On November 17th we present Women of Note, a concert of works by four female composers. In historical terms, this is too little, too late. All these women were absolute masters, and our program can hardly make up for the centuries of discrimination that relegated their orchestral scores to the rarely visited, dusty back shelves of old libraries. I know that you will delight, as I did, in re-discovering all of this exciting music.
Augusta Holmès was not allowed to enroll at the Paris Conservatory because she was a woman. Her earliest compositions were written under the male pseudonym Hermann Zenta, to avoid the sexism that was commonly directed toward female composers. In the early 1870s she moved in with writer Catulle Mendès. They had five children together, but never married. Mendès’ wife had left him previously to move in with Richard Wagner. Quite scandalous. By 1875, she was well-known throughout France and had become a student of César Franck. She was successful almost immediately and composed large-scale works that included cantatas, symphonic poems, and two operas.
In my research, I discovered that Saint-Saëns greatly admired Augusta Holmès but wrote that “her compositions were too vigorous and virile and that she composed like a man.” This statement feels misogynistic today and I have taken revenge by immediately programming her tone poem Roland furieux, while completely neglecting Saint-Saëns this season.
Roland is a translation from the original Italian Orlando furioso, an epic poem of chivalry by Ludovico Ariosto published in 1532. It is in three movements each illustrating a section of the poem:
1. Roland, one of Charlemagne’s knights, rides the world in search of Angelique.
2. Instead of Roland, Angelique falls in love with the Moorish knight Médor. The love of Angelique and Médor in a forest idyll.
3. Roland’s fury at #2 above.
Contemporary critics criticized Holmès for being a devotee of Richard Wagner. This was the greatest possible crime for any French composer. However, I detect as much or more influence from Hector Berlioz, the most famous composer in France during Holmès’ youth.
Clara Schumann was one of the most influential composers of the 19th Century. A much better pianist than her more famous husband Robert, she basically ceased composing after her marriage. However, she became the major companion, advisor, advocate, and friend in the life of Johannes Brahms. Schumann, then known as Clara Wieck, completed her powerful piano concerto at the amazingly young age of fifteen. We are proud to present our soloist, the amazing and multi-talented Jinshil Yi.
Our concert begins with the overture to the opera The Boatswain’s Mate by Dame Ethyl Smyth. She wrote both the music and the libretto of this opera which was very successful in its day. Smyth, who lived until 1944, was the first and only woman to have a work performed by the Metropolitan Opera in New York in the 20th Century. From 1910 to 1912 she devoted herself to working for the women’s suffragette movement in England and was rewarded for her efforts by being thrown in jail. From 1913 to 1914 she moved to Helouan, near Cairo, to escape political persecution, and there composed this opera.
Emilie Mayer (1812-1883) was prolific. Her works include one opera, eight symphonies, seven overtures, seven string quartets, twelve cello sonatas, and many songs. She was well-known and performed throughout central Europe. Then, Mayer and her music disappeared. Much of it had not been published, performances dwindled, and before long she was forgotten. We know that her Faust Overture premiered in February 1881 in Berlin with subsequent performances in Karlsbad, Prague, and Vienna. We will open the second half of our concert with this dramatic tone poem.
Women of Note takes place Sunday, November 17, 3:00PM at Central Kitsap High School Performing Arts Center in Silverdale. Tickets are $18-32 for adults, $10 for young adults 19-29, $5 for youth 18 and under. Additional discounts available for teachers, military, and groups of 10 or more. Doors open at 2:00PM. All seats are reserved. Tickets available online here, by calling 360-373-1722, or at the door one hour prior to concert start time.