Women composers A-Z
Violeta Dinescu
* 13.07.1953 in Bukarest
Violeta Dinescu studied at the Ciprian Porum¬bescu Conservatory in Bucharest from 1972 to 1977, completing her studies with distinction and with three diplomas in Composition, Piano and Education. She was then awarded a year devoted exclusively to the study of Composition, followed by a teaching post in the subjects Theory, Aesthetics, Counterpoint and Piano at the George Enescu College of Music in Bucharest.
In 1982 Violeta Dinescu emigrated to Germany, where she was awarded scholarships and commissions for compositions and taught at several German universities before being appointed Professor for Applied Composition at the Carl von Ossietzky University in Oldenburg. More than 50 international prizes and distinctions, guest lectures and teaching posts at several American universities and a number of CDs of her works all bear testimony to her inexhaustible creativity. At Furore: TELOMER for piano, see fue 4660 25 plus piano solo


25 plus piano solo. 27 works by contemporary women composers
Annäherung II - an sieben Komponistinnen
Horn. Music for Horn solo
for mascha. Organ solo

Annette von Droste-Hülshoff
* 1797 † 1848
She was one of Germany’s famous 19th century literary figure, who was also both a musician and composer. She came from a musical family and studied piano and singing. Her uncle Max Droste taught her theory of music. In the years 1824–1831 she dedicated herself mostly to music especially for the voice. Some unfinished compositions stem from this time. Largely through the influence of her brother-in-law, Lassberg, she became interested in collecting old Volkslieder and contributed to the collections of Ludwig Uhland and August von Haxthausen. This interest culminated in her arrangement of the Lochamer Liederbuch (1836) for voice and piano. She set four poems by Goethe, texts by Clemens von Brentano, Sir Walter Scott, Byron and her own texts to music. She worked on four Operas that remained unfinished. In 1845 Clara Schumann asked her to write an Opera libretto for her husband Robert. However the idea did not come to fruition. Her style shows the influence of the Volkslied, some are recitative like in nature, others contain melodic dissonances and harmonic cross-relations outside the compositorial norm of her time. The spontaneous nature of making music was at the centre of her musicianship. She gave expression to her musical thoughts in free, fetterless fantasias and allowed these mighty improvisations to escape into space, without ever putting them to paper.
Although she considered composition more important than writing, she has been deemed more central to 19th century German literature, creating with her novella Die Judenbuche one of the most important novella works in German romantic literature, representing a landmark in the art of story telling.


Annäherung V - an sieben Komponistinnen
Inspired by Goethe. Songs by women composers of the and Centuries
Christmas Carols by Women Composers Vol. 3
Christmas Carols by Women Composers Vol. 4

Pauline Duchambge
† 23.04.1858 in Paris
French composer, singer, and poet Charlotte Antoinette Pauline Duchambge, née de Montet, was born and baptised in Strasbourg in 1776. Often Martinique is given as her birth place, which seems to be wrong.
After her education in a convent in Paris she married Baron Philibert Duchambge at the age of twenty, but divorced shortly afterwards. She studied with Léopold-Bastien Desormery, 11 Jan Ladislav Dussek, Luigi Cherubini and Daniel Auber, whose companion she was. In 1815 she entered into a lifelong friendship with poet Marceline Desbordes-Valmore (1786–1859). Pauline Duchambge published numerous songs between 1816 and 1840, many of them with words by Marceline Desbordes-Valmore. Contemporary reviews approve her musical talent, and her compositions were popular at the time, even if they are nearly forgotten nowadays. Pauline Duchambge died April 23rd 1858 in Paris.


L‘amour et le printemps. Songs around 1800

Sophia Dussek
* 01.05.1775 in Edinburgh † 1831 in London
Sophia Dussek was a singer, pianist, harpist and composer of Italian descent. She was taught the piano by her father, the composer, music publisher and teacher, Domenico Corri. She performed in public at an early age. In 1788 her family moved from Edinbirgh to London where she studied singing at Luigi Marchesi, Giuseppe Viganoni and Giambattista Cimador. She made her successful debut at the Salomon Concerts in 1791. After that she started singing in this series regularly and took part in the first performance of Haydns "The Storm".
In 1792 she married the composer Jan Ladislav Dussek with whom she also performed. She taught their daughter Olivia the harp and the piano. Olivia also became a pianist, harpist and composer. After her husband’s death in 1812 she married the violist John Alois Moralt. The couple lived in Paddington, where she founded a music school. She published sonatas, rondos, variations any numerous arrangements for piano or harp.
Photograph: Olivia Dussek, Sophia Dussek's daughter