshops held by Dieter Schnebel John Tchicai Alice Shields and Eliane Radigue She founded ensembles and bands her works were performed by herself and highstanding instrumentalists in Europe and Israel the United States and Argentinia Since 1986 she lives and works as a freelance musician and composer in Berlin Sibylle Pomorin earned many prices and awards and many of her works were commissioned for festivals radio stations and theatres She was invited as composer in residence to the US Turkey and Mexiko The focus of her compositional output is chamber music electroacustic works and radio plays She published seven records and discs and was represented in a film portrait Neue Töne aus Berlin of Carla Kilian Bayerischer Rundfunk March 1992 During a longer stay in Istanbul she worked intensely on traditional oriental music and the instruments Ûd Kanun and Tanbur For the piece Prayer for the Sun Before Travelling she received the first price at the international composers competition Soundscapes voor 2000 in Holland Foto Georg Hornung Werke 25 plus piano solo 27 works by contemporary women composers Annäherung XI Erzählung Istanbuler Kompositionen Istanbuler Kompositionen Christmas Carols by women composers vol 1 pian é forte Music for piano More Elizabeth Poston 1905 1987 This English composer writer and pianist received her musical education at the RAM and on the Continent She also studied the piano with Harold Samuel and the organ with Stanley Marchant Later in

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  • Furore Verlag: Music by women composers
    R S T U V W X Y Z Basket 0 Wishlist 0 Overview A Z Blog Music from Kassel Copyright 2010 2011 by Furore Naumburger Straße 40 34127 Kassel Germany Tel 49 0 561 500 493 11 Fax 49

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  • Furore Verlag: Music by women composers
    nur aus Effekthascherei oder aus nostalgischen Gründen eingesetzt Dennoch ist Karin Rehnqvist unverwechselbar eine Kunstmusikkomponistin Obwohl ihre Musik nicht leicht in Kategorien oder ismen einzuordnen ist behält sie ihren kennzeichnenden Charakter der nicht von Kunstmusikdebatten betroffen ist Dies meint dass Diskussionen über Modernismus und Postmodernismus oder über Exklusivität und Popularität für Karin Rehnqvists Kompositionen ohne Relevanz sind Rehnqvists eigene musikalische Sprache erweist sich in ihrem Schaffenals bemerkenswert konsistent Der Atemrhythmus die Basis des Gesangs durchzieht Rehnqvists Musik Ihre Kenntnisse alter Musik und ihrer Instrumente treten manchmal deutlich zutage der Stil jedes einzelnen Werkes hängt zum Teil ab von den individuellen Musikerinnen oder Ensembles für die es geschrieben wurde Zwischen 1976 and 1991 leitete Rehnqvist den Laienchor Stans Kör Dies führte zu einer engen Beziehung zur Vokalmusik und erweckte ihr Interesse an verschiedenen Zugängen zu Aufführungen Diese Erfahrung hat viele Werke beeinflusst 1982 komponierte Rehnqvist Davids nimm das zu ihren am meisten gespielten und geschätzten Werken gehört Die eigentümliche Verwendung schwedischer Volksmusik im Rahmen von Kunstmusik und die originelle Kombination elektronischer und akustischer Techniken sowie der Klang dreier starker konfrontativer umfangreicher Frauenstimmen a cappella üben eine starke Faszination aus Da der schwedische Rundfunk eine Aufführung mitschneiden wollte suchte Karin Rehnqvist dafür passende Sängerinnen sie engagierte Lena Willemark und Susanne Rosenberg und von diesem Zeitpunkt an entwickelte sich eine jahrelange intensive Zusammenarbeit Mit Davids nimm fand Karin Rehnqvist ihre eigene unverwechselbare Stimme und ist ihr seitdem treu geblieben Werke Annäherung XII an sieben Komponistinnen XII More Louise Reichhardt 1779 1826 Louise Reichardt 1779 1826 the daughter of Johann Friedrich Reichardt and Juliana Reichardt née Benda both professional musicians knew many of the leading poets and thinkers of her day Goethe called the Reichardt family estate in Giebichenstein near Halle where he also visited die Herberge der Romantik the hostel of Romanticism She composed songs in the folk like style espoused by her father choosing poems by poets she knew personally including Achim von Arnim Clemens Brentano and the artist Philipp Otto Runge Ludwig Tieck and Novalis Although the poet Joseph von Eichendorff referred to Louise as the daughter who composed Goethe songs only two Goethe settings are known today one of which appears here Werke Annäherung XI Lieder romantischer Dichter Vol 1 songs for high voice Lieder romantischer Dichter Vol 2 songs for low voice Inspired by Goethe Songs by women composers of the 18 th and 19 th Centuries Christmas Carols by Women Composers Vol 4 More Jeannine Richer 1924 No description available No description available Werke Fragment Minéral I More Bess Ruddisill No description available No description available Werke Ragtimes More Zoé de la Rüe Zoé de la Rüe is found in a small amount of sources also by the spelling de Larue or Delarue On the editions of her music she is always spelled Zoé de la Rüe though It seems like she has been confused already during her lifetime with Eugénie de la Rüe 1777 1816 née Beaumarchais who was also a musician in Paris at the same

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  • Furore Verlag: Music by women composers
    Erlkönig from the Singspiel became the first of many settings of this popular ballad She published this song and one additional Goethe setting in her collection of Fünf und Zwanzig Lieder twenty five songs Weimar 1786 Werke Inspired by Goethe Songs by women composers of the 18 th and 19 th Centuries More Fémine Schults This Dutch composer musician seems to have been connected to Amsterdam as her music was edited by an Amsterdam company de Algemene Muziekhandel v h Stumpff Koning Muziek en Instrumentenhandel K van der Meer van Rosmalen In 1883 1885 she is recorded as setting the Dutch Amsterdam writer M G L van Loghem s Een Liefde in het Zuiden A love in the South to music 1901 Van het starrekijn and Tien Liederen from 1928 dedicated to Anke Schierbeek a Dutch mezzo soprano who was active from 1912 1952 These seem all the works that presently survive or are obtainable via the archives Nederland Muziek Instituut from this musician She writes well for the piano expressing the text with late 19th century harmonic shifts and appropriate musical devices The melodic line for the voice is well and creatively written again suitably expressing the text Werke Christmas Carols by Women Composers Vol 4 More Clara Schumann 13 09 1819 in Leipzig 20 05 1896 in Frankfurt am Main The young Clara Schumann née Wieck 1819 1896 played for Goethe in Weimar shortly after her twelfth and his last birthday Weimar was the first stop on her first concert tour arranged by her father Joseph Wieck On 1 Oct at midday they had an audience with the 83 year old Goethe Clara had to sit next to him on the sofa Soon his daughter in law Ottilie came with her two intelligent looking children Clara was now requested to play and since the chair at the piano was too low he himself got a pillow from the foyer and adjusted it for her Clara also played a public concert in Weimar and a second time for the poet Impressed by her performance Goethe remarked that She plays with as much strength as six boys As a sign of appreciation Goethe gave Clara a bronzen portrait medallion on the back of which he had inscribed a note For the gifted artist Clara Wieck A highly complimentary review of her Weimar performance appeared in the Allgemeine musikalische Zeitung in March 1832 the same month Goethe died In light of her early memorable meeting with Goethe it is surprising that only one song setting of his poetry remains Yet Clara and Robert Schumann considered setting additional Goethe texts as is clear from the entries in their Abschriften von Gedichten zur Komposition transcriptions of poems to compose Clara entered twelve Goethe poems including Das Veilchen the only one she composed while Robert entered two more Werke Annäherung V an sieben Komponistinnen Praeludium I und II Praeludium und Fuge g Moll op 16 1 Praeludium und Fuge B Dur op 16 2 Praeludium und Fuge d Moll op 16 3 More Margarete Schweikert 16 02 1887 in Karlsruhe 13 03 1957 in Karlsruhe Margarete Schweikert 1887 1957 Margarete was born on 16 February 1887 in Karlsruhe After studies at the Grand Ducal Conservatory in Karlsruhe and at the Royal Conservatory in Stuttgart as well as several concert tours throughout southern Germany she had lived her life in her hometown There she died on 13 March 1957 Margarete Schweikert composed more than 100 songs She also created songs for choir organ and compositions for piano as well as chamber music with particular emphasis on her instrument the violin Furore will publish the following works Chamber Music 1 Serenade auf dem Meer Text Isolde Kurz 1909 for Soprano Violine Englishhorn Piano 2 Psalm 104 op 4 Lobe den Herrn Altes Testament for Tenor Violin Piano Organ 3 Menuett im alten Stil for Violin and Piano Novelette for Piano 4 Sonata Allegro con brio Andante ma non troppo und Presto for Violin and Viola 5 Romanze for Violin Cello and Piano Lieder 1 Six Lieder op 3 for Soprano and Tenor and Piano Texts 1 Lied Erich Enke 2 Gustav Falke 3 J W v Goethe 4 Margarete Sachse 5 Johannes Schlaf 6 Gustav Falke 2 Four Goethelieder op 11 for Tenor und Piano 3 Two late Lieder Leid Text Ludwig Jungmann 1946 und Einem Vorangegangenen Text Auguste Supper 1947 for Soprano and Piano 4 Four Flower Songs Blumenlieder Vergissmeinnicht Text Richard Dehmel Tenor Piano Morgens send ich Dir die Veilchen Text Heinrich Heine Soprano Piano Mit drei roten Rosenblättern Text Fritz Römhild Soprano Piano sowie Er gab mir die Rose Text Otto Michaeli Soprano Piano 5 Three Wolkenlieder Text Theowill Übelacker für Soprano and Piano Werke CD Songs and Chamber Music Novellette for piano Serenade auf dem Meer um 1907 Serenade on the Sea Wolken Lieder Späte Lieder for voice and piano More Ethel Smyth 23 04 1858 in Sidcup 08 05 1944 in Woking Ethel Mary Smyth was born in 1858 in Sidcup the daughter of a British considered typical Victorian family She spent her youth at a time when creative power of women was flatly denied and chastity and decency should be the highest ideals of a woman At nine she received her first piano lessons from a German governess who graduated in Leipzig to study music It was with Carl Reinecke that Ethel Smyth began her composition lessons at the Leipzig Conservatory in 1877 as the first female student in his class Soon afterwards she chose Heinrich von Herzogenberg who was completely under the spell of the overpowering Johannes Brahms as her personal teacher and friend Herzogenberg provided helpful guidance for her studies and work up until 1884 At the same time began their close friendship to the family von Herzogenberg Smyth began taking private lessons in composition from Heinrich Aloysius von Herzogenberg Even then there were prejudice the quality of her compositions was reduced because they were written by a

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  • Furore Verlag: Music by women composers
    was born into a family of high nobility and had been lady in waiting to Madame Elisabeth sister of King Louis XVI prior to her marriage She was born March 3rd 1753 married the Marquis de Travanet in 1779 and died May 4th 1828 After the French revolution which her husband had joined the couple bought the secularized monastery Royaumont in Asnières sur Oise and transformed it into a factory The couple became estranged from each other since Jeanne Rénée retained royalist sympathies and later divorced Her contemporary Henriette Louise von Waldner Oberkirch depicts her as follows I am very intimate with Madame Thavanet for whom I feel the greatest friendship and with whom I constantly correspond She is one of the best the wittiest and the most charming woman of my acquaintance It is she who has composed the song of Pauvre Jacques of which the words and air are both so touching She had been for some time lady in waiting to Princess Elizabeth Memoirs of The Baroness d Oberkirch Countess de Montbrison London 1852 Werke L amour et le printemps Songs around 1800 More Wen Hui Tu 1964 in Taipeh Taiwan Wen Hui Tu was born in Taipeh Taiwan in 1964 She showed musical talent quite early which was directed to the piano by her mother Aged 6 she attended a private music school where she was given a classical European kind of musical training At the early age of 7 she began to write her first piano compositions at first for two and later also for four hands and performed these pieces together with her sister Between 1979 and 1984 Wen Hui Tu studied composition with professors Yen Lui and Chan Fa Yiu and viola at the Taiwan National Academy of Arts and completed her studies by writing an awardwinning violin concerto In the same year she continued her composition studies with professor Francis Burt one of Boris Blacher students at the academy of music and performing arts in Vienna In 1989 she passed the composer diploma with distinction was honored for it with an award by the Austrian Federal Minister for Science and Research and was granted the academic title of a Master of Arts in 1991 cause she was repeatedly exposed to hostility as the wife of Louis Viardot who was a Republican and a declared opponent of Louis Napoleon However the premiere of Meyerbeer The Prophet 16th April 1849 and her interpretation of the role of Fidà s were an astounding triumph Pauline Viardot sang Fidà s over 200 times on all the great European stages Apart from her portrayal of this character it was above all as Gluck Orpheus that she lent dramatic reality to the role through her musical and dramatic artistry The part had originally been written for a castrato but Berlioz arranged it for her and as a result the forgotten opera made its return to the stage 18th November 1859 The leading female roles in Beethoven Fidelio Gluck

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