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Women composers A-Z
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Elisabeth-Claude Jacquet de La Guerre
* 17.03.1665 † 27.06.1729
During the seventeenth and eighteenth centuries France produced a number of distinguished musicians, not least among them Elizabeth-Claude Jacquet. Born in Paris in 1665, Elizabeth very early in life achieved fame as a harpsichordist and was engaged to provide musical entertainment at the court of Louis XIV.
Her appearances as singer, harpsichordist, and composer elicited high praise and brought her great renown, even in foreign countries. After leaving her royal employ in the early 1680s and marrying the Parisian organist Marin de la Guerre, Elizabeth now Mlle de la Guerre developed a wide following through ongoing activity as a composer and performer. Highlights of her early years in the public sphere included publication in 1687 of her first book of harpsichord pieces and production seven years later of her tragödie lyrique, Cephale et Procris the first composition by a woman to be presented at the Academe Royale de Musique. In the early 1700s, following the deaths of her father, son and husband, La Guerre's creative activity intensified. In fact, she issued most of her publications between 1707 and 1715. She also inaugurated a series of harpsichord recitals at her home where, until her retirement in 1717, all the great musicians and fine connoisseurs went eagerly to hear her.' By the time of her death in 1729, La Guerre was considered one of the great artists of her time whose feats as composer and performer merited enduring recognition. La Guerre's extant compositions include stage works, popular songs, cantatas, harpsichord pieces, and sonatas a range of production that demonstrates not only her versatility but also her openness to new forms and styles. La Guerre's sonatas were among the first composed in France. They comprise six unpublished works (two solo sonatas and four trios) that date back to at least 1695, and six Sonates pour le viollon et pour le clavecin published in June of 1707. La Guerre's sonatas as a whole contain four to nine movements arranged on the basis of contrast but without adherence to any one pattern. Movements with tempo titles prevail, but arias and dances are also present. Especially noteworthy is the preponderance of slow finales; eight of the twelve pieces conclude with either an adagio or an aria. The arias are particularly notable for their changes of instrumentation and for their soloistic use of the melodic bass instrument. Although La Guerre's sonatas display a considerable variety of compositional techniques, they nonetheless exhibit several characteristic features, namely, simple yet artful melodies, repeated-note patterns, syncopations, major-minor inflections, and harmonic mutations. Frequent changes of mode and an occasional incorporation of contrasting keys attest to La Guerre's love of tonal contrast. La Guerre's sonatas of 1707 display freer handling of the violin, increased rhythmic subtlety, and greater expressiveness than do her unpublished works for violin. Interestingly, Sonatas V and VI of 1707 include recastings of portions of her first unpublished solo sonata; these provide valuable insight into the evolution of La Guerre's compositional techniques. Carol Henry Bates

Werke:

Annäherung VI - an sieben Komponistinnen
Esther. Cantata
Jacob et Rachel
Jonas. Cantata
Judith. Cantata
Le Sommeil d’Ulisse. Odysseus’ sleep. Cantata for MS/T, violin and B.c.
Sonates pour le Viollon et pour le clavecin Vol 3: Sonata V (a), Sonata VI (A)
Sonates pour le Viollon et pour le clavecin. Vol 1: Sonata I (d), Sonata II (D)
Sonates pour le Viollon et pour le clavecin. Vol 2: Sonata III (F), Sonata IV (G)
Triosonaten Band 1
Triosonaten Band 2

Sophie Gail
* 28.08.1775 in Paris
Edmée Sophie Gail, née Garre, was born August 28th 1775 as daughter of the physician and surgeon Claude-Francois Garre (1730–1799) in Paris. From early childhood on she proved to be a good pianist and published her first songs at the age of fourteen.
She studied music theory with Francois-Joseph Fétis, married at the age of nineteen philosopher and professor Jean-Baptiste Gail who was significantly older than her and was already divorced in 1801. Student and concert tours as a singer let her to southern France, Italy, England, Germany and Spain. Especially the impressions of her voyage to Spain had great influence on her compositions. Between 1808 and 1810 her salon was meeting point of many famous singers in Paris. One of her four sons is the writer Francisque Gail. Sophie Gail wrote many songs and romances, as well as four one-act operas (Les deux jaloux, Demoiselle de Launay dans la bastille, Angela ou L’atelier de Jean Cousin, La Sérénade) of which Les deux jaloux (“The two jealous”) from 1813 is the best known and was played at the Opera Comique throughout the first half of the nineteenth century.

Werke:

Rosa & Henry. Songs around 1800

Lucija Garuta
* 14.05.1902 in Riga † 15.02.1977
Lucija Garuta kam am 14. Mai 1902 in Riga zur Welt. Über ihre Eltern und musikalische Anregungen und Ausbildung in ihrer Kindheit war in Literatur und 1 erichten von nochlebenden Zeitgenossen nichts zu erfahren. Ihre musikalische Laufbahn aber ist in den einschlägigen Lexika genau wiedergegeben.
Die Grundlagen der Kompositionslehre studierte L. Garuta in Riga bei N. Almanis, dazu Klavier im lettischen Konservatorium in der Klasse von Frau M. Zilinska, dann bei Hans Schmidt, später bei L.G. Dombrovska. Kompositionstheorie studierte sie bei J. Vitols bis 1925. 1926 und 1928 vervollkommnete sie ihr Studium in Paris bei Paul Dukas und Le Flema in Komposition und bei Filipa und Jean Cortot am Klavier.

Werke:

Annäherung V - an sieben Komponistinnen

Ada Gentile
* 26.07.1947 in Avezzano, Abruzzen
Ada Gentile wurde am 26. Juli 1947 in Avezzano in den Abruzzen in eine sehr innig verbundene Großfamilie hineingeboren. Sie ist die Jüngste von zehn Kindern. Sie begann mit dem Klavierstudium am Conservatorio di St. Cecilia in Rom und wechselte dann zu Irma Ravinale zum Studium der Komposition. 1971 legte sie ihr Diplom im Klavierspiel ab, 1974 schloss sie das Kompositionsstudium ab
Sofort danach schrieb sich Gentile an der Accademia di Santa Cecilia für Meisterkurse ein, wo sie das Glück hatte, den letzten Meisterkurs von Goffredo Petrassi vor seiner Pensionierung mitzubekommen, und zwei Jahre später mit einem Diplom abzuschließen. Ihre Kompositionscharakteristika sind eine gründliche Suche nach dem Klang, die den Zuhörerinnen immer neue und überraschende Resultate anbietet: ein reiches, klingendes Kaleidoskop, das durch die Auswahl extremer dynamischer Bereiche entsteht Auftragskompositionen schrieb sie für Rai Radiotelevisione Italiana, die Münchener Biennale und die Accademia di Santa Cecilia in Rom. An Auszeichnungen sind zu nennen: der Gaudeamus in Amsterdam 1982 und zwei Mal der ISCM - in Budapest 1986 und in Essen 1995. Die Musiker, die ihr am Nächsten standen waren Aldo Clementi, Francesco Pennisi, und unter den ausländischen die östliche Schule um Györgi Ligeti und György Kurtag, und in Amerika Elliot Carter. 1994 wurde bei der Münchner Biennale ihre Oper La liberazione di Ruggiero dall'isola di Alcina uraufgeführt. Neben der Tätigkeit als Komponistin unterrichtete Ada Gentile am Conservatorio di St. Cecilia. Außerdem war sie künstlerische Leiterin des Goffredo Petrassi Kammerorchesters (1986-88).

Werke:

Annäherung XII - an sieben Komponistinnen XII

Irene Giblin
* 12.08.1888 † 12.05.1974
Irene M. Giblin was raised in Missouri, living much of her life in St. Louis. Having been a good piano student showing a natural talent for the instrument in her adolescence, Irene was first employed as a music demonstrator by Charles Daniels (a.k.a. Neil Moret) at the Grand Leader department store in St. Louis at the tender but eager age of 14.
She was hired to play all of the latest hits from the Jerome Remick catalog, and her sister Gertie was part of the deal, further encouraging people to buy Remick wares. She was later moved to the Stix, Baer & Fuller department store, also in St. Louis, when she was right out of high school at the age of 17. Giblin ended up working five years, missing only a week of work during that entire period. In her positions, playing the piano several hours every day for anyone who wanted to listen to the latest Remick wonders, it was natural for someone of Irene's creativity to also write some of her own works. Over a period of six years Giblin published nine rags, most of them with Remick. As was so often the story, Giblin eventually gave up her composing and performing endeavors, at least professionally, after she married and had her first of two children. Even though she devoted much of the rest of her life to raising a family, Ms. Giblin never stopped her desire for playing the piano. Although she spent much of the Great Depression through World War II without an instrument, her husband procured a Baldwin baby grand for her which she treasured through the rest of her life. Mr. O'Brien passed away in early 1958, just short of their 50th anniversary. As an indication of how hard it was for a woman to have a rag even considered by a publisher in this predominantly male city known for its ragtime, not one of Giblin's pieces was actually published in St. Louis, even though she was its most prolific female composer at that time. This was in part because of her job working with Remick, but it seems that bulk of women composers were published in Kansas City, Chicago or New York. But her music was most certainly heard in St. Louis, as Chicken Chowder was particularly popular with ragtime orchestras. 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

Imogene Giles
* 16.01.1877 † 29.11.1964
Wurde als Gertrude Imogene Rupert in Fairfield, Iowa, geboren und es nahezu nichts aus Ihrem Leben bekannt. Sie heiratete Henry Emerson Giles und betrieb die erfolgreiche Giles Brothers Music Company in Quincy, Illinois mit ihrem Bruder Jacob. Nach ihrer Hochzeit gab sie in ihrer Musikalienhandlung Musikunterricht.
No description available!

Werke:

Ragtimes

Ursula Görsch
* 1932
Ursula Görsch studied music at the College of Education in Bremen and in addition to qualifying as a teacher also studied the piano privately under Walter Bohle at the Conservatory in Bremen. In 1964 she went to teach in Istanbul for five years where she founded Turkey's first young people's chamber orchestra.
After returning to Germany in 1969 she continued her studies at the Karlsruhe University of Music and attended courses in Composition in Darmstadt and Salzburg. Her works include piano and chamber music, orchestral, vocal and choral works and stage music and have been heard in numerous performances and radio broadcasts in Germany and elsewhere. In 1990 Ursula Görsch won the prize of the Gerhard Maasz Foundation for her 'Cantata Curiosa'. Today the composer lives and works alternately in her home town of Bremen, where she has taught at the university since 1985, and Accra (Ghana), where she has been teaching music at Valley View University since 1997. At Furore.: PIANO LATINERO for piano, see fue 4660 25 plus piano solo http://www.abk-ev.de/Seiten/Portraits/goersch.html

Werke:

25 plus piano solo. 27 works by contemporary women composers
Piano Latinero: Habanera, Carioca, Zortziko

Luise Greger
* 27.12.1862 in Greifswald † 25.01.1944 in Merxhausen
We have few sources of information about the life, works and activities of Luise Greger, the major female songwriter at the turn of the last century. She was born on December 27, 1862 in Greifswald and started learning the piano at the age of five. It is said that her unusual talent took her to Russia in 1871, where she played for the family of the Czar. She began writing songs at the age of about eleven. Unconfirmed sources claim that she studied for one year in Berlin at the “Königliche Hochschule“ (Royal University). She herself stated that she was taught singing in Berlin by Hedwig Wolf and that Richard Strauß bestowed on her the professional title of „composer“.
In 1888 she married the Berlin doctor Ludwig Greger (1860–1919). In 1894 the family moved to Kassel, where Luise Greger devoted more of her time to composing and concerts. After her divorce in 1911, in particular, she and her oldest son Helmuth held musical salons in her apartment at which she performed her numerous songs. Luise Greger was well-known in her time in Germany and the rest of Europe as a singer and song composer; famous singers included her songs in their repertoire and her works were performed in Dresden and Leipzig, in the Odeon in Munich, the Gürzenich Hall in Cologne, especially often in Kassel and in many other towns. In 1930 she was made an honorary member of the ”Elsaß-Lothringischer Bund“ (Alsace-Lorraine Association), her composition for a four-part choir “Hymne an den Elsaß” (Hymn to Alsace) was performed in the Kassel City Hall at the celebrations on the occasion of its 10th anniversary. In 1931 she spent several days in Doorn, in Holland, for the memorial celebrations for the Empress Augusta Viktoria, who had died in 1921, and presented the Emperor’s second wife with some of her compositions. On December 10, 1933 she was present at the premiere of her fairy tale opera “Das Gänseliesel” (The Goose Girl) in the municipal theatre in Baden-Baden. Luise Greger died on January 25, 1944 in Merxhausen. It has not been possible to determine the exact number of her works, in 1925 it was said to be more than 120, later there was talk of a total of some 250. It was only in her old age that she approached the major task of writing an opera – the piano excerpt from her fairytale opera “Das Gänseliesel” is opus no. 170. Her second and probably last work of this kind, the fairytale opera “Teddy”, is believed lost, it is doubtful whether the work was ever finished and performed. Luise Greger´s works are published by the publishing house Furore Verlag. A box of sleeping notes and a few meagre biographical details are all we have at the moment. May we appeal here to all who read this to follow up any references to Luise Greger’s person, her surroundings and her music and to pass them on to us. Thank you.

Werke:

Auf den Schwingen der Nacht
Der Frühling lockt!
Gänseliesel. A fairy tale play (Vocal Score)
Gänseliesel. A fairy tale play (Score)
Lieder Album für Singstimme und Klavier
Luise Greger: CD Lieder
Malönchen for soprano and piano
Weihnachtslieder (Christmas Carols)
Christmas Carols by women composers vol. 1
Christmas Carols by Women Composers Vol. 4
Zehn plattdeutsche Lieder

Sofia Gubaidulina
* 24.10.1931 in Tschistopol an der Wolga
Sofia Gubaidulina wurde 1931 in Tschistopol an der Wolga geboren. Sie studierte Musik in Kasan und am Moskauer Konservatorium. Sie zählt neben A. Schnittke, E. Denissow und V. Silwestrow zu den führenden russischen Avantgardisten. Ihre Werke werden zunehmend im Westen bekannt. 1963 erhielt sie den 1. Preis im Allunionswettbewerb für ihre Komposition 'Allegro rustico', für ihr Orchesterwerk 'Stufen' eine Auszeichnung im 7. Internationalen Kompositionswettbewerb in Rom.
No description available!

Werke:

Annäherung IV - an sieben Komponistinnen

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