Clara Faisst was a composer, pianist, and poet who spent the bulk of her life in Karslbad, Germany. In her twenties she studied music in Berlin, learning composition from the composer Max Bruch and music theory from Clara Schumann’s half-brother Woldemar Bargiel. She settled in Karlsruhe and made her living
Carmela Mackenna was a Chilean woman composer who wrote a wide variety of works, including solo piano pieces, chamber music, choral music, orchestral music, and songs. She belonged to an aristocratic family, and thus received training in music and foreign languages. Mackenna married a diplomat, so her life involved traveling
Until recently, the name Ina Boyle was something of an enigma. Although she was one of the most prolific composers in Ireland during the first half of the 20th century, her vast corpus of music—including choral, vocal, chamber, and orchestral music as well as ballet and opera—remained virtually unknown and
Mélanie Bonis’s life story is one of perseverance and talent overcoming all manner of obstacles. She grew up in a middle-class home with parents who did not support her musical ambitions—she taught herself piano until she was twelve and was only allowed to take music lessons after a professor at
“I do not want tributes. I just want Peruvian music to be loved and respected.” These were the words of the Peruvian composer Rosa Mercedes Ayarza de Morales when interviewed in her 80s for a tribute organized by her students. She grew up in Lima in a deeply musical household.
Mary Wurm was a pianist and composer, born in England to German parents. She grew up in a musical family: her father was a music teacher, her mother was a violinist, and her younger sisters Adele, Alice, and Matilde also went on to have considerable careers as pianists. As a
The music by these composers has not been recorded very often, in some cases not at all. This is why one of the purposes of the ASA is to offer quality video recordings of this overlooked repertoire.
Fanny Hensel’s op. 1 (a collection of six songs) was published in the summer of 1846, less than a year before she died of a stroke at the age of 41.
Marie Vespermann appeared in public concerts as young as age nine and began composing songs at age twelve.
Marie Franz composed a stirring setting of Goethe’s poem “Meine Ruh ist hin,” which is even more turbulent than Franz Schubert’s immortal 1814 setting of the same text — “Gretchen am Spinnrade.”
Mary Wurm was a gifted piano teacher. In 1914, she published a collection of music designed for the teaching of preschool-age children, The ABCs of Music (Das ABC der Musik).
Stephen Rodgers is the Edmund A. Cykler Chair in Music and Professor of Music Theory and Musicianship at the University of Oregon, where he has been teaching since 2005. Rodgers’s research focuses on the relationship between music and poetry in art songs from the nineteenth century to the present day, especially art songs by underrepresented composers.
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