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Women composers A-Z
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Tera de Marez Oyens
* 05.08.1932 † 29.08.1996
graduated from the Amsterdam Conservatory in 1953. Her subjects included piano, violin and conducting. She proceeded to study composition and orchestration with Hans Henkemans and electronic music with Gottfried Koenig at the Institute of Sonology at the University of Utrecht.
She has performed as a concert pianist and has led both children and adults groups in music improvisation. Her activities include conducting amateur and professional choirs and orchestras, producing music program series for radio, and lecturing and writing on music education, group improvisation, and the role of women in music. Her book Working with Modern Sound was published in 1978 by Toorts, Haarlem, the Netherlands. She has also written and lectured about contemporary music at international forums and numerous conservatories and universities. Until 1988 she taught composition at the Conservatory of Zwolle. She is a profilic composer, with well over 200 works to date. They include full orchestral, chamber and electronic works, church and choral music as well as childrens operas. Many of her compositions were commissioned by the Nederlands Ministery of Culture and various broadcasting networks in Germany and the Netherlands. Tera de Marez Oyens has won several prizes in The Netherlands and abroad. In 1989 she was awarded the first prize in a competition for composers in Dublin. http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=marezoye

Werke:

A Wrinkle in Time
Prazský Hrad (The Prague Castle)
Valalan und Springtal

Olga Magidenko
* 09.05.1954 in Moskau
Olga Magidenko comes from a Russian family of musicians. At age six, she began playing the piano and at the same time she started to compose like her father, Mikhail Magidenko. In the former Soviet Union, he was a renowned composer who wrote many operas in particular. Her mother was a pianist. 6-years-old Olga wrote her first children's songs. At eleven, she decided to continue seriously with composition and she attended to a composition working group at her school. This went on consistently until she studied at the Conservatory composition with Aram Khachaturian.
“Composing is my language and that is without limits. That is not Turkish or Russian, but my very own universal and, ultimately, my main language”,confesses Olga Magidenko. In 1991, she worked as a composer “Artist in Residence” of the Stetson University Deland, Florida. In the same year she came to Heidelberg on the recommendation of Sofia Gubaidulina, where her works have been presented for the first time in Germany at the New Music Festival. Since 1994, the composer lives in Sandhausen near Heidelberg. “I feel more a romantic than a modern composer”, says Olga. And in her scores you will find instructions as sentimental or nostalgico.Aural sensuality and a deep mysticism are characteristic of her style, which captures with its strong sense of psychological finesse. The concentration of the material and concise form structures give the music great openness and transparency. It is a sometimes playful, sometimes of emotional depth embossed dealing with echoes of Russian folklore, which opens outrageous music rooms within a dramatic to high emotional context. The majority of her works are published by the publishing house Furore Verlag.

Werke:

Ausatmen (Ragtime) op. 58e
BLUES op. 44a and DEAr HEiDElBErG op. 45
Bauernhof, op. 88
Boogie for piano 4hands
Capriccio op. 48
Das goldene Schlüsselchen op. 1 / Anregende Studien op. 26
Das goldene Schlüsselchen op. 78
Der gestohlende Buchstabe op. 27a
Der gestohlene Buchstabe (VS)
Der gestohlene Buchstabe op. 27
Der gestohlene Buchstabe op. 27
Ein Edelstein in einer einfachen Einfassung
Einatmen - Ausatmen op. 58a
Einsiedler op. 43
Elfen op. 83
Heidelberg op. 46
Jason und Medea op. 70
Klaviertrio op. 6/1
Klaviertrio op. 6/2
Little Sonatina, op. 89
Medea und Aigeus op. 80
Medea. Opera
Medea. Opera
Mosaikes op. 31
Neckar
Pieta for piano four-hands
Rock 'n' Roll for piano four-hands
Romantic Trio op. 17
Schamanische Musik op. 32
Schneesturm op. 34
Sonate op. 2 & Lustige Fughettas op. 3
Symphonie Nr. 2 (Feier) op. 14
Symphonie Nr. 3
Symphonie Nr. 5 (Wellen) op. 90
Symphonie Nr. 6 (Erdbeben) op. 91
Symphonie Nr. 7 (Gewitter) op. 93
TriO (OOO) op. 85
Two Esse op. 15
Was ist das - Leben? op. 84
Christmas Carols by Women Composers Vol. 2
for mascha. Organ solo

Alma Mahler-Werfel
* 31.08.1897 † 11.12.1964
Alma Maria Werfel, verwitwete Mahler, geschiedene Cropius war eine der exzentrischsten, weiblichsten, intelligentesten Frauen ihrer Zeit. Die Tochter des Wiener Kunstmalers Schindler wuchs zu einer Persönlichkeit von komplexer Natur.
Sie wurde zu einer symbolischen Gestalt in der Geschichte des 20. Jahrhunderts - ein weiblicher Hamlet: 'Ich habe von Gesichtern und Gesichten gelebt und deswegen die Liebe bis zur Neige ausgekostet, weil ich auch hassen konnte!' Von ihrem eigenen musikalischen Schaffen sind nur einige Kunstlieder erhalten. Als Gastgeberin künstlerischer Salons scharte sie in Wien wie New York Künstler und Prominente um sich.

Werke:

Annäherung II - an sieben Komponistinnen

Nélia Maillard
* 1803 † 1835
Nélia Maillard, singer and composer, was acknowledged as a great singing talent. In the years 1828/29 her name can be found on the program notes of many concerts of the “Concerts Spirituels”.
Her sisters Caroline and Hortense Maillard were also singers in the choir of the “Concerts Spirituels”. In 1829 Nélia Maillard was married to Amédée Empaire and apparently ceased to appear in public. Their marriage remained childless. Prior to her marriage in 1829 Nélia Maillard taught voice at the “École Royale de Musique et de Déclamation Lyrique”, the subsequent Paris Conservatoire. A short notice, which could correct her birth year to 1801, is found in the La Revue et Gazette musicale de Paris from 1835: “Mme A. Empaire, née Nélia Maillard, professeur de chant au conservatoire, vient de mourir à l’âge de 34 ans.” (Mme A. Empaire, born Nélia Maillard, professor of voice at the conservatory, has died at the age of 34.)

Werke:

Rosa & Henry. Songs around 1800

Maria Malibran
Singer Maria Malibran was of Spanish descent and lived from 1808 to 1836. During her lifetime she was extremely popular. She was born as the daughter of Spanish composer and singer Manuel del Populo Garcia in Paris on March 24th 1808. Her younger sister was singer and composer Pauline Viardot-Garcia. Already during her childhood Maria Malibran performed in public in Naples and made her debut at the age of eighteen in London in the role of Rosina in “The Barber of Seville”. Numerous reviews report about her artistry, her wide vocal range, and her immaculate bel canto technique.
She mastered a rich repertoire of soprano and alto roles, which had often written expressly for her. When she died at the age of only twenty-eight in consequence of a riding accident, Maria Malibran was considered the best-paid opera singer in Europe. It is reported that Maria Malibran played the piano excellently as well as the harp.

Werke:

L‘amour et le printemps. Songs around 1800

Ursula Mamlok
* 1923 in Berlin
Ursula Mamlok started composing as a child. She started studying Composition and Piano in Berlin with Professor Gustav Ernest. In 1938 she and her parents emigrated to Ecuador, where she had no possibility of continuing her studies.
She received a scholarship to attend the Mannes College of Music in New York on the basis of compositions she submitted to them. Here she was taught, among others, by the conductor Georg Szell and Stefan Wolpe. Ursula Mamlok has received many awards, from the National Endowment for the Arts, for example, and commissions for pieces from the Koussevitzky Foundation and ensembles for New Music. In May 2003 she received the Presidential Medal in recognition of her 35 years as professor and composer at the Manhattan School of Music in New York City. Ursula Mamlok lives and works in New York.

Werke:

25 plus piano solo. 27 works by contemporary women composers

Myriam Lucia Marbé
No description available!
No description available!

Werke:

Annäherung II - an sieben Komponistinnen

Ljubica Maric
* 18.03.1909 in Kragujevac † 17.09.2003 in Belgrad
Ljubica Maric was born on March 18, 1909 in Kragujevac. She was the most important artist in the 20th century Serbian music. After completing her training in Belgrade, Ljubica Maric pursued her musical education at the State Conservatory in Prague. In 1933 she spent one year studying piano with Emil Seling in Berlin. After her return to Yugoslavia she taught music theory at the Music Academy of Belgrade.
In the years after the Second World War Ljubica Maric devoted herself to researching Serbian folk music and ancient orthodox church music; this enabled her mature compositional style to reach complete expression in the 50’s and 60’s. The most important characteristic of her work is the specific synthesis of the heritage of folk music, ancient medieval Byzantine musical thought, and a modern sensibility to sound. ”I have learned everything from folk music“, Ljubica Maric declared. One of the profound spurces of inspiration contributing to the composer’s specific style is the Octoëchos – a volume of medieval Serbian religious songs, based on Byzantine church music and arranged in eight voices (modes) according to their scale structure. She is the very first composer in the history of music who used church melodies (from the Byzantine music) for creating non liturgical compositions. In the 80’s and 90’s Ljubica Marc devoted herself mainly to chamber music, creating exceptional works like “Song for the Flute”, “Invocation”, “Monodia Octoicha”, “From the Darkness Chanting”, “Asymptote”, “Archaia”, “Torso”, which, while plunging in an ever new but recognizable and individual manner into the ancient depths of the past, creatively speaking witness authentically to their own time. Besides her compositions, the versatile talent of Ljubica Maric is also expressed in her drawings, graphic art and literature (including „Tablice“ [tables], a volume of poetic-philosophic aphorisms). Her works are published by the publishing house Furore Verlag.Ljubica Maric died on September 17, 2003 in Belgrade.

Werke:

Annäherung IX - an sieben Komponistinnen
Archaia
Archaia II
Asymptote
Asymptote

From the Darkness Chanting. Cantata
Invocation
Klaviermusik I
Klaviermusik II
Monodia Octoicha
Music for Orchestra
Music for Orchestra
Octoicha I
Octoicha I for symphony orchestra
Ostinato super Thema Octoicha
Passacaglia
Sonata
Sonata fantasia
Song for the Flute
Song for the Flute
Songs of Space
The Enchantress on the eight eclogue by Virgil (1964)
The Threshold of Dream
The Wondrous Milligram
Three Folk Songs
Torso
Wind Quintet
pian é forte. Music for piano

Marianna Martines
* 1744 in Wien † 1812
Marianna Martines, sometimes referred to as Maria Anna or Anna Katharina, her baptismal name, was born in Vienna in 1744, the daughter of Nicolò Martines (also spelled Martinez), a Neapolitan of Spanish descent, knighted by the Empress Maria Theresia and serving as a master of ceremonies to the papal nuncio. His privileged social position in the Viennese diplomatic circles enabled him to procure the best possible instruction for his daughter. Her education was supervised by Pietro Metastasio, the court poet and famous librettist who occupied an apartment in the Martines house. From him the young Marianna learned languages, literature and music. Beginning in 1753 Metastasio arranged for Marianna to be taught singing, piano, theory and composition. She had voice lessons with Nicolò Porpora, keyboard and theory with Haydn (who at the time was also living in the Martines house), and advanced composition with Giuseppe Bonno and Johann Adolf Hasse. Marianna was admired for her talents as a pianist, singer, and composer at an early age.
In 1772 Charles Burney passed through Vienna in one of his musical tours and reported: „After the high encomiums bestowed by the Abate Taruffi on the talents of this young lady, I was very desirous of hearing and conversing with her; and Metastasio was soon so obliging as to propose her sitting down to the harpsichord, which she immediately did, in a graceful manner, without the parade of diffidence, or the trouble of importunity. Her performance indeed surpassed all that I had been made to expect. She sung two arias of her own composition, to words of Metastasio, which she accompanied on the harpsichord, in a very judicious and masterly manner; and in playing the ritornels, I could discover a very brilliant finger. The airs were well written, in a modern style; but neither common, nor unnaturally new. The words were well set, the melody simple, and great room was left for expression and embellishment; but her voice and manner of singing, both delighted and astonished me! ... After these two songs she played a very difficult lesson of her own composition, on the harpsichord, with great rapidity and an precision.“ And a few days later Burney wrote: „Mademoiselle Martinez was at her musical studies, and writing; she directly complied with my request, of sitting down to the harpsichord ... and then played me a very pretty harpsichord „sonata“ of her own, which was spirited, and full of brillant passages.“ After Metastasios death in 1782, Marianna used part of the large fortune she inherited from him to hold elaborate musical soirées in her home. She appeared as a singer and pianist, even playing piano duets with Mozart. These weekly musical evenings played an important role in the artistic life of Vienna. In the 1790’s she also invested money in her own singing school as a way to encourage young women to study music. Marianna Martines left a large body of works in many different genres. Her vocal output includes masses, an oratorio, motets, litanies, psalms, cantatas and arias. These were all written in either Latin or Italian, many on texts by Metastasio. She wrote fewer instrumental works, but these do encompass a symphony, an orchestral ouverture, at least three piano concertos, and sonatas for the harpsichord or fortepiano, of which only three have survived. All of her compositions were strongly influenced by the Italian melodic style. Although she is practically unknown today, Marianna enjoyed considerable recognition in her lifetime. In addition to the praise she received from such notables as Dr. Burney, she was admitted into two musical societies which honoured her talents as a performer and composer: the Accademia Filarmonica of Bologna and the Viennese Tonkünstler-Societät. Unfortunately only two short works were published during her lifetime; her keyboard sonatas in E Major and A Major appeared in an anthology in Nuremberg between 1756–1765.

Werke:

Annäherung IV - an sieben Komponistinnen
Aria. Arias from Opera and Oratorio
Dixit Dominus
Dixit Dominus
In Exitu Israel de Agypto. Psalm (score)
Isacco - Figure del Redentore
Isacco - Figure del Redentore (score)
Isacco - Figure del Redentore. Oratorio
Isacco - Figure del Redentore. Oratorio (score)
Isacco - Figure del Redentore. Oratorio (score)
Konzert für Klavier und Orchester A-Dur
Laudate Pueri Dominum. Psalm 112
Laudate Pueri Dominum. Psalm 112 (choir score)
Laudate Pueri Dominum. Psalm 112 (score)
Quarta Messa
Quarta Messa
Quarta Messa
Quarta Messa
Quarta Messa for soli, choir and orchestra (1765)
Sonata da Cimbalo G-Dur (1769)

Bernadetta Matuszczak
* 10.03.1937 in Torun, Polen
Bernadetta Matuszczak studied Theory of Music and Piano at the State University of Music in Posen. She studied Composition at the State University of Music in Warsaw and completed her studies with Nadia Boulanger in Paris. Bernadetta Matuszczaks composition is characterized by a strong interest in literature and a musical imagination with a precise feel for rhythm and drama. She received several awards while still a student, such as the Grzegorz-Fitelberg Prize in 1966 and the prize of the Jeunesses Musicales in 1967.
er works include chamber music, orchestral, vocal and choral pieces, several operas and opera oratorios. Her compositions are mainly performed in Poland. In Germany she played, for example, at the May Festival in Wiesbaden in 1972. Bernadetta Matuszczak lives in Torun as a free-lance composer. At Furore: KONTRASTE for piano, see fue 4660 25 plus piano solo

Werke:

25 plus piano solo. 27 works by contemporary women composers

Emilie Mayer
* 14.05.1812 in Friedland † 04.10.1883 in Berlin
Emilie Mayer, who was born in 1812 in Friedland (Mecklenburg) and died in 1883 in Berlin, is one of the most remarkable German women composers of the 19th century.
In an era when women composers were generally only permitted to perform their works in a domestic setting – preferably that of a salon – Emilie Mayer practised her vocation as a full-time profession. Besides her musical talent, her extraordinary career can be attributed to the unusual circumstances of her biography. In 1840 Mayer’s widowed father – for whom Emilie as the oldest unmarried daughter kept house – committed suicide. This was a turning point in her life. Largely freed from family duties and financially independent, at nearly 30 years of age she decided to leave the provinces and pursue a career as a professional woman composer. She received her training from some of the leading music theorists of her day – Carl Loewe (1796–1869) in Stettin, and Adolf Bernhard Marx (1795–1866) and Wilhelm Wieprecht (1802–1872) in Berlin. In the face of the general restrictions on women’s access to composition studies at universities and conservatoriums, the quality of her education is the result of the individual backing given by her teachers to a comprehensive musical education for women. Marx appears to have been particularly dedicated in this respect. In an article published in the “Berlin Musikzeitung Echo” in 1856 he argued for a thorough musical training for women and made it clear that he not only lent them his verbal support but also took practical steps for their advancement. Even during the years she spent studying, Mayer took up musical genres which were generally deemed too difficult and “unseemly” for women. In the reviews produced by musical experts, multi-part compositions often gave rise to the question of whether women were fundamentally equal to the demands of combining unrelated musical thoughts in a meaningful way. Emilie Mayer’s works cover a remarkable number of these “unfeminine” genres – 8 symphonies, 7 concert overtures (including the successful overture to Faust op. 46), a piano concerto, a “Rondo militaire” and a broad oeuvre of string and piano chamber music. What is characteristic of the chronological and stylistic classification of Emilie Mayer’s works is her occupation with one or only a few genres over a longer period. Initially she wrote mainly Lieder with a singing voice – very much in keeping with her teacher Loewe. The 1st and 2nd symphonies also date from her early time in Stettin in the 1840s. The Symphony no. 3 in B minor, written in 1850, reveals an interest in Beethoven’s tonal language which is also discernible in the string quartets. The eight string quartets contained in the bequest were written before 1858. Mayer’s compositional leanings towards Beethoven were motivated and endorsed by her teacher Adolf Bernhard Marx, who still exerted considerable influence over her during this period.

Werke:

Großes Trio in e-Moll op. 12
Klaviertrio Nr. I e-Moll
Quartett d-Moll
Sonate D-Dur
Sonate D-Dur
String Quartet A Major 1856 (28')
String Quartet B flat major (1855) (25')
String Quartet G major
string quartet e minor
Symphony f-minor
Symphony f-minor
Violinsonate Es-Dur

Ruth McGuire
* 1941 in Baltimore, USA
Ruth McGuire started piano lessons at the age of three, instruction in theory and the organ was added when she was ten. She studied music in the USA from 1958 to 1962 and continued her studies after her move to Vienna at the University of Music there. From 1963 and 1974 her time was mainly taken up by her eight children and she took sporadic lessons in the harpsichord.
In 1979 she resumed her studies of ecclesiastical music, organ and composition at the University of Music in Vienna and has been giving concerts as a soloist, accompanist and continuo player in and around Vienna since 1977. She has initiated, planned and organized numerous series of concerts, was organist in a number of churches in Vienna and has devoted herself to the introduction of new works for the organ. Her compositions, for which she won several prizes and awards right from her youth, are performed in Austria and elsewhere in Europe. Ruth McGuire has received many scholarships, such as the state scholarship for composition of the Republic of Austria in 1994 and 2000 At Furore: 5 LYRISCHE MINIATUREN for piano, see fue 4660 25 plus piano solo

Werke:

25 plus piano solo. 27 works by contemporary women composers

Sibylle Mertens-Schaafhausen
* 1787 † 1857
Sibylle Mertens-Schaaffhausen was the first-born child of the banker Johann Abraham Anton Schaaffhausen. She goes down in the annals of history as the 'Rhine Countess'. Undoubtedly the name stands for her exemplary noblesse and culture as well as for her social commitment which she demonstrates, for instance, during the cholera epidemic in Genoa in 1835. As a token of thanks King Carlo Alberto had a coin minted bearing her name.
Sibylle Mertens-Schaaffhausen as she is called after her marriage to Louis Mertens, successor to her father in the bank, gives lavish parties attended by everyone of standing and reputation. In her 'jewel and darling' the term of endearment she uses to describe the estate she receives above all her bosom friend, the Westphalian poetess Annette von Droste-Huelshoff known for her novella 'Die Judenbuche'. This profound, even unsettling story, reveals something of the writer's gift of second sight - a gift she has in common with the 'Rhine Countess' who is also able to foresee future events. Heinrich Heine who was a student in Bonn at that time later made fun of Sibylle in his 'Memoiren' when he alludes to her predilection for the Carneval and the Rhine dialect: 'Cologne is the Tuscany of a classically bad German pronunciation and Koebes, that is Jacob, conspires with Marizzebill, that is Maria Sibylle, in a dialect sounding like and almost smelling of rotten eggs'. The news had presumably travelled from Weimar to Plittersdorf namely via Sibylle's friend Ottilie von Goethe that the pert student with the green satchel had made a fool of her father-in-law Johann Wolfgang. Hence, the doors to the house of 'Marizibill', the name she had given herself in the Carneval newspaper of 1823 are closed to Heine. Arthur Schopenhauer, 'This world negator on account of his positive attitude to life' (Egon Friedell characterised him thus in his 'History of Modern Civilization') even went as far as bringing an action against her over a gift made by Sibylle to his sister Adele. Adele Schopenhauer and her mother Joanna Schopenhauer both writers were, along with Annette von Droste-Huelshoff, regular guests in the 'Auerhof' and in the 'Zehnthhof' in Unkel on the other side of the Rhine which also belonged to the Mertens. They were finally joined by kindred souls in the persons of Anne Jameson from England and Wilhelm Wach's sister Henriette Paalzow thus closing this circle of spiritual kinship.The period of Metternich now also draws to a close. When Adele Schopenhauer dies in 1849 and Sibylle loses her inheritance to her stepbrothers and sisters there is nobody here to keep her anymore and she leaves for Rome where she died on October, 22 1857. It is here that she also lies buried; her grave is located in the so-called Cemetery of the Germans. See also Von Goethe inspiriert gleichnamiger Notenband und CD auf CD: siehe CD

Werke:

Inspired by Goethe. Songs by women composers of the 18.th and 19.th Centuries
Christmas Carols by Women Composers Vol. 3

Haruna Miyake
* 20.09.1942 in Tokio
Haruna Miyake (Haruna Shibata) wurde am 20. September 1942 in Tokio (in einer Familie von Intellektuellen) geboren: Ihr Vater war Forscher auf dem Gebiet der Physik und der Medizin, ihre Mutter Schauspielerin. Als einziges Kind erfuhr sie die ungeteilte Förderung der Eltern, die sie sehr darin unterstützten, ihr musikalisches Talent auszubilden. Sie begann ihre Karriere als Pianistin bereits 1956 und debütierte mit einem Klavierkonzert von Mozart, begleitet vom Tokioter Sinfonieorchester.
Während ihrer Teenagerzeit lebte Haruna Miyake drei Jahre mit ihrer Familie in La Jolla in Kalifornien. Zurück in Tokio besuchte sie eine fortschrittliche Hochschule, in der die Studenten im demokratischen Geist der Nachkriegszeit dazu ermutigt wurden, sich frei zu entfalten. Miyake entschied sich, in den USA Musik zu studieren. An der New Yorker Juilliard School studierte sie Komposition bei Vincent Persichetti. Mit der Abschlussarbeit Poem .for String Orchestra. Six Voices errang sie 1964 den Edward Benjamin Preis. Die Alice Tully Hall im New Yorker Lincoln Center wurde 1969 mit dem eigens bei ihr in Auftrag gegebenen Werk Six Voices in June eröffnet. Nach ihrer Rückkehr nach Tokio produzierte und leitete sie von 1977-1985 eine experimentelle Konzertserie unter dem Titel Die moderne Musik, das bin ich im Club Jean-Jean im Tokioter Stadtteil Shibuya.

Werke:

Annäherung X

Claudia Montero
* 25.06.1962 in Buenos Aires
Argentinean composer Claudia Montero has emerged as one of the most outstanding and acclaimed composers in Latin America today. Her music “is strongly rooted in South American traditional music ... apart from the joy it expresses there is also a sort of melancholy behind the music ... not sadness, just an elegiac sense or yearning for older times ... that is rooted in Claudia’s traditions from that part of the world” (David Brophy, conductor). Claudia Montero is the winner of four Latin Grammy Awards. In 2018 in the category “Best Classical Contemporary Composition” for her Concerto for Guitar “Luces y Sombras” and also in 2018 in the category Best Classical Album for “Magica y Misteriosa" – which includes the Guitar concerto and her Concerto for Harp. She was also winner of two further Latin Grammy Awards in the category of “Best Classical Contemporary Composition”, for her Concerto for Violin and String Orchestra (2014)and Cuarteto para Buenos Aires (2016)
Current commissions include "Vientos del Sur” – Winds from the South - a concerto for Accordion jointly commissioned by the Royal Liverpool Philharmonic Society and the Munich Philharmonic with support from Paladin Projects Limited which will be premiered in March 2019 by the Royal Liverpool Philharmonic Orchestra led by Vasily Petrenko with Ksenija Sidorova (Accordion) and in May 2020 by the Munich Philharmonic in Munich. In June 2019 the Buenos Aires Philharmonic Orchestra will perform the world premiere of “Ave Fenix” – The Phoenix Bird at the Teatro Colon, Buenos Aires. All her concertos have been programmed in 2019. Her Concerto en Blanco y Negro, for piano and string orchestra in Bogotá, with Orquesta Filharmonica de Bogotá and in Buenos Aires in a monographic concert programmed by Mozarteum Argentina, Luces y Sombras ( guitar concerto) in Buenos Aires and Córdoba Argentina, Valencia and Liverpool, Concierto for violin and orchestra in Salta, Argentina, and Mágica y Misteriosa ( harp concerto) in Buenos Aires, Italy, and USA. During 2017 Claudia Montero´s works were performed in the USA, Switzerland, Venezuela, Argentina, Mexico, Serbia, Ireland, Spain, Italy, Turkey, Russia, Germany, Austria, S Korea, Estonia, France, China and Canada among others. During 2018 her compositions were performed more than 60 times worldwide. She has released 7 CD recordings. ‘Evocaciones’ features the harp; ‘Sonidos de Mujer’ fea-tures the guitar; ‘Ausencias’ and ‘Irremediablemente Buenos Aires’ both won Grammy awards; and ‘Luminosa’ features the piano concerto Blanco y Negro performed by Allison Brewster Franzetti and the City of Prague Philharmonic. The CD Homage to Tarrega with Guitarist Piero Bonaguri ( Italy) and her Latin Grammy Winning CD Magica y Misteriosa (Magic and Mystery) - concertos for Guitar and Harp with María Isabel Siewers ( guitar) and Floraleda Sacchi ( harp) with the City of Prague Philharmonic Orchestra led by Lucía Zicos were released in 2018. Claudia is a member of the International Alliance of Women in Music , the Latin Recording Academy and the Recording Academy of the USA. She is frequently invited as a composer and lecturer to festivals such as the Cagliari Inter-national Music Festival in Italy and the Festival Internacional de la Habana in Cuba. She has participated as a composer at many conferences. She studied pedagogy and composition at the Conservatorio Alberto Ginastera in Buenos Aires, then studied Aesthetic and Musical Creativity at the Universidad de Valencia. She recently retired from the Professorship body with the Generalitat Valenciana to devote herself full time to composition. more information

Werke:

Concierto para violín y orquesta de cuerdas
Elegia para viola y Orquesta de cuerdas
Fantasía para violoncello y Orquesta de cuerdas
Luces y sombras Concert for guitar and string orchestra
Suite de los Buenos Aires

Aleida Montijn
No description available!
No description available!

Werke:

Annäherung I - an sieben Komponistinnen.

Elise Müller
* 1782 † 1849
The life and works of the pianist, pedagogue and composer Elise Müller (1782–1849) have not yet been adequately researched. In Bremen, where she was born and lived her entire life, she founded a girls school, at which she taught languages, history and geography, in addition to music.
With her brother she helped found the Singakademie in Bremen. From 1833 until her death she corresponded with Karl August Varnhagen von Ense. A song of hers appears here for the first time in a modern edition.

Werke:

Inspired by Goethe. Songs by women composers of the 18.th and 19.th Centuries

Florentine Mulsant
* 27.03.1962 in Dakar
Florentine Mulsant is a French composer born on 27th of March 1962 in Dakar. Her musical style derives from two marked sources: the post-serial heritage which influenced the European composers in the 50s, and the revival of musical expressionism which is more and more vivid among today's composers.
Florentine Mulsant studied during 12 years at the Conservatoire National Supérieur de Musique de Paris, where she benefited from a classical education in harmony, counterpoint, fugue, analysis and orchestration provided by major French Professors. In 1987, she obtained the first prize in composition, with unanimity of the jury, at the Schola Cantorum in Paris, where her teacher was Allain Gaussin. She also studied composition with Franco Donatoni at Chigiana in Sienna, Italy, and with Alain Bancquart at CNSM in Paris. From 1991 to 1998, she taught music writing at University Paris IV-Sorbonne. Since 1999, she fully devotes herself to compostion. In 1998, her work “Amers” for piano op. 4 was awarded at the Concorso di Composizione International: Premio Città di Pescara and in 2004 she won the Gold Medal at the Concours International de l’Académie de Lutèce for her String Quartet op. 26. In July 2006, she received the Henri Sauguet Price for her organ work Suite “Sacrée” op. 31 at the Concours International de Composition de Saint Bertrand de Comminges. Her pieces yet were played at various International Festivals, in several concert halls in Paris, in different French cities and at Radio France, too. Her pieces have been performed in Germany, in Belgium, in The Netherlands, Switzerland and in the United States. Several of her compositions were commissions. In February 2006, her Symphony for Strings op. 32, commissioned by Radio France has been performed during the Festival Présences, played by the Orchestre Philarmonique de Radio France. In March 2007, the label AR RE – SE has edited a CD including four of her works of chamber music: The “Sonate de Concert” op. 19, the “Sonate pour violon et piano” op. 21, the “Trio” op. 23 and the “Sonata for solo cello” op. 27 interpreted by Henri Demarquette. She also has received a commission from Radio France for her second Symphony “Exil” op. 33 for orchestra, which was first performed in Prague during the Festival “Prague Premieres” in April 2008. Her works are published by the publishing house Furore Verlag.

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24 Préludes pour piano op. 38
4 Nocturnes for Orchestra op. 37
Album pour un flûtiste op. 65
Amers pour piano
Annäherung IX - an sieben Komponistinnen
Cinq Pieces pour piano
Cinq pièces pour harpe op. 67
Colors pour quatre violoncelles op. 74
Deux Miniatures pour Guitare op. 15
Dix Litanies pour Orgue op. 43
Duo pour alto et basson op. 73 no. 2
Duo pour clarinette et violoncelle op. 73 no. 3
Duo pour hautbois et violon op. 73 no. 1
EMPREINTES op. 46
ENVOL pour flûte op. 56 (2015) (12’)
Happy Birthday! pour quintette à cordes op. 80
Huit Pieces pour piano
In Jubilo. Quatuor op. 22
Intérieurs
Jardin d'Etoiles op. 44 no. 2
Jardin d’Etoiles op. 44
Jardin d’Etoiles op. 44
Messe pour orgue op. 24
OPUS 64 pour contrebasse op. 64
Oratorio pour une femme seule: Simone Weil
Oratorio pour une femme seule: Simone Weil
Passacaillle pour piano op. 29
Pie Jesu (Choir Score)
Pie Jesu for mixed choir and violoncello
Pôles
Quator a Cordes no. 3 op.47
Quatuor op. 28 en 3 mouvements
Quatuor à cordes nº4 (string quartet) op. 54
Quintette a vent op. 30
Rhapsodie pour Alto et Orchestre à Cordes op. 75
Sentosa pour piano op. 69
Sept Préludes pour piano op. 70
Sextet for trumpet in C and string quintet
Sonate de Concert no. 2 op. 45
Sonate de Concert: Corail, Dédale, Passacaille
Sonata for viola and piano
Sonate pour Piccolo et Piano
Sonata for violin and piano
Sonate pour alto et piano op. 63 no. 2
Sonate pour contrebasse et piano
Sonate pour piano
Sonate pour violoncelle et piano op. 25
Sonate pour violoncelle op. 27
String quartet op. 26

Suite pour violon op. 50
Suite pour violoncelle et piano op. 60
Suite pour violoncelle seul op. 41
Symphonie n° 1 pour chordes op. 32
TROIS FANTAISIES op. 48 (2013) (12ʼ) for violin and harp
Tiento
Trio
Trio
Troix Miniatures pour Flûte et Piano op. 14
Uno
Variations pour clarinette et harp
Variations pour clarinette et piano
Variations pour flute et piano
Variations pour cello et harp
Veni sancte Spiritus
Vocalise for viola
Voix
pian é forte. Music for piano


Isabel Mundry
* 1963
No description available!
No description available!

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Annäherung XI

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