Women composers A-Z
Louise Farrenc
* 1804 in Paris † 1875
Jeanne-Louise Dumont was born on May 31st 1804 in Paris. Her parents descended from famous artist families which had been well known as painters, sculptors and engravers ever since the 17th century. At a very young age Louise already received piano lessons from her godmother Cécile Soria. At the age of fifteen she received her first composition lessons from Anton Reicha at the Conservatoire, later on from Johann Nepomuk Hummel.
In 1821, Louise married the flute player and publisher Aristide Farrenc. In 1825, her first piano works were published, from 1830 onwards also chamber music (mostly with piano) as well as orchestra works (including ouvertures and three symphonies). In 1842, Louise Farrenc was appointed professor for piano at the Conservatoire - as the only woman! The classes being separated according to sex at the time - she exclusively taught girls. From 1843 onward one of these girls was her own daughter Victorine who was very talented. Not only the classes were separated but also the professors` salaries. Mrs. Farrenc annually received 200 Fr. less than her male colleagues. Only after having corresponded with the director she was granted a raise of salary after 8 years of teaching in 1850. Louise Farrenc undertook various concert tours throughout the country and abroad, one of them to England. These concert tours were always very successful. Her - mostly male - reviewers praised her compositions and her instrumentation throughout (among them H. Berlioz and R. Schumann). The composer remained true to her classical principles and never became addicted to momentary composing fashions. For her works she was awarded with the “Prix Chartier” in 1861 and 1869 for outstanding chamber works. Her daughter Victorine`s death in the year 1859 nearly made her give up her compository activities entirely. Her husband Aristide who had published his wife`s compositions by “Editions Farrenc” died on 31st January in 1865. In 1873, Louise Farrenc gave up her teaching activities at the Conservatoire after 30 years. Two years later, on 15th September 1875, she died in Paris. Unfortunately, her compositions were forgotten. But luckily her works were rediscovered 100 years after her death and are experiencing a well deserved renaissance.


Annäherung VII - an sieben Komponistinnen
Klavierquintett c-Moll op.40
Nonetto op. 38
Sextett c-Moll op. 40
Sonate pour Piano et Violoncelle op. 46
Trio op. 44
Trio op. 45
pian é forte. Music for piano

Sarah Feigin
* 01.07.1928 † 24.04.2011
The Israeli composer Sarah Feigin was born in Latvia. She studied piano and composition at the Academy of Music in Riga and obtained her “Master of Music” qualification there in 1959.
In 1972 she settled in Israel where she founded a conservatory a year later. Sarah Feigin was director of this conservatory for ten years and taught music and composition. From 1973 to 1990 she worked for “Jeunesses Musicales d’Israël”, organising concerts and presenting and explaining her works, which contain many elements from Jewish folk music, to young people. Reflections on a Niggun, originally composed for clarinet and piano and dedicated to the Israeli clarinettist Ytzhak Katsap, is a rousing concert piece and presents ideal opportunities for development for both instruments, also in the version for viola. This composition which, in Sarah Feigin’s words, takes up the three most important elements of Jewish music – prayer, song and dance – received an award at the composition competition in Miami.


Miriam's Song (Volume 2)

Elise Filipowicz
* 1794 † 1841
Elise Filipowicz, (also: Elizabeth) née Mayer, was born in Rastadt in 1794. At the age of only eleven, she was given violin tuition by Louis Spohr, to whom she remained closely attached for the rest of her life, in Gotha. Now going by the name of Minelli, the surname of her first husband, she gave concerts in Germany and in Poland, where she settled after his death. She worked there for the family of Count Starzenski. Her second marriage was to a Lithuanian nobleman by the name of Filipowicz, by whom she had a daughter.
In the course of the Polish Revolution, her husband joined the army in 1831 and Elise Filipowicz and her daughter went to live in Paris. There she earned her living by giving concerts, teaching and »accompanying ladies who play the piano« (letter to Louis Spohr of 2 June 1833). In the meantime her daughter completed her education as, among other things, a harpist. In 1835 the family moved to London. In a letter to Louis Spohr written on 20 October 1837,the violinist and composer describes her life in London: “We are now quite settled in London. I give lessons in German, French and Italian, accompany ladies who play the piano or the harp on the violin and, during the season, I usually perform a proper concert. My husband copies and transcribes music and my daughter is a governess with a family in the country and earns 150 guineas a year. This is your doing, dear Mister Spohr, as it was through my talent that I was able to afford the best teachers for her. She in turn now teaches German, French, Italian, piano, harp, singing, drawing and painting, in addition to other sciences.” Elise Filipowicz died in 1841. She left numerous compositions for violin and pianoforte, as well as the »Warsovienne« for solo violin and orchestra.


Fantasy on Polish Songs

Tsippi Fleischer
* 1946 in Haifa, Isarel
Tsippi Fleischer was born in Haifa, Israel, in 1946. Her parents, Polish-born Jewish pioneers met in Palestine. Before Tsippi was born her father's entire family had already perished during the Holocaust. As a three-year-old she was already improvising at the piano. In time she studied piano and theory formally at the Rubin Conservatory of Music in Haifa. She grew up in a Jewish-Arab environment and the ambience of co-existence characterizing the city of Haifa flows naturally into her creative oeuvre. Fleischer’s style has diversified greatly during her creative life; her many achievements are characterized by the dynamics of change. In the operatic genre, the Chamber Opera “Medea” (world premiere, Israel, 1997) was followed by the Grand Chamber Opera Cain and Abel (world premiere, Israel, 2002).
Both these works were given their European premieres during 2004 and 2005. The opera “Oasis”, entering into the world of Hebrew children and their Bedouin counterparts in the Sinai desert in the days of the Exodus from Egypt – their first encounter and subsequent emotional parting, marks one of the pinnacles of the composer's ideological and musical statement. The opera was first performed by Cantus Juvenum in Karlsruhe on 12th of November 2010. Fleischer is one of the most active contributors to the ideology of the correlation between composition and music education in Israel, advocating the synthesis between East and West. This also demonstrates her profound pacifistic ideology. It is this local view of the Semitic Mediterranean East in the language of the avantgarde and the personal, original and feminine stamp characterizing Fleischer’s works that have gained her significant international acclaim.

More information about Tsippi Fleischer


25 plus piano solo. 27 works by contemporary women composers
Annäherung X
Appeal to the Stars
Aria. Arias from Opera and Oratorio
Ballad of Expected Death in Cairo
Ancient Love
In Chromatic Mood
Oasis op. 71. Eine Kinderoper (Originalversion)
Oasis op. 71. Children opera in 4 scenes (2010)
Oasis op. 71. Children opera in 4 scenes (2010)
Oasis op. 71. Children opera in 4 scenes (2010)
Oasis op. 71a. A Children's Opera (English Version)
Oasis op. 71a. A Children’s Opera (English Version)
Spielmobil op. 34
Strings – Bow & Arrow
WAR op. 23 for two players
Christmas Carols by Women Composers Vol. 2
World-Weariness (Desert Wind)

25 Jahre Furore
A Publisher creates a furore – 25 years of Furore Verlag The Furore Verlag was founded by Renate Matthei in 1986 to publish music and books by and about women composers from all periods, and remains the only publishing house of its kind in the world. On 21 September 2011, the music publisher will celebrate its 25th anniversary in Kassel with the concerto "L’amour et le printemps" with songs for soprano and harp. As part of the celebration the soprano Ute Schulze and harpist Isabel Moretón Achsel will play music by women composers from the Classical Period. The programme is to include works by Maria Malibran, Zoé de La Rüe and Harriet Abrams which appear in Furore Verlag's two new harp editions "L’amour et le printemps" and "Rosa & Henry". The publishing house created quite a furore in the music world when it was first established, due to the common misconception at the time that women could not compose. However, Furore's work over the past 25 years has convincingly refuted this claim. From the outset, works have been accepted from women authors and publishers from all over the world and Furore Verlag has made a name for itself internationally at trade fairs and conferences. Over 1,200 works by more than 150 women composers from Europe, America, Asia and Australia have been published to date. The music originates from a period ranging from the 16th century to the present day.
The most famous woman composer in the Furore Verlag is Fanny Hensel, sister of Felix Mendelssohn Bartholdy. Furore was the first to publish over 160 works by the most eminent female composer of the German Romantic Period, ranging from large choral and orchestral works to piano and chamber music and lieder. Pre-eminent amongst these is the great and frequently adapted piano cycle "Das Jahr" [The Year]. Furore published this as a modern music edition and as a four-colour reproduction, which was awarded the "Best Edition" German music edition prize by the German Music Publishers' Association in 2002. Furore Verlag has also received the "Best Edition" German music edition prize on three other occasions for selected music publications: in 2010, for the publication of "Ausgewählte Lieder" [Selected Lieder] by Josephine Lang in the category "academic music publications"; in 2006, for the publication of "25 plus piano solo" in the category "Editions of 20th century works " and in 1996 for the publication of "Ton-Zeichen" [Tone Signs] by the Darmstadt composer Barbara Heller in the same category. Furore's published works are played all over the world. In November 2010, the American Symphony Orchestra gave a successful performance of Fanny Hensel's "Oratorio" on scenes from the bible for choir, orchestra and soloists at the Carnegie Hall in New York. And on 17 September 2011, the Oratorio will be performed by the Hong Kong Oratorio Society with a choir of over 100. Further information on the Furore Verlag and its anniversary, new anniversary publications and the concert series entitled "25 concerts / 25 composers" can be found at