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Women composers A-Z
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Harriet Abrams
The exact dates of Harriet (or Harriett) Abrams’ life are uncertain. Following some sources she lived from 1760 to 1822, others mention that she lived from 1758 to March 8th 1821 or 1825.
Harriet Abrams was born into a musical family of Jewish descent and was a successful singer, as were her two younger sisters Theodosia and Eliza. Harriet studied voice, music theory and composition with famous composer Thomas Arne (1710–1778) and made her debut as a singer in 1775 at the Theatre Royal, Drury Lane in London. Contemporary reviews criticized her lack of stage presence, but praised her singing ability in operatic performances. Especially she was praised for her performances of Händel oratorios. At the end of the 1790s her public performances ceased respectively and only took place in private circles. In benefit concerts in the years of 1792, 1794, and 1795 Joseph Haydn accompanied her at the piano. A set of songs, which were published in 1803, was dedicated to Queen Charlotte. Her compositions consist exclusively of vocal works, among them innumerable songs with piano or harp accompaniment. The simplistic instrumental accompaniments usually include the vocal melody.

Werke:

L‘amour et le printemps. Songs around 1800

Liana Alexandra
* 1947 in Bukarest † 10.01.2011 in Bukarest
The pianist and composer studied Composition at the Bucharest Ciprian-Porumbescu Conservatory from 1965 to 1971. She took part for several years in summer courses in Darmstadt and in 1983 was awarded the USIA scholarship to study in the USA, where she completed her doctorate in Musicology.
Liana Alexandra has won numerous prizes for composition, she won the Gedok Competition in Mannheim in 1989 and won prizes at the International Festival of Women Composers in Unna in 1991 and in 2003 and 2004 at the "Synthese" festival in Bourges, to mention but a few. She has written more than 100 works, including cantatas, choral works, chamber music, orchestral works and operas which are performed throughout the world. As professor at the National University of Music in Bucharest she currently teaches Composition, Orchestration and Musical Analysis. http://romania-on-line.net/whoswho/AlexandraLiana.htm

Werke:

25 plus piano solo. 27 works by contemporary women composers
Sonata pentra Flaut Solo

Anna Amalia, Herzogin von Sachsen-Weimar
* 1739 † 1807
Anna Amalia, the Dowager Duchess of Saxe-Weimar-Eisenach, was a formidable political figure who was also a fine composer. The fifth of thirteen children born to Karl I of Braunschweig and Philippine Charlotte, a sister of Frederick the Great, she was born on 24 October 1739 in Wolfenbüttel. She received an extensive education across the sciences and humanities, as well as in dancing, piano and composition. At one stage she had been considered as a possible wife for the Prince of Wales, later George III of England. Instead on 16 March 1756, aged sixteen, she married the eighteen-year-old Ernst August Konstantin, Duke of Saxe-Weimar. His untimely death two years later left Anna as regent, a position she fulfilled with considerable success until 1775, the year her eldest son came of age. In the process she became the most famous female ruler of the German Enlightenment.
Goethe’s arrival in Weimar in November 1775 coincided with her partial withdrawal from political life. With the accession of her son, Carl August, to power, she could dedicate herself to her private passions; theatre, music, literature, and conversation. So it was, soon after Goethe had arrived, that Anna seized the opportunity to provide a new setting of Goethes Erwin and Elmire. Goethe’s designation Schauspiel mit Gesang was altered by the composer to become an ‘Opera’ in two acts, a substantial score of some 241 pages of manuscript. The scale and style of the work suggests that the Duchess wanted to build both upon the principles of Christoph Willibald Gluck’s so-called ‘Reform’ opera, as well as the emergent Singspiel tradition. Anna Amalia drew upon models from both opera seria, opera buffa, and folk song, but the result was no mere musical potpourri. Rather – in the best tradition of the Singspiel – she created a successful dramatic whole, in which all four protagonists were characterised as much by the stylistic and generic nuances provided by the musical accompaniment as by the content and register of the words they speak. Anna Amalia spent the years from 1788 to 1790 in Rome and Naples; a highly unusual act for a widowed protestant Duchess. There she took great pleasure in art and sightseeing. Once back in Weimar she retreated into private life and died on 10 April 1807.

Werke:

Annäherung X
Aria. Arias from Opera and Oratorio
Erwin und Elmire
Erwin und Elmire
Erwin und Elmire (1776) (Vocal Score)
Inspired by Goethe. Songs by women composers of the 18.th and 19.th Centuries

Elisabeth Amandi
* 21.10.1950 in Bamberg
With her rhythmical instrumental music, Elisabeth Amandi is an active and creative woman in all important areas of musical education and entertainment.
Elisabeth Amandi, born Elisabeth Völkel 1950 in Bamberg, spent the first years of life in a children's home in Bamberg. She was brought to Würzburg by Mother and Grandmother when she was six. At 6 years of age, she received piano lessons and, simultaneously for over 20 years, ballet instruction with numerous appearances in the Municipal Theatre of Würzburg. In 9th class at the catholic Ursulinen Higschool, she received the suggestion from her music teacher to apply for a young student program in piano in the Conservatory of Würzburg. Already, in 10th class and after successful auditions, she began to receive piano lessons in the Conservatory of Würzburg. This prepared the way to a full study of music at the Bavarian State Conservatory of Würzburg. After a successful graduation as subject teacher for music in elementary and secondary schools with the piano, gamba and flute, she was trained by Prof. Manfred Dietz to be a private piano teacher. She continued studying afterwards for another three years with Prof. Siegfried Fink in the University of Musik in Würzburg, majoring in timpani/percussion with emphasis on the Marimba and graduated from her studies with an artistic diploma and an additional pedagogic qualification. During her studies, she received the University Prize for Outstanding Students. In 1976, she undertook her postgraduate studies in orchestral percussion with Prof. Hermann Gschwendtner in München at the Richard Strauss Conservatory, during which she became acquainted with engineering graduate Manfred Amandi and became Mrs. Elisabeth Amandi through marriage in 1979 at the Munich-Pasing registry office. She developed her career as a pedagogue for percussion, marimba, percussion-ensemble and jazz/pop piano at the Planegg-Krailling music school and the Gräfelfing music school in Munich. Since her fulminant appearance in 1981 in “Wetten dass…?” with the „bumblebee-flight bet“, she is invited regularly by radio and television companies such as Tele 5, NDR, SWR, WDR, ZDF and BR to interviews and performances. She received the „State Capital Munich Sponsorship Prize for Culture“ in 1994 for her service to the cultural development in music. In order to promote sustainable music education, she founded the public non-profit „Amandi Foundation Music helps Children“ alongside her husband Manfred Amandi in 2003. She teaches children, youths, adults in groups of drums, percussion, marimba and also in conga rhythm groups and youth percussion groups. With her rhythmic instrumental music, Elisabeth Amandi is an exceptionally active and creative woman in every important aspect of music education and entertainment. For more information: www.amandi.de

Werke:

Ritmo Vito
Ritmo Vito
Ritmo Vito (Piano Score)

Elfrida Andrée
* 19.02.1841 in Visby † 11.01.1929 in Göteborg
Elfrida Andrée, Swedish organist and composer, was born in Visby, Feb. 19, 1841, and died in Göteborg, Jan. 11, 1929. Like her sister, the important opera singer Fredricka Stenhammar, she had her first instruction in music from her father. She studied composition with Ludwig Norman at the Royal Academy of Music, Stockholm, and later took lessons with Niels Gade in Copenhagen.
At the same time, she studied telegraphy and was the first woman telegraph operator in Sweden. She was a keen supporter of the suffragette movement. In 1867 she was appointed organist at the Göteborg Cathedral. She established a series of popular concerts and presented about 800 programs. In consideration for her achievements, she was elected a member of the Swedish Academy of Music. She was a pioneer among Swedish women as an organist and composer. She wrote four symphonies, a Swedish Mass, which had frequent performances. Her numerous organ works include two "symphonies", one with wind instruments. Her style reflected the ideas of the Leipzig school and the Scandinavian nationalism of her day. In addition to this string quartet, she composed a piano quintet, two sonatas and several "Romances" for violin and piano, and a piano quartet.

Werke:

Quartett
Sonata for violin and piano
Streichquartett

Caroline Ansink
* 08.08.1959 in Amsterdam
Caroline Ansink studied the Flute with Abbie de Quant at the Conservatory in Utrecht and graduated in Musicology in 1986. She also studied Composition with Joep Straesser from 1983 to 1988 and was a pupil of the Korean composer Isang Yun. Her works include chamber and vocal music and compositions for orchestra and choir. Her compositions have won her a number of awards, including prizes at the Gedok competition in Mannheim in 1985 and 1989 and the prize of the Amsterdam Fund for the Arts in 1990. In 1992 the Dutch channel NOS broadcast a TV documentation ”Ik componeer als mens” (I compose music as a human being) featuring Caroline Ansink and the Utrecht composer and singing teacher Catharina van Rennes, who died in 1940. Caroline Ansink was a flutist in the Clara Schumann Orchestra in Cologne, today she lives as a free-lance composer and musician in Amsterdam and teaches at the Conservatory in Utrecht.
Her compositions have won her a number of awards, including prizes at the Gedok competition in Mannheim in 1985 and 1989 and the prize of the Amsterdam Fund for the Arts in 1990. In 1992 the Dutch channel NOS broadcast a TV documentation "Ik componeer als mens" (I compose music as a human being) featuring Caroline Ansink and the Utrecht composer and singing teacher Catharina van Rennes, who died in 1940. Caroline Ansink was a flutist in the Clara Schumann Orchestra in Cologne, today she lives as a free-lance composer and musician in Amsterdam and teaches at the Conservatory in Utrecht. At Furore: LOS for piano, see fue 4660 25 plus piano solo

Werke:

25 plus piano solo. 27 works by contemporary women composers

May Frances Aufderheide
* 21.05.1890 † 01.09.1972
May Aufderheide wrote a half dozen or so rags, and most were published by her father's Indianapolis publishing company, which he started to publish her works. Aufderheide may not have been able to write music--the actual scores may have been written out by Julia Niebergall from the tunes May composed at the piano. May Aufderheide's "The Thriller," dates from 1909 and is an excellent rag by a widely respected rag composer.
The edition: AUFDERHEIDE, MAY(1888-1972) u. a. Ragtimes fue 1610 ISMN: M-50012-061-2 Aufderheide, May: Dusty & The Thriller!; Giles, Imogene: Red Peppers; Bolen, Grace M.: The Smoky Topaz; Ruddisill, Bess: The Eight O’ Clock Rush; Niebergall, Julia Lee: Horseshoe Rag; Giblin, Irene M.: Chicken Chowder; Cozad, Irene: Eatin Time (Kaluza) American women pianists composed numerous ragtime pieces around the turn of the century about three hundred of which have been found and listed in recent years. Eight such pieces are published here; these syncopate rhythms are still as appealing as ever. Those who do not feel like continually practicing wide jumps with their left hand and octaves with their right should look for a partner and play these pieces four hands.

Werke:

Ragtimes

Josephine Aurnhammer
* 1758 † 1820
Was hätte Ihnen der Name Josephine Aurnhammer gesagt? W. A. Mozart schätze seine Kollegin als außergewöhnliche Pianistin und Komponistin.
No description available!

Werke:

Sechs Variationen über ein ungarisches Thema

Maria de Alvear
* 1960 in Madrid
Maria de Alvear studierte Cembalo, Klavier, Orgel und Harfe sowie Komposition und Dirigieren in Spanien und ab 1980 "Neues Musiktheater" bei Mauricio Kagel an der Hochschule für Musik in Köln. Sie erhielt ihren Abschluss 1986 und arbeitet seit 1989 auch als bildende Künstlerin. Maria de Alvear erhielt 1992 das Bernd-Alois-Zimmermann-Stipendium und gründete 1998 den Verlag "World Edition"...
Die Komponistin befasste sich intensiv mit Jazzimprovisation und der Musik anderer Völker; Forschungsreisen führten sie u. a. nach Sibirien, Nordafrika und in die USA. In ihren Arbeiten - die sie in Konzerten und Performances auch selbst darbietet - beschäftigt sie sich mit altem spirituellen Wissen im menschlichen Leben. Ihr Opus umfasst Vokalmusik, Kammermusik, Bühnenmusik, Orchesterwerke sowie Hörspiele und Videoinstallationen und wird in ganz Europa und in den USA aufgeführt und ausgestellt.

Werke:

25 plus piano solo. 27 works by contemporary women composers
Annäherung X

Bettine von Arnim
* 04.04.1785 in Frankfurt a. M † 20.01.1859 in Berlin
The daughter of a French mother and an Italian father, Bettine Brentano, a German poet, composer, singer and sculptor was one of the most versatile and flamboyant figures of the early 19th century. She received training in piano, singing and composition. Her style is very much improvisational. One of her co-students, Alois Bihler, seemed to be able to understand her musical thoughts perfectly well and was able to meet her with just the right chord during improvisation. Due to the colour of her voice she would have performed male roles – a remnant of the baroque period.
In her personal appearance she refused to be the ideal feminine. She was close friends with many of the leading figures in the world of politics and the arts, a close friend and great admirer of Beethoven; Johanna Kinkel, Robert and Clara Schumann, Johannes Brahms, Franz Liszt and Joseph Joachim were among her closest friends. She was in close correspondence with Goethe and the Brothers Grimm belonged to the family circle. Brentano’s collections of letters, written in a fresh and direct style, provide a vivid picture of her life, the personalities and attitudes of her time. Bettine broke the restrictions that were usually allocated to women in the same way as she transgressed the rules of composition, but therefore gained a much more encompassing intellectual space for herself. She felt greatly drawn to the harmonic language of Liszt. Her versatility, intellect and enthusiasm reveal one of the most accomplished women of German Romanticism.

Werke:

Annäherung VII - an sieben Komponistinnen
Lieder on Goethe Texts.
Lieder und Duette. 23 Lieder und Duette für mittlere Stimmlage und Klavier.
Inspired by Goethe. Songs by women composers of the 18.th and 19.th Centuries
Christmas Carols by Women Composers Vol. 4

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